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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..7b89a31 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #54036 (https://www.gutenberg.org/ebooks/54036) diff --git a/old/54036-0.txt b/old/54036-0.txt deleted file mode 100644 index dff8121..0000000 --- a/old/54036-0.txt +++ /dev/null @@ -1,8513 +0,0 @@ -The Project Gutenberg EBook of Armenian Legends and Poems, by Various - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Armenian Legends and Poems - -Author: Various - -Illustrator: Zabelle C. Boyajian - -Release Date: January 21, 2017 [EBook #54036] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ARMENIAN LEGENDS AND POEMS *** - - - - -Produced by Jeroen Hellingman and the Online Distributed -Proofreading Team at http://www.pgdp.net/ for Project -Gutenberg (This file was produced from images generously -made available by The Internet Archive/American Libraries.) - - - - - - - - - ARMENIAN LEGENDS AND POEMS - - ILLUSTRATED & COMPILED - - by - - ZABELLE C. BOYAJIAN - - - - WITH AN INTRODUCTION BY THE RIGHT HON. VISCOUNT BRYCE, O.M. - - AND - - A CONTRIBUTION ON “ARMENIA: ITS EPICS, FOLK-SONGS, AND MEDIAEVAL - POETRY,” - - By ARAM RAFFI - - - - LONDON: J. M. DENT & SONS LTD. - NEW YORK: E. P. DUTTON & COMPANY - - - - - - - - Miss Boyajian is giving all the profits of this edition to the Lord - Mayor’s Armenian Fund - - - - - - - - Dedicated - - TO - - THE UNDYING SPIRIT OF ARMENIA - - - - - - - -PREFACE - - -In preparing this book of Armenian Legends and Poems my principal -object was to publish it as a Memorial to an unhappy nation. - -The book does not claim to represent Armenian poetry adequately. Many -gifted and well-known authors have been omitted, partly from -considerations of space, and partly because of the scope of the work. -For instance, I should have liked to include some of the Sharakans -(rows of gems) of Nerses Shnorhali; but the impossibility of -reproducing their characteristic forms in another language, and doing -them any justice, made me decide not to translate any of them. I have -only given a few typical legends and poems, endeavouring, as far as -possible, to convey the local colouring by adhering closely to the -form, rhythm, and imagery of the originals in my translations. I have -also largely based the decorative scheme of the illustrations upon -Ancient Armenian Art as we see it in mediæval missals and -illuminations. - -Should this anthology create an interest in Armenian literature the -Armenian Muses have still many treasures in their keeping which cannot -be destroyed; and another volume could be compiled. - -In conclusion, I wish to express my sincerest gratitude to Miss Alice -Stone Blackwell, of Boston, U.S.A.—one of Armenia’s truest -friends—for allowing me to reprint several of her renderings of -Armenian poems; to G. C. Macaulay, M.A., and the Delegates of the -Oxford University Press, for permission to reprint the “Tale of -Rosiphelee” from their edition of Gower’s Confessio Amantis; to Mr. -William Watson and Mr. John Lane for permission to reprint the sonnet -on Armenia, “A Trial of Orthodoxy,” from The Purple East; and to -the heirs of Vittoria Aganoor Pompilj for permitting me to reprint two -of her poems, “Pasqua Armena” and “Io Vidi,” from the Nuova -Antologia. I wish also to thank Mr. M. E. Galoustiantz for designing -the cover of this book. - -The proceeds of the present edition will be handed over to the Armenian -Fund. - - - ZABELLE C. BOYAJIAN. - - - - - - - -INTRODUCTION - - -Severed for many centuries from Western Europe by the flood of Turkish -barbarism which descended upon their country in the Middle Ages, and -subjected for the last two generations to oppressions and cruelties -such as few civilised people have ever had to undergo, the Armenians -have been less known to Englishmen and Frenchmen than their remarkable -qualities and their romantic history deserve. Few among us have -acquired their language, one of the most ancient forms of human speech -that possess a literature. Still fewer have studied their art or read -their poetry even in translations. There is, therefore, an ample field -for a book which shall present to those Englishmen and Frenchmen, whose -interest in Armenia has been awakened by the sufferings to which its -love of freedom and its loyalty to its Christian faith have exposed it, -some account of Armenian art and Armenian poetical literature. Miss -Boyajian, the authoress of this book, is the daughter of an Armenian -clergyman, whom I knew and respected during the many years when he was -British Vice-Consul at Diarbekir on the Tigris. She is herself a -painter, a member of that group of Armenian artists some of whom have, -like Aïvazovsky and Edgar Chahine, won fame in the world at large, and -she is well qualified to describe with knowledge as well as with -sympathy the art of her own people. - -That art has been, since the nation embraced Christianity in the fourth -century of our era, chiefly ecclesiastical. The finest examples of -ancient Armenian architecture are to be seen in the ruins of Ani, on -the border where Russian and Turkish territory meet, a city which was -once the seat of one of the native dynasties, while the famous church -of the monastery of Etchmiadzin, at Vagarshabad, near Erivan, is, -though more modern, a perfect and beautiful existing representative of -the old type. Etchmiadzin, standing at the north foot of Mount Ararat, -is the seat of the Katholikos, or ecclesiastical head of the whole -Armenian church. There was little or no ecclesiastical sculpture, for -the Armenian church discouraged the use of images, and fresco painting -was not much used for the decoration of churches; missals, however, and -other books of devotion and manuscripts of the Bible were illuminated -with hand paintings, and adorned with miniatures; and much skill and -taste were shown in embroideries. Metal work, especially in silver and -in copper, has always been a favourite vehicle for artistic design in -the Near East and is so still, though like everything else it has -suffered from the destruction, in repeated massacres, of many of the -most highly skilled artificers. - -One of the most interesting features in the history of Armenian art is -that it displays in its successive stages the various influences to -which the country has been subject. Ever since it became Christian it -was a territory fought for by diverse empires of diverse creeds. As in -primitive times it lay between Assyria on the one side and the Hittite -power on the other, so after the appearance of Islam it became the -frontier on which the East Roman Christian Empire contended with the -Muslim Arab and Turkish monarchies. Persian influences on the East, -both before and after Persia had become Mohammedan, here met with the -Roman influences spreading out from Constantinople. The latter gave the -architectural style, as we see it in those ecclesiastical buildings to -which I have referred, a style developed here with admirable features -of its own and one which has held its ground to the present day. The -influence of Persia on the other hand was seen in the designs used in -embroidery, in carpets, and in metal work. The new school of painters -has struck out new lines for itself, but while profiting by whatever it -has learnt from Europe, it retains a measure of distinctive national -quality. - -That quality is also visible in Armenian poetry of which this volume -gives some interesting specimens. The poetry of a people which has -struggled against so many terrible misfortunes has naturally a -melancholy strain. But it is also full of an unextinguishable -patriotism. - -Those who have learnt from this book what the Armenian race has shown -itself capable of doing in the fields of art and literature, and who -have learnt from history how true it has been to its Christian faith, -and how tenacious of its national life, will hope that the time has now -at last come when it will be delivered from the load of brutal tyranny -that has so long cramped its energies, and allowed to take its place -among the free and progressive peoples of the world. It is the only one -of the native races of Western Asia that is capable of restoring -productive industry and assured prosperity to these now desolated -regions that were the earliest homes of civilisation. - - - BRYCE. - - 3, Buckingham Gate, - July 1916. - - - - - - - -CONTENTS - - - PAGE - - Preface vii - Introduction ix - - Reproaches xv - A Trial of Orthodoxy xvi - - The Exile’s Song 1 - The Apple Tree 3 - My Heart is turned into a Wailing Child 4 - O Night, be long 5 - Black Eyes 6 - Yesternight I walked Abroad 7 - Vahagn, King of Armenia 10 - Huntsman, that on the Hills above 11 - Liberty 12 - I beheld my Love this Morning 14 - The Fox, the Wolf, and the Bear 15 - Incense 17 - The Little Lake 18 - Spring 20 - Cradle Song 21 - Ara and Semiramis 23 - Lament over the Heroes fallen in the - Battle of Avarair 25 - The Song of the Stork 27 - Ye Mountain Bluebells 29 - The Sun went down 30 - Birthday Song 31 - Morning 32 - The Founding of Van 33 - I have a Word I fain would say 35 - The Song of the Partridge 36 - The Lily of Shavarshan 37 - Cradle Song 41 - The Wind is howling through the Winter Night 42 - The Armenian Poet’s Prayer 43 - The Chragan Palace 44 - The Dream 46 - The Sorrows of Armenia 47 - Artashes and Satenik 48 - My Death 50 - The Eagle’s Love 51 - Concerning the Rose and the Nightingale 52 - The Arrival of the Crusaders 58 - Like an Ocean is this World 59 - The Rock 60 - The Crane 62 - The Hawk and the Dove 63 - Artavasd 65 - Charm Verses 67 - The Tears of Araxes 69 - The Eve of Ascension Day 73 - “Thy Voice is Sweet” 74 - Christ and Abgarus 75 - Araxes came devouringly 77 - The Parrot’s Song 78 - Earth and Sky 79 - O’er the Mountains High he went 81 - Complaints 82 - A Day After 84 - Without Thee what are Song and Dance to Me? 85 - The Lake of Van 86 - Spring 89 - The Fox 90 - The Tale of Rosiphelee 91 - The Song of the Vulture 98 - Dance Song 101 - Ballad 103 - No Bird can reach the Mountain’s Crest 106 - The Nightingale of Avarair 108 - Thou art so Sweet 110 - The Wandering Armenian to the Swallow 111 - The Christ-Child 113 - The Castle of Anoush 114 - Happiness 118 - Concerning Death 119 - Love One Another 121 - Pasqua Armena 122 - “Io Vidi” 123 - Armenia: its Epics, Folk-Songs, and Mediaeval Poetry 125 - - Chronological Index to Authors 193 - Index to First Lines 195 - - - - - - - -LIST OF ILLUSTRATIONS - - - Armenia Frontispiece - The Birth of Vahagn, King of Armenia facing page 10 - Ara and Semiramis 23 - The Founding of Van 33 - Artashes and Satenik 48 - The Wedding 49 - Artavasd 65 - Christ’s Letter to Abgarus 75 - The Lake of Van 86 - The Vision of Rosiphelee, Princess of Armenia 91 - The Lady and the Minstrel 102 - The Castle of Anoush 114 - - - - - - - -REPROACHES - -By “FRIK” - -(Died 1330) - - - O God of righteousness and truth, - Loving to all, and full of ruth; - I have some matter for Thine ear - If Thou wilt but Thy servant hear. - - Lo, how the world afflicteth us - With wrongs and torments rancorous; - And Thou dost pardon every one, - But turnest from our woes alone. - - Lord, Thou wilt not avenge our wrong - Nor chase the ills that round us throng; - Thou knowest, we are flesh and bone, - We are not statues made from stone! - - We are not made of grass or reeds, - That Thou consumest us like weeds;— - As though we were some thorny field - Or brushwood, that the forests yield. - - If that ourselves are nothing worth— - If we have wrought no good on earth, - If we are hateful in Thy sight - That Thou shouldst leave us in this plight— - - Then blot us out;—be swift and brief, - That Thy pure heart may find relief; - This well may be, by Thy intent, - Great Lord and good, omnipotent. - - How long must we in patience wait - And bear unmurmuringly our fate? - Let evil ones be swept away - And those whom Thou dost favour, stay! - - - - - - - -A TRIAL OF ORTHODOXY - -(Sonnet on Armenia) - -By WILLIAM WATSON - - - The clinging children at their mother’s knee - Slain; and the sire and kindred one by one - Flayed or hewn piecemeal; and things nameless done, - Not to be told: while imperturbably - The nations gaze, where Rhine unto the sea, - Where Seine and Danube, Thames and Tiber run, - And where great armies glitter in the sun, - And great Kings rule, and man is boasted free! - What wonder if yon torn and naked throng - Should doubt a Heaven that seems to wink and nod, - And having mourned at noontide, “Lord, how long?” - Should cry, “Where hidest Thou?” at evenfall, - At midnight, “Is He deaf and blind, our God?” - And ere day dawn, “Is He indeed at all?” - - - - - - - -THE EXILE’S SONG - -FOLK SONG - - - Belovèd one, for thy sweet sake, - By whirlwinds tossed and swayed I roam; - The stranger’s accents round me wake - These burning thoughts that wander home. - No man such longings wild can bear - As in my heart forever rise. - Oh that the wind might waft me there - Where my belovèd’s vineyard lies! - Oh that I were the zephyr fleet, - That bends her vines and roses sweet. - - For I am piteous and forlorn, - As is the bird that haunts the night; - Who inconsolably doth mourn - Whene’er his rose is from his sight. - O’er earth and ocean, everywhere - I gaze in vain, with weary eyes. - Oh that the wind might waft me there - Where my belovèd’s vineyard lies! - Oh that I were the zephyr fleet - That bends her vines and roses sweet. - I would I were yon cloud so light,— - Yon cloudlet driven before the wind. - Or yonder bird with swift-winged flight: - My heart’s true way I soon would find! - Oh, I would be the wind so fleet - That bends her vines and roses sweet. - - - - - - - -THE APPLE TREE - -FOLK SONG - - - The door of Heaven open seemed - And in thy house the sunlight gleamed. - - As through the garden’s willow’d walks I hied - Full many a tree and blossom I espied. - But of all trees, the Apple Tree most fair - And beautiful did unto me appear. - It sobbed and wept. Its leaves said murmuringly: - “I would that God had ne’er created me! - The badge of sin and wickedness I am - E’en at thy feast, O Father Abraham. [1] - The apple growing on me first - From Eden came ere it was cursed, - Alas, alas, I am undone! - Why fell I to that evil one?” - - - - - - - -MY HEART IS TURNED INTO A WAILING CHILD - -By N. KOUCHAK - -(Fifteenth Century) - - - My heart is turned into a wailing child, - In vain with sweets I seek to still its cries; - Sweet love, it calls for thee in sobbings wild - All day and night, with longing and with sighs. - What solace can I give it? - - I showed my eyes the fair ones of this earth - And tried to please them—but I tried in vain. - Sweet love, for them all those were nothing worth— - Thee—only thee my heart would have again. - What solace can I give it? - - - - - - - -O NIGHT, BE LONG - -By N. KOUCHAK - - - O Night, be long—long as an endless year! - Descend, thick darkness, black and full of fear! - To-night my heart’s desire has been fulfilled— - My love is here at last—a guest concealed! - - Dawn, stand behind seven mountains—out of sight, - Lest thou my loved one banish with thy light; - I would for ever thus in darkness rest - So I might ever clasp him to my breast. - - - - - - - -BLACK EYES - -By AVETIS ISAHAKIAN - -(Born 1875) - - - Do not trust black eyes, but fear them:— - Gloom they are, and endless night; - Woes and perils lurking near them— - Love not thou their gleaming bright! - - In my heart a sea of blood wells, - Called up by their cruel might, - No calm ever in that flood dwells— - Love not thou their gleaming bright! - - - - - - - -YESTERNIGHT I WALKED ABROAD - -ANONYMOUS - - - Yesternight I walked abroad. - From the clouds sweet dews were falling, - And my love stood in the road, - All in green, and to me calling. - To her home she led me straight, - Shut and barred the gate securely; - Whoso tries to force that gate - Brave I’ll reckon him most surely! - - In the garden she did go, - Gathered roses dewed with showers; - Some she gave her lover, so - He might lay his face in flowers. - - Garments loose and snowy breast, - I slipped in her bosom tender - And I found a moment’s rest, - Clasped within those arms so slender. - Then I raised my hands above— - Grant, O Lord, that I wake never; - On the bosom of my love - May I live and die forever! - - What have I from this world gained? - What advantage gathered ever? - For the hunt my falcon trained - I let fly—it went forever! - - Ah, my falcon, woe the day! - Tell me, whither art thou flying? - I will follow all the way— - Since thou wentest I am dying. - - I am ill, and near my end— - With an apple [2] hasten to me. - I shall curse thee if thou send - Strange physicians to undo me. - - No physicians strange for me— - All my griefs in thee I centre. - Come and take my bosom’s key, - Open wide the door and enter. - Once again I say, ’twas not - I that came—’twas thy love brought me. - In my heart thy love hath got - And its dwelling-place hath wrought me. - - When the falcon hunger feels - Then he finds the game and takes it; - When love thirsts, the lover steals - Kisses from his love and slakes it. - But thou hold’st me with thy charms; - When I kiss thee thou dost bind me: - ’Twas but now I left thine arms, - And my looks are turned behind me. - I am ever, for thy love, - Like the sands in summer, burning: - Looking up to heaven above, - For one little raindrop yearning. - - I would kiss thy forehead chaste, - And thine eyes so brightly gleaming; - Fold mine arms about thy waist— - Thick with all thy garments seeming. - - Oft and often have I said - For my love make garments shining: - Of the sun the facing red,— - Of the moon cut out the lining; - Pad it with yon storm-cloud dark, - Sewn with sea weed from the islets: - Stars for clasps must bring their spark— - Stitch me inside for the eyelets! - - - - - - - -VAHAGN, KING OF ARMENIA - -From the History of Armenia, by - -MOSES OF KHORENE - -(Fifth Century) - - -Concerning the birth of this king the legends say— - - - “Heaven and earth were in travail, - And the crimson waters were in travail. - And in the water, the crimson reed - Was also in travail. - From the mouth of the reed issued smoke, - From the mouth of the reed issued flame. - And out of the flame sprang the young child. - His hair was of fire, a beard had he of flame, - And his eyes were suns.” - - -With our own ears did we hear these words sung to the accompaniment of -the harp. They sing, moreover, that he did fight with the dragons, and -overcame them; and some say that his valiant deeds were like unto those -of Hercules. Others declare that he was a god, and that a great image -of him stood in the land of Georgia, where it was worshipped with -sacrifices. - - - - - - - -HUNTSMAN, THAT ON THE HILLS ABOVE - -By AVETIS ISAHAKIAN - - - “Huntsman, that on the hills above - To hunt the deer hast been, - Tell me, I pray thee, if my love— - My wild deer thou hast seen? - - “He sought the hills his grief to quell— - My darling love, my sun. - He wandered out upon the fell, - My flower, my only one.” - - “Maiden, I saw your lover true, - All girt with red and green. - Upon his breast a rose tree grew - Where once your kiss had been.” - - “Huntsman, I pray, who is the bride - Of my beloved, my sun? - Who tends him, watching by his side, - My flower, my only one?” - - “Maiden, I saw him with his head - Upon a stone at rest. - And for his love, a bullet red - Into his heart was pressed. - - “The mountain breeze caressingly - Played with his jet-black hair, - And blossoms wept unceasingly - Your flower, your lover there.” - - - - - - - -LIBERTY - -By MIKAEL NALBANDIAN - -(1829–1866) - - - When the God of Liberty - Formed of earth this mortal frame, - Breathed the breath of life in me, - And a spirit I became, - - Wrapped within my swaddling bands, - Bound and fettered helplessly, [3] - I stretched forth my infant hands - To embrace sweet Liberty. - - All night long, until the dawn, - In my cradle bound I lay; - And my sobbing’s ceaseless moan - Drove my mother’s sleep away. - - As I begged her, weeping loud, - To unbind and set me free; - From that very day I vowed - I would love thee, Liberty! - - When upon my parents’ ear - First my lisping accents fell, - And their hearts rejoiced to hear - Me my childish wishes tell, - - Then the words that first I spoke - Were not “father, mother dear”: - “Liberty!” the accents broke - In my infant utterance clear. - - “Liberty!” The voice of Doom - Echoed to me from above, - “Wilt thou swear until the tomb - Liberty to serve and love? - - “Thorny is the path, and dim; - Many trials wait for thee: - Far too small this world for him - Who doth worship Liberty!” - - “Liberty!” I made reply, - “O’er my head let thunders burst, - Lightnings flash, and missiles fly— - Foes conspire to do their worst; - - “Till I die, or meet my doom, - On the shameful gallows-tree,— - Till the portals of the tomb, - I will shout forth Liberty!” - - - - - - - -I BEHELD MY LOVE THIS MORNING - -By SAYAT NOVA - -(1712–1795) - - -I beheld my love this morning, in the garden paths she strayed, -All brocaded was the ground with prints her golden pattens made; -Like the nightingale, I warbled round my rose with wings displayed, -And I wept, my reason faltered, while my heart was sore dismayed. -Grant, O Lord, that all my foemen to such grief may be betrayed! - -Love, with these thy whims and humours thou hast wrecked and ruined me. -Thou hast drunk of love’s own nectar, thy lips speak entrancingly. -With those honeyed words how many like me thou hast bound to thee! -Take the knife and slay me straightway—pass not by me mockingly. -Since I die of love, ‘twere better Beauty stabbed and set me free. - -For I have no love beside thee—I would have thee know it well. -Thou for whom e’en death I’d suffer, list to what I have to tell. -See thou thwart not thy Creator,—all the past do not dispel: -Anger not thy Sayat Nova, for when in thy snare he fell -He was all bereft of reason by thy whims’ and humours’ spell. - - - - - - - -THE FOX, THE WOLF, AND THE BEAR - -FOLK SONG - - - The little fox, the wolf and bear made peace; - Like kinsfolk all, they bade their warfare cease. - The fox they consecrate a hermit now;— - False monk, false hermit, false recluse’s vow! - - The little fox a sack found in the street - Through which he thrust his head; then shod his feet - With iron shoes, and got a staff, I trow— - False monk, false hermit, false recluse’s vow! - - The fox has sent the wolf to fetch the bear. - “For him,” he said, “I live this life of care; - Yet never hath he sent me aught to eat:— - Sore are my knees with walking, sore my feet!” - - At morning dawn forth to the hunt they creep; - A ram they catch, a lambkin and a sheep. - Holy dispenser is the wolf proclaimed— - Unjust dispenser, judge unwisely named! - - He gives the sheep as portion to the bear; - The lambkin falls to the poor hermit’s share. - “The ram for me,” he said, “I’m tired and lamed”— - Unjust dispenser, judge unwisely named! - - The bear was wroth, and turned him round about, - And with one blow the wolf’s two eyes put out. - “That sheep for me, a bear so great and famed? - Unjust dispenser, judge unwisely named!” - - The little fox is sore afraid, and sees - A trap laid ready with a piece of cheese. - “O uncle, see, I’ve built a convent here,” - He said, “a place of rest, a place of prayer!” - - The bear stretched out his paw for the repast, - The trap upon his neck closed hard and fast. - “Help me, my little nephew, for I fear - This is no convent, ’tis no house of prayer!” - - The little fox with joy beheld the whole - And sang a mass for his great uncle’s soul. - “The wrong thou didst the wolf has brought thee there; - It is a house of rest, a house of prayer!” - - O sovereign Justice, much thou pleasest me— - Who wrongs another soon shall cease to be. - And fasting in the trap must lie the bear,— - For ’tis a house of rest, a house of prayer! - - - - - - - -INCENSE - -By ZABELLE ESSAYAN - -(Born 1878) - - - The incense at the altar slowly burns - Swayed in the silver censer to and fro; - Around the crucifix it coils and turns, - The brows of saints it wreathes with misty glow. - - And tremulous petitions, long drawn out, - Beneath the lofty arches faint away; - To weary eyes the candles round about - Heave as they flicker with their pallid ray. - - The sacred columns, grey and mouldering, - Support a veil that stirs with voiceless sobs. - Beneath it, like the incense smouldering, - A woman’s darkened heart in anguish throbs. - - Consumed within the censer now, and burned, - The incense through the boundless ether soars. - What Matter was to Fragrance sweet is turned— - The cleansing fire its purity restores. - - Nor shall that woman’s smouldering heart be freed,— - Saved from its cold and adamantine shell,— - Till it is melted, tried, and cleansed indeed, - Till the pure flames shall all its dross expel! - - - - - - - -THE LITTLE LAKE [4] - -By BEDROS TOURIAN - -(1852–1872) - - - Why dost thou lie in hushed surprise, - Thou little lonely mere? - Did some fair woman wistfully - Gaze in thy mirror clear? - - Or are thy waters calm and still - Admiring the blue sky, - Where shining cloudlets, like thy foam, - Are drifting softly by? - - Sad little lake, let us be friends! - I too am desolate; - I too would fain, beneath the sky, - In silence meditate. - - As many thoughts are in my mind - As wavelets o’er thee roam; - As many wounds are in my heart - As thou hast flakes of foam. - - But if heaven’s constellations all - Should drop into thy breast, - Thou still wouldst not be like my soul,— - A flame-sea without rest. - - There, when the air and thou are calm, - The clouds let fall no showers; - The stars that rise there do not set, - And fadeless are the flowers. - - Thou art my queen, O little lake! - For e’en when ripples thrill - Thy surface, in thy quivering depths - Thou hold’st me, trembling, still. - - Full many have rejected me: - “What has he but his lyre?” - “He trembles, and his face is pale; - His life must soon expire!” - - None said, “Poor child, why pines he thus? - If he beloved should be, - Haply he might not die, but live,— - Live, and grow fair to see.” - - None sought the boy’s sad heart to read, - Nor in its depths to look. - They would have found it was a fire, - And not a printed book! - - Nay, ashes now! a memory! - Grow stormy, little mere, - For a despairing man has gazed - Into thy waters clear! - - - Translated by Alice Stone Blackwell. - - - - - - - -SPRING - -By HOVHANNES HOVHANNESSIAN - -(Born 1869) - - - None await thy smiling rays; - Whither comest thou, O Spring? - None are left to sing thy praise— - Vain thy coming now, O Spring! - - All the world is wrapped in gloom, - Earth in blood is weltering: - This year brought us blackest doom— - Whither comest thou, O Spring? - - No rose for the nightingale, - No flower within park or dale, - Every face with anguish pale— - Whither comest thou, O Spring? - - - - - - - -CRADLE SONG - -By RAPHAEL PATKANIAN - -(1830–1892) - - -Mother - - Sweet slumber now creeps o’er thee slow, - Sweet breezes rock thee to and fro: - My baby sleeps, so soft and low - With sweetest songs I’ll sing oror. [5] - - -Baby - - O Mother dear, thou art unkind - My sleepless eyes so long to bind. [6] - Anon I’ll rest, and sleep resigned;— - Release me now, sing not oror. - - -Mother - - Why dost thou shed those tears that flow - Down thy sad cheeks with pearly glow? - Thou’lt break thy heart with sobbing so,— - Whom wilt thou have to sing oror? - - -Baby - - At least my hands and feet unbind— - My tender limbs are all confined; - That gentle sleep my eyes may find, - Then tie me in, and sing oror. - - -Mother - - That tongue of thine is passing sweet, - Yet with thy yards I cannot mete. - Thou wilt not sleep, but at thy feet - Wouldst have me sit, and sing oror. - - -Baby - - All piteously I raise my prayer, - I sob and cry, thou dost not hear. - Thy sweet voice seems to charm thine ear— - I weep, thou singest still oror. - - -Mother - - Hush, hush, and sleep, my baby dear. - My love shall guard thee, year by year, - Until my rose-tree blossoms fair, - Then ‘neath his shade I’ll sing oror. - - -Baby - - Thy heart is made of stone, I see. - I wept and wept, all uselessly. - Now I shall sleep, I can’t be free, - All night, all night sing me oror! - - - - - - - -ARA AND SEMIRAMIS - -From the History of Armenia, by - -MOSES OF KHORENE - - -For a few years before the death of Ninus, Ara reigned over Armenia -under his Protectorate, and found the same favour in his eyes as his -father Aram had done. But that wanton and lustful woman Semiramis, -having heard speak for many years of the beauty of Ara, wished to -possess him; only she ventured not to do anything openly. But after the -death or the escape to Crete of Ninus, as it hath been affirmed unto -me, she discovered her passion freely, and sent messengers to Ara the -Beautiful with gifts and offerings, with many prayers and promises of -riches; begging him to come to her to Nineveh and either wed her and -reign over all that Ninus had possessed, or fulfil her desires and -return in peace to Armenia, with many gifts. - -And when the messengers had been and returned many times and Ara had -not consented, Semiramis became very wroth; and she arose and took all -the multitude of her hosts and hastened to the land of Armenia, against -Ara. But, as she had beforehand declared, it was not so much to kill -him and persecute him that she went, as to subdue him and bring him by -force to fulfil the desires of her passion. For having been consumed -with desire by what she had heard of him, on seeing him she became as -one beside herself. She arrived in this turmoil at the plains of Ara, -called after him Aïrarat. And when the battle was about to take place -she commanded her generals to devise some means of saving the life of -Ara. But in the fighting the army of Ara was beaten, and Ara died, -being slain by the warriors of Semiramis. And after the battle the -Queen sent out to the battlefield to search for the body of her beloved -amongst those who had died. And they found the body of Ara amongst the -brave ones that had fallen, and she commanded them to place it in an -upper chamber in her castle. - -But when the hosts of Armenia arose once more against Queen Semiramis -to avenge the death of Ara, she said: “I have commanded the gods to -lick his wounds, and he shall live again.” At the same time she -thought to bring Ara back to life by witchcraft and charms, for she was -maddened by the intensity of her desires. But when the body began to -decay, she commanded them to cast it into a deep pit, and to cover it. -And having dressed up one of her men in secret, she sent forth the fame -of him thus: “The gods have licked Ara and have brought him back to -life again, thus fulfilling our prayers and our pleasure. Therefore -from this time forth shall they be the more glorified and worshipped by -us, for that they are the givers of joy and the fulfillers of -desire.” She also erected a new statue in honour of the gods and -worshipped it with many sacrifices, showing unto all as if the gods had -brought Ara back to life again. And having caused this report to be -spread over all the land of Armenia and satisfied the people she put an -end to the fighting. And she took the son of Ara whom his beloved wife -Nouvart had borne unto him and who was but twelve years old at the time -of his father’s death. And she called his name Ara in memory of her -love for Ara the Beautiful, and appointed him ruler over the land of -Armenia, trusting him in all things. - - - - - - - -LAMENT OVER THE HEROES FALLEN IN THE BATTLE OF AVARAIR - -By KAREKIN SRVANSTIAN - -(1840–1892) - - - If Goghtan’s bards no longer crown - Armenia’s heroes with their lays, - Let deathless souls from Heaven come down, - Our valiant ones to praise! - - Ye shining angel hosts, descend: - On Ararat’s white summit pause; - Let God Himself the heavens rend, - To come and judge our cause. - - Fly, clouds, from Shavarshan away, - Pour not on it your gentle rain:— - ’Tis drenched with streams of blood to-day - Shed by our brave ones slain. - - Henceforth the rose and asphodel - No more shall on our plains appear; - But in the land where Vartan fell - Shall Faith her blossoms rear. - - Fit monument to Vartan’s name, - Mount Ararat soars to the sky. - And Cross-crowned convents tell his fame, - And churches vast and high. - - Thy record too shall ever stand, - O Eghishé, for where they fell, - Thou forthwith camest, pen in hand, - Their faith and death to tell. - - Bright sun, pierce with thy rays the gloom, - Where Khaghdik’s crags thy light repel, - There lies our brave Hmayag’s tomb,— - There, where he martyred fell. - - And, moon, thy sleepless vigil keep - O’er our Armenian martyrs’ bones; - With the soft dews of Maytime steep - Their nameless funeral stones. - - Armenia’s Stork, our summer guest, - And all ye hawks and eagles, come, - Watch o’er this land—’tis our bequest— - We leave to you our home. - - About the ashes hover still, - Your nests among the ruins make; - And, swallows, come and go until - Spring for Armenia break! - - - - - - - -THE SONG OF THE STORK - -FOLK SONG - - - Stork, I welcome thy return. - Thou stork, I welcome thy return. - Thy coming is the sign of spring, - And thou dost joy and gladness bring. - - Stork, upon our roof descend. - Thou stork, upon our roof descend. - Upon our ash-tree build thy nest, - Our dear one, and our honoured guest. - - Stork, I would complain to thee:— - Yes, stork, I would complain to thee. - A thousand sorrows I would tell, - The griefs that in my bosom dwell. - - Stork, when thou our house didst leave,— - When last our ash-tree thou didst leave, - Cold, blasting winds the heavens filled, - And all our smiling flowers were killed. - - Clouds obscured the brilliant sky; - Dark clouds obscured the brilliant sky. - Up there in flakes they broke the snow, - And Winter killed the flowers below. - - From the mountain of Varag, - From that great hill they call Varag, - The snow did all the earth enfold:— - In our green meadow it was cold. - - In our garden all was white. - Our little garden all was white. - Our tender rose-trees, fresh and green, - All died of Winter’s frost-bite keen. - - - - - - - -YE MOUNTAIN BLUEBELLS - -By AVETIS ISAHAKIAN - - - Ye mountain bluebells, weep with me, - And flowers in coloured crowds; - Weep, nightingale, on yonder tree,— - Cool winds dropped from the clouds. - - All dark around the earth and sky, - All lonely here I mourn. - My love is gone,—light of my eye; - I sob and weep forlorn. - - Alas, no more he cares for me— - He left me unconsoled; - He pierced my heart, then cruelly - Left me in pain untold. - - Ye mountain bluebells, weep with me, - And flowers in coloured crowds; - Weep, nightingale, on yonder tree,— - Cool winds dropped from the clouds. - - - - - - - -THE SUN WENT DOWN - -By AVETIS ISAHAKIAN - - - The sun went down behind the hill, - No light was on the lea, - The fowls and birds slept calm and still, - But sleep came not to me. - - The moon peeped in beneath the eaves, - The Balance rose on high, - The fresh night-wind that stirred the leaves - Spoke to the starry sky. - - Ah, gentle winds and stars of light, - Where is my love to-night? - Ye painted eyes of heaven so bright,— - Saw you my love to-night? - - Day dawned,—unbolted was our door:— - The snowflakes whirled like foam, - ’Tis cloud and storm, the wild winds roar— - Why comes my love not home? - - - - - - - -BIRTHDAY SONG - -By NAHABED KOUCHAK - - - On the morning of thy birth - We were glad but thou wert wailing, - See that when thou leav’st the earth - Thou art glad and we bewailing. - - Let me speak unto thy heart,— - List if thou hast understanding; - Keep thyself from fools apart, - All their flatteries withstanding. - - For the fool, like fire and heat, - Scorcheth everything, and burneth; - But the wise, like water sweet, - Deserts into gardens turneth. - - - - - - - -MORNING - -By HAROUTUNE TOUMANIAN - - - Day dawned. Bright tongues of scarlet flame - Shot up into the sky, - The livid heav’ns blushed, and became - A sea of crimson dye. - - The sun his fiery beams unrolled - Like strands of coloured thread; - Embroidered all the clouds with gold, - And blue, and green, and red. - - Then o’er the mountain, full in view, - Nature’s great Monarch rose: - And from his tent of Royal blue - Hurled darts upon his foes. - - Eternal foe of Gloom and Night, - On high he raised his arm; - His shield of gold, all shining bright, - Sheltered the world from harm. - - - - - - - -THE FOUNDING OF VAN - -From the History of Armenia, by - -MOSES OF KHORENE - - -And after these things Semiramis, having remained in the plain called -Aïrarat after Ara, went into the hill country towards the south. For -it was summer time and she wished to disport herself in the valleys and -the flowery plains. And seeing the beauty of the land and the purity of -the air, the clearness of the fountains and the murmuring of the -gliding rivers, she said, “It is needful that we build for ourselves -a city and palaces in this balmy clime and beautiful country, by the -side of these pure waters; so that we may spend the fourth part of the -year, which is the summer season, with enjoyment in the land of -Armenia; and the three cool seasons of the year we will spend in -Nineveh.” - -And passing over many places she came to the eastern shore of the salt -lake. And on the shore of the lake she saw a long hill lying towards -the setting sun. And south of the hill was a wide valley like unto a -plain, which came down from the eastern flank of the hill unto the -shore of the lake, spacious and of goodly shape. And the rills of sweet -water descending from the mountains ran down the ravines, and meeting -around the spurs of the hills they hastened to join the river. And -there were not a few buildings erected in the valley on the right and -left banks of the waters. And she selected a small hill on the eastern -side. - -After gazing thence for a while that evil and hard-hearted woman -Semiramis commanded that twelve thousand unskilled workmen and six -thousand of her chosen men skilled in all manner of wood, stone, -copper, and iron work should be brought from Assyria and all other -lands to the desired place. And it was done according to her command. -And immediately a great multitude of diverse workmen were brought, and -of wise and gifted workers in all the arts. And she commanded first to -make the dyke of the river, of boulders and great rocks cemented -together with clay, of great width and height; the which it is said -remains firm until this day, so that in the clefts of these dykes -pirates and exiles do fortify themselves as in the caves of the -mountains, none being able to wrench even one stone from the dyke. And -when one looked upon the cement it appeared like a torrent of fat. Thus -having taken the dyke round over much ground she brought it unto the -intended site of the city. There she commanded the multitude of the -workers to be divided into diverse sections, placing over each section -a chosen master of the arts. And under such oppression did she keep -them that after a few years the wondrous rampart with its gates of -wrought copper was completed. And she made beautiful buildings in the -city, and palaces of different stones decorated with colours, two -stories and three stories high. For each one she did build -summer-houses, separating the various quarters of the town from each -other by beautiful streets. She built also wondrous baths in the midst -of the city for the use of the people, and divided the water passing -through the town into two parts, one for watering the fragrant orchards -and flower-gardens, and the other for the drinking water of the city -and its surroundings. On the east, north, and south of the city she -built pleasure houses, and planted orchards with leafy trees that bore -diverse kinds of fruit and foliage; she also planted many vines. The -whole city she surrounded with stately ramparts, and caused great -multitudes to dwell therein. - -But concerning the far end of the city, and the miraculous works that -were done there, it surpasseth the power of a man to tell, neither can -they be understood by man. For there, surrounded by fortifications, she -did construct the Royal Palace, in great mystery. For the entrances -were hard, and the passages leading out of it like those of hell. -Concerning the manner of its making we have never read a true -description, neither do we propose to weave it into our history; but we -only say that of all royal works it is, as we have heard, esteemed the -first and greatest. And on the west side of the rock—whereon no man -can now make any impression, even with iron—in this adamantine -substance she constructed many temples, bed-chambers, and -treasure-houses; and great trenches, so that none knoweth for what -manner of things she made these marvellous preparations. And smoothing -the face of the rock as one would smooth wax with a pen, she wrote many -inscriptions thereon; so that even to look at it causeth a man to be -amazed. - - - - - - - -I HAVE A WORD I FAIN WOULD SAY - -By SAYAT NOVA - - -I have a word I fain would say—list patiently, Light of my Eyes; -A ceaseless longing fills my heart thy face to see, Light of my Eyes. -How have I sinned that thou shouldst thus offended be, Light of my Eyes? -The world is sated with the world,—I starve for thee, Light of my Eyes. - -A sea of blood is in my heart, and tears forever fill my eyes; -No salve can heal my wound, the cure in my beloved’s presence lies. -All sick of love I lay, and watched her pathway with my longing eyes; -When I was dead she came; ’twas but the layer-out who heard her sighs. - -Fair springtime now is fully here, the meadows gay with leaf and flower; -The hill-sides strewn with violets, the nightingale sent to the bower. -But why cannot his voice be heard? O thorn-tree, whence thy cruel power? -Thy branches pierced his heart; the rose was mourning left within her tower. - -The scarlet poppy thought to tempt and lure the wandering nightingale, -When he was dreaming of the rose tied round with wisps of basil pale. -None pitied him—the rose was plucked by those who first came to the vale. -Alas, poor nightingale, the hedge has caught and pierced thy body frail! - -God knows my life I count but nought; for thee I’d give it joyfully. -Come, let us taste of love’s delights, let him that listeth envious be. -No wish of thine shall be refused, so but thy face I radiant see. -If immortality thou’dst have, my love shall e’en bring that to thee. - -And if I had a thousand woes no murmur from my lips would rise: -Thou art my Ruler, none beside; no sovereign own I otherwise. -Sayat Nova says, “Heartless one, death is not death for him who dies -So thou but mourn him with thy locks spread over him, Light of my Eyes.” - - - - - - - -THE SONG OF THE PARTRIDGE - -FOLK SONG - - - The sun has touched the mountain’s crest, - The partridge rises from her nest; - And down the hillside tripping fast, - Greets all the flowers as she goes past. - - I breakfast on my roof at morn - When to my ear her voice is borne— - When swinging from the mountain side, - She chirps her song in all her pride. - - Thy nest is dewed with summer showers; - Basil, narcissus, lotus flowers, - Enamel it, and breathe to thee - Perfumes of immortality. - - Soft feathers all thy body deck, - Small is thy beak, and long thy neck. - Thy wings are worked with colours rare, - The dove is not so sweet and fair. - - The little partridge flies aloft - Upon the branch, and warbles soft; - He cheers the world, and heals the smart - When seas of blood well in the heart. - - - - - - - -THE LILY OF SHAVARSHAN - -By LEO ALISHAN - -(1820–1901) - - - Armenian maidens, come and view - In Shavarshan a lily new! - - The radiant type of maidenhood, - Crown of Armenia’s pride! - From the fair brow beneath her veil - The wind-stirred curls float wide - With little steps, like turtle dove, - She walks the dew-bright plain; - Her lips drop honey, and her eyes - Effulgent glances rain. - - The beauty of Armenia, - A sun-like mirror clear, - Our Northern star is bright Santoukhd, - The king’s fair daughter dear. - She has come forth, the graceful bride - On whom the East and West - Desire to look, while fires of love - Consume the gazer’s breast. - - Less fair the bright and morning star, - ’Mid cloudlets small and fine; - Less fair the fruit whose rosy tints - ’Mid apple leaves outshine; - Araxes’ hyacinthine flower - That chains of dew doth wear, - All are less beautiful than she, - With gracious mien and air. - - At sight of her, the snowy peaks - Melt and are flushed with rose; - Trees, flowers bud forth; the nightingales - All sing where’er she goes. - The bell-flowers open myriad eyes - When she comes through the bowers; - Beneath her breath, the vales and hills - Alike are clad in flowers. - - Before her have been bent to earth - Foreheads with diadems; - The valley has become a hill - Of scattered gold and gems. - Where passes by with humble grace - Armenia’s virgin sweet, - Fine sands of pearls come longingly - To spread beneath her feet. - - Full many a monarch’s valiant son - Has left his palace home - In Persia or Albania, - In India or in Rome. - Admiringly they gaze on her, - Exclaiming, “Happy he - Who wins the fair Armenian maid - His bride beloved to be!” - - But palace worthy of Santoukhd - The earth can nowhere show, - And for the arches of her brows - This world is all too low. - - The Sky says, “Let her on my throne - Reign queen o’er every land.” - The Ocean says, “My purple waves - Shall bow to her command.” - - There is One greater than the earth, - More wide than sea-waves run, - Higher and vaster than the heavens, - And brighter than the sun. - There is a formidable King - Whose power no bound has known; - The royal maid Santoukhd shall be - For Him, and Him alone. - Her halls of light are all prepared, - And for a footstool meet - The azure sky adorned with stars - Awaits her dove-like feet. - - The sharp sword glitters in the air, - And swift the red blood flows; - Santoukhd, who was a lily fair, - Falls to the earth, a rose. - The sword flashed once, and aspects three - Were in Santoukhd descried; - Her heart dropped blood, and roses red - Sprang up on every side; - Her eyes were violet chalices, - Sweet e’en while they expire; - Her face, like lilies half unclosed, - But on her lips what fire! - - The heaven and earth shine white and red; - Come forth and gather, maids, - - The rose and lily joined in one, - This peerless flower that fades! - Lay in the tomb that youthful corpse, - With Thaddeus, good and brave. - Sweet maiden of Armenia, - Her sweet soil be thy grave! - Armenian maids, a lily new - Is brought to Shavarshan for you! [7] - - - Translated by Alice Stone Blackwell. - - - - - - - -CRADLE SONG - -By RAPHAEL PATKANIAN - - - Nightingale, oh, leave our garden, - Where soft dews the blossoms steep; - With thy litanies melodious - Come and sing my son to sleep! - Nay, he sleeps not for thy chanting, - And his weeping hath not ceased. - Come not, nightingale! My darling - Does not wish to be a priest. - - O thou thievish, clever jackdaw, - That in coin findest thy joy, - With thy tales of gold and profit - Come and soothe my wailing boy! - Nay, thy chatter does not lull him, - And his crying is not stayed. - Come not, jackdaw! for my darling - Will not choose the merchant’s trade. - - Wild dove, leave the fields and pastures - Where thou grievest all day long; - Come and bring my boy sweet slumber - With thy melancholy song! - Still he weeps. Nay, come not hither, - Plaintive songster, for I see - That he loves not lamentations, - And no mourner will he be. - - Leave thy chase, brave-hearted falcon! - Haply he thy song would hear. - And the boy lay hushed, and slumbered, - With the war-notes in his ear. - - - Translated by Alice Stone Blackwell. - - - - - - - -THE WIND IS HOWLING THROUGH THE WINTER NIGHT - -By AVETIS ISAHAKIAN - - - The wind is howling through the winter night, - Like to a pack of angry wolves that cry. - My hapless willows bend before its might; - Their broken branches in the garden lie. - - Alas, my heart, thy love since childhood’s days - Hath wept; thy dream was understood by none. - Seek not in vain a friend to know thy ways— - The soul is born eternally alone. - - Thou from thy hopeless heart that love shalt cast— - That child of earth, false, illegitimate: - Shalt fling it to the night and wintry blast— - Out in the storm—there let it find its fate. - - There motherless and orphaned let it weep, - And let the wind its sobbings onward bear - Unto some desert place, or stormy deep— - But not where human soul its voice may hear. - - The wind is howling in its agony - All through this snow-bound night, with piercing cry; - Alas, beneath the broken willow tree - My shattered love lies dying—let it die. - - - - - - - -THE ARMENIAN POET’S PRAYER - -By ALEXANDER DZADOURIAN - -(Born 1870) - - - O God, ’tis not for laurel wreaths I pray, - For pompous funeral or jubilee; - Nor yet for fame beyond my life’s decay— - All these my country will accord to me. - - One favour, Lord of Heaven, I implore— - One that my land to me will never give: - Grant me a crust of bread, or else such store - Of grace that I on air may learn to live! - - - - - - - -THE CHRAGAN PALACE - -By THOMAS TERZYAN - -(1842–1909) - - - Have you ever seen that wondrous building, - Whose white shadows in the blue wave sleep? - There Carrara sent vast mounds of marble, - And Propontis, beauty of the deep. - - From the tombs of centuries awaking, - Souls of every clime and every land - Have poured forth their rarest gifts and treasures - Where those shining halls in glory stand. - - Ships that pass before that stately palace, - Gliding by with open sails agleam, - In its shadow pause and gaze, astonished, - Thinking it some Oriental dream. - - New its form, more wondrous than the Gothic, - Than the Doric or Ionic fair; - At command of an Armenian genius [8] - Did the master builder rear it there. - - By the windows, rich with twisted scroll-work, - Rising upward, marble columns shine, - And the sunbeams lose their way there, wandering - Where a myriad ornaments entwine. - - An immortal smile, its bright reflection - In the water of the blue sea lies, - And it shames Granada’s famed Alhambra, - O’er whose beauty wondering bend the skies. - - Oft at midnight, in the pale, faint starlight, - When its airy outline, clear and fair, - On the far horizon is depicted, - With its trees and groves around it there, - - You can fancy that those stones grow living, - And, amid the darkness of the night, - Change to lovely songs, to which the spirit, - Dreaming, listens with a vague delight. - - Have you ever seen that wondrous building - Whose white shadows in the blue wave sleep? - There Carrara sent vast mounds of marble, - And Propontis, beauty of the deep. - - It is not a mass of earthly matter, - Not a work from clay or marble wrought; - From the mind of an Armenian genius - Stands embodied there a noble thought. - - - Translated by Alice Stone Blackwell. - - - - - - - -THE DREAM - -By SMPAD SHAHAZIZ - -(1840–1897) - - - Soft and low a voice breathed o’er me, - Near me did my mother seem; - Flashed a ray of joy before me, - But, alas, it was a dream! - - There the murmuring streamlet flowing - Scattered radiant pearls around, - Pure and clear, like crystal glowing— - But it was a dream, unsound. - - And my mother’s mournful singing - Took me back to childhood’s day, - To my mind her kisses bringing— - ’Twas a dream and passed away! - - To her heart she pressed me yearning, - Wiped her eyes which wet did seem; - And her tears fell on me burning— - Why should it have been a dream? - - - - - - - -THE SORROWS OF ARMENIA - - - In many a distant, unknown land, - My sons belovèd exiled roam, - Servile they kiss the stranger’s hand; - How shall I find and bring them home? - - The ages pass, no tidings come; - My brave ones fall, are lost and gone. - My blood is chilled, my voice is dumb, - And friend or comfort I have none. - - With endless griefs my heart is worn, - Eternal sorrow is my doom; - Far from my sons, despis’d, forlorn, - I must descend the darksome tomb. - - Thou shepherd wandering o’er the hill, - Come weep with me my children lost; - Let mournful strains the valleys fill - For those we loved and valued most. - - Fly, crane, Armenia’s bird, depart; - Tell them I die of grief; and tell - How hope is dead within my heart— - Bear to my sons my last farewell! - - - - - - - -ARTASHES AND SATENIK - -From the History of Armenia, - -by - -MOSES OF KHORENE - - -At this time the Alans united with all the people of the mountain -country, and having taken possession of the half of Georgia, spread -themselves in great multitudes over our land. And Artashes collected a -mighty host together, and there was war between the two great nations. -The Alans retreated somewhat, and crossing over the river Kur they -encamped on its northern bank. And when Artashes arrived, he encamped -on the southern bank, so that the river was between them. But because -the son of the King of the Alans was taken captive by the Armenian -hosts and brought to Artashes, the King of the Alans sought peace, -promising to give to Artashes whatsoever he should ask. And he swore an -eternal peace unto him, so that the sons of the Alans might not be -carried away captive into the land of the Armenians. And when Artashes -would not consent to give back the youth, his sister came to the -river’s bank and stood upon a great rock. And by means of the -interpreters she spoke to the camp of Artashes, saying:—“O brave -Artashes, who hast vanquished the great nation of the Alans, unto thee -I speak. Come, hearken unto the bright-eyed daughter of the Alan King, -and give back the youth. For it is not the way of heroes to destroy -life at the root, nor for the sake of humbling and enslaving a hostage -to establish everlasting enmity between two great nations.” And on -hearing such wise sayings, Artashes went to the bank of the river. And -seeing that the maiden was beautiful, and having heard these words of -wisdom from her, he desired her. And calling Smpad his chamberlain he -told him the wishes of his heart, and commanded that he should obtain -the maiden for him, swearing unto the great Alan nation oaths of peace, -and promising to send the youth back in safety. And this appeared wise -in the eyes of Smpad, and he sent messengers unto the King of the Alans -asking him to give the lady Satenik his daughter as wife unto Artashes. -And the King of the Alans answered, “From whence shall brave Artashes -give thousands upon thousands and tens of thousands upon tens of -thousands unto the Alans in return for the maiden?” - -Concerning this the poets of that land sing in their songs:— - - - “Brave King Artashes - Mounted his fine black charger, - And took the red leathern cord - With the golden ring. - Like a swift-winged eagle - He passed over the river, - And cast the golden ring - Round the waist of the Alan Princess; - Causing much pain - To the tender maiden - As he bore her swiftly - Back to his camp.” - - -Which being interpreted meaneth that he was commanded to give much -gold, leather, and crimson dye in exchange for the maiden. So also they -sing of the wedding:— - - - “It rained showers of gold when Artashes became a bridegroom. - It rained pearls when Satenik became a bride.” - - -For it was the custom of our kings to scatter coins amongst the people -when they arrived at the doors of the temple for their wedding, as also -for the queens to scatter pearls in their bridechamber. - - - - - - - -MY DEATH - -By BEDROS TOURIAN - - - When Death’s pale angel comes to me, - And smiling sweetly on my head, - Bids all my pains and sorrows flee,— - Believe not then that I am dead. - - When my cold limbs they shroud with care, - And on my brow love’s tear-drops shed, - And lay me on my ebon bier,— - Believe not then that I am dead. - - And when the tolling bell shall ring - To my black coffin’s muted tread - —Death’s fiendish laughter, quivering,— - Believe not then that I am dead. - - And when the black-robed priests shall sing, - And prayers and incense round me spread, - With faces dark and sorrowing— - Believe not still that I am dead. - - When on my tomb they heap the clay, - And leave me in my lonely bed, - And loved ones turn with sobs away— - Then never think that I am dead. - - But if my grave neglected lie, - My memory too be gone and fled, - And dear ones pass unheeding by, - Ah, then believe that I am dead! - - - - - - - -THE EAGLE’S LOVE - -By SHUSHANIK GOURGHINIAN - -(Born 1876) - - - An eagle sat upon the fell,— - He sat and sang alone. - A pretty maid passed in the dell, - He saw—his heart was won. - - “Ah, lovely maid, enchanting maid, - Alas, thou canst not fly! - Down in the vale thou soon shalt fade, - And like a floweret die. - - “I’d make thee queen, if thou could’st fly, - Of all my mountains steep; - At night I’d sing thy lullaby, - And in my wings thou’dst sleep. - - “Those eyes are like black night to me, - That smile like sunshine bright; - And heaven itself would quickly be - Subdued before thy might. - - “Good Lord, canst thou not fly at all? - Who made thee without wings? - Art thou content down there to crawl - With loathsome creeping things?” - - Thus on his rock the eagle proud - Sat singing, then he sailed - O’er hill and valley, and aloud - The maiden’s fate bewailed. - - - - - - - -CONCERNING THE ROSE AND THE NIGHTINGALE - -By GRIGORIS OF AGHTAMAR - -(Fifteenth Century) - - - The Rose was gone. When to the empty tent - The Nightingale returned, his heart was torn. - He filled the night with mourning and lament, - And wandered through the darkness lone and lorn. - - “To thee I speak, O Garden, answer me, - Why did’st thou not preserve my precious Rose, - Whose perfume breathed of immortality, - Whose colour made her queen of all that grows? - - “May’st thou become a desert parched and dry, - And may the flowers that grow within thee fade; - May thy protecting walls in ruin lie— - By ruthless feet thy soil in waste be laid. - - “Ye trees, now cast away your verdant leaves, - And rushing torrents, your swift courses stay. - Reckless I speak, as one who sorely grieves, - For they have taken my sweet love away. - - “My Rose is gone and I am desolate. - Light of my eyes was she, now darkness reigns. - Both day and night I weep disconsolate. - My reason leaves me, and my spirit wanes. - - “Was it the gardener took her away - And grieved my soul? If never more again - I should behold her face, what shall I say? - Instead of joy, I’ll sing of grief and pain. - - “Or else I fear the mighty wind arose, - And blasted with its strength her petals frail; - Or did the scorching sunbeams burn my Rose - Within her leaves, and turn her beauty pale?... - - “I think perhaps the flowers were wroth with me - And hid her from my sight; I’ll go to them. - Or else the clouds in cruel enmity - Sent hailstones down that broke her from the stem!” - - Then all the flowers together made reply, - “We have no tidings of the Rose at all, - She left us suddenly, we know not why. - We have no tidings of the Rose at all.” - - The Nightingale then rose into the air, - “I’ll ask the birds in friendly wise,” he said, - “If they can tell me why she went, and where; - If not, a sea of tears my eyes shall shed. - - “Birds, do you know what came to pass to-day? - The lovely Rose was stolen from her home. - Know you perchance who carried her away? - Have you seen aught, or heard where she doth roam?” - - They said, “The Lord Creator knoweth all; - No secrets of the heart from Him are hid. - On Him as witness reverently we call— - We have not seen or touched her—God forbid!” - - The Nightingale then sadly made reply, - “What will become of me? From night to morn - I have no rest, and I shall surely die, - Parted from her, with ceaseless longings worn. - - “If in her stead the world to me were given - I would esteem it but a paltry thing; - If choirs of minstrels sang the songs of heaven, - To me their songs as discords harsh would ring. - - “Oh, in what corner have they buried thee? - How shall I e’er forget thy tenderness? - My heart and soul are wounded grievously, - All flowers are dead—this place a wilderness. - - “The Psalmist’s words are now fulfilled in me; - Mournful I go, and like a pelican - About the wilderness roam hopelessly, - Or like an owl the sandy desert scan.” - - The gardener then with soothing words drew near, - “Weep not, she will return, O Nightingale. - The Violet, her forerunner, is here, - And brings thee messages and words of hail.” - - Then he rejoiced and blessed the gardener, - “May’st thou in peace upon this earth abide, - Thy garden flourish with its bright allure, - Its circling walls renew their former pride. - - “May all thy plants grow verdant once again, - And gently sway about upon the breeze, - May they receive fresh brightness from the rain, - And waft sweet perfume human hearts to please!” - - -Then did the Nightingale write a letter unto the Rose who collected all -the Flowers and caused it to be read in their presence. - - - They took the letter to the Rose’s Court, - Where Hazrevart, her minister austere, - Stood on his feet with stately mien and port - And read it out for all the flowers to hear:— - - “I greet thee, O beloved of my heart, - And fain would hear concerning this thy rape. - I trust through God’s protecting care thou art - Perfect in health, as faultless in thy shape. - - “For which with outstretched hands I ever pray, - And beg that length of days be granted thee; - All flowers bend to thee and homage pay, - Thou rulest them in all thy majesty. - - “Thy hue is beautiful, thy perfume sweet, - Each morn thou shinest brighter than the sun. - Happy the day when thee once more I meet,— - For thou art full of grace, my spotless one. - - “Apart from thee, in humble reverence, - I worship thee, and pray for thy return. - I have no sleep at night for this suspense, - Now Spring is here I ever weep and mourn. - - “The icy winter passed—I lived it through, - Still suffering many things because of thee; - They mocked at me, and said thou wast not true— - My Rose had no more love or care for me.” - - Then sent the Rose unto the Nightingale, - And said: “Behold, I send him many flowers. - And they shall cover mountain, hill, and dale, - My Nightingale shall dwell within those bowers. - - “I cannot there return immediately; - A little he must wait, in patient wise: - But if his love is perfectly with me, - Tell him to look for it in Paradise.” - - The Nightingale rejoiced on hearing this - And said: “The beauteous Rose shall then return! - What tidings wonderful of untold bliss! - For all the world her ransom could not earn.” - - And when the sun into the Ram had passed, - The thunder rolled, the storm-clouds broke in showers; - Myriads of blossoms o’er the earth were cast:— - He sought the Rose—she was not of those flowers. - - Until one morn he saw her foliage green, - Lovely and fresh as it had been before: - The Rose was hidden in a silken screen - And every flower worshipped her once more. - - The Nightingale beheld and said: “Thank Heaven! - Blessing and praise from every mouth be breathed; - To Heaven’s King be endless glory given— - For in her bud I saw the Rose ensheathed!” - - Foolish Aghtamartzi, beware this bane, - For this world’s love is ever linked with thorn; - A little while ’tis gladness, then ’tis pain— - What boots the joy which needs must make us mourn? - - - - - - - -THE ARRIVAL OF THE CRUSADERS - -By SAINT NERSES SHNORHALI - -(1102–1173) - - - Once more God hither moves their course; - With countless infantry and horse, - As swell the waves towards the strand, - Fierce and tempestuous, they land. - Like sands that by the ocean lie, - Or like the stars that strew the sky, - They fill the earth where’er they go - And whiten it as wool or snow. - Their voice is like the northern wind, - Driving the storm-cloud from behind. - They clear the land from end to end, - The unbelievers forth they send, - Redeeming from such hopeless plight - All Christians held within their might. - Now in the churches cold and dark, - Once more shall burn the taper’s spark; - And you, my sons, late forced to flee - To distant lands, afar from me, - Shall now return in chariots fair - Drawn by brave steeds with trappings rare. - And I shall lift mine eyes above - Beholding near me those I love. - My arms about you I shall fold, - Rejoicing with a joy untold; - And my black robes aside will lay - To dress in greens and crimsons gay. - - - - - - - -LIKE AN OCEAN IS THIS WORLD - -By HOVHANNES ERZINGATZI - -(Born 1260) - - - Like an ocean is this world; - None undrenched may cross that ocean. - My ship too its sails unfurled, - Ere I knew it was in motion. - - Now we draw towards the land, - And I fear the sea-board yonder:— - Lest the rocks upon the strand - Break and tear our planks asunder. - - I will pray God that He raise - From the shore a breeze to meet us,— - To disperse this gloomy haze, - That a happy land may greet us. - - - - - - - -THE ROCK - -By HOVHANNES HOVHANNESSIAN - - - Above the waters, like a hoary giant, - The rock stands up, majestic and defiant. - The little waves, as to and fro they move, - Greet him with kisses and with looks of love. - - The wavelets of the river laugh and dance, - As in their arms the mirrored sunbeams glance; - And with their smiles of winning, child-like grace, - They woo the rock, and murmur in his face: - - “O Aged-One, why art thou never glad? - The lines that seam thy countenance are sad. - The world is ever changing; thou alone - Art still the same with thy dark face of stone. - - “Free children of the mountains ever free, - We bring rich gifts of jewels unto thee; - Scent thee with perfumes of the mountain rose— - Heaven’s daughter fair, that on our margin grows. - - “Sweet strains of gentle melody we breathe, - And call the fishes from our depths beneath; - And gilded with the spring-tide’s golden rays, - We make thee on our merry revels gaze. - - “And songs of love we warble in thine ear, - From morning dawn until the stars appear:— - We fondle thee, and on thine aged breast - Our passions lull, and bid them sink to rest.” - - The wavelets hasten, moving to and fro, - The rock still sorrows o’er his ancient woe; - The wavelets play, and laughing onward press— - The rock remains, gloomy and motionless. - - - - - - - -THE CRANE - -By HOVHANNES TOUMANIAN - -(Born 1869) - - - The Crane has lost his way across the heaven, - From yonder stormy cloud I hear him cry, - A traveller o’er an unknown pathway driven, - In a cold world unheeded he doth fly. - - Ah, whither leads this pathway long and dark, - My God, where ends it, thus with fears obsessed? - When shall night end this day’s last glimmering spark? - Where shall my weary feet to-night find rest? - - Farewell, belovèd bird, where’er thou roam - Spring shall return and bring thee back once more, - With thy sweet mate and young ones, to thy home— - Thy last year’s nest upon the sycamore. - - But I am exiled from my ruined nest, - And roam with faltering steps from hill to hill, - Like to the fowls of heaven in my unrest - Envying the boulders motionless and still. - - Each boulder unassailed stands in its place, - But I from mine must wander tempest tossed— - And every bird its homeward way can trace, - But I must roam in darkness, lone and lost. - - Ah, whither leads this pathway long and dark, - My God, where ends it, thus with fears obsessed? - When shall night end this day’s last glimmering spark? - Where shall my weary feet to-night find rest? - - - - - - - -THE HAWK AND THE DOVE - -FOLK SONG - - - The Hawk said to the Dove, “My dear, - Why dost thou shed tear after tear, - That go to swell the streamlet clear?” - The Dove said to the Hawk, “I fear - That spring is gone and autumn’s here; - The rills have ceased their glad career, - The leaves and flowers are dead and sere, - The partridges no more we hear; - So I shall weep in my despair, - And from my eyes shed many a tear:— - How shall I find my babies’ fare?” - He said, “Weep not this autumn drear, - For spring will come another year, - And sunshine bring the world its cheer, - And Hope shall for the poor appear. - Upon my pinions thee I’ll bear - Where those tall trees their summit rear, - And high upon those mountains bare - I’ll build a nest with tender care, - I’ll make for thee a dwelling there,— - A hearth laid in that rocky lair, - With chimney open to the air; - The smoke shall to the clouds repair— - And to the South Wind fly our care!” - Autumn gave place to springtime fair, - The rills were loosed on their career - And went to swell the streamlet clear, - Like blood-drops from the boulders bare. - Bright yellow flowers the hills did wear, - And violets, with perfume rare, - And flowers of countless colours fair; - And birds with music filled the air, - And bleating lambs called everywhere - To God for all His love and care. - - - - - - - -ARTAVASD - -From the History of Armenia, by - -MOSES OF KHORENE - - -After the death of Artashes his son Artavasd reigned, and he drove all -his brothers and sisters to the lands of Aghyovd and Arberan, that they -might not live in Aïrarat, on the territory of the King. And when he -had reigned but a little while, as he was riding over the bridge of -Artashat to hunt deer and wild asses on the banks of the Ghin, he was -seized by some visionary terror and lost his reason. And urging his -horse down a steep bank he fell into a chasm, wherein he sank and -disappeared. - -The singers of Ghogtan tell concerning him, that when his father was -dying many people killed themselves according to the customs of the -heathen; and they say that Artavasd was wroth, and said unto his -father: - - - “Now that thou art gone - And hast taken with thee the whole land, - How shall I reign over the ruins?” - - -Therefore Artashes cursed him, and said: - - - “When thou ridest forth to hunt - Over the free heights of Ararat, - The Strong Ones shall have thee, - And shall take thee up - On to the free heights of Ararat. - There shalt thou abide, - And never more see the light.” - - -Old women also tell of him how that he is confined in a cavern and -bound with iron chains. And his two dogs do daily try to gnaw through -the chains to set him free, that he may come and put an end to the -world; but at the sound of the hammers striking on the anvil, the -chains are strengthened. So also even in our own times many blacksmiths -do keep up the tradition and strike the anvil three or four times on a -Monday, to strengthen, as they say, the chains of Artavasd. But the -truth concerning him is as we have declared above. - -Others say that at his birth the women of the house of Ahasuerus did -try to bewitch him, and therefore Artashes tormented them much; and -these same singers say also that the Children of the Dragons stole the -infant Artavasd and put a devil in his place. But unto us it seemeth -that being full of wickedness from his very birth, so also did he end. - - - - - - - -CHARM VERSES [9] - -FOLK SONGS - - - - Snowless hang the clouds to-night, - Through the darkness comes no light; - While my lover, far away, - Line or letter will not write. - - * * * * * - - Snowless hang the clouds to-night, - Through the darkness comes no light; - On this lonely pillow now, - Never more shall sleep alight. - - * * * * * - - Like a star whose brightness grows - On the earth my beauty shows; - Thou shalt long for yet, and seek - My dark eyes and arching brows. - - * * * * * - - I beheld a dream last night, - Saw these haystacks all alight;— - They have borne thy love away,— - Wilt not come and for her fight? - - * * * * * - - Soft winds move beneath the trees - And thy locks wave in the breeze. - Whilst thou roamest hill and field - Sleep my eyelids ever flees. - - * * * * * - - Eden’s smile my vineyard wore, - Flowers bloomed, a goodly store; - Handsome youth and ugly maid— - This was never seen before! - - * * * * * - - For the mountain air I’d die, - For his form so fair I’d die, - Now he’s far off, for the eyes - That have seen him there I’d die. - - * * * * * - - ’Tis a moonlight night to-night, - Eyes so black and cheeks so bright. - Give me but the one I love— - Peace to you then, and good-night! - - * * * * * - - On my finger is a ring, - Crimson rubies, glistening. - He that parts me from my love,— - Satan to his soul shall cling. - - * * * * * - - Long and lone this night to me - Passing slow and wearily; - Passing full of sighs and tears— - Love, what doth it bring to thee? - - * * * * * - - Round the moon a halo grew, - In its depths the storm-cloud drew; - Go and ask them who it was - Turned from me my lover true. - - * * * * * - - Dainty is the frock I wear, - Bright the gauze upon my hair: - Since my love is coy with me, - I’ll be coy, and will not care! - - - - - - - -THE TEARS OF ARAXES - -By RAPHAEL PATKANIAN - - - I walk by Mother Arax - With faltering steps and slow, - And memories of past ages - Seek in the waters’ flow. - - But they run dark and turbid, - And beat upon the shore - In grief and bitter sorrow, - Lamenting evermore. - - “Araxes! with the fishes - Why dost not dance in glee? - The sea is still far distant, - Yet thou art sad, like me. - - “From thy proud eyes, O Mother, - Why do the tears downpour? - Why dost thou haste so swiftly - Past thy familiar shore? - - “Make not thy current turbid; - Flow calm and joyously. - Thy youth is short, fair river; - Thou soon wilt reach the sea. - - “Let sweet rose-hedges brighten - Thy hospitable shore, - And nightingales among them - Till morn their music pour. - - “Let ever-verdant willows - Lave in thy waves their feet, - And with their bending branches - Refresh the noonday heat. - - “Let shepherds on thy margin - Walk singing, without fear; - Let lambs and kids seek freely - Thy waters cool and clear.” - - Araxes swelled her current, - Tossed high her foaming tide, - And in a voice of thunder - Thus from her depths replied:— - - “Rash, thoughtless youth, why com’st thou - My age-long sleep to break, - And memories of my myriad griefs - Within my breast to wake? - - “When hast thou seen a widow, - After her true-love died, - From head to foot resplendent - With ornaments of pride? - - “For whom should I adorn me? - Whose eyes shall I delight? - The stranger hordes that tread my banks - Are hateful in my sight. - - “My kindred stream, impetuous Kur, - Is widowed, like to me, - But bows beneath the tyrant’s yoke, - And wears it slavishly. - - “But I, who am Armenian, - My own Armenians know; - I want no stranger bridegroom; - A widowed stream I flow. - - “Once I, too, moved in splendour, - Adorned as is a bride - With myriad precious jewels, - My smiling banks beside. - - “My waves were pure and limpid, - And curled in rippling play; - The morning star within them - Was mirrored till the day. - - “What from that time remaineth? - All, all has passed away. - Which of my prosperous cities - Stands near my waves to-day? - - “Mount Ararat doth pour me, - As with a mother’s care, - From out her sacred bosom - Pure water, cool and fair. - - “Shall I her holy bounty - To hated aliens fling? - Shall strangers’ fields be watered - From good Saint Jacob’s spring? - - “For filthy Turk or Persian - Shall I my waters pour, - That they may heathen rites perform - Upon my very shore. - - “While my own sons, defenceless, - Are exiled from their home, - And, faint with thirst and hunger, - In distant countries roam? - - “My own Armenian nation - Is banished far away; - A godless, barbarous people - Dwells on my banks to-day. - - “Shall I my hospitable shores - Adorn in festive guise - For them, or gladden with fair looks - Their wild and evil eyes? - - “Still, while my sons are exiled, - Shall I be sad, as now. - This is my heart’s deep utterance, - My true and holy vow.” - - No more spake Mother Arax; - She foamed up mightily, - And, coiling like a serpent, - Wound sorrowing toward the sea. - - - Translated by Alice Stone Blackwell. - - - - - - - -THE EVE OF ASCENSION DAY [10] - -By DERENIK DEMIRJIAN - - - Night with her ebon hair and starry crown - Upon the hills came down. - Her loosened tresses floated all unbound - And veiled her form around. - - The fountain murmured like an endless tale - On her entrancing lips; and it would seem - As if God spake within the silent vale, - And sleeping Earth were listening, in a dream. - - Like blackened clouds, in Jorokh’s stream arise - Those rocks that through her savage waters pierce; - Like dragons twain, they glare with threatening eyes, - Facing each other, arrogant and fierce. - - Wild Jorokh through that fearsome valley flows— - Flows like a caravan that onward sweeps; - First roaring loud, then hushed into repose, - Groping its way through darkness, on it creeps. - - The sounds of Earth are melted into rest, - While strikes the hour of expectation deep; - Earth’s waters heave, against each other pressed, - And breathless listening, all their vigils keep. - - Decked out like lovely brides stand all the flowers; - With nuptial joy the forests trembling wait: - Until Heaven’s blessing fall in sacred showers, - And whispering softly, each may clasp its mate. - - - - - - - -“THY VOICE IS SWEET” - -By SAYAT NOVA - - - Thy voice is soft, thy speech all sweetness flows; - May he protect who hath thy heart, my love! - Thy waist is the gazelle’s, thy hue the rose, - Brocade from Franguistan thou art, my love! - - If I compare thee to brocade, ‘twill fray; - If to a plane-tree, ‘twill be felled one day; - All girls are likened to gazelles thou’lt say— - How then shall I describe thee truly, love? - - The violet is wild, and low of birth; - Rubies are stones, for all their priceless worth: - The moon itself is made of rocks and earth— - All flame, thou shinest like the sun, my love. - - Thy door I seek as pilgrims seek a shrine: - Thine eyes are roses, new-blown eglantine; - Thy tongue a pen, thy hands like paper fine, - A flower fresh from the sea thou art, my love! - - Within my soul thy hand has placed love’s seed; - Thy wiles and coyness make my heart to bleed: - Thy Sayat Nova thou hast slain indeed, - Thine evil fate he bears for thee, my love. - - - - - - - -CHRIST AND ABGARUS - -From the History of Armenia, by - -MOSES OF KHORENE - - -Abgar the son of Arsham began to reign in the twentieth year of the -reign of Arshavr King of Persia. This Abgar was called the Great Man -because of his exceeding meekness and wisdom. In the third year of his -reign the whole of Armenia fell under the jurisdiction of Rome.... -Therefore the Romans sent commissioners unto the land of Armenia who -brought the image of Cæsar and placed it in all the temples. - -At this time was born our Saviour Jesus Christ, the Son of God. - -And there was a dispute between Abgar and Herod. For Herod commanded -that his image also should be placed in the temples of Armenia, with -that of Cæsar; to which Abgar not acceding, the anger of Herod was -kindled against him. And he sent his brother’s son with a great army -against him. And Abgar met and fought him; and he was slain in the -battle and his army fled. - -Soon after these things Augustus died, and Tiberius reigned over the -Roman Empire; and Germanicus sent messengers from Rome unto Arshavr and -Abgar concerning the battle in which Herod’s brother’s son was -slain. Whereupon Abgar was displeased, and thought to prepare for -revolt and war. Then did he build the city of Edessa wherein to keep -the hosts of Armenia, and removed thither his court from Mdzpin, with -all his idols: Nebog, Bel, Batnikol, and Tarata; also with the Royal -Palace he removed the books of the schools belonging to the temples. - -But strife had arisen between his kinsmen of the reigning house of -Persia, and Abgar collected his armies and went to reconcile and pacify -them. And having settled their disputes he returned home; not sound in -his body, but tormented with a painful disease. - -At that time Marinus was governor over Phœnicia, Palestine, Assyria, -and Mesopotamia. And Abgarus sent two of his notables unto him to show -him the treaty of peace between Arshavr and his brother (for the Romans -suspected that he had been to Persia to collect armies against them). -And Marinus received them with peace and great honour, sending word -unto Abgarus, “Fear nothing, only hasten to raise all the taxes.” - -And on their return the messengers went up to Jerusalem to see our -Saviour Christ, having heard of His wonderful deeds. - -And when they had seen Him with their own eyes they returned and told -Abgar; at which the king marvelled, and believed Him to be the very Son -of God. And because His body was tormented with a painful disease -contracted in the land of Persia seven years before, and he was not -able to find any cure by men, he sent unto Him a letter asking Him to -come and heal him of his disease. - - - -The Letter of Abgarus to our Saviour Jesus Christ. - -“Abgarus, a prince of the world, unto Jesus, the Saviour and -Benefactor, Who hast appeared in the City of Jerusalem, greetings. - -“I have heard of Thee and of the healings wrought by Thy hands, -without drugs and without roots; for it is said that Thou givest sight -to the blind, Thou makest the lame to walk, and Thou cleansest the -lepers; Thou curest those who have been long tormented by diseases, and -raisest even the dead. And when I heard all this concerning Thee I -thought that either Thou art God come down from Heaven that workest -these things, or the Son of God. I have written unto Thee that Thou -shouldest trouble Thyself to come unto me, and heal me of my disease. I -have heard also that the Jews murmur against Thee, and think to torture -Thee. My city is a small one, but it is beautiful, and it is sufficient -for us twain.” - - - -And taking the letter they found Him in Jerusalem. And unto this the -gospel beareth witness, saying: “There were some amongst the heathen -that came up to Him.” But our Saviour did not undertake to come at -the time when they called Him, but made Abgarus worthy of a letter -thus. - - -The Answer to the Letter of Abgarus, written at the command of our -Saviour by the Apostle Thomas. - -“Blessed is he who believeth on Me though he hath not seen Me. For it -is written concerning Me thus: ‘They that have seen Me believed not -on Me, but they that have not seen Me shall believe and live.’ And -concerning that which thou hast written unto Me to come down unto thee, -it is needful that I fulfil all that for which I was sent; and when I -have fulfilled it I will ascend unto Him that sent Me. And after My -ascension I will send one of My disciples, who shall heal thee of thy -disease, and give Life unto thee and unto all them that are with -thee.” - - - -This letter did Anan the messenger bring unto Abgarus, with the Image -of the Saviour, which remaineth in the city of Edessa until this day. - - - - - - - -ARAXES CAME DEVOURINGLY - -By HOVHANNES HOVHANNESSIAN - - - Araxes came devouringly, - Swept o’er her boulders scouringly— - Where shall I lay my aching head - Bowed down with grief o’erpoweringly? - - Oh my Araxes, flow serene;— - Tell me, hast thou my sweet love seen? - My heart’s desire is unfulfilled;— - Arax, hast thou more happy been? - - Mount Ararat with clouds is veiled, - My love is lost, my hope has failed. - For pity’s sake an answer give - To my sad heart with grief assailed. - - I sob and weep the livelong night; - Till dawn I watch—I watch and write; - Arax, ere sunrise gild thy waves - To thee I bring my spirit’s blight. - - Upon the rocks the sunbeams dart, - Red flames devour my mourning heart; - Those eyes and brows have left with me - A sorrow which shall ne’er depart. - - - - - - - -THE PARROT’S SONG - -By RAFFI - -(1837–1888) - - - With nuts and sweets and dainty fare, - My lady feeds me oft. - She decks my cage with tender care, - And hands so white and soft. - - But not a moment’s joy can give - This pampering care to me, - Since as a prisoner here I live, - In gilded misery. - - - - - - - -EARTH AND SKY - -By HOVHANNES TOUMANIAN - - - The Sky bent down his piercing gaze one day - On Mother Earth, that far beneath him lay. - And as he looked on mountain, sea, and grove, - On hill and dale, he burnt with thoughts of love. - - Earth lying numbed and frozen ‘neath the snow, - Sudden awoke to springtime’s ardent glow, - And flames of fire her beating heart consumed, - While myriad flowers the air around perfumed. - - And thus they loved, though never side by side, - Though Nature willed they should be parted wide— - The Earth and Sky. - - But when has love accepted with content - An obstacle? When o’er the earth steals night, - The starry Sky, his vision downward bent, - Opens his thousand eyes of shining light, - And gazes on his love in worship still, - Gazes till dawn, and cannot take his fill. - - And as he gazes, all his starry eyes - Are strewn into Earth’s breast of waters blue, - Which foam, and heave, and swell, and strive to rise, - Longing to reach and join her lover true. - - He, more and more inflamed by passion’s fire, - In all the splendours of the night arrayed, - Pours in her ear his longing and desire, - And shows her all his pomp and pride displayed; - Towards her turning - And ever yearning. - - But when he finds his love is out of reach - He turns away, nor utters sound nor speech; - And in the dark the tears that dim his sight - Fall on earth’s cheeks in showers of dewdrops bright,— - Dewdrops of pearl—the tears that heaven weeps, - And then Earth’s bosom swells. Her thousand deeps, - Her boundless oceans, rise once more to meet - The far-off loved one; and her mountain peaks - Like myriad lips rise up the clouds to greet,— - To kiss their gloomy forms, and sullen cheeks. - - And love torments her with its ceaseless fire. - Her waters foam, and writhe, and are convulsed, - Yet never may they reach their heart’s desire,— - Restlessly sobbing, ever more repulsed. - - And from her gloomy throne, - Behind the clouds, alone, - The moon beheld it with her sleepless eye. - And told the Poet how she did espy - That in the darkness of the silent night - Earth heaved her bosom up to Heaven above; - And that the sky smiled on her with delight, - As they exchanged the secret kiss of love; - And for each other sweetest songs they sing - And they embrace each other and caress, - Like living souls, each other gladdening. - - Then on the Poet fell a deep distress, - A jealous sorrow—for he fain would, too, - Possess a love as noble and as true. - - - - - - - -O’ER THE MOUNTAINS HIGH HE WENT - -FOLK SONG - - - O’er the mountains high he went, - Love, love! - In the meadows above - I seek for my love. - With a weary sigh he went. - Love, love! - To fight thou art gone - While I stay here alone. - - Neither quail nor partridge stirred. - Love, love! - In the meadows above - I look for my love - And he left without a word. - Love, love! - To fight thou art gone - While I stay here alone. - - Like a flower’s fragrance sweet - He came past, and vanished fleet. - I beheld him and I loved— - But we never more shall meet. - - When my lover rode away - Not a farewell did I say; - None there is to help him now— - Sourb Carapet, [11] bless his way! - - - - - - - -COMPLAINTS - -By BEDROS TOURIAN - - - Farewell, thou Sun, and Thou, O Power Divine, - That far above my spirit dimly shine. - I go to add another star to heaven:— - For what are stars, but anguished curses, riven - From innocent and hapless souls, that fly - To burn the brow of Heaven? and they supply - Fresh armaments, and jewels fiery red, - To God, the source of lightning flashes dread! - - Alas, what do I say? Send forth thy fires, - O God! Consume this brain that thus aspires - To soar, and dares to pierce the depths of heaven; - And e’en to climb unto the stars has striven! - - Creator of our trembling beings, hail! - Of light and youth, of age when forces fail; - Thou that the roses from my brow hast wrenched, - Hast stilled my trembling lips, my longings quenched; - Mist to mine eyes hast given, sobs to my breath:— - Yet thou hast sworn to smile on me in death! - Ah, surely thou hast kept for me a life - Of fragrance, light, and prayer beyond this strife! - But if my latest breath must perish here - All silently, in this dark atmosphere— - From now a flash of lightning I would be, - Coiled round thy name, and, murmuring ceaselessly, - A curse I would become to pierce Thy side— - God, the Arch Enemy, I would deride! - - Ah me, I tremble, and am pale as death. - My brain seethes like a hell; a sobbing breath - I am amongst the mournful cypress trees, - An autumn leaf soon wafted by the breeze! - - Oh, I would live!—give me of life one spark! - To dream—and then embrace the grave so dark? - My God, how black is this decree of doom - Writ in the lees of dread sepulchral gloom! - Oh, give my soul one drop of living fire— - To love—and live for ever I desire! - Ye stars of heaven, into my spirit fall, - There live, and hear your hapless lover call! - - To my pale brow the springtime brings no rose. - No smile for me in this world’s sunbeams glows. - Night is my coffin, stars for lights flame round. - The moon all weeping seeks my funeral mound. - There are some men for whom no mourners sigh— - It was for them He placed that moon on high; - And he that to death’s portals draweth near - First life would have—and then a mourner’s tear. - - In vain the stars of heaven spelt “Love” for me - And nightingales explained its mystery. - In vain of Love I learnt to know the truth, - And crystal waves reflected back my youth. - In vain the forest silent lay around— - The secret leaves gave forth no breath or sound; - They would not break upon my reverie— - They let me dream of Love eternally. - All, all in vain I saw the flowers of spring - Their incense to my dreams’ fair altar bring; - With their delights they all have mocked at me— - And all the world is but God’s mockery! - - - - - - - -A DAY AFTER - -By BEDROS TOURIAN - - - Slumbering darkly yesterday, - As in deathly sweats I lay, - And two roses fiery red - On my faded cheeks were spread— - On my brow perchance a ray - Of Death’s pallor trembling lay. - And I prayed and longed for death. - Then I heard a sobbing breath.... - I unclosed my weary eyes - And beheld my mother’s tears— - Saw those priceless pearls arise, - Tokens of her love, her fears. - In her heart what grief she bore! - And I was that anguish sore. - Ah, I raged tempestuously, - That black torrent outward leapt [12]:— - God of mercy, pardon me, - For the tears my mother wept! - - - - - - - -WITHOUT THEE WHAT ARE SONG AND DANCE TO ME? - -By SAYAT NOVA - - - Without thee what are song and dance to me? - The castagnettes I throw down wearily. - My heart and thoughts are ever filled with thee, - So rhymes and verses leave me, one by one. - - How can one bandage serve for gashes twain? - How on two masters wait a single swain? - Would not one gardener tend two groves in vain? - For he must graft the saplings one by one. - - Well said our fathers, speaking of such woes, - “I made a garden, others plucked the rose. - Theirs was the sweetness, mine the thorny close.” - In sooth these things befell me one by one! - - Without thee what are riches unto me? - What worth could I in silks or cashmeres see? - Arrayed in rags and sackcloth I would be, - Wandering around the convents, one by one, - - To meet perchance with some one, who might tell, - My fair one, how to free me from thy spell; - For Sayat Nova’s torments far excel - The Seven Wise Men’s complaints told one by one! - - - - - - - -THE LAKE OF VAN - -By RAFFI - - - Unutterable silence here is spread - On every hand, and Nature might be dead. - A lonely exile, here I sit and weep, - And far above, bright Moon, I see thee sweep. - - From Earth’s creation till the skies shall parch - And she dissolve, thou circlest Heaven’s high arch: - Saw’st thou the laurels on Armenia’s brow? - And dost behold her hopeless sorrows now? - - Mournful as I! I wonder dost thou see - How she is ground by heels of tyranny! - And do thine eyes with bitter tear-drops smart - When barbèd arrows pierce her through the heart - - Thy heart is stone, thy pity stark and cold, - For fields of innocent blood thou dost behold - Without a word, and o’er Armenia’s land - Thy nightly compass of the dome hast spanned - With all the brightness that was thine of old. - - O Lake, make answer! Why be silent more? - Wilt not lament with one whose heart is sore? - And you, ye Zephyrs, hurl the waters high - That I may feed them from a mourner’s eye! - - A garden once, luxuriantly fair, - Now is Armenia choked with thorn and tare: - Thou who hast seen her fortunes wax and wane, - Tell me, I pray thee! Must she thus remain? - - Must this unhappy nation ever be - By foreign princes held in slavery? - Is the Armenian and his stricken race - Counted unworthy in God’s judgment-place? - - Comes there a day, comes there a season that - Shall hail a flag on topmost Ararat, - Calling Armenians, wheresoe’er they roam, - To seek once more their loved and beauteous home? - - Hard tho’ it be, O heavenly Ruler, raise - Armenia’s spirit, and her heart’s dark ways - Light with Thy knowledge: understanding so - The mystery of life, her works shall show - That all she does is ordered to Thy praise. - - Then suddenly the surface of the lake - Grew luminous, and from its depths did break - A lovely maid that bore a lantern and - A lyre of shining ivory in her hand. - Was she an Angel in a strange disguise? - Was she a Houri fled from Paradise? - Nay, rather was she of the form and hue - Of the Armenian Muses! - “Tell me true, - O Muse,” I cried, “our people’s destiny! - Speak of the Now and of the Yet-to-be!” - - Then the sweet heavenly Spirit made reply, - “Wipe, O sad youth, the salt tears from thine eye! - I bring glad tidings: better days shall break, - New days of joy, that carry in their wake - The reign of God, Whose will is free and just: - A Golden Age again shall gild the dust! - - “Armenia’s Muses shall awake anew, - And her Parnassus bloom with vernal hue, - And the bright car Apollo whirls on high - Shall sweep the shadows from her clouded sky. - - “For many a day, like thee, we mourned aloud - While the thick darkness wrapped her in its shroud: - Now, O belovèd, may the weeping cease,— - To us has come the olive branch of peace! - - “Cleanse from thy lute the rust that soils its string; - Hasten thee back, and, as thou goest, sing - Such joyful lays as yet may re-inspire - Hearts that are dead with new and tameless fire. - His Will is done; the Time is here; the Day - Dawns; and the Morning Star, so God doth say, - Shall be thy sign.” - Then darkness fell again; - The vision fled; but long there did remain - An echo of the thrilling voice, that blended - With the wild waves whose depths she had descended; - And flowery perfumes filled the air like rain. - - O message dear, and sweet prophetic strain! - What happiness is come to us,—but Oh! - Beautiful Muse, yet one thing would we know— - Can a dead corpse rise up and live again? - - - Translated by G. M. Green. - - - - - - - -SPRING - -By MUGGURDICH BESHIGTASHLIAN - -(1829–1868) - - - O little breeze, how fresh and sweet - Thou blowest in the morning air! - Upon the flowers caressingly, - And on the gentle maiden’s hair. - But not my country’s breath thou art: - Blow elsewhere, come not near my heart! - - O little bird among the trees, - The sweetness of thy joyful voice - Entrances all the Hours of Love, - And makes the listening woods rejoice. - But not my country’s bird thou art: - Sing elsewhere, come not near my heart! - - How peacefully thou murmurest, - O gentle, limpid little brook; - Within thy mirror crystal-bright - The rose and maiden bend to look. - But not my country’s brook thou art: - Flow elsewhere—come not near my heart! - - Although Armenia’s breeze and bird - Above a land of ruins fly; - Although through mourning cypress groves - Armenia’s turbid stream flows by,— - They are the sighing of her heart, - And never shall from mine depart! - - - - - - - -THE FOX - -FOLK SONG - - - The fox ran up into the mill, - He raised his paws, and danced his fill. - Brave Master Fox, ’tis but your due, - In all the world there’s none like you! - - A peck of corn he ground that day, - Which on his back he bore away. - - He ate the village chickens brown, - And trod the upland cornfields down. - - The fox lies on his shaggy side, - His paws stretched out before him wide. - - Sable and fox this fall we’ll catch, - And for my son I’ll make a match. - - Alas, this year no price they made:— - My Hovhannes unmarried stayed! - - - - - - - -THE TALE OF ROSIPHELEE - -From the “Confessio Amantis” by - -JOHN GOWER - -(Died 1408) - - - Of Armenye, I rede þus, - Ther was a king, which Herupus - Was hote, and he a lusti Maide - To dowhter hadde, and as men saide - Hire name was Rosiphelee; - Which þo was of gret renomee, - ffor sche was boþe wys and fair, - And scholde ben hire fader hair. - Bot sche hadde o defalte of Slowþe - Towardes loue, and þat was rowþe; - ffor so wel cowde noman seie, - Which mihte sette hire in þe weie - Of loues occupacion - Thurgh non ymaginacion; - That scole wolde sche noght knowe. - And þus sche was on of þe slowe - As of such hertes besinesse, - Til whanne Venus þe goddesse, - Which loues court haþ forto reule, - Haþ broght hire into betre reule, - fforþ wiþ Cupide and wiþ his miht: - ffor þei merueille how such a wiht, - Which þo was in hir lusti age, - Desireþ nother Mariage - Ne ȝit þe loue of paramours, - Which euere haþ be þe comvn cours - Amonges hem þat lusti were. - So was it schewed after þere: - ffor he þat hihe hertes loweþ - Wiþ fyri Dartes whiche he þrovreþ, - Cupide, which of loue is godd, - In chastisinge haþ mad a rodd - To dryue awei hir wantounesse; - So þat wiþinne a while, I gesse, - Sche hadde on such a chance sporned, - That al hire mod was ouertorned, - Which ferst sche hadde of slow manere: - ffor þus it fell, as þou schalt hiere. - Whan come was þe Monþe of Maii, - Sche wolde walke vpon a dai, - And þat was er þe Sonne Ariste; - Of wommen bot a fewe it wiste, - And forþ sche wente priuely - Vnto þe Park was faste by, - Al softe walkende on þe gras, - Til sche cam þer þe Launde was, - Thurgh which þer ran a gret riuere. - It þoghte hir fair, and seide, Here - I wole abide vnder þe schawe: - And bad hire wommen to wiþdrawe, - And þer sche stod al one stille, - To þenke what was in hir wille. - Sche sih þe swote floures springe, - Sche herde glade foules singe, - Sche sih þe bestes in her kinde, - The buck, þe do, þe hert, þe hinde, - The madle go wiþ þe femele; - And so began þer a querele - Betwen loue and hir oghne herte, - ffro which sche couþe noght asterte. - And as sche caste hire yhe aboute, - Sche syh clad in o suite a route - Of ladis, wher þei comen ryde - Along vnder þe wodes syde. - On faire amblende hors þei sete, - That were al whyte, fatte and grete, - And euerichon þei ride on side: - The Sadles were of such a Pride, - Wiþ Perle and gold so wel begon, - So riche syh sche neuere non: - In kertles and in Copes riche - Thei weren cloþed, alle liche, - Departed euene of whyt and blew; - Wiþ alle lustes þat sche knew - Thei were enbrouded oueral. - Here bodies weren long and smal, - The beaute faye vpon her face - Non erþly þing it may desface; - Corones on here hed þei beere, - As ech of hem a qweene weere, - That al þe gold of Cresus halle - The leste coronal of alle - Ne mihte haue boght after þe worþ: - Thus come þei ridende forþ. - The kinges dowhter, which þis syh, - ffor pure abaissht drowh hire adryh - And hield hire clos vnder þe bowh, - And let hem passen stille ynowh; - ffor as hire þoghte in hire avis, - To hem þat were of such a pris - Sche was noght worþi axen þere, - ffro when þei come or what þei were. - Bot leuere þan þis worldes good - Sche wolde haue wist hou þat it stod, - And putte hire hed alitel oute; - And as sche lokede hire aboute, - Sche syh comende vnder þe linde - A womman vp an hors behinde. - The hors on which sche rod was blak, - Al lene and galled on þe back, - And haltede, as he were encluyed, - Wherof þe womman was annvied; - Thus was þe hors in sori plit, - Bot for al þat a sterre whit - Amiddes in þe front he hadde. - Hir Sadel ek was wonder badde, - In which þe wofull womman sat, - And natheles þer was wiþ þat - A riche bridel for þe nones - Of gold and preciouse Stones. - Hire cote was somdiel totore; - Aboute hir middel twenty score - Of horse haltres and wel mo - Ther hyngen ate þo. - Thus whan sche cam þe ladi nyh, - Than tok sche betre hiede and syh - This womman fair was of visage, - ffreyssh, lusti, ȝong and of tendre age; - And so þis ladi, þer sche stod, - Beþoghte hire wel and vnderstod - That þis, which com ridende þo, - Tidinges couþe telle of þo, - Which as sche sih tofore ryde, - And putte hir forþ and preide abide, - And seide, Ha, Suster, let me hiere, - What ben þei, þat now riden hiere, - And ben so richeliche arraied? - This womman, which com so esmaied, - Ansuerde wiþ ful softe speche, - And seiþ, Ma Dame, I schal ȝou teche. - These ar of þo þat whilom were - Seruantz to loue, and trowþe beere, - Ther as þei hadde here herte set. - ffare wel, for I mai noght be let: - Ma Dame, I go to mi seruise, - So moste I haste in alle wise; - fforþi, ma Dame, ȝif me leue, - I mai noght longe wiþ ȝou leue. - Ha, goode Soster, ȝit I preie, - Tell me whi ȝe ben so beseie, - And wiþ þese haltres þus begon. - Ma Dame, whilom I was on - That to mi fader hadde a king; - Bot I was slow, and for no þing - Me liste noght to loue obeie, - And þat I now ful sore abeie. - ffor I whilom no loue hadde, - Min hors is now so fieble and badde, - And al totore is myn arai; - And euery ȝeer þis freisshe Maii - These lusti ladis ryde aboute, - And I mot nedes suie here route - In þis manere as ȝe now se, - And trusse here haltres forþ wiþ me, - And am bot as here horse knaue. - Non oþer office I ne haue, - Hem þenkþ I am worþi nomore, - ffor I was slow in loues lore, - Whan I was able forto lere, - And wolde noght þe tales hiere - Of hem þat covþen loue teche. - Now tell me þanne, I ȝov beseche, - Wherof þat riche bridel serueþ. - Wiþ þat hire chere awei sche swerueþ, - And gan to wepe, and þus sche tolde: - This bridel, which ȝe nov beholde - So riche vpon myn horse hed,— - Ma Dame, afore, er I was ded, - Whan I was in mi lusti lif, - Ther fel into myn herte a strif - Of loue, which me overcom, - So þat þerafter hiede I nom, - And þoghte I wolde loue a kniht: - That laste wel a fourtenyht, - ffor it no lengere mihte laste, - So nyh my lif was ate laste. - Bot now, allas, to late war - That I ne hadde him loued ar: - ffor deþ cam so in haste bime, - Er I þerto hadde eny time, - That it ne mihte ben achieued. - Bot for al þat I am relieued, - Of þat mi will was good þerto, - That loue soffreþ it be so - That I schal swiche a bridel were. - Now haue ȝe herd al myn ansuere: - To godd, ma Dame, I ȝou betake, - And warneþ alle for mi sake, - Of loue þat þei ben noght ydel, - And bidd hem þenke vpon mi brydel. - And wiþ þat word al sodeinly - Sche passeþ, as it were a Sky, - Al clene out of þis ladi sihte. - And þo for fere hire herte afflihte, - And seide to hirself, Helas! - I am riht in þe same cas: - Bot if I liue after þis day, - I schal amende it, if I may. - And þus homward þis lady wente, - And changede al hire ferste entente, - Wiþinnne hire herte and gan to swere - That sche none haltres wolde bere. - - - - - - - -THE SONG OF THE VULTURE - -By ELIA DEMIRJIBASHIAN - -(1851–1908) - - - A great black bird like to a great black cloud - Hovers forever o’er my spirit bowed. - He is my guardian angel, but alack! - Darker than night he is—than hell more black. - - A fearful-looking bird, with wings wide spread, - Ill-omened as the Devil, and as dread; - He hovers round my wasted body, till - I wonder if I yet have life or will. - - Upon his wings no spot of white appears, - His plumage black sheds horror down, and fears. - Black are his talons—sharp, like daggers fell; - And like a hound I hear him howl and yell. - - His wide-spread pinions hide the light from me; - Heaven dark, and earth a dungeon black I see. - All is in shadow—air and earth and skies— - He even hides the lightning from my eyes. - - I cannot see the paleness of my face, - I cannot see the maiden’s smiling grace; - Black is the lake, the stars and lilies dark; - What was that cry? The bird’s dread calling!—Hark! - - I seem to totter on the brink of hell - And think the evil fowl my corpse can smell. - I seem to hear the goblins fight with him— - Away with thee!—ours is this booty grim!” - - But he is cruel, strong, and merciless— - This great black bird;—he heeds not my distress. - Ten years I’ve lived beneath his deadly wings— - Ten years unceasingly my death-bell rings. - - Ten years ago one night it came to pass - On Moda’s rock I sat and dreamed; alas, - My foe came to me—Carnal was his name: - He shouted, “Vain are Life and Love and Fame!” - - Youthful I was, and armed with Love and Hope - I struggled. “Oh, my soul, arise and cope - With this thy foe, and vanquish him,” I cried. - But ’twas in vain, as I full soon espied. - - My sun and joy since then are on the wane. - My foe cries out, “I, only I, shall reign! - O’er all the universe none rules but me!”— - Then rose a Siren’s voice alluringly.... - - Nirvana and the flesh held me that hour: - God was asleep—my soul was in their power. - Then on the moon I saw a spot appear;— - It grew, and grew ... my heart turned sick with fear. - - I was as dead. The carrion-eating bird - Had left that heavenly corpse—the moon—allured - To earth by me. It sought my bosom where - The image of Christ crucified lay bare. - - Beneath those evil wings I hopelessly - Roam over the earth;—my guardian angel he; - No more the cross I wear, nor in my breast - Dwells holy faith; ’tis death: death without rest. - - Like to the moon, whether I wax or wane - Still am I lifeless, cursed with this bane. - I give the vulture of my flesh to tear, - And shiver when the name of “love” I hear. - - While yet I live he is devouring me: - I cannot bear this pain—Oh, set me free! - I am not dead—Love still dwells with me here. - I am alive—and some call me the “Ner.” [13] - - Ah, gruesome bird, art thou not yet content - These ten long years my body to have rent? - Ah, vulture black—black earth and ebon sky, - ’Tis time that I should lay me down and die. - - - - - - - -DANCE SONG [14] - -FOLK SONG - - - “I have loved your winsome face, - And your never-fading grace. - If they give you not to me - May God send them black disgrace!” - - “Mountain sorrel, fresh with dew, - Sweets I send and honey new; - Is a dainty maid like me - Fit to wed a youth like you?” - - “You are arch, my little maid, - In four plaits your hair you braid, - Make no more pretence to me— - For you love me, I’m afraid!” - - “Drive your plough ahead, and go; - Underneath it thistles grow. - You are reckless, young, and wild— - She is mad would wed you so!” - - “Near your house a field I’ll sow - And I’ll stone the ill-starred crow. - When I have the girl I love - I’ll let all my folly go.” - - “On its way the water flows, - Washing with its waves the rose. - My beloved amidst the youths, - Like a mighty fortress shows.” - - “In the vineyard you have grown, - Where the melon plants are sown, - Day and night upon my lute, - You I sing, and you alone.” - - “Sing a minstrel’s song to me, - Or the blackbird’s rhapsody; - All your praises I deserve, - And my bridegroom you shall be!” - - - - - - - -BALLAD - -By RAFFI - - - Dark forests clothe the mountain-side, - And o’er that mountain’s lofty head - The heavens bend their arches wide, - And, dome-like, round its summit spread. - - A castle stood upon the steep, - Enchanted by a witch’s spell; - A maiden wept within the keep, - Bound by the chains of slav’ry fell. - - Alone and sad, the maiden fair - Sat in her dark and narrow room. - No hope had she, but dire despair - Had worn her heart with thoughts of gloom. - - A minstrel passed—as it befell— - A singer, singing sweetest strains; - He broke the witch’s evil spell, - And loosed the gentle maiden’s chains. - - She ran to him and kissed his face, - And said, “How I have longed for thee! - God, in His mercy and His grace, - Hath sent thee here to set me free!” - - And when, above the mountain steep, - The moon shone out her silver light, - And when the stars began to peep, - Twinkling and scatt’ring jewels bright, - - The minstrel’s love stole out unseen, - With burning thoughts of her belov’d; - All through the woods so dark and green, - Seeking, and seeking him, she roved. - - A hut there was within that wood, - Meet dwelling for some dervish old; - All lined with moss and leaves, it stood - Protected from the rain and cold. - - The minstrel lived within this nook, - And sang alone beneath the trees. - His friend—Firdausi’s wondrous book, - His comrades—Sadi and Hafiz. - - The Houri of the castle there - Spent many happy days and nights— - Immortal souls in Jennet [15] fair - Have never tasted such delights. - - He wiped the tears by sorrow shed, - And healed the wounds by sorrow wrought; - Like captive from a prison fled, - Her cares and woes she soon forgot. - - Broken and aged was her sire; - A mighty Prince, the castle’s lord, - To satisfy his heart’s desire, - Had reft her from him with his sword. - - The Prince held office high at court, - And countless women, bright as day, - Lived in his harem’s vile resort, - And slaves, more than my tongue can say. - - His women, guarded day and night, - Caged in with iron bars he keeps; - But LOVE, more strong than despot’s might, - Breaks through that cage, those bars o’erleaps. - - - - - - - -NO BIRD CAN REACH THE MOUNTAIN’S CREST - -By HOVHANNES COSTANIANTZ - - - No bird can reach the mountain’s crest. - There blow the winds that never rest; - And ‘midst the stars that crown the height, - Saint Gregory’s fair lamp shines bright. [16] - Ah, gentle brother, sweet and brave, - That Light thy sword and spirit save! - - How many rills the mountain yields! - Those rills are streams, that dew the fields. - My brother sweet, those rushing streams - Are like my longings and my dreams. - Happy the maid that loveth thee! - When shall thy heart’s desire be? - - See, in the South a tempest breaks— - tempest howls, the leaflet quakes; - The bluebell hangs its petals bright, - The cock cries out with all his might. - Like showers of gold comes down the rain:— - Why comes my love not home again? - - The Star of Light begins his course, - The brave one mounts upon his horse. - He drives his spurs into its flanks, - And rides away to join the ranks. - Happy the maid that loveth thee, - When shall thy heart’s desire be? - - There comes no news from far away, - Our brave ones rest not from the fray. - ’Tis long that sleep my eyes doth flee— - Our foemen press unceasingly. - ’Tis long for sleep I vainly pray: - There comes no news from far away. - - - - - - - -THE NIGHTINGALE OF AVARAIR - -By LEO ALISHAN - - - Whence comest thou, my moon, gentle and still, - Spreading thy light o’er meadow, vale, and hill, - And o’er this patriarch, that lost in thought - The midnight plains of Avaraïr has sought? - Whereon our fathers, martyred for the right, - As giants fell, to rise as angels bright! - Com’st thou to spread upon their ashes cold - From yonder snowy cloud a pall of gold? - Or would’st thou bind around thy brow of light - A token of Armenia’s life-blood bright?— - Or art thou still in awestruck wonder lost - To think how Vartan fell, with all his host;— - Leaving death’s shadow in his foeman’s breast, - Trusting his soul to God, he sank to rest! - - And thou, Dughmood, that stained with blood I see - Winding amongst thy rushes sobbingly; - Thou breeze that from Magou’s steep rock dost waft, - Or from great Ararat descendest soft;— - Thou too like me dost tremble, and thy wings - Listlessly bear thee on thy wanderings: - O’er hill and dale thou fliest, from wood to wood, - Till on this plain thou stay’st thy wings to brood; - Then bearest on this careworn heart’s last sigh - To echo in Armenia ere it die! - - O friend of aching hearts, soul of the rose, - That breakest with thy voice the night’s repose; - Sing, little Nightingale, from yonder tree— - Armenia’s deathless heroes sing with me! - From Thaddeus’ convent as thy voice I heard, - Praying before the cross, my heart was stirred. - I hastened forth beneath thy magic spell - And found thee on the plain where Vartan fell. - - Ah, Nightingale of Avaraïr, they say - No bird art thou that nightly sing’st thy lay, - But Eghishé, the singer wondrous sweet, - That in the rose’s heart Vartan dost greet. - The winter drives thee far away to mourn; - Spring’s roses bid thee to Ardaz return, - In Eghishé’s sad notes to sob and cry, - To call Vartan, and list for a reply. - - If ever like the fainting Nightingale’s - My voice with you, Togarmah’s sons, prevails,— - Sons of those fathers virtuous and wise, - Who with their glories filled books, plains, and skies;— - If of Armenian blood one drop should flow - Within your veins, or make your hearts to glow; - Or if their glories past you too would share, - To Ardaz with the patriarch repair! - - - - - - - -THOU ART SO SWEET - -By SAYAT NOVA - - -Thou art so sweet thou wilt not pain the minstrel singing songs to thee, -But when he loves thee thou dost frown—in vain he tells his wrongs to thee. - -Love’s fire is such, ‘twill not consume—‘twill burn, and burn, and ever burn: -If in that sea of flame I fall to cool me thou wilt never turn. - -Alas, how shall the minstrel bear thy lightning gleams that pierce his heart? -No pact or treaty wilt thou make—a monarch absolute thou art. - -If thou dost meet with mountains high like wax thou meltest them away; -If cities fair lie on thy path, their pride in ruins thou dost lay. - -In sooth, no compact wilt thou make with him who sings these strains to thee: -Sayat Nova no credit hath when he would tell his pains to thee. - - - - - - - -THE WANDERING ARMENIAN TO THE SWALLOW - -By C. A. DODOCHIAN - - - O swallow, gentle swallow, - Thou lovely bird of spring! - Say, whither art thou flying - So swift on gleaming wing? - - Fly to my birthplace, Ashdarag, - The spot I love the best; - Beneath my father’s roof-tree, - O swallow, build thy nest. - - There dwells afar my father, - A mournful man and grey, - Who for his only son’s return - Waits vainly, day by day. - - If thou shouldst chance to see him, - Greet him with love from me; - Bid him sit down and mourn with tears - His son’s sad destiny. - - In poverty and loneliness, - Tell him, my days are passed: - My life is only half a life, - My tears are falling fast. - - To me, amid bright daylight, - The sun is dark at noon; - To my wet eyes at midnight - Sleep comes not, late or soon. - - Tell him that, like a beauteous flower - Smit by a cruel doom, - Uprooted from my native soil, - I wither ere my bloom. - - Fly on swift wing, dear swallow, - Across the quickening earth, - And seek in fair Armenia - The village of my birth! - - - Translated by Alice Stone Blackwell. - - - - - - - -THE CHRIST-CHILD - -By SAINT GREGORY OF NAREK - -(951–1009) - - - The lips of the Christ-child are like to twin leaves; - They let roses fall when he smiles tenderly. - The tears of the Christ-child are pearls when he grieves; - The eyes of the Christ-child are deep as the sea. - Like pomegranate grains are the dimples he hath, - And clustering lilies spring up in his path. - - - Translated by Alice Stone Blackwell. - - - - - - - -THE CASTLE OF ANOUSH [17] - -By RAFFI - - -“Anoush” in name, but full of bitterness in reality. - -On one side of the road that leads from Tisbon to Ecbatana stands a -steep, pointed crag. Its massive base rises from an extensive bed of -rock, on which Nature has placed it as on a firm pedestal. - -Not a handful of earth is to be found upon its denuded surface. Not a -single plant grows on its hard, stony sides. - -The burning rays of the southern sun have dried and baked it like an -earthen vessel in the potter’s ever-burning fire. From time -immemorial that rock has ever been so. - -It happened one day that Farhat, the great Persian sculptor, passed at -the foot of the rock with his pickaxe on his shoulder. He was aroused -suddenly from the deep meditation in which he had been lost by the -sound of horns and trumpets. He stopped. Greyhounds and hawk-bearers -appeared, gay and thoughtless riders burst into sight like a storm, -then passed away from sight like a storm. - -The dim, shadowy outline of a face remained in his heart; that vision -stole away his peace of mind. Every day at the same hour he was to be -seen on the road waiting,—waiting with the tenderest feelings of his -heart aroused. The beloved vision would appear, and after throwing a -careless glance at him would pass by like a flash of lightning. - -He lost his peace of mind, abandoned his Art, and wandered like one -beside himself in the solitudes of the mountains. - -Days passed, weeks passed, and months passed. One day he was sitting -there waiting. She appeared. But this time there were neither -greyhounds nor hawk-bearers with her. She was alone, with a number of -her maidens. She urged her horse on and came up to Farhat. - -“Hail, great Master,” she said. “What has chained thee to these -mountains—to the solitudes of these desert places? I ever see thee -here.” - -“The joy of sometimes seeing a transcendently beautiful vision light -up the solitudes of these desert places,” answered Farhat. - -“Is thy love so great, then?” she asked, smiling. - -“Who can help loving her that has not a peer amongst the immortals? -Who can help loving her whose breath gives life, whose one glance -confers eternal happiness? Do you think that the heart of him that is -ever occupied with the stone and the chisel becomes so hardened that -there is no room left in it for beauty?” - -“I think not so. He that can give form and life to a shapeless stone, -he that creates beautiful beings out of cold marble, cannot but love -what is beautiful himself. But listen, Artist—to win the heart of the -daughter of the Arian King requires great sacrifices.” - -“I know that great goddesses require great sacrifices.” - -“I do not demand what is impossible—I only wish to try thy love. -Look, Farhat, dost thou see yonder rock?” and she pointed to the -sharp crag. “Thou must create palaces for me out of that rock, so -that I may look down from the summit with delight, and watch how the -Tigris threads the beautiful plains of Assyria with its silvery curves, -or how the tall palm-trees of Baghistan wave at the breathing of the -gentle zephyrs. And in the heart of the rock thou must make storehouses -for my treasures, and underneath there must be dwelling-places for my -horses. When all this is ready I shall be thine.” - -She spoke, and rode away. - -Years passed away. The pickaxe and hammer of the Master worked -untiringly at the unyielding rock. The ceaseless sounds of the heavy -blows were to be heard day and night. The work was carried on -successfully. Love strengthened the genius of the great Master, and the -beauty of the Arian King’s daughter fired him with enthusiasm. He -made chambers, he made state-rooms, he made halls decorated with -pictures, and out of the solid rock he created a palace of marvellous -beauty. He made the walls of the apartments live with pictures carved -in relief. In one place he sculptured the battles that the old heroes -and giants of Iran had fought with devils and evil spirits; in another -the glory and greatness of the ancient kings of Iran, and festivals -celebrating their victories and deeds of prowess. He drew on the stone -the valiant acts of ancestral kings, their virtues, and the benefits -that they scattered over the land of the Arians. He worked all these -wonders for the one being to whom he had devoted all the passion of his -love. He worked them all so that she might be continually reminded of -the glorious past of Iran, that her heart might continually be rejoiced -with the noble pride that she was the descendant of a great dynasty -born of the gods, which had always done god-like deeds. - -She came and saw it all. - -“It is very beautiful,” she said, “but there is no water -here—there are no trees. Make fountains for me that shall throw the -water up higher than the clouds. Plant trees for me under whose shadow -I may rest;—rest in thine arms!” - -She spoke, and rode away. - -He turned the courses of far distant streams and brought the water by -underground channels to the very summit of the rock. He shaped the -stone, dug out basins, and created silvery fountains. Day and night the -never-ending supply of water rose out of the fountains, and dewed the -surrounding plants with pearl-like drops. He levelled the surface of -the rock, and covered it with earth brought from distant places. He -planted trees and made lofty hanging gardens that looked as if they -were growing in the air. Years passed. The trees grew and gave fruit, -the flowers blossomed and filled the scented gardens with their -gladdening perfumes. The birds came and filled the place with their -happy songs. But she who was to have been the queen and pride of that -beautiful paradise did not appear. - -One day the Master sat at the foot of the palace he had made, leaning -his chin on his hand and looking sorrowfully down the road. A peasant -came up singing, and sat down beside him to rest a little. - -“Whence comest thou?” asked the Master. “Thou art fortunate in -being so happy.” - -“From Tisbon,” said the peasant. “And why should I not be happy -when all the world is rejoicing?” - -“What has happened?” - -“Dost thou not know that in town the wedding has already been going -on for seven days and seven nights? The wine is flowing in rivers, and -there is no limit to the dainty fare. They are eating, drinking, and -making merry. The whole town resounds with the strains of music, and -the feet of the dancers are never weary. I also came in for my share of -good things—I ate and drank as much as I could, and now I am taking -home what will be enough for my wife and children for many weeks.” - -“Whose wedding is it?” - -“The King’s.” - -“To whom is he married?” - -“To Anoush.” - -The Master spoke no more. He only started as one struck by lightning, -then remained motionless. Then he rose and walked with weak, trembling -steps towards the palace he had created. He looked around, and for the -last time raised his sorrowful eyes to all the work that was the result -of passionate love and beautiful Art. Then he entered into his -work-room. His tools were lying about. He took up a heavy hammer and -came out on to the narrow ledge. “She deceived me!” he said, and -threw the hammer up into the air. It turned over and over, then fell on -to his head. His warm blood sprinkled the wonders that were the work of -his hands. - -Farhat did not obtain the desire of his heart, but the name of his -beloved Anoush remained with that stone fortress, and it was called the -Castle of Anoush. - -That rock-hewn palace which was prepared to be the temple of love and -everlasting happiness became a hell full of tears and unending -suffering. It was there that the Kings of Persia imprisoned the -Armenian Kings who fell captive into their hands. - - - - - - - -HAPPINESS - -By ARSCHAG TCHOBANIAN - -(Born 1872) - - - Weary of vainly seeking Happiness - In city alleys full of sound and strife, - I hastened from the noisy human press,— - The labyrinth of this dark, grovelling life. - - I said, “The mountain knows its place of rest,” - And clambered up above the level plain; - But the bald Titan answered me distressed:— - “Dullness alone doth Time for me ordain.” - - I left the mountain and approached the winds— - Those infinite, proud spirits, ever free; - “We are the sighs of griefs that to your minds - Must still remain unknown,” they answered me. - - And then above the winds and clouds I rose, - Soared to the skies, and asked the stars of Heaven. - “We are the tears that flow from countless woes,” - The answer by those eyes of darkness given. - - Above the stars, in the lone fields of space, - I saw God musing, sorrowful and mild. - “Father,” I cried, “where is Joy’s dwelling-place?” - He said, “I also do not know, my child.” - - - - - - - -CONCERNING DEATH - -By HOVHANNES TULKOURANTZI - -(1450–1525) - - - O evil man, with passions fraught, - How long wilt thou strive after sin? - Enough the ill that thou hast wrought: - Repent,—a holier life begin. - - From Adam’s time until this day, - No soul hath had immortal breath; - Thou heed’st not what the Scriptures say— - The sinner’s punishment is death. - - He that had palaces of gold, - And brilliant cities, fortress-bound, - Hath left behind his wealth untold, - And lies beneath the sodden ground. - - Who loved to quaff the spicy wine, - And spent his life in ribaldry, - I saw him like a swollen swine,— - loathsome corpse, unsavoury. - - The man that rode an arch-necked steed - And flashed his sword around to slay, - I saw him penitent indeed:— - Between two wooden planks he lay. - - And evil wenches, women fair, - Who dress in robes of gaudy dye, - Who love to curl and braid their hair— - Their brightness with the sun might vie: - - They swing about, and turn, and sway, - And are beloved of every man; - But hateful when Death comes are they, - To all who would their features scan. - - Christ sits upon the throne of Light, - Rewarding those who loved His Word, - Crowning the just with glory bright - And penitents His voice that heard. - - Ah, Hovhannes Tulkourantzi, - Listen with open heart and ear; - Seek out some way diligently - To win the crown of glory there. - - - - - - - -LOVE ONE ANOTHER - -By BEDROS TOURIAN - - - Undying Love, Whose beams forever glow - On rose-red Golgotha’s stupendous brow; - Wilt Thou those shafts still in Thy bosom keep? - What guardest Thou?—bones, spectres, chasms deep,— - That in the echoes of the mountain-side - Thy noble words, “Love one another,” died? - - Effaced and trampled is the poor man’s tomb; - The poor man’s candle flickers out in gloom; - And in that darkness starving children weep, - While in the palace revels high they keep. - The rich man’s carriage dashes gaily past, - The beggar’s lonely corpse to earth is cast. - - The pallid angel of Gethsemane - Tears doth not heed nor flowers, nor glory’s plea. - The poor find rest in his cold arms alone, - For in Death’s shroud the high and low are one. - Though lightning-winged the winds cry o’er the moor, - “Love one another,” here none love the poor. - - - - - - - -PASQUA ARMENA [18] - -By VITTORIA AGANOOR POMPILJ - - - Non fu di fiele abbeverato? Il petto - non gli squarciò l’ignobile scherano? - Non fu percosso, irriso, e un’empia mano - non lo inchiodò sul legno maledetto? - - Pur, quale mai più glorïoso e forte - risorgere, se ancor tuona la voce - dell’Osanna, e dovunque apre una croce - le braccia, dall’idea vinta è la morte? - - Armenia, ed anche a te squarciato il seno - vedo dai nuovi farisei. Raccolto - hanno il fango a scagliartelo sul volto; - per dissetarti apprestano il veleno. - - Ma se l’insazïata orda ferina - sulle tue membra flagellate e grame - oggi rinnova la tortura infame - del Golgota, la tua Pasqua è vicina. - - - - - - - -“IO VIDI” - -By VITTORIA AGANOOR POMPILJ - - - Accostarsi all’oscuro - mio letto, dalle porte - raggianti, io vidi il puro - angiolo della morte. - - Una dorata ciocca - velava gli occhi suoi: - diceva la sua bocca - sorridendo:—Mi vuoi?— - - Rapita io nella bianca - sua desiata faccia, - io, di vane opre stanca, - a lui tendo le braccia; - - e, mentre l’affannoso - mio cor s’apre alla fede - del perfetto riposo - che solo egli concede; - - mi sibila vicina - una maligna voce: - “Destati; orsù, cammina, - ripiglia la tua croce!” - - - - - - - -ARMENIA: - -ITS EPICS, FOLK-SONGS, AND MEDIAEVAL POETRY - -By ARAM RAFFI - - -The country that is called Armenia consists of a large plateau, covered -with numerous mountain ranges, which are intersected by many valleys -and passes, as well as by rivers and lesser streams of considerable -depth. The climate differs in various parts of the country, the -meteorological conditions ranging from frost and snow to extreme heat. -Over the plains towers Mount Ararat, on which, as we read in the Bible, -the Ark rested after the Flood. Here also is the traditional site of -the Garden of Eden, and the four rivers mentioned in Genesis as rising -in the Garden still flow through the Armenian land. - -The origin of the Armenian people is enveloped in mystery, but it is an -established fact that Armenia has had a civilisation of its own from a -very early date, and that the Armenians are one of the most ancient -races in the world. They have had their periods of independence, but, -on account of its geographical position, Armenia has seldom figured as -one of the great ruling states of the world, although it has repelled -by arms invasions of such nations as Assyria. Assyrian records are -filled with descriptions of conflicts with Armenian kings; King Assur -Nazir Haban (1882–1857 B.C.) gives this account of one of his -“victories”:—“They (the people of Ararat, or Urardu) fled to -the impregnable mountains so that I might not be able to get at them, -for the mighty summits were like drawn swords pointing to the skies. -Only the birds of heaven soaring on their wings could reach them. In -three days I was there, spreading terror in places where they had taken -refuge. Their corpses, like autumn leaves, filled the clefts. The rest -escaped to distant inaccessible heights.” - -Notwithstanding the boasts of the Assyrian kings, they did not succeed -in permanently crushing the independence of Armenia. - -Tigranes the Great brought Armenia more in contact with distant foreign -lands. In his time his country began to be considered of importance by -Greek and Roman historians. The Romans sent Lucullus to engage in war -with Tigranes in order to crush his growing power. This is -what—according to Plutarch—Lucullus said of Tigranes:— - -“In Armenia Tigranes, King of Kings, is seated, surrounded with that -power which has wrested Asia from the Parthians, which carries Grecian -colonies into Media, subdues Syria and Palestine, cuts off the -Seleucidae and carries their wives and daughters into captivity.” -Cicero says of Tigranes the Great:—“He made the Republic of Rome -tremble before the prowess of his arms.” - -To give even a short outline of Armenian folklore and poetry it is -essential to point out those agencies and influences which have served -to originate that literature. Hence its literature and history, like -those of all countries, are interwoven. Notwithstanding its periods of -greatness, Armenia was unable, as we said above, to continue to be a -powerful and independent state. Thus we see Armenia serving as a bridge -between armies engaged in war, and such has been its fate in all -periods, even up to the present time. - -It fell successively under the dominion of Assyria, Babylonia, and, -finally, of Persia when, after the time of Cyrus, the kingdom of Persia -was extended by Darius over nearly the whole of Asia. Although Armenia -became a tributary of Persia, it still had its own independent king. - -The Median Empire had been founded probably in 677–672 B.C. From that -time Iranian influence was strongly felt in the politics, language, and -social organisation of Armenia, and the Iranian religion, with its -terminology, names of divinities, and many folk-beliefs, permeated -Armenian paganism. - -Moreover, the Armenians, being the near neighbours of the Persians, -closely resembled them in their manner of life and their religion. -After the conquest of Alexander the Great, Armenia, like all other -Asiatic nations, fell under Greek dominion. Then the Macedonian rule -gave way to the Parthian, and the dynasty of the Arsacidae held sway, a -king of that race being set over Armenia and founding an independent -Armenian dynasty. The Arsacidae introduced Greek civilisation and -culture into Armenia. During this period the character of the Armenians -changed. Not only their religion but their manners and customs became -different from those of the Persians. The rule of Macedonia over -Armenia lasted 180 years (330–150 B.C.). The Graecophile Arsacid -dynasty lasted 376 years (150 B.C.-226 A.D.). These long periods -brought the Armenians into close contact with the Greeks and separated -them from the Persians. - -To the periods which we have outlined belongs the literature of Armenia -preceding the introduction of Christianity. Of this literature the -remains that have come down to us consist of legends, songs, and -fragments of epics. Of the epics we have some records and summaries, -chiefly found in the History of Moses of Khorene (5th century A.D.), -who has also preserved some of the heroic songs in their original form. -These epics relate the history of Armenian ancestral and mythical -heroes, to whom are ascribed the foundation and development of the -Armenian nation. In them we see Armenian ideals of the earliest times. -As these ideals are closely interwoven with the religious beliefs of -the pre-Christian period, let us now cast a glance at Armenian -Paganism. - -It is said by ancient Armenian historians that the Armenians were -originally worshippers of the One True God, but they, like all other -nations, deserted Him and took up with various religions. Sun-worship -was one of these; Zoroastrianism also had its turn; in due course, the -Greeks introduced their own deities; even India succeeded in making its -influence felt. Strabo has it that the Armenians, during the period of -the Arsacid dynasty, were of the same religion as the Parthians. It -appears that the Armenians fused together Zoroastrianism and the -polytheism of Greece and other nations, thus combining eastern and -western religion. One result of this fusion was that though the -Zoroastrians made no visible representation of their God, the temples -of Armenia were full of images, brought from Mesopotamia, Asia Minor, -and Greece. - -The principal god of Armenia was Aramazd, whom the Armenians called -“the Architect of the Universe, Creator of Heaven and Earth.” He -was also the father of the other gods. The Armenians annually -celebrated the festival of this god on the 1st day of Navasard, [19] -when they sacrificed white animals of various kinds—goats, horses, -mules, with whose blood they filled goblets of gold and silver. The -most prominent sanctuaries of Aramazd were in the ancient city of Ani -in Daranali, the burial-place of the Armenian kings, as well as in the -village of Bagavan in Bagravand. [20] - -Aramazd had an attendant incorporeal spirit, named Tir or Grogh -(“writer”), whom he sent to earth to watch men and record in a book -their good and evil deeds. After death, human souls were conducted by -Tir to Aramazd, who opened the book at each soul’s record, in -accordance with which he assigned a reward or punishment. In a village -near Vargharshapat there was a temple of this god, where the priests -interpreted dreams after consulting his oracle. The influence of Tir -was great in Armenia, for he was a personification of hope and fear. -There are traces of the cult of this god in the Armenian language. It -is still usual to hear, used as a curse, the expression, “May Grogh -take you!” The son of Aramazd was Mihr, Fire. He guided the heroes in -battle and conferred wreaths on the victors. The word mehian -(“temple”) is derived from Mihr; also some Christian names. One of -the months in the ancient Armenian calendar (Mehekan) was named after -him. His commemoration-day was celebrated with great splendour at the -beginning of spring. Fires were kindled in the open market-place in his -honour, and a lantern lighted from one of these fires was kept burning -in his temple throughout the year. This custom of kindling fires in the -spring is still observed in some parts of Armenia. [21] - -Although the Persians and the Armenians were both worshippers of Mihr, -the conceptions and observances of the two nations differed. The -Armenian sacred fire was invisible, but the Persian was material and -was kept up in all the temples. For this reason the Armenians called -the Persians fire-worshippers. But the Armenians had also a visible -fire-god, who, although material, was intangible—the sun—to which -many temples were dedicated and after which one of the months (Areg) -was named. - -Long after the introduction of Christianity, there was a sect of -sun-worshippers existent in Armenia, who were called “Children of the -Sun.” A small remnant of them is still supposed to be found, dwelling -between the Tigris and the Euphrates. Traces of sun-worship are also -evident in the Armenian language and in the Armenian literature of -Christian times. Some sayings and phrases are still in use which -contain references to sun-worship, such as the expression of -endearment, “Let me die for your sun!” and the oath, “Let the sun -of my son be witness.” - -One of the most famous Armenian goddesses was Anahit, who answered to -the Greek Artemis and the Roman Diana. She was a “pure and spotless -goddess,” and, as a daughter of Aramazd, was “mother of -chastity,” as well as the benefactress of the whole human race; -“through her the Armenian land exists, from her it draws its life; -she is the glory of our nation and its protectress” [22]; and for her -the ancient Armenians felt intense love and adoration. - -Many images and shrines were dedicated to her under the names of “the -Golden Mother,” [23] “the Being of Golden Birth,” etc. Every -summer there was a festival in her honour. On that day, a dove and a -rose were offered to her golden image, whence the day was called -Vardavar, which means “the flaming of the Rose.” On the -introduction of Christianity, the temple of Anahit was destroyed and -her festival became the Feast of the Transfiguration of Christ; it -falls in the last days of the year according to the ancient Armenian -calendar; but the name “Vardavar” still remains and doves are still -set flying on that day. This is also the Armenian “water-day,” -during which the people amuse themselves throwing water at each other. -[24] - -Anahit was sought also in cases of great sickness. - -The sister of Anahit was Astghik, [25] the goddess of beauty, a -personification of the moon, corresponding to the Phoenician and -Sidonian Astarte. Strange to say, the Persians had no goddess of -beauty, but the bright sky of Armenia, its numerous valleys, the -torrents running down from snow-capped mountains, the lakes, the -cultivated fields and meadows tended to strengthen the sense of beauty, -and, therefore, Armenia had a goddess of beauty, who was not to be -found in the pantheon of the neighbouring country. - -The Armenians assigned Astghik a husband worthy of her. He was Vahagn, -deified on account of his valour. In ancient songs, he is credited with -a miraculous birth. The fires of heaven and earth, and the sea crimson -in the light of dawn, travailed to bring him into being. [26] As we -shall see later, Moses of Khorene has preserved portions of these -songs. Vahagn was called Vishapakagh (Uprooter of dragons), as he -cleared the Armenian land of monsters and saved it from evil -influences. His exploits were known not only in Armenia, but in the -abode of the gods. Having stolen corn from the barns of King Barsham of -Assyria, he ran away and tried to hide himself in heaven. From the ears -he dropped arose the Milky Way, which is called in Armenia the Track of -the Corn-stealer. - -The third daughter of Aramazd was Nané or Nooné. She was the goddess -of contrivance. It was believed by the Armenians that contrivance was a -necessary power for a woman, because, in the management of the -household, she had to make big things out of small ones, and -circumstances were already against her on account of the vicissitudes -which Armenia was constantly undergoing. - -Sandaramet, the wife of Aramazd, was an invisible goddess and a -personification of the earth. Aramazd sent rain upon her, which brought -forth the vegetation on the earth. She came to be a synonym of Hades -and was very frequently referred to as such in theological books and in -the hymnary of the Christian Church. - -Besides these gods of their own, the Armenians also adopted alien -divinities. When Tigranes brought a number of Phoenicians to Armenia as -prisoners, they brought with them their god Ammon, from whose name -comes the word Ammonor, [27] “the day of Ammon”—the New Year. -Assyrian, Arab, and other emigrations also led to the introduction of -foreign deities. An Armenian king, when he brought home captives, also -introduced the gods of those captives, whose images were placed in the -temples beside those of the native gods that they most closely -resembled. Even Indian fugitives brought the brother-gods, Demetr and -Gisanes, whose images were not like those of the other gods of Armenia, -for the images of the gods of Armenia are, as a rule, small, whereas -these were very tall, with long black hair and black faces. There was -also a great immigration of Jews into Armenia, and this influenced the -Armenians in the direction of monotheism. Besides the principal gods, -there were also secondary ones. These were spirits, corresponding to -angels, who acted as guardians to different classes of natural -objects:—Kadjk, [28] who occupied the mountains; Parik, who presided -over flocks; and many others. - -Water was honoured in Armenia as a masculine principle. According to -Tacitus (Annals, vi. 37) the Armenians offered horses as sacrifices to -the Euphrates, and divined by its waves and foam. Sacred cities were -built around the river Araxes and its tributaries. Even now there are -many sacred springs with healing powers, and the people always feel a -certain veneration towards waters in motion. - -There were gods who lived in the waters and destroyed harmful monsters -of the deep. There was also a god who breathed out a mysterious -atmosphere which destroyed malignant creatures. One wonders whether -this is a foreshadowing of the fear of microbes. All the gods of this -class were friendly to agriculturists. - -There were also “Haurot-Maurot,” the name of a flower (hyacinthus -racemosus Dodonei) first mentioned by Agathangelos. The Arabs -incorporated them in the Quran (ii. 96) as two angels sent down to live -in Babel in human circumstances. - -Alk, who dwelt in the waters, was a very harmful devil. He used to live -in the corners of houses and stables, and in damp places. He had eyes -of fire, nails of copper, teeth of iron, and the jaws of a wild boar. -He carried a sword of iron in his hand and was a bitter enemy to -pregnant women, near whom he sat at the time their child was born. - -There were nymphs, who were guardians of women. They wandered through -gardens and amid streams, but were invisible. They attended weddings -and frequented bathrooms and the women’s quarters in general. These -nymphs and spirits were innumerable. Every woman was supposed to have a -guardian nymph. The nymphs were supposed by some to be immortal and -endowed with perpetual youth; others described them as mortal though -they never grew old. There was also a group of male spirits who were -regarded by some as mortal, by others as immortal. They wandered with -the nymphs through forests, gardens, and other open places. They were -imagined as very tall, with features like those of men; some were -half-man and half-animal. Some were called Parik, “dancers”; others -Hushka parik, “dancers to a melody in a minor key.” - -In some places, even now, a belief in these nymphs (or fairies) -survives. Many stories are told of their beauty, their marvellous -dancing, and their wondrous music. They are never called by the name of -“nymphs,” but are spoken of by the people of the country as “our -betters.” Still in some parts of Armenia, in May and October, a -festival is held annually in honour of them, generally by the women in -the Public Baths. They assemble early in the morning and remain till -late at night, dancing, eating, and bathing. - -Before the people thought of building temples, they worshipped their -gods in forests and on mountains. One of these forests was the Forest -of Sos. According to tradition the son of Ara the Beautiful, Anushavan, -who devoted himself to the worship of this sacred place, was called, -after the forest, Sos. The priests derived oracles from the rustling of -the leaves in this holy wood. - -Besides temples, which were numerous in Armenia, there were, all over -the country, altars and shrines, as well as images and pictures. - -To sum up, the pre-Christian religion of Armenia was at first a kind of -nature-worship, which developed into polytheism. There were two -elements in Armenian religion, the native and the foreign. - -Besides nature-worship, there was a recognition, among the Armenians, -of the Good and Evil Spirit, but predominance was given to the former. -It is curious that, in the Armenian pantheon, there is no god of evil, -and Armenian epic heroes are always described as fighting against evil -spirits. - -In Armenian epics, the immortals stand in the background, the most -prominent place being assigned to legendary heroes, to whom poets -attribute divine descent, thus tracing the origin of the Armenian race -to the gods. Unfortunately, the greater part of these epics is lost, -though a few fragments are preserved, in their original shape, by Moses -of Khorene. - -The following is one of these fragments, which gives the general -conception of the gods and the heroes descended from them:— - -“Glorious and awful were the former gods. They were the cause of the -greatest blessings of the earth; also of the beginning of the world and -the generations of men. From them arose a race of giants, with great -limbs, fantastical, of stupendous stature, who, in their arrogance, -conceived the impious idea of tower-building. But by the wrath of the -gods, a mighty wind arose, overthrowing and shattering the structure. -The speech of men was confused; there was general bewilderment.” - -Among the giants mentioned in this passage was Haik, the brave and -illustrious chief—a famous archer, who is the patronymic hero of -Armenia, and is described by Moses of Khorene as having curly hair and -being beautiful to look upon, with brawny arms, well-set shoulders, and -fiery eyes. Recoiling from submission to Belus, he, with his followers, -went northwards to the foot of a mountain, where they took up their -abode. Belus sent emissaries to him, bearing the following message:— - -“Thou hast departed and hast settled in a chill and frosty region. -Soften thy hard pride, change thy coldness to geniality; be my subject, -and come and live a life of ease in my domain. Thus shalt thou find -pleasure.” - -Haik’s answer was to prepare for combat. The fights between Haik and -Belus are minutely recounted. The dress of the two champions, their -looks, their weapons, are all described in detail. At last Belus was -vanquished and slain by his adversary. - -Before the time of Moses of Khorene, Haik was known as a great hunter -like the Greek Orion. In the passages in Job and Isaiah where -“Orion” appears in the English Bible as the name of a -constellation, “Haik” appears in the Armenian version. - -The country that Haik conquered was named Hayastan, after him. - -He was succeeded by Armenak, who extended the boundaries of his -kingdom. This expansion is thus described by Moses of Khorene:— - -“Armenak, taking with him all his host, goes to the north-east. He -descends on a plain surrounded by high mountains, through which, from -the west, murmuring streams flow. The plain extends towards the east. -From the foot of the mountains gush springs no less limpid, mingling -together to form little rivers, which, with gentle flow, run round the -edge of the plain, parallel to the base of the mountains. - -“But the southern mountain, with its white peak, at first rises -straight up; afterwards it curves, looking beside the other heights -like a hoary stooping elder amid youths.” - -Armenak was succeeded by Aramais. This king took up his abode on a hill -beside a river, where he built a town which he named Aramavir. The -river he called by the name of his grandson, Araxes. He had a son, -named Shara, who was a glutton and had an immense number of children. -He sent him to a very fertile place which was called, after him, -Shirak. Moses of Khorene quotes a proverb relating to Shara:—“If -thou hast the gullet of a Shara, our stores are not the stores of a -Shirak.” - -Shara had a son, Amasa. After him Mount Ararat was named “Masis.” - -Moses of Khorene mentions another descendant of Haik, whose name was -Tork. He was ugly and of tremendous strength. He was able to break -great stones with his hands. Once, when he was on the shore of the Sea -of Pontus, he hurled huge rocks at the ships of his enemies and sank -them. This incident reminds us of the Cyclops Polyphemus, in the -Odyssey. Tork had also artistic proclivities. After dividing large -stones with his hands, he smoothed them with his nails, and with his -nails covered them with drawings of eagles and other pictures. [29] - -Then the historian gives a table of royal names down to Aram, whom he -describes as industrious and patriotic, and who said that he would -rather die for his fatherland than endure the sight of strangers -devastating it. He collected an army of 50,000 and drove the foreign -invaders out of Armenia. Epic poems, according to Moses of Khorene, -praise Aram’s valour in his conflicts with Barsham, King of Assyria, -whom he eventually subdued. He was succeeded by Ara the Beautiful. - -The romantic love of Semiramis for this king, which was a favourite -theme of ancient Armenian song and epic, is elaborately recounted by -Moses of Khorene. A translation of his narrative is given on page 23 of -this volume. There are several variants of this story, which is still -related in Armenia, and the names of many places as well as many -superstitions can be traced to it. - -Semiramis invited Ara to Nineveh to be her husband, promising him the -half of the kingdom, but Ara refused her offer, having a wife already. -Semiramis thereupon sent an army against Ara, with orders to capture -the king alive and bring him to her; but, instead of the living king, -they brought his corpse. Semiramis, who, as is well known, was wont to -practise magic, laid the body on a certain high place, in order that -the gods might descend and restore it to life by licking the wounds. -This height is still called Lezk, and in former times others used it -for the same purpose as Semiramis. The idea of this mode of cure -probably originated from the fact that wounded men, lying unconscious -on the battlefield, have often been revived by the licking of dogs and -other animals. - -In Moses of Khorene we find this story about the childhood of Sanatruk. -One day, he, under the care of his mother and his nurse, was walking -among the mountains of Kordua, when suddenly a high wind arose, -accompanied by a snowstorm, and separated the mother from her son. For -three days and nights the nurse and the child were buried in the snow, -but the gods sent a miraculous white animal which rescued them and -brought them home alive. [30] - -But, though such legends as these may have some foundation in fact, -there are others that are entirely fabulous, like the following, which -is related by Moses of Khorene:— - -The heir to the principality of Ardzruni, when a boy, fell asleep in -the open air. A storm of rain came on and drenched him; and then the -hot sun shone down and scorched him with its rays; whereupon an eagle -flew up and hovered over his head with outspread wings, sheltering him -from the assaults of nature. - -In the fourth century A.D., we find a similar story told of Prince -Mushegh Mamikonian. After his death his relatives put his body on a -high tower, believing that the spirits would descend and restore him to -life. This story is found in Faustus Byzand (A.D. 337–384). - -The animals figuring in such stories as these are not represented as -merely adjuncts to man, but as independent individuals who act in -accordance with their own characters and inclinations. Plato, in his -Republic, gives a slightly different version of the legend of Ara. Er -was an Armenian (or, as some commentators say, “The son of -Armenios”), a native of Pamphylia. He was slain in battle, and ten -days afterwards, when the bodies of the dead were taken up, already in -a state of corruption, his body was found unaffected by decay and -carried away home to be buried. And on the twelfth day, as he was lying -on the funeral pile, he returned to life and told them what he had seen -in the other world. - -The name “Er” is evidently a variant of Ara. The story, as told by -Plato, has all the features of a transplanted legend. - -Moses of Khorene says that, after the death of Ara the Beautiful, -Semiramis passed the rest of her days in Armenia, which place she -greatly loved. Here she established the city of Van. A picturesque -account of its foundation given by the historian is included in this -volume (page 33). - -The following account is given of the end of Semiramis:— - -Being pursued by her enemies, she ran away on foot, and, becoming -thirsty, she stopped to drink water from the Lake of Van. Here she was -overtaken by the “swordsmen,” whereupon, after taking off her magic -bracelet and throwing it into the lake, she herself was turned into -stone. - -With regard to the bracelet of Semiramis, the following story is even -now commonly told in the neighbourhood of Van:— - -Once Semiramis saw a bracelet in the hands of some little boys, who had -found it in the river, and were examining it with curiosity. Semiramis, -knowing that the bracelet had magic powers, took it away from the -children. By means of this jewel, she allured youths to their -destruction. This licentiousness brought her into general disfavour. An -old man, at last, snatched the bracelet from her and ran with it -towards the sea. Semiramis rushed after him in a fury, but, not being -able to come up with him, she let down her long hair and used it as a -sling to hurl a great rock at him. The weight of the rock pulled out -her hair. The rock itself fell into a ditch near Artamet. Semiramis, -through fear and amazement, was turned into stone. The old man threw -the bracelet into the Lake of Van. Even now a rock is shown at Artamet -which bears the name of “the Rock of Semiramis.” - -Then Moses of Khorene speaks of Tigranes I., who, in conjunction with -Cyrus, put an end to the kingdom of Media. The epics say of Tigranes -that “his face was of lovely hue, his eyes were soft and lustrous, -his shoulders stalwart, the calves of his legs were well-shaped, he was -altogether fair to look upon; in food and drink he was moderate; he was -of lofty mind, eloquent in speech, and masterly in the conduct of -affairs. Just and equitable, he weighed each man’s acts in the scale -of his mind. He was not jealous of the great nor did he despise men of -low estate, but spread the mantle of his care over all men alike. He -increased our treasures of gold, silver, and precious stones. Under -him, men and women wore fine garments, of divers colours, richly -embroidered, which made the ill-favoured to look fair and the beautiful -to look like demi-gods. - -“Tigranes, the bringer of peace and prosperity, caused all men to -grow fat with butter and honey. In his day, the infantry became -cavalry, slingers became skilful archers, dagger-bearers were equipped -with swords, and naked soldiers were provided with shields and -armour.” - -The historian adds that the splendour of the arms and equipments was -enough of itself to drive back the enemy. - -As the head of a band of warriors, he performed many valorous -deeds:—“We were under the yoke of others, but he put other nations -under our yoke and made them our tributaries.” - -His rival, Astyages, King of Media, was always suspicious and -distrustful of him. - -One night Astyages had a terrible dream. The next morning he summoned -his courtiers. They found him sighing, looking on the ground with -gloomy mien, and heaving groans from the depths of his heart. “When -the courtiers inquired the reason of his behaviour” (continues the -historian) “the king remained silent for hours, then in a sad voice -he related his dream, which was as follows:— - -“‘To-day I was in an unknown country, close to a mountain, which -rose very high above the ground; its summit was covered with ice. It -seemed to me to be in Armenia. After I had gazed for a long time, it -appeared to me that there was a woman sitting on the summit. Her -garments were purple. Her face was covered by a blue veil. Her eyes -were beautiful. She was tall, with rosy cheeks. She was in travail, and -for a long time I looked on her with admiration, then I beheld her give -birth to three heroes, all of equal stature: the first, sitting on a -lion, soared towards the west; the second, seated on a leopard, went -towards the north; the third, bridling a huge dragon, defiantly -attacked our kingdom. In these confused dreams, I seemed to be standing -on the roof of my palace, and the covering of my chambers was adorned -with beautiful fountains of variegated colours. The gods that had -crowned me were standing there, with wondrous faces, and I, with you, -was honouring them with incense and sacrifice. Suddenly looking up, I -saw the man who was seated on the dragon wing his course in our -direction, desiring to overthrow our gods. I advanced to the attack and -engaged in fight with that youthful hero. First of all, with lances we -pierced each other’s bodies, calling forth rivers of blood, and past -our sunlit palace flowed a crimson sea. For hours we fought also with -other arms. But, to be brief, the fight ended in my defeat. I was -bathed in sweat, sleep forsook me, and ever since I have felt as if I -had no life in me. For all these visions signify that the Armenian -king, Tigranes, is about to attack us. And whosoever amongst you, by -counsel or deeds, wishes to aid me, and aspires to the honour of being -a king, equal to myself, let him speak.’” - -Then the story goes on to tell how Astyages, in order to prevent -Tigranes from making war on him, proposed that his rival’s sister, -Tigranuhi, should be his wife; therefore Astyages sent to Tigranes one -of his councillors with a letter accompanied by many precious gifts. -Moses of Khorene gives the letter, which runs as follows:— - -“Thou knowest, beloved brother, that of all the gifts of the gods to -us none is more precious than the multitude of our dear ones, -especially when they are wise and valiant. The reason of this is that, -in such case, quarrels will not arise from outside, and if they arise, -they will be unable to make their way within and will disperse -themselves. Having seen the great advantage of such relationships, it -has entered my mind to confirm and strengthen the love that is between -us, so that, both of us being secured on all sides, we may be able to -carry on the affairs of our kingdom in greater safety. All this will be -ensured, if thou wilt give me to wife thy sister Tigranuhi, the Great -Lady of Armenia. I hope that thou wilt look favourably on this -proposal, that she may be the Queen of Queens. Mayest thou have a long -life, fellow sovereign and dear brother.” - -We have presented this letter as a matter of curiosity, because in none -of the early European epics are there texts of letters. This usage is -characteristically oriental. In Isaiah we read of the letter of -Sennacherib to Hezekiah; there is also a letter in the Persian -Firdusi’s Shah-nameh. - -After his marriage with Tigranuhi, Astyages tried to set her at enmity -with her brother, and once he contrived cunningly to entice Tigranes to -become his guest in order that he might slay him. But his wife -perceived his treachery and secretly sent a message to her brother. -Tigranes accepted the invitation of Astyages, but came accompanied by a -great army. He postponed his attack till his sister had made her -escape. In the battle which ensued, Astyages was killed. - -Of this Tigranes, Xenophon says a great deal in his Cyropaedia, from -which we cite the following incident:— - -The Armenian king having revolted against Cyrus, the latter invaded -Armenia and conquered him. Cyrus intended to deal very severely with -the rebel monarch, but Tigranes, the son of the Armenian king, -persuaded him to be more lenient. Xenophon gives a long conversation, -discussing the terms of peace, in the course of which Cyrus asked -Tigranes, who was newly married and greatly loved his wife, what he -would give to regain her freedom, she having fallen into the hands of -the victor, together with the other women of the royal family. -“Cyrus,” was the Prince’s reply, “to save her from servitude, I -would lay down my life.” - -On which Cyrus replied: “Take, then, thine own, for I cannot reckon -that she is properly our captive, for thou didst never flee from us.” -Then, turning to the king, he added: “And thou, Armenian, take thy -wife and children, without paying anything for them, that they may know -they come to thee freely.” - -On the return of the king and prince, after this interview, there was -much talk at the Armenian court about Cyrus; one spoke of his wisdom, -another of his patience and resolution, another of his mildness; one -also spoke of his beauty, his fine figure and lofty stature, whereupon -Tigranes turned to his wife, saying: “Dost thou think Cyrus -handsome?” - -“Indeed,” she answered, “I never looked at him.” “At whom, -then, didst thou look?” asked Tigranes. “At him,” was the reply, -“who said that, to save me from servitude, he would give his own -life.” - -Of all the epics from which Moses of Khorene has derived incidents or -of which he gives fragments, the only one that has survived among the -people in complete form, with numerous variants, is Sasmadzrer. There -is a reference in the Bible to the story which is related in this poem. - -In 2 Kings xix. 37, and Isaiah xxxvii. 38, we read:— - -“And it came to pass, as he (Sennacherib) was worshipping in the -house of Nisroch his god, that Adramelech and Sharezer, his sons, smote -him with the sword; and they escaped into the land of Armenia.” - -Moses of Khorene tells the same story, adding that the Armenian king -assigned an abode to Sharezer in the south of Armenia and to Adramelech -in the south-east. - -The epic, referred to above, relates the doings of the two brothers and -their descendants in Armenia, among the rest the founding by them of -the city of Sassoon. - -The poem is divided into four parts. It is still transmitted orally, -word for word, in Armenia; in many places in poetical form. During the -last forty years, several versions of it have been taken down in -writing and published, and these have received much attention from -scholars. We cannot do more than mention this most interesting -production; the space at our disposal forbids our giving even an -outline of its contents. - -So far we have derived our information from the prose versions of -passages in the epics found in Moses of Khorene either as quotations or -as paraphrased in his own words. But that historian has also given a -few extracts from the poems in their original form, being the first -historian to do so. To these extracts we now turn. - -Although they are very few, they convey some idea of ancient Armenian -poetry. The historian says he has himself heard these poems sung to the -accompaniment of various musical instruments, of which he gives long -and minute descriptions. According to him, these poems were sung -chiefly in the province of Goghtan (the present Agulis, in Russian -Armenia). This place abounded in gardens and vineyards, and produced a -variety of good wines. The people were gay and fond of merry-making. -Their love of the old pagan religion and manners still continued long -after their conversion to Christianity. In this respect they resembled -the Saxons of Germany, and, even in the early part of the fifth -century, they observed pagan rites, sometimes openly, sometimes -secretly. One of the old Armenian songs, describing the birth of the -Armenian king Vahagn, is given in this volume, page 10. This is -supposed to be a myth describing the rise of the sun over the sea. - -At sunrise the sky gradually becomes light; between the light and the -darkness there is a kind of struggle; all nature is waiting in -expectancy of a life-giving power, of the rising of the sun. It seems -to be this expectancy of nature and man that the poet likens to the -travail of heaven, earth, and sea. The “crimson reed” is perhaps -the long red gleam sent forth from the East over the sea at dawn. - -We have already referred to Vahagn when dealing with Armenian -mythology. In the Armenian translation of the Bible, in 2 Maccabees iv. -19, the name “Vahagn” is substituted for “Hercules.” This name -is derived from the Sanscrit words vah, “to bring,” and agn, -“fire,” and therefore means “fire-bringer.” In connection with -this, it is interesting to compare the Armenian legend with a similar -legend in the Rig-Veda. The word “Agni” is the same as “Agn.” -The god Agni was born of the rising sun, to the accompaniment of -thunder and lightning; of Vahagn the song says: “Out of the flame -sprang the child.” “His hair was of fire and a beard had he of -flame”; Agni had “flaming hair and a golden beard.” A comparison -of the two poems shows that the similarity between them arises, not -from the imitation of one poet by the other, but from identity of -theme, for the belief in a fire-god or fire-hero is common to all -mythologies. According to Agathangelos, Vahagn was a favourite deity, -and his temple at Taron was famous. King Tiridates, when greeting the -Armenian people in a manifesto, says: “May Vahagn, of all Armenia, -send you courage!” He puts the name of Vahagn after the names of -Aramazd and Anahit. But, in Moses of Khorene, Vahagn is little more -than an ordinary king, the son of Tigranes I., though the historian -gives the story of his birth and his fights with dragons, as related by -the poets. He also calls Vahagn the first of the Vahuni or priestly -caste; but this caste was far more ancient than the historian thinks, -as sun worship is one of the oldest forms of religion. [31] - -Moses of Khorene says, moreover, that there was an image of Vahagn in -Georgia, where he was worshipped as a god. - -As to the form of this poem—we note the parallelism, similar to that -of the old Hebrew songs: “To Sisera a prey of diverse colours, a prey -of diverse colours of needlework, of diverse colours of needlework, on -both sides” (Judges v. 30). [32] - -The Song of Deborah, from which we have just quoted, is supposed to be -the oldest passage in the Bible, and is a good specimen of ancient -oriental poetry. - -The songs quoted in Moses of Khorene are also examples of this poetry, -and will therefore be welcome to scholars, as throwing light on this -class of ancient literature. - -The ancient Armenian form of verse has, doubtless, its own national -peculiarities. One of its characteristics is that it consists of one -main idea expressed in two or more sentences, regularly connected with -one another. There are no complex sentences, only short simple ones, -and the manner of expression is direct and definite, but, in order that -they may not tire the ear by monotony, they are, by means of -parallelism, systematically interwoven so as to form one consistent -whole. Thus the different sentences become related to one leading -thought. The words are carefully chosen and harmonious to the ear. -Metaphor and allegory abound. In colour and splendour these songs might -vie with any classical poem, and their existence is a proof that long -before the Christian era the Armenians had a perfected poetical -language, which, in its construction, imaginative force, brilliancy, -and grammatical development, bears the impress of literary culture. - -Most of the nouns and adjectives in this poem are in the diminutive -form, which expresses endearment:— - - - karmrik = reddish - achkunk = little eyes - egheknik = little reed - aregakunk = little suns - patanekik = little boy - - -The adjectives used here do not qualify the nouns, but simply serve as -epithets, or attributes, like the adjectives in the Homeric poems. The -Armenian word dzirani, [33] used in this poem, does not always mean -“red”; applied to a robe it means “red,” applied to a belt it -means “variegated”; it may originally have had the sense of -“pleasing” (cf. Russian krasni, which originally meant -“beautiful,” but now denotes only “red-coloured”). - -Another of these extant songs, belonging to the time before the -Christian era, has, as its theme, the love story of King Artashes II., -one of the greatest kings of the Arsacid dynasty. The former, as well -as all the other stories we have mentioned, belong to the Haikazian -dynasty, but the story of Artashes II. belongs to the Arsacid dynasty -and is contained in the second book of Moses of Khorene, the contents -of which are less legendary than those of the first book. When -narrating the story of Artashes, the historian addresses himself to -Sahak Bagratuni, by whose command his history was written, in these -terms:— - -“The doings of Artashes are known to thee, through the epical songs -which are sung in the province of Goghtan; that is to say, his founding -of Artaxata (Artashat), [34] his alliance by marriage with the royal -house of the Alans, his sons and their descendants, the loves of -Satenik with the Vishapazuns (progeny of dragons) who were of the race -of Astyages; his wars with them, the overthrow of their dynasty, their -slaughter, the burning of their palaces, the rivalries of the sons of -Artashes, the intrigues of their wives, which further fomented the -discord amongst them. Although these things are well known to thee -through the epical songs, I will, nevertheless, narrate them again and -will explain their allegorical meaning.” - -Then Moses of Khorene gives, in detail, a prose account of the deeds of -Artashes and his son Artavazd, as they are related in the epic of -Artashes, quoting, in the course of his narrative, the songs given in -this volume on pages 48 and 49. - -Besides these songs, there are included in the history two or three -metrical lines, which must be extracts from the epic. One of these -lines contains the reply of the Alan king when he is asked to give his -daughter in marriage to Artashes: “From whence shall brave ...” -(see for the rest page 48, the last lines, in this volume). The same -poem contains a description of the wedding (see page 49 of this -volume). - -We learn from ancient Armenian historians that weddings were times of -great festivity, especially royal weddings. All the people of the -country, old and young, were astir. In the great square they danced and -sang, hand in hand. There was a special kind of song sung on these -occasions, called “Tzutzk.” - -The marriage of Satenik was unhappy, because, besides the Vishapazuns, -she loved Argavan, the chief of the Median prisoners, who was greatly -honoured by Artashes. Another of the verses quoted by Moses of Khorene -refers to this amour of Satenik. These lines throw some light on the -nature of ancient Armenian metre. We quote the text here:— - - - “Tencha Satenik tenchans - Zartakhoir khavart - Ev ztitz khavardzi - I bardzitzn Argavana.” - - -The sense of the passage is not very clear, as it contains two words -the signification of which is disputed. M. Emin holds that the meaning -of these two words is the same, both signifying “crown,” and he -interprets the line as saying that Satenik loves Argavan so dearly that -she would gladly exchange her royal crown for his princely diadem. -After much controversy among scholars, Professor Khalatian discovered -that, in one Armenian dialect, these words are the names of certain -plants, about which there was a superstition that, if they were put -under the pillow of the beloved being, and afterwards under the pillow -of the lover, mutual affection would be ensured; therefore, according -to Professor Khalatian, the passage means that Satenik was desirous of -getting these plants from under Argavan’s pillow. - -In the time of Artashes science and poetry flourished. - -One of the sons of this king, Vroir, was a poet; another was Artavazd, -who was disliked by the people. The poem says that, when the prince was -born, the Vishapazuns stole him, and substituted a devil in his place, -and it was this evil spirit that went by the name of Prince Artavazd. - -In this poem, also, there is an account of the obsequies of Artashes, -which were celebrated with great splendour, for he was dearly beloved -by his subjects, many of whom committed suicide at his grave, not -caring to survive him. His son Artavazd, who was present, became very -jealous and uttered a complaint which Moses of Khorene gives in the -words of the epic (see page 65 of this volume). - -We have omitted many other incidents of the story of Artashes, as given -by Moses of Khorene, but it may be gathered, from what we have of the -Artashes epic, that the whole poem was very lengthy. - -From other sources we know that the poem was sung by minstrels as late -as the eleventh century, for the well-known scholar of that time, -Grigor Magistros, says in one of his writings that he has heard it, and -he quotes some of its lines in their original form. - -Artashes died in a foreign country while engaged in a campaign. In his -last moments he is seized with home-sickness, as he remembers his -fatherland. He recalls the spring of life and of the year, when the -light of dewy morn, like a thin mist, is spreading over the towns and -villages. The poem gives his dying words:— - - - “Who will give me the smoke of the chimneys and the morn of Navasard, [35] - The running of the stag and the coursing of the deer? - We sounded the horn and beat the drum - As is the manner of kings.” - - -We have already said that Artashes was a popular king, much beloved by -his people, whose death was greatly lamented; this being so, no doubt -the Artashes epic must have contained some striking dirges, composed in -honour of this monarch, but unfortunately neither Moses of Khorene nor -Grigor Magistros records any such songs in connection with him. The -despair and melancholy which cast their shadow over pagans is -conspicuous in ancient Armenian funeral songs. There were companies of -professional mourners, called egheramark (“mothers of -lamentation”), also there were groups of singing maidens. All these -followed the corpse, dressed in black, with dishevelled hair, solemnly -clapping their hands and moving in a slow dance. Moses of Khorene gives -details of such obsequies as we have mentioned. Even now in some parts -of Armenia such companies of mourners exist. Faustus Byzand describes -minutely the funeral of a prince and gives also an account of the -funeral of Queen Tigranuhi, of whom we have already spoken, adding that -the songs sung in her praise, on this occasion, were such that Tigranes -felt that they uttered all that was passing in his own mind. - -The subjects of funeral songs were the life of the deceased, his -stature, the manner of his death, and his domestic relations, so that a -collection of these songs would furnish a biography. - -We have also details of these dirges from other sources. The song opens -with a prologue, addressing the deceased and calling on him to arise -from his slumbers and carry on his usual occupations. It then goes on -to rebuke him for being deaf to the prayers of the survivors and -vouchsafing neither word nor smile. Next comes a description of the new -dwelling that the departed has chosen for himself; the grave—an abode -without doors or windows. Then comes a repetition of the words spoken -by the dead man during his last illness, followed by a series of -laudatory epithets, and finally there is the recognition that all -prayers for his recovery have been unanswered, followed by an epilogue, -taking farewell of the deceased and sending messages by him to dead -relatives and friends. - -We learn from Moses of Khorene that, in his time, besides the epics, -there was other pre-Christian Armenian literature, written and -unwritten, of various kinds. We have had examples of songs and epical -stories in their gradual development from the stage when man was weak -and ignorant, when the people sought after the supernatural and the -marvellous, and the subject of epic songs was the mystic relation -between nature and man, to the stage when the heroes are no longer -gods, but men endowed with valour and every other virtue, without spot -or flaw. The stories we have described are sufficient to prove that -Armenia had a large store of epic and heroic poems, of which unhappily -only fragments have come down to us. - -Some specimens of other branches of pre-Christian literature figuring -in the list of Moses of Khorene are Temple Books and Histories of -Temples. Throughout ancient times members of the priestly class were -the chroniclers of the nation’s history and its instructors in -wisdom; and there is no doubt that this was the case in Armenia. We -know that the famous Gnosticos Bardazan, in the second century A.D., -came to Armenia to collect material for his history, and in the -fortress of Ani he made extracts from the Temple History, which was a -chronicle of the doings of the Armenian kings. - -Armenia had its own written histories which were, for the most part, -destroyed on the introduction of Christianity in the fourth century -A.D. Moses of Khorene mentions an Armenian historian named Ughup, who -was a priest presiding over the temple of Ani in 150 B.C. - -To continue the list—we find Books of the Kings, containing -chronicles of kings and their works, and Collections of Historical -Songs, which were kept in the temples. These collections were in -existence in the fifth century A.D. Moses of Khorene gives extracts -from them and they were also sung by minstrels. - -Tueliatz Songs recounted the doings of kings and princes in -chronological order, hence their name, Tueliatz, or chronicles. - -There were also other species of literature, such as Historical -Legends, not included in the list, from which Moses of Khorene makes -quotations elsewhere, such as the History of the Origin of the -Bagratuni Race, the History of Haik, and four other books, without -titles, of which he speaks with great admiration. - -There is mention of a poet, by name David, who wrote The Wars between -Armenia and Media, founding his narrative on Armenian minstrel songs. -Unfortunately, none of his works have come down to us. - -There is also mention of an Armenian translation, from the Greek, of an -epic called Legends of Aramasdes and Hermia. Some scholars think that -this must be one of the lost books of Homer, as there are still extant -some fragments of an Armenian translation of the Homeric poems. - -The Hindoos believed that originally dramas were invented by the gods -and were performed in heaven. They were brought to earth by Brahma and -introduced to men. Whether the ancient Armenians held a similar belief -we cannot tell, but it appears that they had, in early times, a drama -of their own. The themes of their plays were the doings of the gods of -the earth, but there is no record that in Armenia drama ever reached -such a high level as it attained in Greece. It may be noticed that, -though Persia, the neighbour of Armenia, was rich in lyric and epic -poetry, it produced no dramatic literature. It is true that, in -Mohammedan times, the Persians had a religious drama; but this merely -formed part of their worship and has never had an independent -development. - -But the Armenians must have done better, as mention is made of Armenian -drama by Greek and Roman writers, from whom we learn that King Artavazd -I. [36] wrote tragedies, some of which were known to Plutarch. We also -learn from Plutarch and others that, in the time of Tigranes II., there -were theatres in Armenia, and Plutarch records that, when Lucullus -entered Tigranocerta, he found a body of actors busily engaged in -preparing to produce a drama in the theatre newly built by Tigranes, -and made use of them in the games and other public diversions in honour -of his victory. Armenian historians also make mention of the theatres -in Armenia. As late as the fifth century A.D., Hovhannes Mandakuni, a -religious author, wrote an essay against theatres and actors, which -shows that, even after the introduction of Christianity, drama survived -in Armenia. - -At later periods, in Law Books, restrictions on theatres are mentioned. - -In order to determine the date of the Heroic Poems, we must define the -different periods of Armenian history. It is now generally accepted by -scholars that, towards the end of the seventh century B.C., the Vannic -or Chaldean kingdom fell before the invading hordes of Cimmerians or -Scythians, and, during the period of anarchy, Armenians also entered -the country, which was henceforth to bear the name of “Armenia.” -The only uncertainty with regard to this migration is about the date. -It is universally agreed that it cannot have been later than the -seventh century B.C., though it may have been earlier. In the fifth -century B.C. Xenophon found Armenia an established kingdom under -Tigranes I. Vahe was the last of the Haikazian dynasty. He fell in the -war with Alexander the Great in 330 B.C. - -The next Armenian dynasty was that of the Arsacidae, of which the first -king was Wagharshag I., whose reign began in 149 B.C. - -All the epical songs that we have mentioned belong to the Haikazian -period, except the Artashes Cycle, which belongs to the Arsacid period. -During the 185 years between these two periods, there was no national -independence to supply themes for new epics and therefore there is no -heroic poetry belonging to this interval. - -The second period of Armenian literature (before the establishment of -Christianity) extends from the accession of the Arsacid dynasty to the -fourth century A.D. - -During this period, learning flourished and the libraries in the -temples and palaces were the centre of culture. The libraries in -palaces were open to any one who wished to consult the archives with a -view to writing histories of the countries, and in the temples the -priests were engaged in compiling records of the past. In these -libraries the histories of the Haikazian dynasty were kept. To this -period belongs the epic of Artashes. - -Under the rule of the Arsacidae, the number of the nobles greatly -increased and the chief amusement of the king and the nobility was -sport. Nearly every noble had his own park, which was full of all kinds -of deer and in which special sporting parties were given. One of the -chief attractions of these parties was the minstrels who sang songs -specially composed for the occasion. As upwards of seventy families -were ennobled under the Arsacidae, and entertainments were given both -by them and by those of lower rank, it will be understood that the -number of minstrels must have been large. - -As we have mentioned, to this period belongs the Artashes Cycle (A.D. -85–126). - -We have also some evidence as to the date of the epics from foreign -sources. Armenian epics must have been known, not only in Armenia -itself, but in other countries. In migration, their form must sometimes -have changed, as, in Plato, we have found the legend of Ara transformed -into the story of Er. As the story of Ara was known to Plato, we may -take for granted that it existed in the fourth century B.C. - -Strabo gives an erroneous etymology of the name “Armenia,” which he -derives from “Armenios.” [37] Perhaps he had heard of Aram, whose -story is told in the epics. This story is known to us through Moses of -Khorene, who derives the word “Armenia” from Aram, and says that -the country was called by this name only by foreigners. As to the -etymology of the word “Armenia,” there are many different opinions -which we cannot discuss here; we will only say that the name -“Armenia” is found in an inscription of Darius Hystaspes (510 -B.C.). - -We confine ourselves to one more foreign reference to Armenian epics, -viz., that of the philosopher Olympiodorus, who, in an assembly of wise -men at Athens, gave an account of an old book which had existed in -former times and which contained the history of Noah and his -descendants. He added that the incidents related in this book were -still sung by Armenian minstrels to the accompaniment of various -musical instruments. - -We have frequently quoted Moses of Khorene, whose work contains all the -extant remains of the epics and all the information that has come down -to us with regard to these poems. In fact the first book of his -History, as well as the first nine chapters of Book II., consists of -summaries and quotations from epics, together with other legends. In -taking leave of the pre-Christian period of Armenia let us cast a -glance on this historian and his work. - -Moses of Khorene was born some time between A.D. 404 and 408. He was -one of those young Armenians who were sent by the ecclesiastical -authorities to Greece for higher education. After completing his -studies, he worked in the libraries of Alexandria, Palestine, and other -places. On his return from Palestine, he was shipwrecked on the coast -of Italy; thence he went to Rome, Athens, and Byzantium, returning to -Armenia about 440. He found his benefactors dead, the Arsacid dynasty -extinct, and Christianity endangered by the Persians. It is said that -on his return he was so disappointed in both the clergy and the -laity—being especially grieved by the ignorance of the former—that -he retired into solitude and remained concealed for some time. It -happened that the Catholicos Gute, while travelling, alighted at a -certain village where he was entertained by the peasants, each of whom -made a short speech in his honour. An old man who was of the company -was urged also to say something. At first he excused himself on the -plea that he was a stranger, but, on being further pressed, to the -surprise of all present, he recited an impromptu ode greeting the -Catholicos and ended by disclosing his identity, proclaiming himself -Moses of Khorene. At first the Catholicos was incredulous, but, on a -careful examination of the old man’s features, he recognised him as -one of his former fellow-students, whereupon he burst into tears and -held him in a long embrace. - -That day was one of great rejoicing in Armenia, and, soon after, Moses -became Bishop of Bagravand. - -These Armenian students educated abroad were looked on askance by some -of the ignorant clergy, and, for this reason, some of the former used -to retire and study in seclusion. In his History, Moses of Khorene -inveighs bitterly against these illiterate priests. - -Ghazar Pharpe says:— - -“Moses, the philosopher of blessed memory, met with much opposition -and annoyance from the unlearned clergy, who called this enlightened -man a heretic, and in their ignorance found fault with his books, -besides performing many unfriendly acts towards him.” - -After this passage, several pages of the manuscript are missing. The -next page we have begins:— - -“They exhumed his bones from the grave and threw them into the -river.” - -It is doubtful whether these words refer to Moses or to some one else. - -Moses of Khorene attempted to write the history of two or three -thousand years, beginning with dark and unknown ages, weaving his -materials in such a way as to produce a vivid and life-like picture, -tinged with the colours of all the centuries which he depicts. He -writes in poetic language and his style is simple and picturesque. -Every event recorded by him becomes beautiful, noble, and great. There -is not a paragraph, not a sentence, which falls below the general level -of the work. The History is a marvellous panorama, which, as it -unfolds, fills us with ever fresh wonder and admiration. The story of -Tiridates is narrated in such a way as to draw tears from every reader -and—to use an Armenian expression—to make him feel as if the hairs -of his head had turned into thorns. He speaks with such warm admiration -of Tigranes that it might be thought he was speaking of a contemporary. - -In the following passage he displays strong feeling, in reference to -one of his teachers whom he found dead on his return from abroad. - -“Where is the calm of those gentle eyes, which to the just gave rest, -and inspired the guilty with awe? - -“Where is the smile of his cheerful lips, as he met his pupils? - -“Where is the hope that enlivened the tedium of weary journeys? that -gave repose in the midst of labour? - -“How shall I write my tragedy? and who is there to weep at it?” - -One sees by his writing that Moses was a man of strong character, with -firm principles, neither vacillating nor superficial. The reader is -profoundly impressed by his words; they sink deeply into him, pressing -like lead on a tablet, and casting him under the spell of the author. -This effect is due, in part, to his convincing power; it is impossible -not to realise what he records. His statements are concise; what others -would take pages to express, he conveys in a few words. In descriptive -powers he is unrivalled, not only among Armenians, but even as compared -with Greek and Roman historians. His graphic pictures of people and -places, together with his remarks and reflections and his frequent -quotations from the national epics, prove his historical skill and -literary taste. - -In a word, as one reads him, one feels him to be a genius of the first -magnitude. - -Moses of Khorene wrote his History at the request of Sahak Bagratuni, a -man of noble or princely birth. The History consists of three books. -Book I., as we have already said, is mainly based on national epics and -legends. Although these relate only to a few heroes, the treatment is -very elaborate. - -Then comes the history of 180 years, over which he passes very lightly, -merely giving a list of names, with a few words added to each. This -shows that, for this period, he has not been able to find any material -in the native epics and songs. - -Book II. relates to the Arsacid dynasty, speaking also of the -introduction of Christianity, and going on to the death of Tiridates -and of Gregory the Illuminator. - -Book III. contains the history of the successors of Tiridates up to the -sad end of the Arsacid dynasty. This book ends with a long lament over -the pitiful plight of Armenia. It contains also a bitter invective -against the author’s contemporaries—princes, judges, clergy, -soldiery—in short against all who, being careless of duty and -regardless of the ideal, lead the people astray. - -Moses of Khorene has left other works besides his History, one of which -is a Geography, containing, among other things, an account of the -British Isles. - -For 1400 years, the History of Moses of Khorene was revered and -accepted as the only authentic History of Armenia; and it was not till -the nineteenth century that criticism was directed against it, not only -by Armenian scholars, but also by French, German, Italian, English, and -Russian scholars. This criticism was chiefly levelled at the principal -source from which the Armenian historian professed to draw his -information. - -Arshak the Great, according to Moses, after casting off the Macedonian -yoke and conquering Assyria, set his brother, Wargharshak, on the -throne of Armenia. So commences the Arsacid dynasty. The new king -wished to know what kind of men had been ruling the country before him. -Was he (he asked) the successor of brave men or of bad men? He found an -intelligent man, a Syrian, named Mar-Abas-Katina, and sent him to his -brother, Arshak the Great, with this letter:— - -“To Arshak, the king of the earth and the sea, whose form and person -are like unto the gods and whose triumphs are above those of all kings; -the greatness of whose mind can fathom all things of earth, -Wargharshak, thy youngest brother and comrade in arms, appointed by -thee King of Armenia, greeting. Victory ever attend thee. - -“I have received from thee the behest to encourage bravery and -wisdom. I have not forgotten thy counsel. On the contrary, I have done -all that my mind could devise or my skill carry into effect, and now, -thanks to thy guardianship, I have put this country in order. And next -I want to know who, before myself, has subdued the land of Armenia, and -from whom are descended the noble families who are established here. -There does not seem to be any fixed grade of classes; among the chief -men, it is impossible to ascertain which is highest and which lowest; -so that some confusion ensues. I therefore beg that the archives may be -opened in the presence of this man whom I have sent to present himself -in thy great country, in order that he may bring back the information -that is desired by thy son and brother.” - -This Syrian (says the historian) found in the library at Nineveh a book -translated from the Chaldean into Greek, by order of Alexander the -Great, which contained various ancient histories. From this book -Mar-Abas copied only the authentic history of Armenia, which he took -back to Wargharshak, who, esteeming this document his most precious -treasure, preserved it with great care in his palace and engraved part -of it on a stone monument. - -It is this document of Mar-Abas-Katina that Moses of Khorene cites as -his chief authority for the early authentic history of Armenia, though -he also mentions several other native and foreign writers as sources of -his work. - -With regard to these statements, critics point out that the library of -Nineveh was not in existence in the second century B.C., as it was -destroyed in 625 B.C.; some even maintain that Mar-Abas-Katina was a -fictitious personage, invented by Moses of Khorene to give more weight -to his own statements, in accordance with the universal custom of his -time, when contemporary writings were continually ascribed to the great -men of old or even to imaginary characters. Moses of Khorene, say these -critics, was himself a great lover of the folklore, legends, and epics -of his country, but he knew that, if he gave these as his only source -of information, his History would gain no credence, especially as, at -the period when he wrote, just after the establishment of Christianity, -everything pagan was regarded with suspicion. Moreover, Moses, being -himself a bishop, could not have avowed such a source for all his -statements, though, as we have said, he quotes from the epics and says -that some of the contents of his work are derived from them. It is, -however, generally admitted that Moses of Khorene had in his hands such -a book as he describes and that this book was one of his sources. The -book has even been traced. - -As to Mar-Abas-Katina, although his book may not have been compiled -under the circumstances described in the History, Moses may have -believed that he was the author of the book in his possession. -Professor Mar has even found, in Arabic literature, some independent -traces of Mar-Abas-Katina. - -There is also some controversy about the date of Moses of Khorene -himself. By some he is placed even as late as the seventh century, -because his writings contain references to events as late as that -period. - -But it is not difficult to account for this without disputing the -generally received date of the historian, for, when we consider how -many ancient books have been re-edited, we see how easily the work -before us may have been touched up by a later hand in the seventh -century. [38] - -In concluding this account of Moses of Khorene, we must acknowledge -that he has not only rendered much service to Armenian history, but -that his book is one of the great works of all literature, and, if it -were better known, would take a high place among the masterpieces of -the world. - -The most momentous event in the national life of Armenia—an event -which was the chief determining factor in the early history of the -country—was the change of religion made by the adoption of -Christianity, the foundation of which had been already laid by King -Abgarus (A.D. 3–34) and the preaching of the Apostles St. Thaddeus -(A.D. 33–48) and St. Bartholomew (A.D. 49), and finally established -by Tiridates (A.D. 286–342). By this the Armenians were entirely -severed from the pagan Persians and brought into close contact with the -Greeks, whose representative was then the Emperor of Byzantium. As a -result of this religious agreement, a treaty was concluded in 319 -between Tiridates and Constantine, the first Christian Emperor of Rome, -by which the two Christian monarchs bound themselves to defend each -other against all pagans. - -The adoption of Christianity meant, to the Armenians, a revolution in -their whole view of life, a severance from their ancestral beliefs, -though these beliefs have left traces in Armenian folklore which are -visible even to this day. These beliefs and the folklore arising out of -them were regarded by the Christian clergy as a poisonous flower grown -up in the fields of paganism. The historians of the period have -chronicled the efforts of the clergy to exterminate every relic of the -old faith. Temples were pulled down and churches built in their stead; -images and other monuments were broken in pieces; heathen books and -records were destroyed; pagan festivals were turned into Christian -ones. We learn from Faustus of Byzantium that laws were even made -against the use and the singing of pagan songs, but, notwithstanding -this persecution, according to Faustus and other historians, the -Armenians “languished for these songs.” Even as late as the fifth -century, when there was an attempt to restore paganism in Armenia, -Vasak Suni had books of these songs copied and distributed among the -people in order to win them back to heathenism. This had the effect of -rekindling hostility against the songs, and the books were destroyed -when Christianity finally triumphed, although, as we have shown above, -echoes of the songs are to be heard as late as the eleventh century. - -Gregory the Illuminator (A.D. 239–325), who converted Armenia to -Christianity, belonged to the royal race of the Arsacidae. He had -studied at Caesarea. He and his family had hellenising tendencies in -religion, education, and politics. There was a section opposed to -Hellenism which favoured Syrian ideas and, in politics, inclined to -Persia. At this early period of Christianity, the Bible was read in -Greek in the north-west provinces of Armenia, while in the south-east -provinces it was read in Syriac. During this period, schools were -established for the education of the young on Christian principles. Out -of the pupils in these schools about 100 were chosen to be sent to -educational centres abroad, where Greek learning was taught. At the -time when this contact of Armenians with Greek culture took place, the -ancient glories of Hellas were past, and Greek scholars busied -themselves chiefly with theological subtilties. Of course the main -object of educating the students from the Christian schools was to -indoctrinate them in religious lore and fit them for the priesthood, -but, nevertheless, the youths also brought away with them a tincture of -Greek culture, and this led to the rise of the Golden Age of Armenian -literature. - -It was the aim of the Greek Empire at this time to make the Armenian -Church a branch of the Greek Church and to gain a political ascendency -over the Armenians, but the head of the Armenian Church and the leaders -of the intellectual movement were resolved on religious and national -independence. Towards that end two important steps were taken. In 404, -the Armenian alphabet was invented, and, in 491, the Armenian Church -was separated from the Greek Church. - -The Armenian language belongs to the Indo-European group. Though it has -been regarded by some as an offshoot of the Iranic branch, recent -scholars of eminence have maintained its right to rank as a distinct -branch, intermediate between the Iranic and the European. It has a very -independent character and many peculiarities of its own; it has also -great strength and flexibility. It has a great number of roots, and is -capable of expressing ideas of all kinds and denoting fine shades of -meaning. It is read from left to right like European languages. It is -rich in particles, to which circumstance its expressiveness is partly -due. It has also a treasure of dialectic words, which have the effect -of importing vigour to Armenian speech. It is not harsh in sound, as -has been alleged by some who are imperfectly acquainted with it. Its -alphabet consists of thirty-six characters, with which it is possible -to represent every variety of sound, consisting of vowels as well as -consonants; it has no vowel points, in this respect resembling the -European, and differing from most oriental, alphabets. The spelling is -almost perfectly phonetic. - -The language of the period with which we are dealing was Grabar or -Ancient Armenian, which remained the literary language till the -beginning of the nineteenth century and is still the Church language, -being used in all religious services. Modern Armenian has not departed -very widely from Grabar. During pagan times, the Armenians had an -alphabet of their own, but, on the introduction of Christianity, it was -discarded on account of its pagan origin. - -The honour of being the inventor of the new Armenian alphabet belongs -to St. Mesrop (361–440), a former secretary of King Tiridates. He -found some of the ancient letters and invented others to complete the -alphabet in 404. St. Mesrop and St. Sahak (353–439) were the -forerunners of the Armenian intellectual movement, the former as the -inventor of the alphabet, the latter, together with his pupils, as the -translator of the Bible into Armenian. This translation is called -“the Queen of Translations.” The language is so simple and direct, -and, at the same time, so beautiful, that there is nothing to be -compared with it. - -The Armenian translation of the Bible is the foundation-stone of -Armenian Christianity. Perhaps no translation of the Scriptures has -ever made so deep an impression on a people as this one has made on the -Armenians. By them it was taken as a symbolical history of their own -country. Did not the events recorded in the very first chapters happen -in Armenia? and also the second Creation after the Flood? Did not their -beloved mountain, Ararat, figure in the latter story? In the Bible they -found even the names of their national heroes, Haik and Vahagn, though, -as we have seen, for the latter names only the translators are -responsible. Other Bible stories resemble the records of Armenian -history. Moses led his tribe from the land of bondage into a land of -freedom, just as Haik did. All the stories of suffering under a foreign -yoke and of revolt against oppression have their parallels in the -annals of Armenia. - -At the end of the fourth century (374–383), Nerses the Great was -Catholicos. During these ten years he displayed great energy. Under his -rule, many councils were held and many regulations drawn up to -safeguard the morals of the people. In addition to this, a number of -schools, hospitals, orphanages, almshouses, and other charitable -institutions arose under his supervision. A contemporary historian says -that during Nerses’ term of office, upwards of 2000 abbeys and -monasteries were built. These religious houses served as centres, not -only of religious life, but also of learning, where numerous -ecclesiastics and teachers were trained. This intellectual movement, -which was of a purely religious and educational character, not merely -lived through the political tempest of those times, but gradually grew -and progressed. In the year 400, the representative of the Arsacid -dynasty on the throne was Vramshapuh, an able monarch, who, being -himself a lover of peace, did much to encourage and foster the -intellectual movement and to keep the country free from foreign foes -and internal dissensions. King Vramshapuh reigned twenty-one years and -it was, approximately, these years that constituted what is called -“the Golden Age of Armenian literature.” - -St. Sahak (353–439), who, with St. Mesrop, was the moving spirit of -the intellectual movement, was Catholicos during part of this period. - -The Golden Period was of short duration, only lasting twenty-five -years, but it was rich in achievements. The students educated abroad on -their return originated a new literature, pervaded by Christian ideas. -They considered themselves as torch-bearers in the new movement, and -all their work is animated by inspiration. - -This period is one of marvellous activity. The new national alphabet -had charms that wrought like magic and, coupled with the new religion -of hope, captivated all Armenian hearts. Armenians realised that it was -a religion for the people, not merely for the great and powerful. All -over Armenia national schools were opened. Nearly every book of -importance written in Greek and Syriac was translated into Armenian, as -well as some of the Latin authors. Translation was a recognised -profession, and “translator” was a title of honour, like the -European “doctor.” There are upwards of fifty chronicles and -histories written in ancient Armenian, which is richer in literature -than the Greek of the same period, and the Armenian language is so -flexible and so well adapted to the exact rendering of every kind of -literature that if, for instance, the Anabasis of Xenophon were lost, -it might be reproduced in Greek, almost word for word, from the -Armenian version. Among the writings which now survive only in -Armenian, the originals having been lost, are the Homilies of St. John -Chrysostom, two works of Philo on Providence, together with some of his -Biblical commentaries, the Chronicle of Eusebius, the works of St. -Ephrem and others. - -Besides translations, Armenia produced, during the period with which we -are concerned, original works, chiefly of an historical character. -These give very succinct accounts of the Persian and Mongol invasions, -and throw fresh light on the state of the East during the Middle Ages. -As these works lie outside our present subject, we cannot here even -name their authors. Those who wish to investigate them are referred to -what we have written elsewhere. [39] - -What is most remarkable is that, at the very beginning of the -intellectual movement, when the alphabet had just been formed, the -literary language is so highly developed, so rich and subtle, that it -is more like a language which is the product of centuries of culture. -This very fact shows that culture was no novelty in Armenia. The new -movement only introduced a fresh era in Armenian civilisation. - -Twenty-five years after the introduction of the Armenian alphabet, the -Arsacid dynasty fell (428), the last king being Artashir III. From this -time the Armenians have ceased to be politically independent. - -From 432 onwards, the greater part of Armenia was governed by Persian -satraps. The Persians regarded with great apprehension the adoption of -Christianity in Armenia, as this caused the Armenians to enter into -closer relations with the Greeks. As a matter of fact, at the end of -the fourth century, the Greeks came to aid the Armenians in driving -away the Persians. It was the aim of the Persians to eradicate -Christianity from Armenia. In order to further this object, they -declared war on the Greek Empire. The latter, instead of fighting, made -peace with the Persians, accepting very humiliating terms. The -Armenians were left to their fate, but, nevertheless, they resolved to -stand up for their religion against the Persian monarch, who led a -great army against them with the intention of enforcing Zoroastrianism. -At this time there was no Armenian king. The majority of the remaining -princes and nobles, however, formed a regular army, the people gladly -serving as volunteers, though there was a very small party, led by -Prince Vasak Suni, that were inclined, for political reasons, to -entertain the Persian proposals. - -All this took place between 449 and 454. The first religious war (451) -is known as Vardanantz, because Vardan Manikomian, who was the -commander-in-chief of the Armenian army of defence, was the moving -spirit in the struggle of Armenian Christianity against the religion of -Persia. He fell in the battle of Avarair, but his fame survived him and -he is the most beloved of Armenian heroes. - -This war, though it crushed the hopes in which the Armenians had -indulged themselves of regaining their political independence, -nevertheless convinced the Persians of the impossibility of uprooting a -religion which was so firmly implanted in the hearts of the people. - -The first religious war was followed by a second, in which the Armenian -princes offered a valiant resistance and the Persians were obliged to -give way. The leader of the resisting princes was appointed satrap by -the Persians. Thus Armenia won back partial independence, the Persians -themselves appointing an Armenian satrap and proclaiming religious -liberty. The Chief of the Magi, who was sent to convert the Armenians -to Mazdiism, returned unsuccessful and reported to the Persian king: -“Even if the immortals themselves came to our aid, it would be -impossible to establish Mazdiism in Armenia.” Although Vardan and his -followers perished in this war, and although the Armenians, apparently, -lost the battle, the struggle resulted in the triumph of the ideal for -which Armenia was struggling—that of religious freedom. This the -Persians realised and never, after this time, did they make any attempt -to force the Armenians to change their faith. Neither did any of the -various Mohammedan conquerors venture on any steps towards bringing -about the conversion of the whole Armenian nation, though they have -enforced conformity on a small scale; they have had to content -themselves with political supremacy. The Mohammedan world has realised -that Christianity is a great power in Armenia, and this is the reason -why the religious heads of the nation—the Catholicos and the -patriarchs—meet with great consideration, not only from the -governments of Christian states, but also from Mohammedan powers; both -by Christian and by Mohammedan countries which have rule over Armenia -these dignitaries are recognised as representatives of their country, -not only in religious, but also in secular affairs. Thus the Christian -National Church has been one of the chief factors of the unity and the -national consciousness which exists among Armenians even up to the -present day, and this is the reason why the battle of Vardan is -regarded as a national triumph and is still annually commemorated. [40] - -When Armenia had ceased to be an independent state, its literature -became more religious, as the clergy were anxious to foster devotion. -Christianity introduced a new kind of poetry, namely, Church hymns and -chants. These were called, in Armenian, sharakans. They were not only -written in metre, but they were composed with a view to being sung. The -word sharakan means a “row of gems.” Historians of the Middle Ages -say that the sharakans were mainly written by the “translators,” -i.e., by writers of the fourth and fifth centuries. As a matter of -fact, very few sharakans were written after the thirteenth century. -Since then, no prayers or hymns have been introduced into the Armenian -Church. - -It is said by writers of the Middle Ages that St. Sahak arranged the -sharakans for ten voices and St. Stephanos for twenty-six voices, -corresponding to created things—elements, plants, birds, and animals. -There were also women sharakan writers. One of these was Sahakadukht, -who lived in the eighth century. She not only wrote, but also composed -music, and taught singing. Out of modesty, she used to hide behind a -curtain, whence she gave instruction to both sexes. An historian of the -time, Ghevond Eretz, says of her sharakans: “They were angelic songs -on earth.” Singing was considered a great art in Armenia, and -musicians were called “philosophers.” Several of such -“philosophers” were canonised and had the word “philosopher” -prefixed to their names. The fame of some of these musicians spread to -foreign lands. This explains the fact that, when Catholicos Petros -Getadardz went to Constantinople, he took with him a company of -musicians, whom he presented, as a gift, for the service of the -Byzantine court. - -There was a revival of sharakan-writing in the thirteenth century, -which was a flourishing literary period. It was during this time that -Bishop Khachatour Tarinetzi invented distinctively Armenian musical -notes, which are quite unrelated to European ones, so that the -Armenians had now, not only an alphabet of their own, but also their -own musical notation, and their hymns could be set to music. This -notation was improved in the eighteenth century. - -Armenian hymns are written in a style which is not only picturesque, -but which also has a charm of its own; its colours are very rich; the -pictures it conjures up are vivid. When one remembers that many of them -were written when national life and death were hanging in the balance, -because of foreign oppression, at a time when they had no one to turn -to but the Creator, we understand how it is that so much tenderness, -hope, and devotion are embodied in these “rows of gems,” nor can -one help thinking that Armenian is the natural language for religious -poems. A vein of mysticism runs through many of these hymns, especially -through those written by Gregory of Narek (951–1009), one example of -which—“The Christ-Child”—appears on page 113 of this volume. -But this mysticism is not obscure; on the contrary, it is to the hymn -what light and shade are to a picture serving to bring it into touch -with nature. - -Hymns have always been popular among the Armenians. Even peasants know -them by heart and sing them. The hymn tunes are unique, being entirely -independent of those of other Christian nations. Their somewhat strange -rhythm recalls the chorus of singers round the altars of the pagan -gods. No doubt some pagan melodies have found their way into the -Christian hymn tunes of Armenia. - -The Armenians are rich in folksongs. The music to which these songs are -set possesses great charm. In it, also, the rhythm is most important. -An Armenian composer, speaking of these folksongs, says:— - -“By means of those ethereal and heavenly waves of melody one sees -enchanting mermaids who, after dancing on the banks of large and small -lakes and poising themselves on the waters, allure towards themselves -the pagan Armenians, offering love kisses to all minstrels.” - -In later years Armenian music and poetry were affected by European -influence, but in her hymns and folksongs she has musical treasures -that are all her own. - -Side by side with the written literature of this period, the unwritten -literature continued to grow. The latter consists mainly of folktales, -fables, and proverbs. - -It is easy to distinguish a Christian folktale from a pagan one by the -different ideals embodied in it. Some of the folktales of this period -have arisen out of historical events. - -In the folktales, it is the youngest child that is the hero or heroine. -These stories express the people’s outlook on life and are the -product of their experiences, which have been handed down from -generation to generation. - -There is a great deal of folklore current in Armenia, some of which has -been collected and published. - -Grigor Magistros says that, in his time, unwritten fables in rhyme were -very popular. - -There are also many Armenian proverbs. It seems to have been a custom -in ancient times—and the usage is still retained in some places—for -a man to go and meet the girl he wishes to marry on the banks of a -stream or in a forest and to ask her a riddle. If she gives the correct -answer to the riddle, he marries her. - -Here are a few of the riddles used on these occasions:— - -“What paper is it that you cannot write on? and what sort of pen can -write on this paper?” - -A maiden who desires to marry the man should answer:— - -“The heart is the paper on which no pen can write; language is the -pen that writes on the heart.” - -“What rose is it that opens in the winter and in due time fades and -is gone?” - -Answer: “Snow is the rose that opens in the winter; when summer -comes, it fades and is gone.” - -“The brother chases the sister, the sister the brother, but neither -can catch the other.” - -Answer: “The sun and the moon.” - -There is another usage, belonging especially to young girls, which has -given rise to an extensive literature. This literature consists of -charm-verses, which are used for fortune-telling. A selection of these -is given on pages 67–68. - -Once a year, on the Eve of Ascension Day, young maidens who want their -fortunes told decorate a bowl with certain specially selected flowers. -Into this bowl each girl casts a token—a ring, a brooch, a thimble. -After filling the bowl with flowers of seven different kinds, and water -drawn from seven springs, they cover it with an embroidered cloth and -take it by night to the priest, who says a prayer over it. They then -put it out in the moonlight, open to the stars, leaving it till dawn. -Next morning, at daybreak, furnished with provisions for the whole day, -they go out of the village carrying the bowl, to the side of a spring, -to the foot of a mountain, or into an open field, gathering, on the -way, various kinds of flowers, with which they deck themselves. Arrived -at their destination, they first play games, dance, and sing, then they -take a beautiful little girl, too young to tell where the sun rises, -who has been previously chosen for their purpose and gaily dressed for -the occasion, and who does not know to whom each token belongs, and -cover her face with a richly wrought veil, so that she may not see what -is in the bowl. The child draws the articles out of the bowl, one by -one, and holds each in her hand. While she does this, one of the party -recites a charm-song, and the owner of each token takes the song which -accompanies it as her fortune. - -There are thousands of these charm-songs. In form they are very simple. -Sometimes two consecutive lines deal with quite distinct subjects, -though they rhyme together and their construction is the same. Each is -a perfect poem. - -After the end of the Arsacid dynasty, Armenia remained under the rule -of Persia for two hundred years. During this period, sometimes the -whole country fell temporarily into the hands of the Greeks; on other -occasions the same fate befell a few provinces. Speaking generally, -after the fall of the Arsacidae, the eastern—and more -extensive—part of Armenia remained under Persian rule, and the -western—and smaller—part came under Greek dominion. The Greeks and -the Persians were continually fighting with one another for the -possession of the whole country. Armenia was the battlefield, and the -sufferer was always the Armenian people. After the Arabs had embraced -Mohammedanism, they formed a powerful empire, conquering Mesopotamia -and then passing on to Persia. They forced the Persians to become -Mohammedans, and in 640 entered Armenia. Eastern Armenia, which was -then in the hands of the Persians, fell into their possession. - -The Greeks greatly dreaded the taking of Armenia by the Arabs, as it -formed a strong barrier against the assault of the Greek colonies in -Asia Minor. Therefore, as they had before fought in Armenia against the -Persians, so they now proceeded to fight against the Arabs; and again -Armenia was the battlefield and the sufferers were the Armenians. The -Greeks came from time to time demanding tribute of them, and if their -demand were resisted, the people were plundered and slaughtered. On the -departure of the Greek army, the Arabs came, making the same demand. -Thus, during the first two hundred years following the fall of the -Arsacidae, the Armenians were between the two fires of the Persians and -the Greeks, and then for another two hundred years between the two -fires of the Greeks and the Arabs. During this period, the Armenian -princes offered resistance from time to time and succeeded in regaining -independence for short intervals. The governors set by the Arabs over -Armenia were in the habit of persecuting the native princes, to prevent -them from organising revolts. Of these governors, the most bloodthirsty -were Kashm and Bugha. The former cunningly invited all the Armenian -princes to the town of Nakhejevan, where they assembled in the church; -whereupon, by order of the government, the church was surrounded by -piles of wood and set on fire, and the princes burnt alive (704). The -army was then set to plunder and slaughter the Armenians and burn the -towns and villages, as the people, deprived of their princes, could -offer no resistance. Many were exiled to the Arab capital, Damascus. -Bugha (850) surpassed even Kashm in his cruelty, but we need not -chronicle his atrocities here. Under such governors as these, the -tribute and the taxes were enormous, and the people became very poor. -There were, however, also good governors, during whose rule the people -were free from oppression and were allowed to pursue their peaceful -occupations. - -But gradually the power of the Arabs declined. - -The Armenians took advantage of the weakening of the Arab power to form -independent kingdoms. One of the principal noble families during the -period of Arab dominion was that of the Bagratuni. This family was rich -and powerful and had much land in its possession. Under the Arsacidae, -the head of this family was hereditary “coronator” (i.e., he had -the privilege of putting the crown on the king’s head, on the -occasion of a new sovereign). During the rule of the Arabs, the command -of the Armenian army was given to this family. The Bagratuni, though -extremely courageous and patriotic, were also cautious and tactful in -their relations with the Arabs, whom they served faithfully, thus -gaining the respect of the Khalifs. As they also won the love and -esteem of their own countrymen by rebuilding and restoring what the -Arabs had destroyed, they were able to act as mediators between the -Khalifs and the Armenian people. In wars against the enemies of the -Arabs, members of this family had many successes. Once a Persian prince -revolted against the Khalif and a Persian army of 80,000 marched into -Armenia. The Arabs were too weak to make any resistance, but Ashot -Bagratuni with his troops defeated the invaders. After the victory, the -Khalif of Bagdad sent a crown to Ashot, thus making him a king, -thinking, “He is so powerful that, if I do not give him a crown, he -will seize one for himself.” - -Thus in 885 Ashot became the first king of the Bagratuni dynasty. The -Greek emperor, Basil I., also sent a crown to Ashot, with a view to -gaining the friendship and influence of Armenia. During the dominion of -the Bagratuni, the régime of the Arsacidae was restored and the -country prospered. Ani, which was the seat of government during the -greater part of this period, though formerly it was little more than a -fortress, became one of the most flourishing cities of the time. It was -full of fine edifices—churches, palaces, museums, etc.—and was -called “the city of a thousand and one churches.” Its fame even -spread to foreign lands. - -There were several other noble Armenian families with ambitions. In 908 -one of these—the Ardzruni family—made the lands they held into a -kingdom, called Vaspurakan, with Van as a capital city. In taking this -step they were encouraged by the Arabs, who were watching with alarm -the growing power of the Bagratuni. - -In 908 another Armenian kingdom was set up with Kars as its capital. - -Ashot III., who was then the king of the Bagratuni dynasty, was quite -aware that the Arabs were encouraging the formation of small Armenian -kingdoms, but he offered no opposition, leaving his rivals alone to -serve the people each in his own way. - -This Ashot was one of the greatest sovereigns of this dynasty. He was -called “Ashot the Compassionate” because of his love of the people -and his numerous charitable provisions for their benefit. It was said -that he would never dine without sending for some beggars out of the -street to share the meal with him. - -The most renowned as well as the wisest and most powerful king of this -dynasty was Gagik I. (990–1020), under whom the country enjoyed its -period of greatest prosperity. - -The danger of the Arabs was past, but now a new peril threatened the -East, that of the Seljukian Turks, who came from Central Asia in search -of a new country. Persia and Mesopotamia fell before them and they -entered Armenia. Several of the Armenian princes offered them stout -resistance with some success, but, fearing that this success was only -temporary, others transferred themselves and their subjects to more -secure parts of the country. - -The Seljuks conquered Persia and established a Persian kingdom of their -own, but the new Persia was no longer Zoroastrian, but Mohammedan. -Armenia again became a battlefield. The Greeks also claimed the city of -Ani, and this led to many conflicts in which the Armenians made a brave -defence. The town, however, fell through treachery and the Greeks -devastated some parts of the country, treating the inhabitants no -better than the Arabs and the Seljuks had done. In order to weaken the -power of Armenia, they also made attempts to exterminate the native -princes and nobles. - -About the same time, the Seljuks again invaded Armenia and completed -the desolation which the Greeks had begun. They wrought great -destruction in Ani. - -The last king of the Bagratuni dynasty was unable to re-establish his -kingdom and was killed by the Greeks. His two sons and his grandson -were poisoned. So ended the race of the Bagratuni whose dynasty had -lasted 160 years. - -During the rule of this house, the country had a period of rest and the -energies of the people were directed to the restoration and development -of the country. The ruined monasteries and churches were rebuilt, -schools were again established; commerce, arts, and handicrafts throve. -This was a particularly flourishing time for the national architecture, -which now assumed a new character. Most of the Armenian abbeys and -churches were built during this time, and as these places had always -been seats of learning, alternative erudition revived, original writing -and the transcription of manuscripts going on briskly within the -convent walls. The literature of this period is chiefly of a religious -character. In it we see traces of Arabic influence—the influence of -the eighth century, when Arabic literature was at its zenith. The chief -debt of Armenian literature to the Arabs is the introduction of rhyme, -which is first found in Armenian verse in the eleventh century. - -In dealing with this period, as we are only concerned with Armenian -poetry, we must leave unmentioned the historians and other famous prose -writers. - -The most remarkable Armenian poet under the Bagratuni dynasty was -Grigor Narekatzi (951–1009), who has been called the Pindar of -Armenia and has also been canonised as a saint. From his pen came -elegies, odes, panegyrics, and homilies. His sacred elegies -(ninety-five in number) are elevated in style, showing Arabian -influence, and very pure in sentiment. His canticles and melodies are -still chanted in the Armenian Church. Verbosity is a characteristic of -his work; in one passage the word “God” is accompanied by ninety -adjectives. - -He was greatly loved and revered by the people, but he aroused jealousy -in some of his ecclesiastical colleagues. On one occasion, they went to -the Catholicos with accusations against him. The Catholicos appointed -priests to investigate the case. These priests repaired to the abbey -where Grigor Narekatzi was, arriving about dinner time on a Friday. To -their surprise they found roast pigeons on the table, and reminded -Grigor that it was fast-day, whereupon the latter said, addressing -himself to the pigeons: “If that be so, off with you!” and the -roasted birds took to themselves wings and flew away. The astonished -investigators, without going into the case, turned back and reported -the miracle to the Catholicos. Of course this is an extravagant legend, -but it shows the high estimation in which Grigor Narekatzi was held by -his contemporaries. - -The greatest work of this writer and the one on which his fame rests is -Narek. It is divided into ninety-five chapters, and is a tragic -devotional monologue composed of poetical prayers. Here the author -reveals his heart and soul in converse with God. Hope, fear, love, -faith, repentance, entreaty, aspiration, breathe as if mingled with -tears in fine and noble lines and periods. There is a copious stream of -epithets, a flood of rhetoric, an unfailing flow of ideas. With all -this wealth of diction, this work is sincere and strikingly original, -and gives evidence of the author’s high-soaring imagination. He -begins with an address to God, in which he represents himself as one of -the vilest of creatures, saying that, if all the trees in all the -forests of the world were pens and all the seas ink, they would not -suffice to write down his sins, but towards even such sinfulness as -this the mercy of God is great, and the Creator is so powerful that it -will be possible for Him to bleach the sins as white as snow. - -This work gives evidence that its author had, on the one hand, great -love of God and a firm faith, and on the other hand a vivid imagination -and poetic fire. All this he has worded together with great skill. - -Narek is a mingling of prose and verse. It begins in prose and then -breaks into verse, then again, after continuing to some length, returns -to prose, and so on. It was printed for the first time in 1673 at -Constantinople; in all thirty editions have been published in different -places. It stands by itself, being the only long mystic work in -Armenian literature, mysticism being quite alien to the typical -Armenian mind. Even the mysticism of Narek and a few other works of the -same period has its own peculiarities. It is not so obscure as ordinary -mysticism, partaking, rather, of the nature of allegory. -Notwithstanding its unusual character, Narek was formerly regarded with -veneration little short of that accorded to the Bible itself. Within -recent times superstitious people ascribed to it miraculous medical -qualities, believing that if certain chapters were read over a patient -he would be cured. It was also believed that if any one read certain -chapters—forty in number—with concentrated attention, banishing -thought of everything else, he would have the power of controlling -devils, but this it is said is very difficult and even dangerous, -because while the reading is going on, evil spirits come and try to -distract the mind of the reader, annoying, terrifying, and even -torturing him; if his attention wanders, he may become possessed. All -this shows the value and importance that were attached to Narek. At the -end of this work, the author states that he finished writing it in the -year 1001–2. Gregory of Narek also wrote several songs. Some of his -prayers and sharakans are used in the church services. Another great -writer of this period was Grigor Magistros (—— -1058) who produced -poetry of some value. He was of princely lineage and, unlike the -Armenian authors who were his predecessors or contemporaries, he was a -layman. He gained reputation as a linguist, a scholar, and a writer, -and was one of the greatest politicians of his time. He received the -title of “duke” from the Greek emperors Constantine and Monomachus. -Early in life he gave up politics and retired to his estate, where he -devoted himself to literary pursuits. He wrote both poetry and prose. -His chief poetical work is a long metrical narration (a thousand lines -in extent) of the principal events recorded in the Bible, from the -Creation to the Resurrection of Christ. The author states that this -work was written in three days at the request of a Mohammedan noble who -wished to make acquaintance with the Christian Scriptures and who, -after reading the poem, became converted to Christianity. Grigor -Magistros was almost the first poet to adopt the use of rhyme, -introduced into Armenia by the Arabs. In his work Grigor Magistros -tells some interesting stories which he has learnt from the peasants. -One is the following. The lark, fearing that heaven would fall down, -lay on her back, stretching up her feet towards the sky, thinking she -would thus prevent the catastrophe. Some laughed at her and said, -“With your spindle legs, you want to become a tree, O bird, with a -mind capacious as the sea.” The lark replied, “I am doing what I -can.” - -At the end of the eleventh century, chronicles and histories were -written in ancient Armenian (Grabar), but there was also a language of -the people, in which books for popular use, such as collections of -medical recipes, began to be written at this period, as well as songs. -When the country again lost its independence many migrations took -place. It was not only peasants and citizens who migrated; some of the -nobles also sought more secure dwelling places in mountainous -districts. The majority of these settled in the region of the Taurus -Mountains, and there the emigrants multiplied to such an extent that -they equalled the Greeks in number. In their new home they built many -churches and abbeys, where they educated the boys of the settlement. -Soon they established a number of villages and small towns, and the -princes set up fortresses. The Byzantine emperors rather encouraged -this progress, as they thought that the existence of small -buffer-states on their frontier would serve as a barrier against the -attacks of Mohammedan countries. One of these princes, Rubin by name, -established himself there in 1080. He chose an impregnable stronghold, -and the Armenians of the neighbourhood came and put themselves under -his protection. Other Armenian princes, settled in the surrounding -districts, adopted him as their chief. Having concentrated and -strengthened his power, he ruled his little realm—which was called, -after him, the Rubinian Principality—with great wisdom for fifteen -years. He was succeeded by his son, Constantine, in 1095. Constantine -extended his dominions by taking some almost impregnable fortresses -from the Greeks. During his reign many Europeans began to come, with -their armies, to the East. They wore the badge of the cross on their -arms, and were therefore called “Crusaders.” They cleared Palestine -and Syria of Mohammedans and set up new Christian principalities in -those countries. The Armenians called these strangers “Latins” -because they were all Catholics of the Roman Church. Constantine -rendered great services to the Crusaders by furnishing them with -guides, providing them with provisions, etc., and the European princes, -as an acknowledgment, conferred on him the title of “marquis.” - -The successors of Constantine extended still further the boundaries of -the principality. After gaining possession of the mountains and -strongholds, they came to the plains of Cilicia and imposed their rule -as far as the sea-coast. At this time the Byzantine Empire was very -weak, and the Mohammedan Seljuks and Arabs were not very strong, as -they had become divided among themselves and were engaged in strife -with one another. The Crusaders had also formed new Christian -principalities in those regions, so that the Rubinians had no fears -either of Mohammedans or of any other foe. Precisely one hundred years -after the accession of Rubin I., the Armenians possessed the extensive -reach of territory between the Taurus Range and the sea, where they had -built many fortresses, towns, and even ports. - -Leo II. (1185) succeeded in repelling the attacks of the Sultan of -Damascus and other Mohammedan rulers, even taking some towns from them. - -During this period, Saladin, Sultan of Egypt, taking advantage of -dissension among the crusading princes, attacked them, and took -Jerusalem and the rest of Palestine (1187). - -Then a new Crusade was started, led by the German Emperor Frederick -Barbarossa. This monarch sent emissaries to Leo, asking his help -against the Mohammedans, promising him a crown as a reward. Leo -supplied the Crusaders with provisions and rendered them other -assistance. Barbarossa died without fulfilling his promise, but the -crown was sent by his successor, Henry VI., after consultation with the -Pope of Rome. Leo was crowned king in 1198. The following year, the new -Armenian king also obtained recognition from the Byzantine Emperor, who -sent him a crown. Leo still further extended his dominions and put the -whole kingdom into excellent condition. He did not, like the -Bagratunis, re-establish the régime of the Arsacidae, but tried to -imitate European institutions, inviting many French, English, and -German experts to his kingdom, giving them appointments in the court, -the army, and the council. Many new schools were opened in this reign -in which the teaching was entrusted to learned Europeans as well as to -Armenians. - -Arts and handicrafts, commerce and agriculture also flourished under -this king. Leo died in 1219 after a reign of thirty-four years. For his -great services to his people, he was called “Leo the Benefactor.” - -It was under the rule of this king that Armenia entered into close -relations with Europe. Just as the Zoroastrian Persians and afterwards -the Greeks had inflicted all kinds of persecutions on the Armenians in -order to convert them to their religions, so also in the reign of Leo -II. and for many years afterwards the popes of Rome did everything -possible to make the Armenians join their Church. The popes promised -the Armenians help against the Mohammedans, they even offered to -organise a Crusade, but the first condition was that the Armenians -should become Catholics. When the Armenians did not accept these -advances, a number of Catholic priests came to Armenia and tried to -convert them. These priests were called “Unitors.” At this time the -Tartars (who were heathens) became very strong and conquered Persia. -The Armenian king when this conquest took place was Hetum. This king, -though he maintained friendly relations with the courts of Europe, -attached little weight to promises emanating from these quarters; he -therefore formed an alliance with the Tartars against the Mohammedans. -He tried to indoctrinate his new allies in Christian ideas and almost -effected their conversion to Christianity. That he did not quite gain -his object is due to external causes. Hetum, in conjunction with the -Tartars, fought successfully against many Mohammedan sultans, but the -Egyptian mamelukes grew strong and the Tartars became Mohammedans -(1302), whereupon enmity arose between them and the Armenians. Three -Mohammedan races—Seljuks, Tartars, and mamelukes—one after another -attacked Cilicia, devastating the country and plundering many towns. -The Armenians asked assistance from the Pope and from European kings; -help was promised from France, but it never came, so the Tartars -conquered Cilicia and slew its king, who, however, was avenged by his -youngest brother, Ashin, who collected an army and drove the Tartars -out of the country (1308). - -The Mohammedan kingdoms became very powerful at this time. The -mamelukes dominated, besides Egypt, Arabia, Palestine, and Syria as far -as the Euphrates. - -The common aim of all the Mohammedan governments was to destroy the -independent kingdom of Armenia, because it was the only Christian state -in Asia that was capable of rendering assistance to European sovereigns -should any of them enter on a new Crusade in order to gain possession -of the Holy Sepulchre. When the mamelukes heard that the European -states were planning a new Crusade, they formed an alliance with the -Tartars and the Sultan of Iconia and devastated Cilicia. But the -Armenians made a brave defence and the mamelukes granted a peace for -fifteen years. By this peace it was agreed that the King of Armenia -should pay a certain amount of tribute and the mamelukes should restore -the places they had taken. Again there was talk of a Crusade, and the -Sultan of Egypt again attacked Cilicia. Leo V. (King of Armenia) asked -for help from Europe, but the only assistance given was 10,000 florins -sent by the King of France and a few sacks of corn from the Pope. This -was not what the Armenians wanted; in fact they were again left to -their fate. The Mohammedan sultan offered to restore Leo’s kingdom if -he would swear on the Cross and the Gospels that he would have no -dealings with the Crusaders. Leo V. died in 1341, and as he had no -children the throne passed to the Lusignan dynasty. - -There were only four kings of this dynasty: the last king was Leo VI. -(1365–1375). He was taken prisoner when the sultan invaded and -devastated Cilicia. Thus ended the kingdom of Armenia. After a few -years, through the mediation of John, King of Castille, Leo was set at -liberty. He came to Europe to ask for help in regaining his kingdom. -There was a talk of a Crusade specially on behalf of the Armenians, but -it never went beyond the stage of promises, and the last King of -Armenia died in Paris in 1393 and is buried there in the Abbey of St. -Celestin. - -We have spoken mostly of Cilicia during this period. If we wish to -complete the picture of the devastation of Armenia, we must name -Zenghis Khan, Tamerlane (1387), and other enemies of the human race, -but we will not enter into particulars of their work of desolation. - -The period whose history we have sketched (twelfth to fourteenth -centuries), especially the two former centuries, is called the Silver -Age of Armenian literature. The independence of Armenia gave a -breathing space which facilitated the production of literary works. -This is the period of the revival of learning and also the period when -Armenia came in contact with the countries of Western Europe and became -acquainted with Western civilisation. - -Catholicos Nerses, surnamed “the Gracious,” is the most brilliant -author of the beginning of this period (1100–1173). He was the -great-grandchild of Grigor Magistros, and his brother Grigorios was -Catholicos before him. His songs and sharakans are greatly loved by the -people and some of the latter are sung in the churches. He was -canonised as a saint. Nerses was the first Armenian to write very long -poems. He followed his great-grandfather in using rhyme. There is a -great variety of metre in his works. As a rule his long poems are -written in eight-feet lines, the same rhyme being employed nearly -throughout the poem. This practice he abandoned in certain cases for, -as he himself remarks, “it might tire the reader”! He has also -poems written in couplets of short lines, which are the most musical -and successful of his works. Some of his poems have peculiarities of -their own. He sometimes begins the lines of the first stanza with A, -those of the next with B, and so on in alphabetical order, or he uses -the same letter for the beginning of the first line and the conclusion -of the last. He also sometimes makes metrical acrostics of his own -name. Of course these contrivances were in common use in his time. -Sometimes he makes acrostics of the titles or names in dedications of -his poems. But these artificialities do not spoil the poem or give the -impression of a tour de force, in fact they are so unobtrusive that -they might easily escape the reader’s notice. In all he has written -15,000 lines. - -One of his long poems entitled Jesus the Son consists of 4000 -eight-feet lines. These lines, with very few exceptions, end with the -Armenian syllable -in. Some of the songs in this poem are very -beautiful and are sung in churches. - -Another of his long poems is an elegy on the Fall of Edessa which was -taken from the Crusaders by the Turks in 1144. This is an allegory: the -town itself recounts its misfortunes and addresses itself to other -cities of the world, to the mountains, to the seas, and begs them not -to judge her by what she is in her present condition, but assures them -that she was once a crown bearer and in a most happy state, but now she -is in mourning, and misfortune has befallen her. As Nerses was a -contemporary of the event which forms the subject of the poem, the -latter has an historical value, being a first-hand source of -information relating to the times of the Crusaders. - -Nerses also wrote a long poem narrating the history of Armenia from the -days of Haik up to his own time. Leo III., one hundred and fifty years -after the poet’s death, asked the bishop Vahram Rabun to continue the -poem from the death of Nerses to his own time (1275), thus giving the -annals of the Rubinian dynasty. In writing this sequel, in 1500 lines, -he said: “It is a bold act to continue the work of Nerses the -Gracious,” but he adds that, knowing that with gold thread embroidery -black threads are sometimes introduced, he consented to undertake the -labour. - -It is not within our province here to describe the great work achieved -by Nerses in other directions, but he was much beloved by his people -and has left an immortal name as the greatest personality of his age. -We only here record one incident to show the breadth of his ideas. In -the town of Edessa pestilence was raging and sufferers from the disease -were taken out of the town and segregated. It was considered hopeless -to cure them, as it was believed that the disease came as a punishment -from God. Nerses sent out an epistle to the plague-stricken people, -offering them consolation, saying that, in compensation for their -suffering, they would receive eternal bliss. In this letter, he -declares that the disease was not sent from Heaven as a punishment and -people should not avoid the sick; on the contrary, it was their duty to -care for their brethren when they were in distress, and he assured them -that, with patience and right treatment, it was possible to get rid of -the disease. - -This counsel made an immense impression on the people, as they had the -word of the Catholicos that this was not a heaven-sent chastisement; -they nursed the patients and in a short time the pestilence was stayed. - -This idea of Nerses, though it is now commonly held, was very -remarkable in the age in which he lived. Nerses the Gracious is -considered the Fénelon of Armenia. Some of his elegies are perfect -gems of poetic art. One of his prayers is divided into twenty-four -verses, according to the twenty-four hours, one verse to be used each -hour, but, seeing that this is sometimes impracticable, he says that it -might be read in three portions of light verses in the morning, at -noon, and at night. If this division is also impossible, he recommends -that it should be read in two portions, in the morning and evening. -This prayer has been translated into thirty-six languages, of which -English is one. - -An example of the work of Nerses the Gracious, entitled “The Arrival -of the Crusaders,” is given in this volume on page 58. - -This is hardly a representative poem and is not the best specimen of -the author’s work. It was inserted because of the interest of the -Crusades for Europeans. The gems of his work may be found among the -sharakans, which we can say without hesitation will bear comparison -with any work of this class in any language of the world. -Unfortunately, it is impossible to do justice to these hymns in a -translation. Nerses also wrote verses for children, and riddles, both -in the vernacular. - -In general, his language is simple and expressive. He also composed -short fables, according to a contemporary historian; some of these were -recited at weddings and other festivals. - -Mkhitar Gosh was the author of one hundred and fifty fables, marked by -good taste, purity, and elegance. He died in 1213. He is called the -Aesop of Armenia. - -The following is a specimen of Mkhitar Gosh’s fables: The owl sent -matchmakers to the eagle, asking his daughter in marriage, in these -terms: “You are the ruler of the day; I am the ruler of the night. It -will be better for us to form an alliance by marriage.” - -The proposal was accepted. - -After the wedding, the bridegroom could not see by day and the bride -could not see by night. Therefore the falcons ridiculed them, and their -marriage was unhappy. - -This fable is meant as a warning against marriages between Christians -and pagans. - -Many of Mkhitar Gosh’s fables are very original and have a charm of -their own. - -Another famous fabulist was Vardan Aigektzi. His collection of fables -is called The Book of the Fox. Several additions have been made to this -work by later hands, so that the book has no uniformity of style and -some fables in the collection are childish and trivial. - -This is one of the fables in this book: - -Mankind is like three fools. The first went to the tops of the -mountains trying to catch a wind, and take it home, but though he tried -a hundred years he never caught a wind that was as big as a drop of -rain. The second, taking with him a number of servants and a great deal -of money, sat down by the side of a river, trying to use its waters as -a tablet on which to inscribe an elegy, but he could not form a word or -trace a letter, though he laboured for a hundred years. The third tried -to surpass the others by undertaking two enterprises at once. He had a -huge bow made with arrows to match, and tried by night to shoot at the -stars and other heavenly bodies and bring them home, that he alone -might have light, but he could not catch a spark. Besides this, during -the day he ran after his own shadow, but never caught it, though he -tried for a hundred years. - -The moral of this fable is the futility of human life and human -endeavour. “Vanity of vanities; all is vanity.” - -Moses Kaghankatvatzi (seventh century) mentions in his history some -interesting fables. In one of them, which arose when there was a great -famine in the land, the story is put into the mouth of a -personification of the grain millet, whose narrative is to this -effect:— - -“I, Millet, was lying in an unknown place in the village of Kaku, in -the province of Shakashen. All the purchasers treated me with contempt -and rejected me. Then came my brother, Famine, and dominated the land. -From that day I went and sat on the tables of the King and the -Catholicos.” - -Armenian apologues and proverbial sayings are worthy of attention. Here -are a few characteristic specimens; some of these are rhymed in the -original, in others the contrasted words rhyme:— - -One fool threw a stone into a well; forty wise men were unable to get -it out. - -He crossed the sea safely, and was drowned in a brook. - -They were reading the Gospel over the wolf’s head. He said: “Hurry -up! The sheep will get past.” - -They asked the partridge: “Why are your feet red?” “From the -cold,” he replied. “We have seen you in the summer as well,” they -rejoined. - -Are you the corn of the upper field? (Who are you that you should be -set above others?) - -A black cat has passed between them. (Referring to friends who have -quarrelled.) - -Whenever you touch a stone, may it become gold! (A blessing.) - -The donkey began its tricks on the bridge. - -Light for others, fire for the house. (A saint abroad, a devil at -home.) - -The black donkey is tied up at the gate. (A worthless thing is always -at hand.) - -Here is a riddle by Nerses Shnorhali:— - -I saw an outspread white tent, wherein black hens were perched, that -laid eggs of various kinds and spoke in human language. (A book.) - -Between the end of the thirteenth century and the beginning of the -fourteenth lived, almost contemporaneously, three great poets, all -ecclesiastics:—Constantine Erzingatzi, Hovhannes Erzingatzi, and -Frik, who were almost the last singers of the dying Armenian kingdom. - -The first of these, Constantine Erzingatzi, was born about 1250–1260 -in Erzingan. From early youth he showed poetic talent and gained favour -from the people, but incurred the jealousy of his own associates. In -one of his poems he says he cannot tell why his enemies hate him and -expresses a desire to know their reason. Erzingatzi had a friend, a -certain Amir Tol, who lived in Tabriz. Erzingatzi used to send his -poems, as he wrote them, to this friend, who entered them in a book. -The poems in this collection number twenty-two. The manuscript is -preserved in the library of St. Lazare, Venice. The themes of -Erzingatzi’s poems are—among other things—the love of the rose -and the nightingale, the beauty of nature, the wedding of the flowers, -spring, dawn, and morning. In his love poems, he throws over his -emotions a mystic veil of celestial hue, and some of his lines rise to -a higher level than ordinary amorous verse. For him, love and beauty -are one and the same. He says that one who is without love has no sense -of beauty. He calls his lady-love a breeze of spring, and himself a -thirsty flower, but a flower on which only a hot southern blast is ever -blowing, so that his love-thirst continually endures. He likens his -mistress to the radiant heavenly bodies—the sun, moon, and -stars—but her light is stronger than that of all other luminaries, -for it alone can illumine his darkened heart. - -Erzingatzi says that, if he is to have any share in the life of love in -this world, he will be content with one hour of “morning love” that -springs from the heart. For that he is willing to exchange his life. He -prays to God for such love, always emphasising the word “morning.” - -Among his works is a beautiful poem on Spring, which begins with a -hundred thousand thanksgivings for the blessing that has flown down -from heaven to earth:— - -“It was dark and every stone was ice-bound; there was not a green -herb, but now the earth arrays itself anew. The winter was like a -prison, the spring like a sun that rises in the night. Everything is -merry and joyous; even the dew-bringing cloud thunders gently, spanning -the earth with its bow and causing many swift rivers to flow, which, -without distinction, throw into rapturous intoxication all places of -the earth. - -“Terribly roar the streams that come down from the mountains, but, -after strolling to and fro among the meadows in loving fashion, pass on -to touch the face of the sea. - -“The birds sing sweetly; the swallow chants psalms, the lark comes, -reciting the praise of the morning. All leap into life—plants, birds, -beasts with their offspring; they all form themselves into one great -flock and dance together. The flowers have assembled in the garden. The -Nightingale, proclaiming the glad things of the great resurrection, -also enters the garden, seeking the Rose. - -“When the time is ripe, she opens, and the other flowers, when they -see the splendour of the Rose, run off, over hill and dale, and, from -fear, lose their colour. The Nightingale is intoxicated with the sweet -odour of the Rose. Then takes place a festival of nature and the Rose -sings her own praise.” - -The original text of this poem is a real achievement as regards -language, poetical expressions, and art, showing that Erzingatzi was a -master of his craft. - -Erzingatzi was also the author of a long narrative poem, called Farman -and Asman, recounting the love adventures of a Persian princess. This -was composed at the request of a Syrian knight and shows some traces of -Persian influence. - -Another long narrative poem of this writer, entitled A Girl’s -Questions, seems to owe something to Arabic literature. - -Erzingatzi is also the author of many didactic poems. Here are a few -stanzas from another of his poems:— - - - “Waken from your dreams - And behold, you that were sleeping, - How through all the night - They their sleepless watch are keeping. - Ever circling round - By the will of God who made them: - And heaven’s arches wide - To uplift and hold He bade them. - - “I awoke from sleep - And a while I stood and waited. - When the long night passed, - When appeared the dawn belated,— - Many stars of light - Watching stood to greet the morning; - Servants of our God, - All the sky of night adorning. - - “Then a Star arose - Near the Morning Star, in Heaven; - Fairer than all stars, - Radiance to that Star was given. - - “When the moon beheld - She bade all the stars to vanish. - All turned pale, and set, - As she spoke their light to banish. - Cleared was heaven’s face - And the sun arose in splendour; - Then a Child appeared, - Sweet the Name He had, and tender.” [41] - - -Hovhannes Erzingatzi (b. 1250) was educated in a monastery on the -confines of Georgia and Armenia under a bishop who was renowned for his -learning. He returned to Erzingan in 1272 and travelled to Jerusalem in -1281, in the course of his journey passing through Cilicia in order to -visit the Armenian royal seat, where King Leon was then reigning. By -his learning and talents he attracted the attention of the Catholicos, -who appointed him director of all the schools in the city. - -By order of the Catholicos, he wrote a grammar, remarkable for its dear -and comprehensible style and language. He also came under the notice of -the king. At the annual horse race two of the king’s sons were among -the competitors. On this occasion Erzingatzi made a speech, which left -a great impression and gained him recognition as an orator. In Cilicia -he learnt Latin and made several translations from that language into -Armenian. He wrote many Biblical commentaries, besides other religious -and devotional works, as well as treatises on astrology; but his fame -rests chiefly on his verse. In addition to religious and moral poems, -he wrote love songs, and lays relating to nature. In his ethical as -well as in his love poems we find quaint metaphors and similes. - -As, for instance, in the following stanza, where our poet seems to be -forestalling Bunyan:— - - - “All my sins I once amassed - And sat down before them weeping. - When the caravan went past - With my load I followed, leaping. - Then an angel that we met, - ‘Woful pilgrim, whither farest? - Thou wilt there no lodging get - With that burden that thou bearest.’” - - -In another poem, entitled “Like an Ocean is this World,” which -appears on page 59 of this volume, he uses the metaphor afterwards -employed in Donne’s Hymn to Christ and Tennyson’s Crossing the Bar. - -His love poems are exquisitely fresh and rich. - -The aesthetic character of his love and his enthusiasm for beauty are -shown by his declaration, in one of the poems, after a rapturous -expression of his passion for a lady of whom he gives a rich-hued -word-portrait, that the only thing that keeps his feelings within -bounds is the knowledge that, after death, her face will wither and its -colours fade. - -In 1284 he went to Tiflis, the capital town of Georgia, where he gave, -in the newly-built church, on the occasion of its opening, a discourse -on the movements of the heavenly bodies. This subject had a great -fascination for him and he treated it in a manner that deeply impressed -his hearers, including the king’s son who was present. His discourse -was not a sermon, but a poetical oration. On the prince’s asking him -to write a poem on the same subject, he wrote one of a thousand lines. -At the desire of another prince, he composed another poem on the same -theme. - -Khachatur Kecharetzi (better known by his pen-name, Frik) was a priest -who was born at the end of the thirteenth century and died about 1330. -He wrote many poems, several of which are of an allegorical character; -also laments on the state of his country, and several mystic and other -religious poems, as well as love songs; but his most characteristic -work is the poem addressed to God, asking why He is unmindful of the -terrible condition of the Armenian nation, and also enumerating the -inequalities of the world, showing how the wicked prosper and the -righteous suffer. - -“If we are useless creatures” (he says) “unworthy of Thy care, -why dost Thou not entirely destroy us?” - -An extract from this long poem is given in this volume on page xv. - -At the close of the fourteenth century, the glory of Cilicia vanished, -as the Armenian kingdom became extinct, after an existence of nearly -three hundred years; and Armenia once more became the scene of turmoil -and bloodshed. - -The fifteenth century opened with the invasion of Tamerlane, when the -country was again desolated and subdued. This was a century of the -overthrow of Eastern civilisation. - -The Byzantine Empire, shaken from its foundation, was dashed to pieces, -and its capital, Constantinople, fell into the hands of the Ottomans -(1453), a new Mohammedan power, which aspired to become master of the -whole of Asia. The Turcomans and, later, the Persians, tried to check -the advance of the Turks into their territories. Hence commenced a long -series of wars between the two Mohammedan states which continued -through four centuries, and Armenia passed now into the hands of the -one, now into the hands of the other. The country was again the scene -of war, wherein reigned desolation, fire, and death. - -After the occupation of Constantinople, Turkish influence extended over -most of the eastern part of Armenia. - -From this time, migrations of Armenians out of their own country into -different parts of the world became more frequent. - -Twenty years after the invention of printing (1476) a grammar in many -tongues was published in France, which contains several pages in -Armenian. - -In 1512 the first Armenian printed book was issued in Venice. After -that Armenians set up presses in various countries. - -Notwithstanding the political position of the country, its poetry -continued to flourish and assumed a definite character; and the voices -of the poets rose continually louder and louder. This century, together -with the two preceding and the two following ones, forms a flourishing -age for poetry. - -The chief poets of this century are:—Hovhannes Tulkourantzi, Mkrtich -Naghash, Grigoris of Aghtamar, Nahapet Kouchak, Arakel Sunetzi. - -Hovhannes Tulkourantzi (1450–1525) was Catholicos of Sis. He is a -poet of the days of spring, flowers, beauty, love. He wrote also moral -and religious poems, besides other things. He cannot understand how it -is possible for one who loves a beautiful woman to grow old and die. - -“Whosoever loves you, how can he die? How can his face grow pale in -death?” - -He sings of the sanctity of family life, warning his readers against -the strange woman “who brings torment and grief. Even his lawful wife -brought trouble to Adam; what then is to be expected of the -stranger?” - -He has a striking poem on Death, which he addresses thus:— - - - “There is nothing so bitter as thou, no venom is more bitter; - only Hell surpasseth thee, and it is thou who bringest Hell in thy - train. Solomon remembered thee, saying, ‘Of what profit is my - wisdom? Say not I am a King possessing gold and treasures.’ - - “Alas, O death! thou hast a grudge against the sons of Adam and - thou avengest thyself on them. - - “Thou didst not consider that Moses was a prophet, nor art thou - ashamed of assaulting David; thou takest even Father Abraham; thou - draggest King Tiridates from his throne; and thou respectest not - the Emperor Constantine. [42] - - “If a hero is attended by 1000 horsemen and arrayed in six coats - of armour, thou shootest thine arrows at him and bringest him down, - then thou castest him into prison and before the entrance thou - placest a great stone.” - - -The poem continues:— - - - “Like an eagle flying far, - Forth on wide-spread wings thou farest; - All the strong ones of the earth - In thy wing-tips rolled thou bearest.” - - -In other poems we see his susceptibility to passion and his sense of -love’s power. In one of these poems he depicts [43] a bishop of 100 -years old whose beard had turned from white to yellow and who, when -officiating at the altar, suddenly uttered the name of a lady in his -invocation before the cross. - -Mkrtich Naghash was Archbishop of Diarbekr. He lived when the country -was in difficult political circumstances. His talents were appreciated -not only by Armenians, but also by the Mohammedan rulers with whom, -thanks to his tact, he established friendly relations, whereby he was -able to protect his compatriots from many oppressions. He built a -church, which he adorned with beautiful pictures of his own painting. -But, after the death of the Mohammedan princes who were his patrons, -tyranny and oppression began again under their successors. He went to -Byzantium to solicit aid for his suffering countrymen, but returned -disappointed. - -Besides his artistic skill, he was a poet of considerable merit. His -poems are generally on moral and religious themes—the vanity of the -world, avarice, and so forth; he also wrote songs of exile, and love -songs. - -In his poem on avarice he says that that vice is the root of all evil: -“Kings and princes are continually fighting against one another, -watering the country with blood. They destroy flourishing towns; they -drive the inhabitants into exile; and spread desolation wherever they -go; and all this is through avarice.” - -He goes on to specify other evils springing from this sin. - -In the love songs of Mkrtich Naghash, the Rose and the Nightingale -whisper to each other fiery love speeches complaining of each other’s -cruelty. Then they admonish each other not to let their passion consume -them, and sing each other’s praises. - -This is an extract from one of his songs of exile: “The thoughts of -an exile from his country are wanderers like himself. If his mind is -wiser than Solomon’s, if his words are precious pearls, in a foreign -land they bid him be silent and call him an ignorant fool. His death is -as bitter as his life; there is no one to cross his hands over his -heart; they laugh as they cover him with earth; no mourner follows him -to the grave. But I, Naghash, say that an exile’s heart is tender. In -a foreign land, what is sweet seems gall; the rose becomes a thorn. -Speak gently to an exile; give him a helping hand, and you will expiate -your sins which rankle like thorns.” - -These songs of exile (or pilgrim songs) are a special feature of -Armenian poetry and for ages have been written by various poets. They -are original and often quaint and express the feelings of Armenians who -live far from their native mountains and fields, showing how they pine -for the land of their birth, reflecting the natural beauties of their -fatherland, and their yearning for their hearth and the dear faces of -home. - -In 1469 in the town of Mardin there was an epidemic of smallpox, which -caused many deaths. He thus describes one of the victims: “A youth -beautiful to see, the image of the sun; his brows were arches; his eyes -like lamps guiding him by their light. This lovely child lay on the -ground, writhing piteously, looking to right and left, while the -terrible Angel of Death was busily engaged in loosing the cords of his -soul. Then the boy cried, saying: ‘Pity me and save me from the hands -of this holy angel, for I am young.’ Then he turned to his father, -and asking help from him, said: ‘There are a thousand desires in my -heart and not one of them fulfilled.’ - -“The father answered: ‘I would not begrudge gold and silver for thy -redemption; but these are of no avail. I would willingly give my life -for thine.’ In the end the light of the child’s life was -extinguished; the lovely hue of his face faded; his sea-like eyes lost -their lustre; the power of his graceful arm was cut off.” - -Here is a translation in verse of a poem on a mysterious Flower:— - - - “All the lovely flowers that were - One by one have left and gone, - One Flower too there was that went - Mourned and wept by every one. - Sweetest fragrance had that Flower, - Scent that filled the earth and air, - So that all the flowers of earth - Sought in love this Blossom fair. - Some for this sweet Flow’ret’s sake - Paled and withered languidly; - Many for this Flow’ret’s sake - Blossomed like the almond tree. - God Himself had sent that Flower, - But all did not know its worth. - He that gave took back His own, - Many wept upon the earth. - And the Flower went to a place - Where all flowers rejoiced and smiled; - Flowers of many a brilliant hue - With its sweetness it beguiled. - From its beauty other flowers - Borrowed lustre, and they glowed; - Every blossom in its kind - To that Flower knelt and bowed.” - - -Grigoris of Aghtamar was born about 1418 and was Catholicos of -Aghtamar, an island in the Lake of Van, which has picturesque -surroundings fit to inspire a poet; so that it is not surprising that -our Catholicos became a singer animated by poetic fire, the exponent of -love and beauty—of the Nightingale and the Rose. - -It is evident, from his works, that Grigoris had a great love of life. -We see this especially in a poem entitled The Gardener and his Garden. -The Gardener, says the poet, enters his garden every morning and hears -the sweet voice of the nightingale as he examines the newly planted -flowers of various colours. This beautiful spot he surrounds with a -hedge, bringing stones from the river, thorns from the mountain. He has -just built arbours, made a fountain, introduced little running brooks, -and planted vines, when, all of a sudden, a voice utters the command: -“Come out of thy garden.” It is Death who beckons him out. He -expostulates: “I have not yet seen life and light; I have not yet -seen the fruit of the garden; I have not yet smelt the rose; I have not -yet drunk my wine or filled my casks; I have not plucked flowers for a -nosegay. I have not yet rejoiced over my garden.” - -But his prayers are not heeded; obedient to the unchangeable law of the -universe, he at last capitulates to the Angel of Death. - -After describing the Gardener’s death and burial, the poet goes on to -tell what happens to the garden after its owner has left it; the rose -fades; the other flowers disappear; the hedge is broken down, and what -was once a lovely garden becomes a scene of desolation. - -This is his description of the face of his lady-love. He likens her -eyebrows to a sword; the sparkle of her eyes to a sharp lance; her eyes -to the sunlit sea. She is, he says, as straight as a willow; her lips -are like harp strings; her teeth, a row of pearls; her tongue is sugar; -and, wherever she rests, the place becomes a garden. She has fragrance -sweeter than the violet of the spring; she is like a white rose, pure -and sweet, like a newly opened flower; a young almond plant. Her face -is red and white, like an apple of the forest. She soars high, like a -daring eagle. She is brilliant as a peacock with golden feathers. - -We have in this volume (page 52) a translation of one of Grigoris’ -longer poems, entitled “Concerning the Rose and the Nightingale,” -in which it is interesting to note that—quaintly enough—the poet -gives the text of a letter sent with great pomp, by special messengers, -to the Rose; adding the consequence which followed, and the verbal -answer returned. - -The subject of the Rose and the Nightingale is a Persian one -originally, but the outstanding characteristics of the Armenian -versions consist in the refinements and subtleties of the feelings -described, the deference paid to the Rose, and the idea of continuity -and faithfulness in love. These feelings are minutely described in this -beautiful poem, and summed up in the Rose’s message to the -Nightingale on p. 56:— - - - “I cannot there return immediately; - A little he must wait, in patient wise: - But if his love is perfectly with me, - Tell him to look for it in Paradise.” - - -These ideals constitute the difference between the mentality of -Mohammedanism and Christianity. - -Nahapet Kouchak was a fine poet of the seventeenth century. He is -called the Psalmist of Love. Although there is a slight resemblance in -style between his writings and those of the Persian poets, his poetry -is original. The works attributed to him have only recently been -published as a whole; they have been translated into French and other -languages, and greatly admired. Some critics have placed him higher -than Sadi and other Persian poets. (Examples of his work are given on -pages 4, 5, and 31.) - -Arakel Sunetzi was the Metropolitan of the province of Suni. He appears -to have possessed a thorough acquaintance with the writings of his -time. His chief work is the Book of Adam, a long narrative poem, -telling the story of the Fall in the style of a romance in which -theology, lyrics, heroic lays, and folklore are all fused together. - -Adam, though because of his great love for his wife he was inclined to -yield to her petition, yet wavered, not knowing whether to hearken to -his spouse or to his Creator. “But his mind went with his eyes; he -deserted God, but not the woman; for, without Eve, half of his body was -dead, and with the other half it was impossible to live.” - -Among the lyrics in this book is one entitled The Rib, of which we -subjoin two stanzas:— - - - “The rib is bow-shaped, so her face, - Sped by her looks, is like a dart; - Who gazeth on a woman’s grace, - No salve or drug can cure his smart. - - “And for the rib is high and low— - One side is vaulted, one is round, - Her face doth love and sweetness show - Whilst in her heart fierce hate is found.” - - -Here is a passage from another poem of Sunetzi’s entitled The Glory -of the Saints, describing the Resurrection:— - - - “Opened are the tombs; - Now rise the dead that long in dust have lain. - Decked with brilliant hues, - Bright as the sun, they cannot fade again. - While the earth, renewed, - Doth greet the Lord, all fresh and dazzling white; - And the heavens are decked - More richly than before, sevenfold more bright. - Then in heaven shines forth - With arms stretched out like rays, the Holy Rood. - With the Cross appear - The hosts of fire—a countless multitude. - Butterflies dance forth - Amongst the angels—none may mark them out.” - - -In the sixteenth century, Turkish and Persian wars became fiercer and -the Armenian history of this century becomes the record of the -sufferings of the country during these wars. Poets of this period were -Nerses Mokatzi, Minas Tokhatzi, Ghazar of Sebastia, Sarkavak Bertaktzi. - -Nerses Mokatzi was an ecclesiastic and poet. Very few of his works have -come down to us. One of the poems we have—entitled The Dispute -between Heaven and Earth—is interesting. The poet begins by saying -that Heaven and Earth are brothers. One day these brothers disputed as -to which of them was the greater. “Of course,” says the poet, -“the Heaven is high, but the Earth is more fruitful.” - -He then goes on to report a dialogue between the brothers in which each -enumerates his own possessions, declaring them superior to those of the -other. The following is a short prose summary of this dialogue:— - - - Heaven. Surely I possess more than you. The stars, with their - radiance, are all in my domain. - - Earth. The flowers, with their six thousand colours, are in mine. - - Heaven. If I withhold my dew, how will your flowers array - themselves? - - Earth. You derive your dew from the sea, which originates in me. If - I cut off the source of the sea, how would you get your dew? - - Heaven. I have something else that you have not: should I veil my - sun your flowers would fade. - - Earth. Oh, I will bring forth waters from my abyss to keep my - flowers alive. - - Heaven. The lightning and the hail could destroy your flowers if I - willed it so. - - Earth. I have mountains and valleys that would intercept them and - shield the flowers. - - Heaven. All brave and wise men are buried in your depths. - - Earth. When God recalls the souls that are His, what is to be done? - If I did not receive and conceal their bodies, the angels would - flee from the deathly odour, and Heaven and Earth would be shaken. - - Heaven. The Nine Orders of Angels are all here with me. - - Earth. In my realm are the Apostles and Prophets. - - Heaven. I am the Heaven of Seven Regions; the Sun, the Moon, and - the Creator-God sitting on His throne all have their abode in me. - - Earth. Your Seven Regions will be shaken from their foundation. The - Sun, the Moon, and the Stars will be cast into the darkness and - your Creator-God, with His throne, will descend to me. The Judgment - will be held in my domain. - - “Heaven then bent down its head - To the Earth in adoration, - You too, children of the Earth, - Bow to her in adoration. - What is higher than the Earth? - Praise and love bring to enwreathe her. - For to-day we walk on her - And to-morrow sleep beneath her.” [44] - - -This poem is interesting, as it breathes the spirit of the revival of -popular poetry, with its worship of nature, beauty, and love, of which -things the Earth is the personification. Hence the poet exalts Earth -above Heaven. Here we see also a change of ideas. The older Christian -poets were churchmen and sang contempt of the present world and -concentration on the joys of heaven. This new note, struck from the -beginning of the fifteenth century, gradually grows bolder, and sounds -forth daringly, as we hear it in this poem, which seems all the more -remarkable when we remember that its author was a priest. This is the -song, not of a lover of vanities, but, rather, of an enthusiast, who -loves beauty and has learnt that it is good to live on the earth, -because it also contains beautiful things that are worth living for. -This poem also shows the conquest of learning and science which, at the -time it was written, had found their way into Armenia as well as -elsewhere, perhaps through the new Armenian colonies formed in Europe -and other parts of the world. - -Minas Tokhatzi, a humorous poet, lived in Poland. He wrote verses on -Toothache and on Tobacco (descanting on its objectionable odour and -showing how the smoker becomes its slave); also on Flies. - -To convey an idea of his art, we give the substance of the last-named -work:— - -“The flies,” says the poet, “for some reason or other, went forth -to combat against me. They also entered into a conspiracy with my -penknife. Knowing of this, I implored the knife not to listen to the -accursed insects, who had already caused me enough pain. The attack was -begun in a novel fashion; the flies came, buzzing, in gay and merry -mood, and settled on my hands and arms in a friendly manner, asking me -to write them something in red ink. At the same time, the penknife, -playing me a perfidious trick, cut my hand. I protested against this -treatment. The penknife justified itself by saying it had acted thus -because I had told a lie. I got a few moments’ rest, after this, from -the flies, till, at dinner-time, I met with three of them, who -announced that more were coming. The combat was renewed. During the -night, the flies were relieved by their allies, the fleas.” - -Ghazar of Sebastia, an ecclesiastic, has fallen under the spell of some -eyes “as deep as the sea.” He describes the torment under which he -is pining away and his longing for his mistress’s arrival, like the -longing of a patient for his physician. The face of his love (he says) -is like glistening amber; her eyes are so bewitching, that - - - “The sun and moon have unto thee come down, - Lovingly on thy locks they hang, and gleam; - And clustering stars thy beauteous forehead crown, - Aflame and drunken with thy love they seem.” - - -There is nothing known of Sarkavak Bertaktzi, but this poem from his -pen is interesting:— - - - “O vine, you should commended be - For you are beautiful to see; - Your fruit is of all fruits most fair:— - The crown and diadem they wear. - Like strands of gold your branches spread, - Like ropes of pearl the grapes they thread. - For some are dark and some are white, - And some are red, transmitting light. - Some glow like amber in the dusk, - Perfumed with frankincense and musk. - Left us by the Creator’s care,— - From Eden’s fields a keepsake rare. - To us on earth you seem to be - The fruit of immortality. - To Noah you were by angels borne - His heart to gladden and adorn. - Your fruit when gathered from the vine - Unto the wine-press we assign; - Your juice like crimson roses glows - And through the press in torrents flows. - Then into jars we pour the meath, - There without fire to boil and seethe. - How many kings around you press, - Your name how many princes bless! - The Sovereign’s heart you fill with joy, - With power to conquer and destroy; - If he is wroth with any man, - And places him beneath his ban, - One drop of you immediately - Would move his heart to set him free. - The man that from his birth was blind, - Drinking of you, his sight doth find; - Of glorious cities he can tell, - Wherein his footsteps never fell. - The dumb, that halted in his speech, - To prate with fluency you teach. - More glibly than a parrot, he - Will jest and wanton dotingly. - At mass, within the sacred cup, - The holy priest doth raise you up. - Disease and pain through you will cease, - By you all sinners find release. - To town and village you are borne, - To convent, wilderness forlorn; - Where men do not your sparkle see, - No mass nor service can there be.” - - -The seventeenth century resembles its predecessor as regards the -political position of Armenia, except that the misery is even greater. - -During the last years of the eighteenth century, the Russian conquest -of Armenia began. - -At the end of the eighteenth century an Armenian monk named Mkhitar -Sepastatzi established at St. Lazare in Venice an Armenian Brotherhood, -who devoted themselves to literature. This Brotherhood is still in -existence, and has a branch in Vienna. During this period of more than -a century its members have printed hundreds of old MSS. of historical -value. They have also produced many works dealing with history and -other branches of learning, and translations of foreign classics, thus -rendering a great service to Armenian literature. - -It will be remembered that Byron stayed at St. Lazare and studied -Armenian, He actually took part in the publication of an -Armenian-English dictionary and grammar. - -For centuries music and song have become a joy to Armenians through -minstrels called ashoughs. Ashoughs are invited to all weddings and -other festivities, where they are the life of the party and the makers -of merriment. They sing also on the bridges and in the squares, and -wander from courtyard to courtyard. Their song is not always merry; it -is sometimes sad, sometimes even bitter. They always carry with them -their saz or tar or kamancha, oriental instruments, on which they -accompany their songs. Many of the ashoughs are blind. To be an ashough -is considered a high attainment. In order to acquire the art, any one -who aspires to become an ashough first observes a fast of seven weeks, -then goes to the monastery of Sourb Karapet, which is the Parnassus of -Armenian musicians. “Sourb Karapet” is John the Baptist, who is the -patron saint of Armenian minstrels. In the Near East, ashoughs (who are -mostly Armenians) are greatly admired not only by Armenians, but by -Persians, Turks, and other races, as some of them sing in other -languages besides Armenian. Some ashoughs sing their own verses, but as -a rule the songs are the composition of a special class of poets. The -songs of these other ashoughs often reveal deep feelings and many of -them are high-class poems. - -As a typical ashough author, I will only mention Sayat Nova. His lyre -attained extreme sweetness; he combines all the vivid colouring of the -East with soft and refined shading. He was born in 1712. He was a -special favourite at the court of the Georgian king. In his own words, -he “sat in the palace among the beauties and sang to them,” but his -songs seem not merely to be poems in praise of court beauties, or for -their amusement; they seem an expression of the deep feelings of his -heart. A word-picture of his lady-love will be found on page 74 of this -volume (“Thy Voice is Sweet”). - -His love is so intense that one sees at once that he is capable of deep -feelings and one is drawn to him; yet this love is pure and unselfish. -He describes his love as a sea and himself as a little barque floating -on it. For ten years he has wooed the lady as a prince, but without -success; he will not relinquish the pursuit of her, but resolves now -for seven years to pay court to her in the character of a -pilgrim-minstrel. - -He is even content only to sleep on her doorstep. There is something -else that is a part of his life, namely, his kamancha. He threatens to -cut the strings of his instrument if he is a week without seeing his -beloved. - -Once he comes face to face with his lady-love and says:— - -“What avails me now a physician? The ointment burns, and does not -heal the wound, but your medicine is a different one.” - -But she replies that she has no remedy for him. In another poem he is -in despair, and says:— - -“Without thee, of what use is the world’s wealth? I will don the -habit of a monk and visit the monasteries one by one. Perhaps in one of -them I shall discover a way of redemption from my hopeless love.” -(See “Without Thee what are Song and Dance to Me?” on page 85 of -this volume.) - -In another poem he expresses the wavering between earthly and heavenly -life, saying:— - -“If one obeys the will of the soul, then the body is offended. How -shall I escape this sorrow?” - -At last he carries out his declaration and becomes a monk. He secludes -himself from the world in a lonely monastery, far away from Tiflis; but -once he hears that a minstrel has come to that city whom none can -equal, whereupon he steals out of the monastery, disguised as a layman, -and taking his saz with him, goes to Tiflis, enters into contest with -the new minstrel, and conquering him, saves the honour of his native -town. - -In 1795 Agha Mohammed Khan laid waste Tiflis and many other towns of -that region. His soldiers entered the monastery where Sayat Nova was -praying and commanded him to come out and become a Mohammedan if he -wished to save his life; but he replied, in verse, that he was an -Armenian and would not deny his Christ. He was therefore martyred on -the spot. Other poems of his appear on pages 35 (“I have a Word I -fain would say”), 14 (“I beheld my Love this Morning”), 110 -(“Thou art so Sweet”). - -We have given specimens of mediaeval Armenian poetry; we now proceed to -indicate in outline its most striking characteristics. - -The theme of the Armenian pagan minstrels was the heroic deeds of their -country’s history. The adoption of Christianity imparted to Armenian -poetry a specific form and tone. At the same time it was the revival of -the old Armenian valour, which, strengthened by the circumstances in -which the Armenians lived, produced a religious poetry of great purity -of feeling, and of a depth and solemnity unequalled by any other poetry -of this class. - -In the Middle Ages, the poetry gave expression to the love and other -emotions of the Armenian poets. - -A new poetry of the now Mohammedan Persia written in modern Persian -came into being almost simultaneously with the Armenian poetry of the -Middle Ages. - -Firdusi, Omar Khayyam, Sadi, Hafiz, with a splendid retinue of less -famed singers, made Persian the language of verse which, together with -Arabic poetry in its earlier stages, no doubt had some influence on the -Armenian poets of the Middle Ages; but this influence affected form -rather than spirit or character. - -Armenian mediaeval poetry does not possess the burning hues of oriental -verse, and is perhaps less luxurious, but the grace, charm, ease, and -fancy of the Armenian lays are inimitable, and their originality and -occasional quaintness are so marked that one feels there is a magic in -them. These characteristics are the outcome of the mutual assimilation -of eastern and western art, so that the poetry of Armenia, like its -language, its art, its Church, stands by itself. - -In comparing Armenian with Persian and Arabic poetry, one must remember -that the Armenians, as Christians, were not polygamists; and that, to -them, marriage was sanctified by the law of God and man. This is what -the great Persian poet Sadi says of women: “Choose a fresh wife every -spring, or every New Year’s day, for the almanac of last year is good -for nothing.” It would have been impossible for any Armenian poet to -entertain such an idea as that. - -Whereas women are so cheap in the eyes of the Persian poet, Armenian -girls endowed with beauty were considered by their parents and the -community very precious possessions, to be zealously guarded, as they -were in constant danger of attracting the attention of their Mohammedan -lords and being forcibly carried off into harems. This fact had the -effect of mingling compassion with the Armenian poets’ admiration of -a girl’s beauty and made them write more feelingly of women. - -It must also be remembered that, whereas Mohammedanism looks upon woman -as a soulless being, in the eyes of a Christian she possesses a soul as -precious as that of a man. - -It is an interesting fact that love poems were written by the clergy, -often by ecclesiastics of high position, who, by the law of the -Armenian Church, are vowed to celibacy. One explanation of this is that -they were born poets, and only regarded love as one among many feelings -fitted to be the subject of verse. Their use of the first person is -only dramatic. - -There are also many folksongs which differ, in style and character, -from the love-songs of poets. The spirit of these songs is that of -Armenian pagan poems. The following is an example of songs of this -class. It describes the adventure of a girl. - - - “I beheld a youth to-day - As at dawn I walked unheeding, - And the youth stopped on his way, - Struck my cheek, and left it bleeding. - Then my mother questioned me, - ‘Who was it that struck you?’ saying, - ‘’Twas a thorn, as near the tree - With the roses I was playing.’ - ‘May the tree turn dry and sear - Which thy pretty cheek left bleeding!’ - ‘Mother, dear, oh, do not speak, - ’Twas a youth that stopped to kiss it. - ’Twas for luck he kissed my cheek, - If thou curse him he will miss it!’” - - -Armenian religious and devotional poetry has characteristics of its -own. This class of literature falls into two divisions. In the first -division are works of a purely literary character written in old -Armenian; in the second, works meant for popular use, written in the -language of the people. These latter are written in a more familiar -style, proverbs and paraphrases being often introduced, in a -picturesque fashion, which appeals to the unlearned. - -As an example of the popular class of literature we give an extract -from a poem about Gregory the Illuminator, who was cast by King -Tiridates into a well infested with serpents and other loathsome -creatures:— - - -“‘Take the saint and put him into the prison where - dragon-serpents are assembled.’ -They took the saint and put him in the prison where the - dragon-serpents were assembled. -And the poisonous serpents inclined their tongues in worship. -And said: ‘Pity us, O Saint Gregory, and hearken to the complaint - of us, dragon-serpents. -It is many thousands of years since we drank water from the springs; -We have not drunk water from the springs, but only the blood of condemned men. -We have eaten no green herbs, but only the flesh of the condemned.’” - - -The poet goes on to tell how St. Gregory when he came out of the well -set free the dragon-serpents in answer to their prayer. - -This poem is very old, being written in the fifth or sixth century at -the latest. The metre is that of the pagan poets. - -We cite here another poem of this class—an allegorical description of -Christ on the Cross:— - - - “A little Bird I saw—a peerless One— - Upon the four-armed Sign, that peer hath none. - O Peerless One, who is like Thee, Thou Peerless One? - Thou alone. - - “Its silvery wings were of a matchless white - More brilliant than the sun’s clear, matchless light. - O Matchless One, who is like Thee, Thou Matchless One? - Thou alone. - - “Piteous Its voice—a great, transcendent sigh; - Mighty, as Gabriel’s transcendent cry. - Transcendent One, who is like Thee, Transcendent One? - Thou alone. - - “Within Its eyes, gem-like, unrivalled tears; - Surpassing those the morn unrivalled wears; - Unrivalled One, who is like Thee, Unrivalled One? - Thou alone.” - - -A characteristic species of Armenian poetry is the lullaby. There are -hundreds of old Armenian cradle-songs which are still sung by mothers -to their infants, and they are exquisitely dainty and sweet. - -Here are some stanzas from one of these songs:— - - - “Thou art lovely, feet and all, - Whom wouldst have to be thy playmate? - Hush, the silver moon I’ll call— - The bright star to be thy playmate. - - “Crimson rose and petals wide, - Thou hast bloomed, our garden’s pride. - As many suns shine on thy years - As the leaves our garden bears. - - “Oror, hush, the deer are here, - The deer have come from the hills so high, - Have brought sweet sleep to my baby dear, - And filled it in his deep, deep eye.” - - -There are series of Armenian folksongs for every event in life—birth, -marriage, death, and so on. - -The following is a folksong of death, being the lament of a mother over -her dead son:— - - - “As to-night I walked alone - To the earth my ear inclining, - From the ground I heard a moan,— - My son’s voice I heard repining. - ‘Do not leave me in the ground, - With the serpents round me crawling. - “Food in plenty we have found,” - To their young ones they are calling, - “From his ribs we’ll gnaw the flesh, - From his eyes drink water fresh.”’ - All the night I found no rest, - I cried out, ‘Give me a knife, - I will plunge it in my breast, - I will have no more of life!’” - - -Yet another feature of the literature of this period is the -contemporary history in verse. We come across metrical narratives of -great events written by those who experienced them. There is a long and -vivid description in verse, by an eye-witness, of the siege of -Constantinople. The poet is Abraham Vardapet. - -There are also agricultural and craft songs, which are sung by workmen -over their labour. - -These songs are adapted to the movements necessitated by each -occupation. - -Another marked difference between Armenian and Mohammedan literature is -that Armenians are entirely free from the fatalism which is a -distinctive feature of the Mohammedan view of life. - -Sadi relates, in his Gulistan, the story of a fisherman that gives the -Mohammedan conception of Fate. This fisherman had caught a fish which -his strength did not allow him to drag to shore. Fearing to be drawn -into the river himself, he abandoned his line, and the fish swam away -with the bait in his mouth. His companions mocked him, and he replied: -“What could I do? This animal escaped because his last hour, fixed by -fate, was not yet come. Fate governs all, and the fisherman cannot -overcome it more than another, nor can he catch fish, if fate is -against him, even in the Tigris. The fish itself, even though dry, -would not die, if it were the will of fate to preserve its life.” The -poet adds: “O man! why shouldst thou fear? If thy hour is not come, -in vain would thy enemy rush against thee with his lance in rest: his -arms and his feet would be tied by fate, and the arrow would be turned -away, though in the hands of the most expert archer.” - -The spirit of Armenian poetry is neither despondent nor fatalistic. Its -songs are of dawn, of spring, of sunrise, of struggle; not of sunset. -And perhaps this clinging to hope and this desire to live is the only -secret of the survival of the Armenian nation. Armenian poetry is the -product of dwellers in a hill country. To them mountains, deep valleys, -clear skies, running brooks are familiar every-day companions. - -This brings us down to the Renaissance of Armenian literature which -took place almost simultaneously in Russia and Turkey, but the field of -modern Armenian literature is such a wide one that we cannot attempt an -analysis of it here. There are, however, some examples of modern -Armenian poetry in this volume. - -The occupation of the Armenian provinces by Russia in 1828, with the -attendant emigration of thousands from Persia and Turkey into Russian -Armenia, strengthened the nation. National schools were soon opened, -supported by the Armenians themselves. An Armenian Academy was -established in Moscow in 1815 and a Seminary in Tiflis in 1826. Many -Armenians went to Moscow and Petrograd, and also to foreign -universities, especially to those of Germany, Switzerland, and France. -The educational revival produced a new era, and a new Armenian -literature came into being. Many Armenian newspapers and reviews were -founded and published in different places. Tiflis was the centre of the -literature and learning of Russian Armenia. A similar revival of -letters occurred in Turkish Armenia. In 1860 a national and -ecclesiastical constitution was granted to the Armenians in Turkey. For -Turkish Armenians the literary centres were Constantinople and Smyrna. -In the latter city, good work was done in translating western classics, -but Constantinople was the chief seat of Armenian culture in Turkey. -Thus Armenian literature became divided into two branches—Russian -Armenian and Turkish Armenian—each of which has its own peculiarities -of language, style, and tone. It was poetry that first burst into bloom -and reached maturity soonest. At first the motifs of the poems were -mainly national. The imagination of the poets was kindled by the past, -present, and future of Armenia, its sufferings, its national beauty, -its shortcomings. They looked forward to a national regeneration. They -were apostles of light, science, learning; and pointed out new paths of -national salvation. The result of all this was the production of some -beautiful national songs. These songs are not triumphant anthems like -those of other countries; they are songs of suffering, but with a note -of hope. Then Armenian poetry developed a truer relation with what had -been created in literature and art, and the poets looked at things in a -new way, and assumed new poetical forms. It combined poetry and -imagination with passionate feeling for life and truth. Some of the -poems of this period are of exquisite workmanship, breathing the very -spirit of the time. - -As we have said, Armenian poetry of the nineteenth century is so full -of merit and of such intense interest that it would be impossible to do -it justice without writing at great length. We have already exhausted -the space at our disposal, and hope to devote a separate work to it. - -Persian and Arabic poetry are things of the past, but Armenian poetry, -like the Armenian nation, has an unquenchable vitality, ever advancing -towards new horizons, and soaring to loftier heights. - - - - - - - -CHRONOLOGICAL INDEX TO AUTHORS - - - Moses of Khorene, fifth century— PAGE - Vahagn, King of Armenia, 10 - Ara and Semiramis, 23 - The Founding of Van, 33 - Artashes and Satenik, 48 - Artavasd, 65 - Christ and Abgarus, 75 - - Folk Songs— - The Exile’s Song, 1 - The Apple Tree, 3 - The Fox, the Wolf, and the Bear, 15 - The Song of the Stork, 27 - The Song of the Partridge, 36 - The Hawk and the Dove, 63 - Charm Verses, 67 - O’er the Mountains High He went, 81 - The Fox, 90 - Dance Song (Haberban), 101 - - Author Unknown, mediaeval— - Yesternight I walked Abroad, 7 - - Saint Gregory of Narek, 951–1009— - The Christ-Child, 113 - - Saint Nerses Shnorhali, 1102–1173— - The Arrival of the Crusaders, 58 - - Hovhannes Erzingatzi, b. 1260— - Like an Ocean is this World 59 - - “Frik,” d. 1330— - Reproaches, xv - - John Gower, d. 1408— - The Tale of Rosiphelee, 91 - - Hovhannes Tulkourantzi, 1450–1525— - Concerning Death, 119 - - Grigoris of Aghtamar, fifteenth century— - Concerning the Rose and the Nightingale, 52 - - Nahabed Kouchak, fifteenth century— - My Heart is turned into a Wailing Child, 4 - O Night, be long, 5 - Birthday Song, 31 - - Sayat Nova, 1713–1795— - I beheld my Love this Morning, 14 - I have a Word I fain would say, 35 - “Thy Voice is Sweet”, 74 - Without Thee what are Song and Dance to Me?, 85 - Thou art so Sweet, 110 - - Leo Alishan, 1820–1901— - The Lily of Shavarshan, 37 - The Nightingale of Avarair, 108 - - Mikael Nalbandian, 1829–1866— - Liberty, 12 - - Muggurdich Beshigtashlian, 1829–1868— - Spring, 89 - - Raphael Patkanian, 1830–1892— - Cradle Song, 21 - Cradle Song, 41 - The Tears of Araxes, 69 - - Raffi, 1837–1888— - The Parrot’s Song, 78 - The Lake of Van, 86 - Ballad, 103 - The Castle of Anoush, 114 - - Karekin Srvanstian, 1840–1892— - Lament over the Heroes fallen in the Battle of Avarair, 25 - - Smpad Shahaziz, 1840–1897— - The Dream, 46 - - Thomas Terzyan, 1842–1909— - The Chragan Palace, 44 - - Elia Demirjibashian, 1851–1908— - The Song of the Vulture 98 - - Bedros Tourian, 1852–1872— - The Little Lake, 18 - My Death, 50 - Complaints, 82 - A Day after, 84 - Love One Another, 121 - - William Watson, b. 1858— - A Trial of Orthodoxy, xvi - - Hovhannes Hovhannessian, b. 1869— - Spring, 20 - The Rock, 60 - Araxes came devouringly, 77 - - Hovhannes Toumanian, b. 1869— - The Crane, 62 - Earth and Sky, 79 - - Alexander Dzadourian, b. 1870— - The Armenian Poet’s Prayer, 43 - - Arschag Tchobanian, b. 1872— - Happiness, 118 - - Avetis Isahakian, b. 1875— - Black Eyes, 6 - Huntsman, that on the Hills above, 11 - Ye Mountain Bluebells, 29 - The Sun went down, 30 - The Wind is howling through the Winter Night, 42 - - Shushanik Gourghinian, b. 1876— - The Eagle’s Love, 51 - - Zabelle Essayan, b. 1878— - Incense, 17 - - C. A. Dodochian— - The Wandering Armenian to the Swallow, 111 - - Hovhannes Costaniantz— - No Bird can reach the Mountain’s Crest, 106 - - Derenik Demirjian— - The Eve of Ascension Day, 73 - - Haroutune Toumanian— - Morning, 32 - - Vittoria Aganoor Pompilj, d. 1910— - Pasqua Armena, 122 - “Io Vidi”, 123 - - - - - - - -INDEX TO FIRST LINES - - - AUTHOR. TRANSLATED BY PAGE - -Above the waters, like a hoary giant Hovhannes Hovhannessian Z. C. Boyajian 60 -Accostarsi all’oscuro Vittoria Aganoor Pompilj 123 -A great black bird like to a great black - cloud Elia Demirjibashian Z. C. Boyajian 98 -An eagle sat upon the fell Shushanik Gourghinian Z. C. Boyajian 51 -Araxes came devouringly Hovhannes Hovhannessian Z. C. Boyajian 77 -Armenian maidens, come and view Leo Alishan Alice Stone Blackwell 37 -Belovèd one, for thy sweet sake Folk Song Z. C. Boyajian 1 -Dark forests clothe the mountain-side Raffi Z. C. Boyajian 103 -Day dawned. Bright tongues of scarlet - flame Haroutune Toumanian Z. C. Boyajian 32 -Do not trust black eyes, but fear them Avetis Isahakian Z. C. Boyajian 6 -Farewell, thou Sun, and Thou, O Power - Divine Bedros Tourian Z. C. Boyajian 82 -Have you ever seen that wondrous - building T. Terzyan Alice Stone Blackwell 44 -Huntsman, that on the hills above Avetis Isahakian Z. C. Boyajian 11 -I beheld my love this morning Sayat Nova Z. C. Boyajian 14 -If Goghtan’s bards no longer crown Karekin Srvanstian Z. C. Boyajian 25 -I have a word I fain would say Sayat Nova Z. C. Boyajian 35 -I have loved your winsome face Folk Song Z. C. Boyajian 101 -In many a distant, unknown land 47 -I walk by Mother Arax Raphael Patkanian Alice Stone Blackwell 69 -Like an ocean is this world Hovhannes Erzingatzi Z. C. Boyajian 59 -My heart is turned into a wailing child Nahabed Kouchak Z. C. Boyajian 4 -Nightingale, oh, leave our garden Raphael Patkanian Alice Stone Blackwell 41 -Night with her ebon hair and starry Derenik Demirjian Z. C. Boyajian 73 - crown -No bird can reach the mountain’s crest H. Costaniantz Z. C. Boyajian 106 -None await thy smiling rays Hovhannes Hovhannessian Z. C. Boyajian 20 -Non fu di fiele abbeverato? Il petto Vittoria Aganoor Pompilj 122 -O’er the mountains high he went Folk Song Z. C. Boyajian 81 -O evil man, with passions fraught Hovhannes Tulkourantzi Z. C. Boyajian 119 -Of Armenye, I rede thus John Gower 91 -O God of righteousness and truth “Frik” xv -O God, ’tis not for laurel wreaths I - pray Alexander Dzadourian Z. C. Boyajian 43 -O little breeze, how fresh and sweet Muggurdich Beshigtashlian Z. C. Boyajian 89 -Once more God hither moves their course Saint Nerses Shnorhali Z. C. Boyajian 58 -O Night, be long—long as an endless year Nahabed Kouchak Z. C. Boyajian 5 -On the morning of thy birth Nahabed Kouchak Z. C. Boyajian 31 -O swallow, gentle swallow C. A. Dodochian Alice Stone Blackwell 111 -Slumbering darkly yesterday Bedros Tourian Z. C. Boyajian 84 -Soft and low a voice breathed o’er me S. Shahaziz Z. C. Boyajian 46 -Stork, I welcome thy return Folk Song Z. C. Boyajian 27 -Sweet slumber now creeps o’er thee slow Raphael Patkanian Z. C. Boyajian 21 -The clinging children at their mother’s - knee William Watson xvi -The Crane has lost his way across the - heaven Hovhannes Toumanian Z. C. Boyajian 62 -The door of Heaven open seemed Folk Song Z. C. Boyajian 3 -The fox ran up into the mill Folk Song Z. C. Boyajian 90 -The Hawk said to the Dove, “My dear” Folk Song Z. C. Boyajian 63 -The incense at the altar slowly burns Zabelle Essayan Z. C. Boyajian 17 -The lips of the Christ-child are like to - twin leaves Saint Gregory of Narek Alice Stone Blackwell 113 -The little fox, the wolf and bear made - peace Folk Song Z. C. Boyajian 15 -The Rose was gone. When to the empty - tent Grigoris of Aghtamar Z. C. Boyajian 52 -The Sky bent down his piercing gaze one - day Hovhannes Toumanian Z. C. Boyajian 79 -The sun has touched the mountain’s crest Folk Song Z. C. Boyajian 36 -The sun went down behind the hill Avetis Isahakian Z. C. Boyajian 30 -The wind is howling through the winter - night Avetis Isahakian Z. C. Boyajian 42 -Thou art so sweet thou wilt not pain Sayat Nova Z. C. Boyajian 110 -Thy voice is soft, thy speech all - sweetness flows Sayat Nova Z. C. Boyajian 74 -Undying Love, Whose beams forever glow Bedros Tourian Z. C. Boyajian 121 -Unutterable silence here is spread Raffi George M. Green 86 -Weary of vainly seeking Happiness Arschag Tchobanian Z. C. Boyajian 118 -Whence comest thou, my moon, gentle and - still Leo Alishan Z. C. Boyajian 108 -When Death’s pale angel comes to me Bedros Tourian Z. C. Boyajian 50 -When the God of Liberty Mikael Nalbandian Z. C. Boyajian 12 -Why dost thou lie in hushed surprise Bedros Tourian Alice Stone Blackwell 18 -With nuts and sweets and dainty fare Raffi Z. C. Boyajian 78 -Without thee what are song and dance to - me? Sayat Nova Z. C. Boyajian 85 -Ye mountain bluebells, weep with me Avetis Isahakian Z. C. Boyajian 29 -Yesternight I walked abroad Author Unknown Z. C. Boyajian 7 -Charm Verses Folk Songs Z. C. Boyajian 67 - - -PROSE LEGENDS - -Ara and Semiramis Moses of Khorene Z. C. Boyajian 23 -Artashes and Satenik Moses of Khorene Z. C. Boyajian 48 -Artavasd Moses of Khorene Z. C. Boyajian 65 -Christ and Abgarus Moses of Khorene Z. C. Boyajian 75 -The Castle of Anoush Raffi Z. C. Boyajian 114 -The Founding of Van Moses of Khorene Z. C. Boyajian 33 -Vahagn, King of Armenia Moses of Khorene Z. C. Boyajian 10 - - - - - - - - -NOTES - -[1] The “feast of Father Abraham” means plenty. - -[2] An apple is the symbol of love. - -[3] Armenian babies are tied tightly into their cradles when they are -put to sleep. - -[4] This and the other translations by Miss Alice Stone Blackwell are -reprinted from Armenian Poems, by the translator’s kind permission. - -[5] Oror—lullaby. - -[6] Armenian babies have their eyes bandaged when they are put to -sleep, and they are tied into their cradles. - -[7] Santoukhd was martyred by the order of her father, King Sanadroug, -for becoming a Christian. - -[8] The late Hagop Bey Balian. - -[9] A great number of these little poems exist. They are traditional, -and are used for fortune-telling. On the Eve of Ascension Day all those -who wish to have their fortunes told place some little trinket into a -bowl containing seven different kinds of flowers and water from seven -springs. The bowl is left open to the stars until dawn, when the party -assemble and select a child who cannot tell where the sun rises to take -the trinkets out as the verses are repeated. The owner of the token -takes the verse preceding its being brought out as his or her fortune. - -[10] The Eve of Ascension Day is the time when betrothals are arranged -and destinies decided. - -[11] The patron saint of lovers. - -[12] The poem entitled “Complaints,” written a few days before his -death. - -[13] “Ner”—the Antichrist, concerning whom the Armenians have -many traditions. - -[14] Haberban. - -[15] The Paradise of Mohammed, where the souls of the blest are waited -upon by beautiful houris, and fed with delicious fruits. - -[16] Above the summit of Aragatz, the mountain that faces Ararat on the -far side of the plain, a weird light is sometimes visible, -traditionally called the Lamp of Saint Gregory the Illuminator. - -[17] Anoush - sweet. - -[18] This and the following poem are reprinted from Nuove Liriche, by -Vittoria Aganoor Pompilj, Roma. Nuova Antologia. - -[19] Navasard fell, according to the later calendar of pagan Armenia, -in August. - -[20] See Agathangelos (fourth century A.D.). - -[21] Annual bonfires are kindled by Armenians on the festival of -Candlemas, or the Purification of the Blessed Virgin Mary (February -13/2). - -[22] Agathangelos. - -[23] Statues of massive gold were consecrated to her, one of which was -captured by the soldiers of Antony (Pliny, H. N., xxx. 24). - -[24] At each festival, the Armenians had to show what progress they had -made during the past year, in art and in other occupations, and races -and other competitions took place, the victors being crowned with -wreaths of roses. When the doves were set flying the High Priest -sprinkled the people with the waters of the Aradzani—a tributary of -the Euphrates—and the people in their turn sprinkled each other. The -customs dated back to traditions of the deluge—that universal baptism -with which God cleansed all the sinful earth, and the same expression -of love and forgiveness is manifested in the presence of the dove at -the baptism of Jordan. See Raffi’s Samuel, chap. ix. - -[25] Astghik means in Armenian “little star.” - -[26] It is a curious coincidence that Venus, the Greek goddess of -beauty, was also the wife of a fire-god, Vulcan. - -[27] Some say that Ammanor was an ancient Armenian god and not foreign. - -[28] Kadjk means in Armenian “brave ones.” - -[29] Zarmaïr, another king of this dynasty, took part in the defence -of Troy. The historian emphasises the fact that he was killed by -Achilles himself. - -[30] It is interesting to recall, in this connection, some passages of -Strabo. Speaking of Armenia he says:—“It is said that people -passing by the foot of the mountains are often buried in the snow which -falls from the summits. In order to be prepared for such a mishap, -travellers carry with them two long sticks for the purpose of making -breathing places for themselves, should they be covered by the snow. -The sticks, at the same time, serve as signals to any other travellers -who may happen to be passing.” - -[31] Cf. the original text of the Armenian poem which is as follows:— - - Երգներ երգին և երգիր Erkner erkin ev erkir - Երգներ և ծիրանի ծով Erkner ev dzirani dzov - Երգն ի ծովուն ուներ Erkn i dzovun uner - Զգարմրիգ եղեկնիգն. Zkarmrik eghegnikn. - Ընգ եղեգան փող, ծուխ ելաներ Ŭnd eghegan pogh, dzukh elaner - Ընգ եղեգան փող, քոց ելաներ Ŭnd eghegan pogh, botz elaner, - Եվ ի քոցտին պատանեկիկ վազեր, Ev i botzuin patanekik vazer, - Նա հուր հեր ուեր, Na hur her uner, - Ապա թե բոց ուներ մօրուս Apa te botz uner morus - Եվ աչկունքն եին արեգակունք. Ev achkunkn ein aregakunk. - -[32] The following lines from a Chaldean description of Ut-napisti, the -Chaldean Noah’s sacrifice after the Flood, furnish an example from -Assyrian poetry:— - - “The gods smelled a savour, - The gods smelled a sweet savour, - The gods gathered like flies over the sacrifice.” - -[33] Dziran in Armenian means “apricot,” therefore dzirani = “of -apricot colour.” - -[34] Strabo says about Artaxata that it was built upon a design which -Hannibal gave to King Artaxes (Artashes), who made it the capital of -Armenia, and Tournefort, the famous French botanist, who travelled in -Armenia in the seventeenth century, exclaims, in reference to this -fact: “Who could have imagined that Hannibal would come from Africa -to Armenia to be engineer to an Armenian king? But so it is.” - -[35] April, when the New Year commenced. - -[36] The son of Tigranes the Great. - -[37] “Armenios, one of the Argonauts, who was believed to have been a -native of Rhodes or of Armenion in Thessaly, and to have settled in the -country which was called after him, Armenia” (Strabo, xi. 530, etc.; -Justin, xlii. 2; Steph. Byz. S. V. Αρμενια). - -[38] Translations of Moses of Khorene: Latin (with Armenian text), -Whiston (G. & G.), London, 1736; Italian, Cappelletti (G.), Venice, -1841; Tommaseo (H.), Venice, 1849–50; German, Lauer (M.), Regensburg, -1869; French (with Armenian text), Le Vaillant de Florivel (P. E.), -Paris, 1841 (2 vols.), and in Langlois’ Collection, vol. ii.; -Russian, M. Emin, Moscow. - -[39] See Travel and Politics in Armenia, by Noel Buxton, M.P., and Rev. -Harold Buxton; with Introduction by Viscount Bryce and a Contribution -on Armenian History and Culture by Aram Raffi. Smith, Elder & Co. 1914. - -[40] The history of this war is recorded by Eghishé, a contemporary -ecclesiastic, whose work is more widely read than any book except the -Bible. He is a poet rather than an historian. - -[41] All the metrical translations quoted are by Miss Z. C. Boyajian. -Like her other translations in this volume they are almost literal -renderings; and the original metre has been kept. - -[42] These monarchs are mentioned because they were the first Christian -sovereigns. - -[43] In the Armenian Church there are two classes of clergy—the -higher order to which bishops belong and who do not marry, and the -lower order of parish priests who do marry. - -[44] It is interesting to compare this with a Persian poem by Essedi of -Tus called a dispute between Day and Night. In the former the Earth is -victorious, in the latter the Day. The Persian is essentially -Mohammedan in spirit and conventional, whereas the Armenian is almost -modern. - - Day. By day the pious fast and pray; - And solemn feasts are held by day. - - Night. Day can but paint the skies with blue, - Night’s starry hosts amaze the view. - - Day. ... I am a Moslem—white my vest, - Thou a vile thief, in sable drest. - Out, negro-face!—dar’st thou compare - Thy cheeks with mine, so purely fair? - - ... The Sun is ruddy, strong, and hale: - The moon is sickly, wan, and pale. - Methinks ’twas ne’er in story told - That silver had the worth of gold! - The moon, a slave, is bowed and bent, - She knows her light is only lent, - She hurries on, the way to clear, - Till the Great Shah himself appear. - - From “The Rose Garden of Persia.” - - - - - - -End of the Project Gutenberg EBook of Armenian Legends and Poems, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK ARMENIAN LEGENDS AND POEMS *** - -***** This file should be named 54036-0.txt or 54036-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/4/0/3/54036/ - -Produced by Jeroen Hellingman and the Online Distributed -Proofreading Team at http://www.pgdp.net/ for Project -Gutenberg (This file was produced from images generously -made available by The Internet Archive/American Libraries.) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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-} -.xd24e4029width { -width:604px; -} -.xd24e4362width { -width:720px; -} -.xd24e4936width { -width:720px; -} -.xd24e5580width { -width:720px; -} -.xd24e5847width { -width:720px; -} -.xd24e6561width { -width:720px; -} -.xd24e7092width { -width:720px; -} -.xd24e9631 -{ -text-indent:14em; -} -.xd24e10258 -{ -font-size:small; -} -.xd24e11447width { -width:218px; -} -@media handheld -{ -} -</style> -</head> -<body> - - -<pre> - -The Project Gutenberg EBook of Armenian Legends and Poems, by Various - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Armenian Legends and Poems - -Author: Various - -Illustrator: Zabelle C. Boyajian - -Release Date: January 21, 2017 [EBook #54036] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK ARMENIAN LEGENDS AND POEMS *** - - - - -Produced by Jeroen Hellingman and the Online Distributed -Proofreading Team at http://www.pgdp.net/ for Project -Gutenberg (This file was produced from images generously -made available by The Internet Archive/American Libraries.) - - - - - - -</pre> - -<div class="front"> -<div class="div1 cover"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first"></p> -<div class="figure xd24e301width"><img src="images/frontcover.jpg" alt= -"Original Front Cover." width="566" height="720"></div> -<p class="par"><span class="pagenum">[<a id="xd24e305" href="#xd24e305" -name="xd24e305">1</a>]</span></p> -</div> -</div> -<div class="div1 frenchtitle"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first xd24e308">ARMENIAN<br> -LEGENDS AND POEMS <span class="pagenum">[<a id="xd24e312" href= -"#xd24e312" name="xd24e312">2</a>]</span></p> -</div> -</div> -<div class="div1 frontispiece"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first"></p> -<div class="figure xd24e316width"><img src="images/frontis1.jpg" alt= -"LEO VI, LAST KING OF ARMENIA." width="350" height="433"> -<p class="figureHead">LEO VI, LAST KING OF ARMENIA.</p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e320" href="#xd24e320" -name="xd24e320">4</a>]</span></p> -<p class="par"></p> -<div class="figure xd24e323width" id="plate01"><img src= -"images/plate01.jpg" alt="ARMENIA" width="720" height="535"> -<p class="figureHead">ARMENIA</p> -<div class="lgouter"> -<p class="line">The Ages pass, no tidings come;</p> -<p class="line">My brave ones fall, are lost and gone.</p> -<p class="line">My blood is chilled, my voice is dumb</p> -<p class="line">And friend or comfort I have none.</p> -</div> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e336" href="#xd24e336" -name="xd24e336">5</a>]</span></p> -</div> -</div> -<div class="div1 titlepage"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first"></p> -<div class="figure xd24e340width"><img src="images/titlepage.png" alt= -"Original Title Page." width="514" height="720"></div> -<p class="par"></p> -</div> -</div> -<div class="titlePage"> -<div class="docTitle"> -<div class="mainTitle xd24e346">ARMENIAN LEGENDS AND POEMS</div> -</div> -<div class="byline">ILLUSTRATED & COMPILED<br> -<i>by</i><br> -<span class="docAuthor">ZABELLE C. BOYAJIAN</span></div> -<div class="figure xd24e358width"><img src="images/tigranes.png" alt= -"Tigranes the Great King of Armenia" width="307" height="313"> -<p class="figureHead"><span class="sc">Tigranes the Great</span><br> -<span class="sc">King of Armenia</span></p> -</div> -<div class="byline">WITH AN INTRODUCTION BY THE RIGHT HON. VISCOUNT -BRYCE, O.M.<br> -AND<br> -A CONTRIBUTION ON “ARMENIA: ITS EPICS, FOLK-SONGS, AND MEDIAEVAL -POETRY,”<br> -<span class="sc">By</span> ARAM RAFFI</div> -<div class="docImprint">LONDON: J. M. DENT & SONS LTD.<br> -NEW YORK: E. P. DUTTON & COMPANY</div> -</div> -<p><span class="pagenum">[<a id="xd24e382" href="#xd24e382" name= -"xd24e382">6</a>]</span></p> -<div class="div1 note"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first xd24e384"><i>Miss Boyajian is giving all the -profits of this edition to the Lord Mayor’s Armenian Fund</i> -<span class="pagenum">[<a id="xd24e388" href="#xd24e388" name= -"xd24e388">7</a>]</span></p> -</div> -</div> -<div class="div1 dedication"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first xd24e384">Dedicated</p> -<p class="par xd24e384">TO</p> -<p class="par xd24e384">THE UNDYING SPIRIT OF ARMENIA <span class= -"pagenum">[<a id="xd24e397" href="#xd24e397" name= -"xd24e397">8</a>]</span></p> -</div> -</div> -<div class="div1 frontispiece"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first"></p> -<div class="figure xd24e401width"><img src="images/frontis2.jpg" alt= -"Saint George slaying the dragon." width="330" height="332"></div> -<p class="par"><span class="pagenum">[<a id="xd24e405" href="#xd24e405" -name="xd24e405">9</a>]</span></p> -</div> -</div> -<div id="preface" class="div1 preface"><span class="pagenum">[<a href= -"#xd24e471">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">PREFACE</h2> -</div> -<div class="divBody"> -<p class="par first">In preparing this book of Armenian Legends and -Poems my principal object was to publish it as a Memorial to an unhappy -nation.</p> -<p class="par">The book does not claim to represent Armenian poetry -adequately. Many gifted and well-known authors have been omitted, -partly from considerations of space, and partly because of the scope of -the work. For instance, I should have liked to include some of the -Sharakans (rows of gems) of Nerses Shnorhali; but the impossibility of -reproducing their characteristic forms in another language, and doing -them any justice, made me decide not to translate any of them. I have -only given a few typical legends and poems, endeavouring, as far as -possible, to convey the local colouring by adhering closely to the -form, rhythm, and imagery of the originals in my translations. I have -also largely based the decorative scheme of the illustrations upon -Ancient Armenian Art as we see it in mediæval missals and -illuminations.</p> -<p class="par">Should this anthology create an interest in Armenian -literature the Armenian Muses have still many treasures in their -keeping which cannot be destroyed; and another volume could be -compiled.</p> -<p class="par">In conclusion, I wish to express my sincerest gratitude -to Miss Alice Stone Blackwell, of Boston, U.S.A.—one of -Armenia’s truest friends—for allowing me to reprint several -of her renderings of Armenian poems; to G. C. Macaulay, M.A., and the -Delegates of the Oxford University Press, for permission to reprint the -“Tale of Rosiphelee” from their edition of Gower’s -<i lang="la">Confessio Amantis</i>; to Mr. William Watson and Mr. John -Lane for permission to reprint the sonnet on Armenia, “A Trial of -Orthodoxy,” from <i>The Purple East</i>; and to the heirs of -Vittoria Aganoor Pompilj for permitting me to reprint two of her poems, -“Pasqua Armena” and “Io Vidi,” from the -<i lang="it">Nuova Antologia</i>. I wish also to thank Mr. M. E. -Galoustiantz for designing the cover of this book.</p> -<p class="par">The proceeds of the present edition will be handed over -to the Armenian Fund.</p> -<p class="par signed">ZABELLE C. BOYAJIAN. <span class= -"pagenum">[<a id="xd24e431" href="#xd24e431" name= -"xd24e431">11</a>]</span></p> -</div> -</div> -<div id="introduction" class="div1 introduction"><span class= -"pagenum">[<a href="#xd24e478">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">INTRODUCTION</h2> -</div> -<div class="divBody"> -<p class="par first">Severed for many centuries from Western Europe by -the flood of Turkish barbarism which descended upon their country in -the Middle Ages, and subjected for the last two generations to -oppressions and cruelties such as few civilised people have ever had to -undergo, the Armenians have been less known to Englishmen and Frenchmen -than their remarkable qualities and their romantic history deserve. Few -among us have acquired their language, one of the most ancient forms of -human speech that possess a literature. Still fewer have studied their -art or read their poetry even in translations. There is, therefore, an -ample field for a book which shall present to those Englishmen and -Frenchmen, whose interest in Armenia has been awakened by the -sufferings to which its love of freedom and its loyalty to its -Christian faith have exposed it, some account of Armenian art and -Armenian poetical literature. Miss Boyajian, the authoress of this -book, is the daughter of an Armenian clergyman, whom I knew and -respected during the many years when he was British Vice-Consul at -Diarbekir on the Tigris. She is herself a painter, a member of that -group of Armenian artists some of whom have, like Aïvazovsky and -Edgar Chahine, won fame in the world at large, and she is well -qualified to describe with knowledge as well as with sympathy the art -of her own people.</p> -<p class="par">That art has been, since the nation embraced -Christianity in the fourth century of our era, chiefly ecclesiastical. -The finest examples of ancient Armenian architecture are to be seen in -the ruins of Ani, on the border where Russian and Turkish territory -meet, a city which was once the seat of one of the native dynasties, -while the famous church of the monastery of Etchmiadzin, at -Vagarshabad, near Erivan, is, though more modern, a perfect and -beautiful existing representative of the old type. Etchmiadzin, -standing at the north foot of Mount Ararat, is the seat of the -Katholikos, or ecclesiastical head of the whole Armenian church. There -was little or no ecclesiastical sculpture, for the Armenian church -discouraged the use of images, and fresco painting was not much used -for the decoration of churches; missals, however, and other books of -devotion and manuscripts of the Bible were illuminated with hand -paintings, and adorned with miniatures; and much skill and taste were -shown in embroideries. Metal work, especially in silver and in copper, -has always been a favourite vehicle for artistic design in the Near -East and is so still, though like everything else it has <span class= -"pagenum">[<a id="xd24e440" href="#xd24e440" name= -"xd24e440">12</a>]</span>suffered from the destruction, in repeated -massacres, of many of the most highly skilled artificers.</p> -<p class="par">One of the most interesting features in the history of -Armenian art is that it displays in its successive stages the various -influences to which the country has been subject. Ever since it became -Christian it was a territory fought for by diverse empires of diverse -creeds. As in primitive times it lay between Assyria on the one side -and the Hittite power on the other, so after the appearance of Islam it -became the frontier on which the East Roman Christian Empire contended -with the Muslim Arab and Turkish monarchies. Persian influences on the -East, both before and after Persia had become Mohammedan, here met with -the Roman influences spreading out from Constantinople. The latter gave -the architectural style, as we see it in those ecclesiastical buildings -to which I have referred, a style developed here with admirable -features of its own and one which has held its ground to the present -day. The influence of Persia on the other hand was seen in the designs -used in embroidery, in carpets, and in metal work. The new school of -painters has struck out new lines for itself, but while profiting by -whatever it has learnt from Europe, it retains a measure of distinctive -national quality.</p> -<p class="par">That quality is also visible in Armenian poetry of which -this volume gives some interesting specimens. The poetry of a people -which has struggled against so many terrible misfortunes has naturally -a melancholy strain. But it is also full of an unextinguishable -patriotism.</p> -<p class="par">Those who have learnt from this book what the Armenian -race has shown itself capable of doing in the fields of art and -literature, and who have learnt from history how true it has been to -its Christian faith, and how tenacious of its national life, will hope -that the time has now at last come when it will be delivered from the -load of brutal tyranny that has so long cramped its energies, and -allowed to take its place among the free and progressive peoples of the -world. It is the only one of the native races of Western Asia that is -capable of restoring productive industry and assured prosperity to -these now desolated regions that were the earliest homes of -civilisation.</p> -<p class="par signed">BRYCE.</p> -<p class="par dateline"><span class="sc">3, Buckingham Gate</span>,<br> -<i>July 1916</i>. <span class="pagenum">[<a id="xd24e458" href= -"#xd24e458" name="xd24e458">13</a>]</span></p> -</div> -</div> -<div id="toc" class="div1 contents"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">CONTENTS</h2> -<ul> -<li> <span class= -"tocPageNum">PAGE</span></li> -<li><a href="#preface" id="xd24e471" name="xd24e471">Preface</a> - <span class= -"tocPageNum">vii</span></li> -<li><a href="#introduction" id="xd24e478" name= -"xd24e478">Introduction</a> -<span class="tocPageNum">ix</span></li> -<li><a href="#v1" id="xd24e485" name="xd24e485">Reproaches</a> - <span class= -"tocPageNum">xv</span></li> -<li><a href="#v2" id="xd24e492" name="xd24e492">A Trial of -Orthodoxy</a> <span class= -"tocPageNum">xvi</span></li> -<li><a href="#v3" id="xd24e499" name="xd24e499">The Exile’s -Song</a> <span class= -"tocPageNum">1</span></li> -<li><a href="#v4" id="xd24e506" name="xd24e506">The Apple Tree</a> - <span class= -"tocPageNum">3</span></li> -<li><a href="#v5" id="xd24e513" name="xd24e513">My Heart is turned into -a Wailing Child</a> <span class= -"tocPageNum">4</span></li> -<li><a href="#v6" id="xd24e520" name="xd24e520">O Night, be long</a> - <span class= -"tocPageNum">5</span></li> -<li><a href="#v7" id="xd24e527" name="xd24e527">Black Eyes</a> - <span class= -"tocPageNum">6</span></li> -<li><a href="#v8" id="xd24e534" name="xd24e534">Yesternight I walked -Abroad</a> <span class= -"tocPageNum">7</span></li> -<li><a href="#v9" id="xd24e542" name="xd24e542">Vahagn, King of -Armenia</a> <span class= -"tocPageNum">10</span></li> -<li><a href="#v10" id="xd24e549" name="xd24e549">Huntsman, that on the -Hills above</a> <span class= -"tocPageNum">11</span></li> -<li><a href="#v11" id="xd24e556" name="xd24e556">Liberty</a> - <span class= -"tocPageNum">12</span></li> -<li><a href="#v12" id="xd24e563" name="xd24e563">I beheld my Love this -Morning</a> <span class= -"tocPageNum">14</span></li> -<li><a href="#v13" id="xd24e570" name="xd24e570">The Fox, the Wolf, and -the Bear</a> <span class= -"tocPageNum">15</span></li> -<li><a href="#v14" id="xd24e577" name="xd24e577">Incense</a> - <span class= -"tocPageNum">17</span></li> -<li><a href="#v15" id="xd24e584" name="xd24e584">The Little Lake</a> - <span class= -"tocPageNum">18</span></li> -<li><a href="#v16" id="xd24e591" name="xd24e591">Spring</a> - <span class= -"tocPageNum">20</span></li> -<li><a href="#v17" id="xd24e598" name="xd24e598">Cradle Song</a> - <span class= -"tocPageNum">21</span></li> -<li><a href="#v18" id="xd24e605" name="xd24e605">Ara and Semiramis</a> - <span class= -"tocPageNum">23</span></li> -<li><a href="#v19" id="xd24e612" name="xd24e612">Lament over the Heroes -fallen in the Battle of Avarair</a> - <span class= -"tocPageNum">25</span></li> -<li><a href="#v20" id="xd24e620" name="xd24e620">The Song of the -Stork</a> <span class= -"tocPageNum">27</span></li> -<li><a href="#v21" id="xd24e627" name="xd24e627">Ye Mountain -Bluebells</a> <span class= -"tocPageNum">29</span></li> -<li><a href="#v22" id="xd24e634" name="xd24e634">The Sun went down</a> - <span class= -"tocPageNum">30</span></li> -<li><a href="#v23" id="xd24e641" name="xd24e641">Birthday Song</a> - <span class= -"tocPageNum">31</span></li> -<li><a href="#v24" id="xd24e648" name="xd24e648">Morning</a> - <span class= -"tocPageNum">32</span></li> -<li><a href="#v25" id="xd24e655" name="xd24e655">The Founding of -Van</a> <span class= -"tocPageNum">33</span></li> -<li><a href="#v26" id="xd24e662" name="xd24e662">I have a Word I fain -would say</a> <span class= -"tocPageNum">35</span></li> -<li><a href="#v27" id="xd24e669" name="xd24e669">The Song of the -Partridge</a> <span class= -"tocPageNum">36</span></li> -<li><a href="#v28" id="xd24e676" name="xd24e676">The Lily of -Shavarshan</a> <span class= -"tocPageNum">37</span></li> -<li><a href="#v29" id="xd24e683" name="xd24e683">Cradle Song</a> - <span class= -"tocPageNum">41</span></li> -<li><a href="#v30" id="xd24e690" name="xd24e690">The Wind is howling -through the Winter Night</a> -<span class="tocPageNum">42</span></li> -<li><a href="#v31" id="xd24e698" name="xd24e698">The Armenian -Poet’s Prayer</a> -<span class="tocPageNum">43</span></li> -<li><a href="#v32" id="xd24e705" name="xd24e705">The Chragan Palace</a> - <span class= -"tocPageNum">44</span></li> -<li><a href="#v33" id="xd24e712" name="xd24e712">The Dream</a> - <span class= -"tocPageNum">46</span></li> -<li><a href="#v34" id="xd24e719" name="xd24e719">The Sorrows of -Armenia</a> <span class= -"tocPageNum">47</span></li> -<li><a href="#v35" id="xd24e726" name="xd24e726">Artashes and -Satenik</a> <span class= -"tocPageNum">48</span></li> -<li><a href="#v36" id="xd24e733" name="xd24e733">My Death</a> - <span class= -"tocPageNum">50</span></li> -<li><a href="#v37" id="xd24e740" name="xd24e740">The Eagle’s -Love</a> <span class= -"tocPageNum">51</span></li> -<li><a href="#v38" id="xd24e747" name="xd24e747">Concerning the Rose -and the Nightingale</a> -<span class="tocPageNum">52</span> <span class="pagenum">[<a id= -"xd24e753" href="#xd24e753" name="xd24e753">14</a>]</span></li> -<li><a href="#v39" id="xd24e755" name="xd24e755">The Arrival of the -Crusaders</a> <span class= -"tocPageNum">58</span></li> -<li><a href="#v40" id="xd24e762" name="xd24e762">Like an Ocean is this -World</a> <span class= -"tocPageNum">59</span></li> -<li><a href="#v41" id="xd24e769" name="xd24e769">The Rock</a> - <span class= -"tocPageNum">60</span></li> -<li><a href="#v42" id="xd24e777" name="xd24e777">The Crane</a> - <span class= -"tocPageNum">62</span></li> -<li><a href="#v43" id="xd24e784" name="xd24e784">The Hawk and the -Dove</a> <span class= -"tocPageNum">63</span></li> -<li><a href="#v44" id="xd24e791" name="xd24e791">Artavasd</a> - <span class= -"tocPageNum">65</span></li> -<li><a href="#v45" id="xd24e798" name="xd24e798">Charm Verses</a> - <span class= -"tocPageNum">67</span></li> -<li><a href="#v46" id="xd24e805" name="xd24e805">The Tears of -Araxes</a> <span class= -"tocPageNum">69</span></li> -<li><a href="#v47" id="xd24e812" name="xd24e812">The Eve of Ascension -Day</a> <span class= -"tocPageNum">73</span></li> -<li><a href="#v48" id="xd24e819" name="xd24e819">“Thy Voice is -Sweet”</a> <span class= -"tocPageNum">74</span></li> -<li><a href="#v49" id="xd24e826" name="xd24e826">Christ and Abgarus</a> - <span class= -"tocPageNum">75</span></li> -<li><a href="#v50" id="xd24e833" name="xd24e833">Araxes came -devouringly</a> <span class= -"tocPageNum">77</span></li> -<li><a href="#v51" id="xd24e840" name="xd24e840">The Parrot’s -Song</a> <span class= -"tocPageNum">78</span></li> -<li><a href="#v52" id="xd24e847" name="xd24e847">Earth and Sky</a> - <span class= -"tocPageNum">79</span></li> -<li><a href="#v53" id="xd24e855" name="xd24e855">O’er the -Mountains High he went</a> -<span class="tocPageNum">81</span></li> -<li><a href="#v54" id="xd24e862" name="xd24e862">Complaints</a> - <span class= -"tocPageNum">82</span></li> -<li><a href="#v55" id="xd24e869" name="xd24e869">A Day After</a> - <span class= -"tocPageNum">84</span></li> -<li><a href="#v56" id="xd24e876" name="xd24e876">Without Thee what are -Song and Dance to Me?</a> -<span class="tocPageNum">85</span></li> -<li><a href="#v57" id="xd24e883" name="xd24e883">The Lake of Van</a> - <span class= -"tocPageNum">86</span></li> -<li><a href="#v58" id="xd24e890" name="xd24e890">Spring</a> - <span class= -"tocPageNum">89</span></li> -<li><a href="#v59" id="xd24e897" name="xd24e897">The Fox</a> - <span class= -"tocPageNum">90</span></li> -<li><a href="#v60" id="xd24e904" name="xd24e904">The Tale of -Rosiphelee</a> <span class= -"tocPageNum">91</span></li> -<li><a href="#v61" id="xd24e911" name="xd24e911">The Song of the -Vulture</a> <span class= -"tocPageNum">98</span></li> -<li><a href="#v62" id="xd24e918" name="xd24e918">Dance Song</a> - <span class= -"tocPageNum">101</span></li> -<li><a href="#v63" id="xd24e925" name="xd24e925">Ballad</a> - <span class= -"tocPageNum">103</span></li> -<li><a href="#v64" id="xd24e933" name="xd24e933">No Bird can reach the -Mountain’s Crest</a> -<span class="tocPageNum">106</span></li> -<li><a href="#v65" id="xd24e940" name="xd24e940">The Nightingale of -Avarair</a> <span class= -"tocPageNum">108</span></li> -<li><a href="#v66" id="xd24e947" name="xd24e947">Thou art so Sweet</a> - <span class= -"tocPageNum">110</span></li> -<li><a href="#v67" id="xd24e954" name="xd24e954">The Wandering Armenian -to the Swallow</a> <span class= -"tocPageNum">111</span></li> -<li><a href="#v68" id="xd24e961" name="xd24e961">The Christ-Child</a> - <span class= -"tocPageNum">113</span></li> -<li><a href="#v69" id="xd24e968" name="xd24e968">The Castle of -Anoush</a> <span class= -"tocPageNum">114</span></li> -<li><a href="#v70" id="xd24e975" name="xd24e975">Happiness</a> - <span class= -"tocPageNum">118</span></li> -<li><a href="#v71" id="xd24e982" name="xd24e982">Concerning Death</a> - <span class= -"tocPageNum">119</span></li> -<li><a href="#v72" id="xd24e989" name="xd24e989">Love One Another</a> - <span class= -"tocPageNum">121</span></li> -<li><a href="#v73" id="xd24e996" lang="it" name="xd24e996">Pasqua -Armena</a> <span class= -"tocPageNum">122</span></li> -<li><a href="#v74" id="xd24e1003" lang="it" name="xd24e1003">“Io -Vidi”</a> <span class= -"tocPageNum">123</span></li> -<li><a href="#v75" id="xd24e1011" name="xd24e1011">Armenia: its Epics, -Folk-Songs, and Mediaeval Poetry</a> - <span class= -"tocPageNum">125</span></li> -<li><a href="#ixchronological" id="xd24e1018" name= -"xd24e1018">Chronological Index to Authors</a> - <span class= -"tocPageNum">193</span></li> -<li><a href="#ixfirstlines" id="xd24e1025" name="xd24e1025">Index to -First Lines</a> <span class= -"tocPageNum">195</span></li> -</ul> -<p><span class="pagenum">[<a id="xd24e1031" href="#xd24e1031" name= -"xd24e1031">15</a>]</span></p> -</div> -</div> -<div class="div1 contents"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">LIST OF ILLUSTRATIONS</h2> -<ul> -<li><a href="#plate01">Armenia</a> -<span class="tocPageNum"><i>Frontispiece</i></span></li> -<li><a href="#plate02">The Birth of Vahagn, King of Armenia</a> - <span class="tocPageNum"><i>facing -page</i> 10</span></li> -<li><a href="#plate03">Ara and Semiramis</a> - <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 23</span></li> -<li><a href="#plate04">The Founding of Van</a> - <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 33</span></li> -<li><a href="#plate05">Artashes and Satenik</a> - <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 48</span></li> -<li><a href="#plate06">The Wedding</a> - <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 49</span></li> -<li><a href="#plate07">Artavasd</a> - <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 65</span></li> -<li><a href="#plate08">Christ’s Letter to Abgarus</a> - <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 75</span></li> -<li><a href="#plate09">The Lake of Van</a> - <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 86</span></li> -<li><a href="#plate10">The Vision of Rosiphelee, Princess of -Armenia</a> <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 91</span></li> -<li><a href="#plate11">The Lady and the Minstrel</a> - <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 102</span></li> -<li><a href="#plate12">The Castle of Anoush</a> - <span class= -"tocPageNum"><span class="ditto"><span class= -"s"><i>facing</i></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><i>page</i></span><span class="d"><span class= -"i">,,</span></span></span> 114</span></li> -</ul> -<p><span class="pagenum">[<a id="xd24e1154" href="#xd24e1154" name= -"xd24e1154">17</a>]</span></p> -</div> -</div> -</div> -<div class="body"> -<div id="v1" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e485">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">REPROACHES</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> -“FRIK”</p> -<p class="par xd24e384">(<i>Died</i> 1330)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">O God of righteousness and truth,</p> -<p class="line">Loving to all, and full of ruth;</p> -<p class="line">I have some matter for Thine ear</p> -<p class="line">If Thou wilt but Thy servant hear.</p> -</div> -<div class="lg"> -<p class="line">Lo, how the world afflicteth us</p> -<p class="line">With wrongs and torments rancorous;</p> -<p class="line">And Thou dost pardon every one,</p> -<p class="line">But turnest from our woes alone.</p> -</div> -<div class="lg"> -<p class="line">Lord, Thou wilt not avenge our wrong</p> -<p class="line">Nor chase the ills that round us throng;</p> -<p class="line">Thou knowest, we are flesh and bone,</p> -<p class="line">We are not statues made from stone!</p> -</div> -<div class="lg"> -<p class="line">We are not made of grass or reeds,</p> -<p class="line">That Thou consumest us like weeds;—</p> -<p class="line">As though we were some thorny field</p> -<p class="line">Or brushwood, that the forests yield.</p> -</div> -<div class="lg"> -<p class="line">If that ourselves are nothing worth—</p> -<p class="line">If we have wrought no good on earth,</p> -<p class="line">If we are hateful in Thy sight</p> -<p class="line">That Thou shouldst leave us in this plight—</p> -</div> -<div class="lg"> -<p class="line">Then blot us out;—be swift and brief,</p> -<p class="line">That Thy pure heart may find relief;</p> -<p class="line">This well may be, by Thy intent,</p> -<p class="line">Great Lord and good, omnipotent.</p> -</div> -<div class="lg"> -<p class="line">How long must we in patience wait</p> -<p class="line">And bear unmurmuringly our fate?</p> -<p class="line">Let evil ones be swept away</p> -<p class="line">And those whom Thou dost favour, stay!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e1232" href="#xd24e1232" name= -"xd24e1232">18</a>]</span></p> -</div> -</div> -<div id="v2" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e492">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">A TRIAL OF ORTHODOXY</h2> -<h2 class="sub">(<i>Sonnet on Armenia</i>)</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> WILLIAM -WATSON</p> -<div class="lgouter"> -<p class="line">The clinging children at their mother’s knee</p> -<p class="line xd24e1248">Slain; and the sire and kindred one by -one</p> -<p class="line xd24e1248">Flayed or hewn piecemeal; and things nameless -done,</p> -<p class="line">Not to be told: while imperturbably</p> -<p class="line">The nations gaze, where Rhine unto the sea,</p> -<p class="line xd24e1248">Where Seine and Danube, Thames and Tiber -run,</p> -<p class="line xd24e1248">And where great armies glitter in the -sun,</p> -<p class="line">And great Kings rule, and man is boasted free!</p> -<p class="line xd24e1248">What wonder if yon torn and naked throng</p> -<p class="line">Should doubt a Heaven that seems to wink and nod,</p> -<p class="line xd24e1248">And having mourned at noontide, “Lord, -how long?”</p> -<p class="line xd24e1269">Should cry, “Where hidest Thou?” -at evenfall,</p> -<p class="line">At midnight, “Is He deaf and blind, our -God?”</p> -<p class="line xd24e1269">And ere day dawn, “Is He indeed at -all?”</p> -</div> -<p><span class="pagenum">[<a id="xd24e1275" href="#xd24e1275" name= -"xd24e1275">19</a>]</span></p> -</div> -</div> -<div id="v3" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e499">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE EXILE’S SONG</h2> -<h2 class="sub">FOLK SONG</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line">Belovèd one, for thy sweet sake,</p> -<p class="line">By whirlwinds tossed and swayed I roam;</p> -<p class="line">The stranger’s accents round me wake</p> -<p class="line">These burning thoughts that wander home.</p> -<p class="line">No man such longings wild can bear</p> -<p class="line">As in my heart forever rise.</p> -<p class="line">Oh that the wind might waft me there</p> -<p class="line">Where my belovèd’s vineyard lies!</p> -<p class="line">Oh that I were the zephyr fleet,</p> -<p class="line">That bends her vines and roses sweet.</p> -</div> -<div class="lg"> -<p class="line">For I am piteous and forlorn,</p> -<p class="line">As is the bird that haunts the night;</p> -<p class="line">Who inconsolably doth mourn</p> -<p class="line">Whene’er his rose is from his sight.</p> -<p class="line">O’er earth and ocean, everywhere</p> -<p class="line">I gaze in vain, with weary eyes.</p> -<p class="line">Oh that the wind might waft me there</p> -<p class="line">Where my belovèd’s vineyard lies!</p> -<p class="line">Oh that I were the zephyr fleet</p> -<p class="line">That bends her vines and roses sweet. <span class= -"pagenum">[<a id="xd24e1324" href="#xd24e1324" name= -"xd24e1324">20</a>]</span></p> -<p class="line">I would I were yon cloud so light,—</p> -<p class="line">Yon cloudlet driven before the wind.</p> -<p class="line">Or yonder bird with swift-winged flight:</p> -<p class="line">My heart’s true way I soon would find!</p> -<p class="line">Oh, I would be the wind so fleet</p> -<p class="line">That bends her vines and roses sweet.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e1338" href="#xd24e1338" name= -"xd24e1338">21</a>]</span></p> -</div> -</div> -<div id="v4" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e506">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE APPLE TREE</h2> -<h2 class="sub">FOLK SONG</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line xd24e1269">The door of Heaven open seemed</p> -<p class="line xd24e1269">And in thy house the sunlight gleamed.</p> -</div> -<div class="lg"> -<p class="line">As through the garden’s willow’d walks I -hied</p> -<p class="line">Full many a tree and blossom I espied.</p> -<p class="line">But of all trees, the Apple Tree most fair</p> -<p class="line">And beautiful did unto me appear.</p> -<p class="line">It sobbed and wept. Its leaves said murmuringly:</p> -<p class="line">“I would that God had ne’er created me!</p> -<p class="line">The badge of sin and wickedness I am</p> -<p class="line">E’en at thy feast, O Father Abraham.<a class= -"noteref" id="xd24e1367src" href="#xd24e1367" name= -"xd24e1367src">1</a></p> -<p class="line xd24e1269">The apple growing on me first</p> -<p class="line xd24e1269">From Eden came ere it was cursed,</p> -<p class="line xd24e1269">Alas, alas, I am undone!</p> -<p class="line xd24e1269">Why fell I to that evil one?”</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e1379" href="#xd24e1379" name= -"xd24e1379">22</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e1367" href="#xd24e1367src" name="xd24e1367">1</a></span> The -“feast of Father Abraham” means plenty. <a class= -"fnarrow" href="#xd24e1367src">↑</a></p> -</div> -</div> -</div> -<div id="v5" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e513">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">MY HEART IS TURNED INTO A WAILING CHILD</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> N. KOUCHAK</p> -<p class="par xd24e384">(<i>Fifteenth Century</i>)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">My heart is turned into a wailing child,</p> -<p class="line xd24e1269">In vain with sweets I seek to still its -cries;</p> -<p class="line">Sweet love, it calls for thee in sobbings wild</p> -<p class="line xd24e1269">All day and night, with longing and with -sighs.</p> -<p class="line xd24e1402">What solace can I give it?</p> -</div> -<div class="lg"> -<p class="line">I showed my eyes the fair ones of this earth</p> -<p class="line xd24e1269">And tried to please them—but I tried in -vain.</p> -<p class="line">Sweet love, for them all those were nothing -worth—</p> -<p class="line xd24e1269">Thee—only thee my heart would have -again.</p> -<p class="line xd24e1402">What solace can I give it?</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e1415" href="#xd24e1415" name= -"xd24e1415">23</a>]</span></p> -</div> -</div> -<div id="v6" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e520">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">O NIGHT, BE LONG</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> N. KOUCHAK</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">O Night, be long—long as an endless year!</p> -<p class="line">Descend, thick darkness, black and full of fear!</p> -<p class="line xd24e1269">To-night my heart’s desire has been -fulfilled—</p> -<p class="line xd24e1269">My love is here at last—a guest -concealed!</p> -</div> -<div class="lg"> -<p class="line">Dawn, stand behind seven mountains—out of -sight,</p> -<p class="line">Lest thou my loved one banish with thy light;</p> -<p class="line xd24e1269">I would for ever thus in darkness rest</p> -<p class="line xd24e1269">So I might ever clasp him to my breast.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e1442" href="#xd24e1442" name= -"xd24e1442">24</a>]</span></p> -</div> -</div> -<div id="v7" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e527">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">BLACK EYES</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> AVETIS -ISAHAKIAN</p> -<p class="par xd24e384">(<i>Born 1875</i>)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Do not trust black eyes, but fear them:—</p> -<p class="line xd24e1269">Gloom they are, and endless night;</p> -<p class="line">Woes and perils lurking near them—</p> -<p class="line xd24e1269">Love not thou their gleaming bright!</p> -</div> -<div class="lg"> -<p class="line">In my heart a sea of blood wells,</p> -<p class="line xd24e1269">Called up by their cruel might,</p> -<p class="line">No calm ever in that flood dwells—</p> -<p class="line xd24e1269">Love not thou their gleaming bright!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e1474" href="#xd24e1474" name= -"xd24e1474">25</a>]</span></p> -</div> -</div> -<div id="v8" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e534">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">YESTERNIGHT I WALKED ABROAD</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384">ANONYMOUS</p> -<div class="lgouter"> -<div class="lg"> -<p class="line xd24e1269">Yesternight I walked abroad.</p> -<p class="line">From the clouds sweet dews were falling,</p> -<p class="line xd24e1269">And my love stood in the road,</p> -<p class="line">All in green, and to me calling.</p> -<p class="line xd24e1269">To her home she led me straight,</p> -<p class="line">Shut and barred the gate securely;</p> -<p class="line xd24e1269">Whoso tries to force that gate</p> -<p class="line">Brave I’ll reckon him most surely!</p> -</div> -<div class="lg"> -<p class="line xd24e1269">In the garden she did go,</p> -<p class="line">Gathered roses dewed with showers;</p> -<p class="line xd24e1269">Some she gave her lover, so</p> -<p class="line">He might lay his face in flowers.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">Garments loose and snowy breast,</p> -<p class="line">I slipped in her bosom tender</p> -<p class="line xd24e1269">And I found a moment’s rest,</p> -<p class="line">Clasped within those arms so slender.</p> -<p class="line xd24e1269">Then I raised my hands above—</p> -<p class="line">Grant, O Lord, that I wake never;</p> -<p class="line xd24e1269">On the bosom of my love</p> -<p class="line">May I live and die forever!</p> -</div> -<div class="lg"> -<p class="line xd24e1269">What have I from this world gained?</p> -<p class="line">What advantage gathered ever?</p> -<p class="line xd24e1269">For the hunt my falcon trained</p> -<p class="line">I let fly—it went forever!</p> -</div> -<p><span class="pagenum">[<a id="xd24e1533" href="#xd24e1533" name= -"xd24e1533">26</a>]</span></p> -<div class="lg"> -<p class="line xd24e1269">Ah, my falcon, woe the day!</p> -<p class="line">Tell me, whither art thou flying?</p> -<p class="line xd24e1269">I will follow all the way—</p> -<p class="line">Since thou wentest I am dying.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">I am ill, and near my end—</p> -<p class="line">With an apple<a class="noteref" id="xd24e1548src" href= -"#xd24e1548" name="xd24e1548src">1</a> hasten to me.</p> -<p class="line xd24e1269">I shall curse thee if thou send</p> -<p class="line">Strange physicians to undo me.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">No physicians strange for me—</p> -<p class="line">All my griefs in thee I centre.</p> -<p class="line xd24e1269">Come and take my bosom’s key,</p> -<p class="line">Open wide the door and enter.</p> -<p class="line xd24e1269">Once again I say, ’twas not</p> -<p class="line">I that came—’twas thy love brought me.</p> -<p class="line xd24e1269">In my heart thy love hath got</p> -<p class="line">And its dwelling-place hath wrought me.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">When the falcon hunger feels</p> -<p class="line">Then he finds the game and takes it;</p> -<p class="line xd24e1269">When love thirsts, the lover steals</p> -<p class="line">Kisses from his love and slakes it.</p> -<p class="line xd24e1269">But thou hold’st me with thy -charms;</p> -<p class="line">When I kiss thee thou dost bind me:</p> -<p class="line xd24e1269">’Twas but now I left thine arms,</p> -<p class="line">And my looks are turned behind me.</p> -<p class="line xd24e1269">I am ever, for thy love,</p> -<p class="line">Like the sands in summer, burning:</p> -<p class="line xd24e1269">Looking up to heaven above,</p> -<p class="line">For one little raindrop yearning.</p> -</div> -<p><span class="pagenum">[<a id="xd24e1598" href="#xd24e1598" name= -"xd24e1598">27</a>]</span></p> -<div class="lg"> -<p class="line xd24e1269">I would kiss thy forehead chaste,</p> -<p class="line">And thine eyes so brightly gleaming;</p> -<p class="line xd24e1269">Fold mine arms about thy waist—</p> -<p class="line">Thick with all thy garments seeming.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">Oft and often have I said</p> -<p class="line">For my love make garments shining:</p> -<p class="line xd24e1269">Of the sun the facing red,—</p> -<p class="line">Of the moon cut out the lining;</p> -<p class="line xd24e1269">Pad it with yon storm-cloud dark,</p> -<p class="line">Sewn with sea weed from the islets:</p> -<p class="line xd24e1269">Stars for clasps must bring their -spark—</p> -<p class="line">Stitch me inside for the eyelets!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e1626" href="#xd24e1626" name= -"xd24e1626">28</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e1548" href="#xd24e1548src" name="xd24e1548">1</a></span> An apple -is the symbol of love. <a class="fnarrow" href= -"#xd24e1548src">↑</a></p> -</div> -</div> -</div> -<div id="v9" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e542">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">VAHAGN, KING OF ARMENIA</h2> -<h2 class="sub"><i>From the History of Armenia,</i></h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><i>by</i></p> -<p class="par xd24e384">MOSES OF KHORENE</p> -<p class="par xd24e384">(<i>Fifth Century</i>)</p> -<p class="par">Concerning the birth of this king the legends -say—</p> -<div class="lgouter"> -<p class="line">“Heaven and earth were in travail,</p> -<p class="line">And the crimson waters were in travail.</p> -<p class="line">And in the water, the crimson reed</p> -<p class="line">Was also in travail.</p> -<p class="line">From the mouth of the reed issued smoke,</p> -<p class="line">From the mouth of the reed issued flame.</p> -<p class="line">And out of the flame sprang the young child.</p> -<p class="line">His hair was of fire, a beard had he of flame,</p> -<p class="line">And his eyes were suns.”</p> -</div> -<p class="par first">With our own ears did we hear these words sung to -the accompaniment of the harp. They sing, moreover, that he did fight -with the dragons, and overcame them; and some say that his valiant -deeds were like unto those of Hercules. Others declare that he was a -god, and that a great image of him stood in the land of Georgia, where -it was worshipped with sacrifices. <span class="pagenum">[<a id= -"xd24e1667" href="#xd24e1667" name="xd24e1667">29</a>]</span></p> -<p class="par"></p> -<div class="figure xd24e1669width" id="plate02"><img src= -"images/plate02.jpg" alt="The Birth of Vahagn, King of Armenia" width= -"720" height="524"> -<p class="figureHead"><span class="sc">The Birth of Vahagn, King of -Armenia</span></p> -<div class="lgouter"> -<p class="line">“Heaven and earth were in travail,</p> -<p class="line">And the crimson waters were in travail.</p> -<p class="line">And in the water, the crimson reed</p> -<p class="line">Was also in travail.</p> -<p class="line">From the mouth of the reed issued smoke,</p> -<p class="line">From the mouth of the reed issued flame,</p> -<p class="line">And out of the flame sprang the young child.</p> -<p class="line">His hair was of fire, a beard had he of flame,</p> -<p class="line">And his eyes were suns.”</p> -</div> -<p class="par first"><i>Moses of Khorene.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e1697" href= -"#xd24e1697" name="xd24e1697">31</a>]</span></p> -</div> -</div> -<div id="v10" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e549">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">HUNTSMAN,<br> -THAT ON THE HILLS ABOVE</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> AVETIS -ISAHAKIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">“Huntsman, that on the hills above</p> -<p class="line xd24e1269">To hunt the deer hast been,</p> -<p class="line">Tell me, I pray thee, if my love—</p> -<p class="line xd24e1269">My wild deer thou hast seen?</p> -</div> -<div class="lg"> -<p class="line">“He sought the hills his grief to -quell—</p> -<p class="line xd24e1269">My darling love, my sun.</p> -<p class="line">He wandered out upon the fell,</p> -<p class="line xd24e1269">My flower, my only one.”</p> -</div> -<div class="lg"> -<p class="line">“Maiden, I saw your lover true,</p> -<p class="line xd24e1269">All girt with red and green.</p> -<p class="line">Upon his breast a rose tree grew</p> -<p class="line xd24e1269">Where once your kiss had been.”</p> -</div> -<div class="lg"> -<p class="line">“Huntsman, I pray, who is the bride</p> -<p class="line xd24e1269">Of my beloved, my sun?</p> -<p class="line">Who tends him, watching by his side,</p> -<p class="line xd24e1269">My flower, my only one?”</p> -</div> -<div class="lg"> -<p class="line">“Maiden, I saw him with his head</p> -<p class="line xd24e1269">Upon a stone at rest.</p> -<p class="line">And for his love, a bullet red</p> -<p class="line xd24e1269">Into his heart was pressed.</p> -</div> -<div class="lg"> -<p class="line">“The mountain breeze caressingly</p> -<p class="line xd24e1269">Played with his jet-black hair,</p> -<p class="line">And blossoms wept unceasingly</p> -<p class="line xd24e1269">Your flower, your lover there.”</p> -</div> -</div> -</div> -</div> -<div id="v11" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e556">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">LIBERTY</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> MIKAEL -NALBANDIAN</p> -<p class="par xd24e384">(1829–1866)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">When the God of Liberty</p> -<p class="line">Formed of earth this mortal frame,</p> -<p class="line">Breathed the breath of life in me,</p> -<p class="line">And a spirit I became,</p> -</div> -<div class="lg"> -<p class="line">Wrapped within my swaddling bands,</p> -<p class="line">Bound and fettered helplessly,<a class="noteref" id= -"xd24e1788src" href="#xd24e1788" name="xd24e1788src">1</a></p> -<p class="line">I stretched forth my infant hands</p> -<p class="line">To embrace sweet Liberty.</p> -</div> -<div class="lg"> -<p class="line">All night long, until the dawn,</p> -<p class="line">In my cradle bound I lay;</p> -<p class="line">And my sobbing’s ceaseless moan</p> -<p class="line">Drove my mother’s sleep away.</p> -</div> -<div class="lg"> -<p class="line">As I begged her, weeping loud,</p> -<p class="line">To unbind and set me free;</p> -<p class="line">From that very day I vowed</p> -<p class="line">I would love thee, Liberty!</p> -</div> -<div class="lg"> -<p class="line">When upon my parents’ ear</p> -<p class="line">First my lisping accents fell,</p> -<p class="line">And their hearts rejoiced to hear</p> -<p class="line">Me my childish wishes tell,</p> -</div> -<p><span class="pagenum">[<a id="xd24e1822" href="#xd24e1822" name= -"xd24e1822">x13</a>]</span></p> -<div class="lg"> -<p class="line">Then the words that first I spoke</p> -<p class="line">Were not “father, mother dear”:</p> -<p class="line">“Liberty!” the accents broke</p> -<p class="line">In my infant utterance clear.</p> -</div> -<div class="lg"> -<p class="line">“Liberty!” The voice of Doom</p> -<p class="line">Echoed to me from above,</p> -<p class="line">“Wilt thou swear until the tomb</p> -<p class="line">Liberty to serve and love?</p> -</div> -<div class="lg"> -<p class="line">“Thorny is the path, and dim;</p> -<p class="line">Many trials wait for thee:</p> -<p class="line">Far too small this world for him</p> -<p class="line">Who doth worship Liberty!”</p> -</div> -<div class="lg"> -<p class="line">“Liberty!” I made reply,</p> -<p class="line">“O’er my head let thunders burst,</p> -<p class="line">Lightnings flash, and missiles fly—</p> -<p class="line">Foes conspire to do their worst;</p> -</div> -<div class="lg"> -<p class="line">“Till I die, or meet my doom,</p> -<p class="line">On the shameful gallows-tree,—</p> -<p class="line">Till the portals of the tomb,</p> -<p class="line">I will shout forth Liberty!”</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e1868" href="#xd24e1868" name= -"xd24e1868">32</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e1788" href="#xd24e1788src" name="xd24e1788">1</a></span> Armenian -babies are tied tightly into their cradles when they are put to -sleep. <a class="fnarrow" href="#xd24e1788src">↑</a></p> -</div> -</div> -</div> -<div id="v12" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e563">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">I BEHELD MY LOVE THIS MORNING</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> SAYAT NOVA</p> -<p class="par xd24e384">(1712–1795)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">I beheld my love this morning, in the garden paths she -strayed,</p> -<p class="line">All brocaded was the ground with prints her golden -pattens made;</p> -<p class="line">Like the nightingale, I warbled round my rose with -wings displayed,</p> -<p class="line">And I wept, my reason faltered, while my heart was sore -dismayed.</p> -<p class="line">Grant, O Lord, that all my foemen to such grief may be -betrayed!</p> -</div> -<div class="lg"> -<p class="line">Love, with these thy whims and humours thou hast -wrecked and ruined me.</p> -<p class="line">Thou hast drunk of love’s own nectar, thy lips -speak entrancingly.</p> -<p class="line">With those honeyed words how many like me thou hast -bound to thee!</p> -<p class="line">Take the knife and slay me straightway—pass not -by me mockingly.</p> -<p class="line">Since I die of love, ‘twere better Beauty stabbed -and set me free.</p> -</div> -<div class="lg"> -<p class="line">For I have no love beside thee—I would have thee -know it well.</p> -<p class="line">Thou for whom e’en death I’d suffer, list -to what I have to tell.</p> -<p class="line">See thou thwart not thy Creator,—all the past do -not dispel:</p> -<p class="line">Anger not thy Sayat Nova, for when in thy snare he -fell</p> -<p class="line">He was all bereft of reason by thy whims’ and -humours’ spell.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e1913" href="#xd24e1913" name= -"xd24e1913">33</a>]</span></p> -</div> -</div> -<div id="v13" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e570">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE FOX, THE WOLF, AND THE BEAR</h2> -<h2 class="sub">FOLK SONG</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line">The little fox, the wolf and bear made peace;</p> -<p class="line">Like kinsfolk all, they bade their warfare cease.</p> -<p class="line">The fox they consecrate a hermit now;—</p> -<p class="line">False monk, false hermit, false recluse’s -vow!</p> -</div> -<div class="lg"> -<p class="line">The little fox a sack found in the street</p> -<p class="line">Through which he thrust his head; then shod his -feet</p> -<p class="line">With iron shoes, and got a staff, I trow—</p> -<p class="line">False monk, false hermit, false recluse’s -vow!</p> -</div> -<div class="lg"> -<p class="line">The fox has sent the wolf to fetch the bear.</p> -<p class="line">“For him,” he said, “I live this life -of care;</p> -<p class="line">Yet never hath he sent me aught to eat:—</p> -<p class="line">Sore are my knees with walking, sore my -feet!”</p> -</div> -<div class="lg"> -<p class="line">At morning dawn forth to the hunt they creep;</p> -<p class="line">A ram they catch, a lambkin and a sheep.</p> -<p class="line">Holy dispenser is the wolf proclaimed—</p> -<p class="line">Unjust dispenser, judge unwisely named!</p> -</div> -<div class="lg"> -<p class="line">He gives the sheep as portion to the bear;</p> -<p class="line">The lambkin falls to the poor hermit’s share.</p> -<p class="line">“The ram for me,” he said, “I’m -tired and lamed”—</p> -<p class="line">Unjust dispenser, judge unwisely named!</p> -</div> -<p><span class="pagenum">[<a id="xd24e1965" href="#xd24e1965" name= -"xd24e1965">34</a>]</span></p> -<div class="lg"> -<p class="line">The bear was wroth, and turned him round about,</p> -<p class="line">And with one blow the wolf’s two eyes put -out.</p> -<p class="line">“That sheep for me, a bear so great and -famed?</p> -<p class="line">Unjust dispenser, judge unwisely named!”</p> -</div> -<div class="lg"> -<p class="line">The little fox is sore afraid, and sees</p> -<p class="line">A trap laid ready with a piece of cheese.</p> -<p class="line">“O uncle, see, I’ve built a convent -here,”</p> -<p class="line">He said, “a place of rest, a place of -prayer!”</p> -</div> -<div class="lg"> -<p class="line">The bear stretched out his paw for the repast,</p> -<p class="line">The trap upon his neck closed hard and fast.</p> -<p class="line">“Help me, my little nephew, for I fear</p> -<p class="line">This is no convent, ’tis no house of -prayer!”</p> -</div> -<div class="lg"> -<p class="line">The little fox with joy beheld the whole</p> -<p class="line">And sang a mass for his great uncle’s soul.</p> -<p class="line">“The wrong thou didst the wolf has brought thee -there;</p> -<p class="line">It is a house of rest, a house of prayer!”</p> -</div> -<div class="lg"> -<p class="line">O sovereign Justice, much thou pleasest me—</p> -<p class="line">Who wrongs another soon shall cease to be.</p> -<p class="line">And fasting in the trap must lie the bear,—</p> -<p class="line">For ’tis a house of rest, a house of prayer!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e2011" href="#xd24e2011" name= -"xd24e2011">35</a>]</span></p> -</div> -</div> -<div id="v14" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e577">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">INCENSE</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> ZABELLE -ESSAYAN</p> -<p class="par xd24e384">(<i>Born 1878</i>)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">The incense at the altar slowly burns</p> -<p class="line">Swayed in the silver censer to and fro;</p> -<p class="line">Around the crucifix it coils and turns,</p> -<p class="line">The brows of saints it wreathes with misty glow.</p> -</div> -<div class="lg"> -<p class="line">And tremulous petitions, long drawn out,</p> -<p class="line">Beneath the lofty arches faint away;</p> -<p class="line">To weary eyes the candles round about</p> -<p class="line">Heave as they flicker with their pallid ray.</p> -</div> -<div class="lg"> -<p class="line">The sacred columns, grey and mouldering,</p> -<p class="line">Support a veil that stirs with voiceless sobs.</p> -<p class="line">Beneath it, like the incense smouldering,</p> -<p class="line">A woman’s darkened heart in anguish throbs.</p> -</div> -<div class="lg"> -<p class="line">Consumed within the censer now, and burned,</p> -<p class="line">The incense through the boundless ether soars.</p> -<p class="line">What Matter was to Fragrance sweet is turned—</p> -<p class="line">The cleansing fire its purity restores.</p> -</div> -<div class="lg"> -<p class="line">Nor shall that woman’s smouldering heart be -freed,—</p> -<p class="line">Saved from its cold and adamantine shell,—</p> -<p class="line">Till it is melted, tried, and cleansed indeed,</p> -<p class="line">Till the pure flames shall all its dross expel!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e2070" href="#xd24e2070" name= -"xd24e2070">36</a>]</span></p> -</div> -</div> -<div id="v15" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e584">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE LITTLE LAKE<a class="noteref" id="xd24e2074src" -href="#xd24e2074" name="xd24e2074src">1</a></h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> BEDROS -TOURIAN</p> -<p class="par xd24e384">(1852–1872)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Why dost thou lie in hushed surprise,</p> -<p class="line xd24e1269">Thou little lonely mere?</p> -<p class="line">Did some fair woman wistfully</p> -<p class="line xd24e1269">Gaze in thy mirror clear?</p> -</div> -<div class="lg"> -<p class="line">Or are thy waters calm and still</p> -<p class="line xd24e1269">Admiring the blue sky,</p> -<p class="line">Where shining cloudlets, like thy foam,</p> -<p class="line xd24e1269">Are drifting softly by?</p> -</div> -<div class="lg"> -<p class="line">Sad little lake, let us be friends!</p> -<p class="line xd24e1269">I too am desolate;</p> -<p class="line">I too would fain, beneath the sky,</p> -<p class="line xd24e1269">In silence meditate.</p> -</div> -<div class="lg"> -<p class="line">As many thoughts are in my mind</p> -<p class="line xd24e1269">As wavelets o’er thee roam;</p> -<p class="line">As many wounds are in my heart</p> -<p class="line xd24e1269">As thou hast flakes of foam.</p> -</div> -<div class="lg"> -<p class="line">But if heaven’s constellations all</p> -<p class="line xd24e1269">Should drop into thy breast,</p> -<p class="line">Thou still wouldst not be like my soul,—</p> -<p class="line xd24e1269">A flame-sea without rest.</p> -</div> -<div class="lg"> -<p class="line">There, when the air and thou are calm,</p> -<p class="line xd24e1269">The clouds let fall no showers;</p> -<p class="line">The stars that rise there do not set,</p> -<p class="line xd24e1269">And fadeless are the flowers.</p> -</div> -<p><span class="pagenum">[<a id="xd24e2140" href="#xd24e2140" name= -"xd24e2140">37</a>]</span></p> -<div class="lg"> -<p class="line">Thou art my queen, O little lake!</p> -<p class="line xd24e1269">For e’en when ripples thrill</p> -<p class="line">Thy surface, in thy quivering depths</p> -<p class="line xd24e1269">Thou hold’st me, trembling, still.</p> -</div> -<div class="lg"> -<p class="line">Full many have rejected me:</p> -<p class="line xd24e1269">“What has he but his lyre?”</p> -<p class="line">“He trembles, and his face is pale;</p> -<p class="line xd24e1269">His life must soon expire!”</p> -</div> -<div class="lg"> -<p class="line">None said, “Poor child, why pines he thus?</p> -<p class="line xd24e1269">If he beloved should be,</p> -<p class="line">Haply he might not die, but live,—</p> -<p class="line xd24e1269">Live, and grow fair to see.”</p> -</div> -<div class="lg"> -<p class="line">None sought the boy’s sad heart to read,</p> -<p class="line xd24e1269">Nor in its depths to look.</p> -<p class="line">They would have found it was a fire,</p> -<p class="line xd24e1269">And not a printed book!</p> -</div> -<div class="lg"> -<p class="line">Nay, ashes now! a memory!</p> -<p class="line xd24e1269">Grow stormy, little mere,</p> -<p class="line">For a despairing man has gazed</p> -<p class="line xd24e1269">Into thy waters clear!</p> -</div> -</div> -<p class="par first xd24e2187"><i>Translated by Alice Stone -Blackwell.</i> <span class="pagenum">[<a id="xd24e2191" href= -"#xd24e2191" name="xd24e2191">38</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e2074" href="#xd24e2074src" name="xd24e2074">1</a></span> This and -the other translations by Miss Alice Stone Blackwell are reprinted from -<i>Armenian Poems</i>, by the translator’s kind -permission. <a class="fnarrow" href="#xd24e2074src">↑</a></p> -</div> -</div> -</div> -<div id="v16" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e591">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">SPRING</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> HOVHANNES -HOVHANNESSIAN</p> -<p class="par xd24e384">(<i>Born</i> 1869)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">None await thy smiling rays;</p> -<p class="line">Whither comest thou, O Spring?</p> -<p class="line">None are left to sing thy praise—</p> -<p class="line">Vain thy coming now, O Spring!</p> -</div> -<div class="lg"> -<p class="line">All the world is wrapped in gloom,</p> -<p class="line">Earth in blood is weltering:</p> -<p class="line">This year brought us blackest doom—</p> -<p class="line">Whither comest thou, O Spring?</p> -</div> -<div class="lg"> -<p class="line">No rose for the nightingale,</p> -<p class="line">No flower within park or dale,</p> -<p class="line">Every face with anguish pale—</p> -<p class="line">Whither comest thou, O Spring?</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e2233" href="#xd24e2233" name= -"xd24e2233">39</a>]</span></p> -</div> -</div> -<div id="v17" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e598">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">CRADLE SONG</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> RAPHAEL -PATKANIAN</p> -<p class="par xd24e384">(1830–1892)</p> -<div class="sp"> -<p class="speaker"><i>Mother</i></p> -<p class="line">Sweet slumber now creeps o’er thee slow,</p> -<p class="line">Sweet breezes rock thee to and fro:</p> -<p class="line">My baby sleeps, so soft and low</p> -<p class="line">With sweetest songs I’ll sing -<i>oror</i>.<a class="noteref" id="xd24e2258src" href="#xd24e2258" -name="xd24e2258src">1</a></p> -</div> -<div class="sp"> -<p class="speaker"><i>Baby</i></p> -<p class="line">O Mother dear, thou art unkind</p> -<p class="line">My sleepless eyes so long to bind.<a class="noteref" -id="xd24e2271src" href="#xd24e2271" name="xd24e2271src">2</a></p> -<p class="line">Anon I’ll rest, and sleep resigned;—</p> -<p class="line">Release me now, sing not <i>oror</i>.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Mother</i></p> -<p class="line">Why dost thou shed those tears that flow</p> -<p class="line">Down thy sad cheeks with pearly glow?</p> -<p class="line">Thou’lt break thy heart with sobbing -so,—</p> -<p class="line">Whom wilt thou have to sing <i>oror</i>?</p> -</div> -<div class="sp"> -<p class="speaker"><i>Baby</i></p> -<p class="line">At least my hands and feet unbind—</p> -<p class="line">My tender limbs are all confined;</p> -<p class="line">That gentle sleep my eyes may find,</p> -<p class="line">Then tie me in, and sing <i>oror</i>.</p> -</div> -<p><span class="pagenum">[<a id="xd24e2311" href="#xd24e2311" name= -"xd24e2311">40</a>]</span></p> -<div class="sp"> -<p class="speaker"><i>Mother</i></p> -<p class="line">That tongue of thine is passing sweet,</p> -<p class="line">Yet with thy yards I cannot mete.</p> -<p class="line">Thou wilt not sleep, but at thy feet</p> -<p class="line">Wouldst have me sit, and sing <i>oror</i>.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Baby</i></p> -<p class="line">All piteously I raise my prayer,</p> -<p class="line">I sob and cry, thou dost not hear.</p> -<p class="line">Thy sweet voice seems to charm thine ear—</p> -<p class="line">I weep, thou singest still <i>oror</i>.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Mother</i></p> -<p class="line">Hush, hush, and sleep, my baby dear.</p> -<p class="line">My love shall guard thee, year by year,</p> -<p class="line">Until my rose-tree blossoms fair,</p> -<p class="line">Then ‘neath his shade I’ll sing -<i>oror</i>.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Baby</i></p> -<p class="line">Thy heart is made of stone, I see.</p> -<p class="line">I wept and wept, all uselessly.</p> -<p class="line">Now I shall sleep, I can’t be free,</p> -<p class="line">All night, all night sing me <i>oror</i>!</p> -</div> -<p><span class="pagenum">[<a id="xd24e2373" href="#xd24e2373" name= -"xd24e2373">42</a>]</span></p> -<p class="par"></p> -<div class="figure xd24e2375width" id="plate03"><img src= -"images/plate03.jpg" alt="Ara and Semiramis" width="720" height="525"> -<p class="figureHead"><span class="sc">Ara and Semiramis</span></p> -<p class="par first">“She thought to bring Ara back to life by -witchcraft and charms, for she was maddened by the intensity of her -desires.”</p> -<p class="par signed"><i>Moses of Khorene.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e2386" href= -"#xd24e2386" name="xd24e2386">43</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e2258" href="#xd24e2258src" name="xd24e2258">1</a></span> -<i>Oror</i>—lullaby. <a class="fnarrow" href= -"#xd24e2258src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e2271" href="#xd24e2271src" name="xd24e2271">2</a></span> Armenian -babies have their eyes bandaged when they are put to sleep, and they -are tied into their cradles. <a class="fnarrow" href= -"#xd24e2271src">↑</a></p> -</div> -</div> -</div> -<div id="v18" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e605">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">ARA AND SEMIRAMIS</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><i>From the History of Armenia, -by</i></p> -<p class="par xd24e384">MOSES OF KHORENE</p> -<p class="par">For a few years before the death of Ninus, Ara reigned -over Armenia under his Protectorate, and found the same favour in his -eyes as his father Aram had done. But that wanton and lustful woman -Semiramis, having heard speak for many years of the beauty of Ara, -wished to possess him; only she ventured not to do anything openly. But -after the death or the escape to Crete of Ninus, as it hath been -affirmed unto me, she discovered her passion freely, and sent -messengers to Ara the Beautiful with gifts and offerings, with many -prayers and promises of riches; begging him to come to her to Nineveh -and either wed her and reign over all that Ninus had possessed, or -fulfil her desires and return in peace to Armenia, with many gifts.</p> -<p class="par">And when the messengers had been and returned many times -and Ara had not consented, Semiramis became very wroth; and she arose -and took all the multitude of her hosts and hastened to the land of -Armenia, against Ara. But, as she had beforehand declared, it was not -so much to kill him and persecute him that she went, as to subdue him -and bring him by force to fulfil the desires of her passion. For having -been consumed with desire by what she had heard of him, on seeing him -she became as one beside herself. She arrived in this turmoil at the -plains of Ara, called after him Aïrarat. And when the battle was -about to take place she commanded her generals to devise some means of -saving the life of Ara. But in the fighting the army of Ara was beaten, -and Ara died, being slain by the warriors of Semiramis. And after the -battle the Queen sent out to the battlefield to search for the body of -her beloved amongst those who had died. And they found the body of Ara -amongst the brave ones that had fallen, and she commanded them to place -it in an upper chamber in her castle.</p> -<p class="par">But when the hosts of Armenia arose once more against -Queen Semiramis to avenge the death of Ara, she said: “I have -commanded the gods to lick his wounds, and he shall live <span class= -"pagenum">[<a id="xd24e2403" href="#xd24e2403" name= -"xd24e2403">44</a>]</span>again.” At the same time she thought to -bring Ara back to life by witchcraft and charms, for she was maddened -by the intensity of her desires. But when the body began to decay, she -commanded them to cast it into a deep pit, and to cover it. And having -dressed up one of her men in secret, she sent forth the fame of him -thus: “The gods have licked Ara and have brought him back to life -again, thus fulfilling our prayers and our pleasure. Therefore from -this time forth shall they be the more glorified and worshipped by us, -for that they are the givers of joy and the fulfillers of -desire.” She also erected a new statue in honour of the gods and -worshipped it with many sacrifices, showing unto all as if the gods had -brought Ara back to life again. And having caused this report to be -spread over all the land of Armenia and satisfied the people she put an -end to the fighting. And she took the son of Ara whom his beloved wife -Nouvart had borne unto him and who was but twelve years old at the time -of his father’s death. And she called his name Ara in memory of -her love for Ara the Beautiful, and appointed him ruler over the land -of Armenia, trusting him in all things. <span class="pagenum">[<a id= -"xd24e2405" href="#xd24e2405" name="xd24e2405">45</a>]</span></p> -</div> -</div> -<div id="v19" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e612">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">LAMENT OVER THE HEROES FALLEN IN THE BATTLE OF -AVARAIR</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By KAREKIN -SRVANSTIAN</span></p> -<p class="par xd24e384">(1840–1892)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line"><span class="sc">If</span> Goghtan’s bards no -longer crown</p> -<p class="line xd24e1269">Armenia’s heroes with their lays,</p> -<p class="line">Let deathless souls from Heaven come down,</p> -<p class="line xd24e1269">Our valiant ones to praise!</p> -</div> -<div class="lg"> -<p class="line">Ye shining angel hosts, descend:</p> -<p class="line xd24e1269">On Ararat’s white summit pause;</p> -<p class="line">Let God Himself the heavens rend,</p> -<p class="line xd24e1269">To come and judge our cause.</p> -</div> -<div class="lg"> -<p class="line">Fly, clouds, from Shavarshan away,</p> -<p class="line xd24e1269">Pour not on it your gentle rain:—</p> -<p class="line">’Tis drenched with streams of blood to-day</p> -<p class="line xd24e1269">Shed by our brave ones slain.</p> -</div> -<div class="lg"> -<p class="line">Henceforth the rose and asphodel</p> -<p class="line xd24e1269">No more shall on our plains appear;</p> -<p class="line">But in the land where Vartan fell</p> -<p class="line xd24e1269">Shall Faith her blossoms rear.</p> -</div> -<div class="lg"> -<p class="line">Fit monument to Vartan’s name,</p> -<p class="line xd24e1269">Mount Ararat soars to the sky.</p> -<p class="line">And Cross-crowned convents tell his fame,</p> -<p class="line xd24e1269">And churches vast and high.</p> -</div> -<p><span class="pagenum">[<a id="xd24e2464" href="#xd24e2464" name= -"xd24e2464">46</a>]</span></p> -<div class="lg"> -<p class="line">Thy record too shall ever stand,</p> -<p class="line xd24e1269">O Eghishé, for where they fell,</p> -<p class="line">Thou forthwith camest, pen in hand,</p> -<p class="line xd24e1269">Their faith and death to tell.</p> -</div> -<div class="lg"> -<p class="line">Bright sun, pierce with thy rays the gloom,</p> -<p class="line xd24e1269">Where Khaghdik’s crags thy light -repel,</p> -<p class="line">There lies our brave Hmayag’s tomb,—</p> -<p class="line xd24e1269">There, where he martyred fell.</p> -</div> -<div class="lg"> -<p class="line">And, moon, thy sleepless vigil keep</p> -<p class="line xd24e1269">O’er our Armenian martyrs’ -bones;</p> -<p class="line">With the soft dews of Maytime steep</p> -<p class="line xd24e1269">Their nameless funeral stones.</p> -</div> -<div class="lg"> -<p class="line">Armenia’s Stork, our summer guest,</p> -<p class="line xd24e1269">And all ye hawks and eagles, come,</p> -<p class="line">Watch o’er this land—’tis our -bequest—</p> -<p class="line xd24e1269">We leave to you our home.</p> -</div> -<div class="lg"> -<p class="line">About the ashes hover still,</p> -<p class="line xd24e1269">Your nests among the ruins make;</p> -<p class="line">And, swallows, come and go until</p> -<p class="line xd24e1269">Spring for Armenia break!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e2510" href="#xd24e2510" name= -"xd24e2510">47</a>]</span></p> -</div> -</div> -<div id="v20" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e620">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE SONG OF THE STORK</h2> -<h2 class="sub">FOLK SONG</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line xd24e1269"><span class="sc">Stork</span>, I welcome thy -return.</p> -<p class="line">Thou stork, I welcome thy return.</p> -<p class="line">Thy coming is the sign of spring,</p> -<p class="line">And thou dost joy and gladness bring.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">Stork, upon our roof descend.</p> -<p class="line">Thou stork, upon our roof descend.</p> -<p class="line">Upon our ash-tree build thy nest,</p> -<p class="line">Our dear one, and our honoured guest.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">Stork, I would complain to thee:—</p> -<p class="line">Yes, stork, I would complain to thee.</p> -<p class="line">A thousand sorrows I would tell,</p> -<p class="line">The griefs that in my bosom dwell.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">Stork, when thou our house didst -leave,—</p> -<p class="line">When last our ash-tree thou didst leave,</p> -<p class="line">Cold, blasting winds the heavens filled,</p> -<p class="line">And all our smiling flowers were killed.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">Clouds obscured the brilliant sky;</p> -<p class="line">Dark clouds obscured the brilliant sky.</p> -<p class="line">Up there in flakes they broke the snow,</p> -<p class="line">And Winter killed the flowers below.</p> -</div> -<p><span class="pagenum">[<a id="xd24e2564" href="#xd24e2564" name= -"xd24e2564">48</a>]</span></p> -<div class="lg"> -<p class="line xd24e1269">From the mountain of Varag,</p> -<p class="line">From that great hill they call Varag,</p> -<p class="line">The snow did all the earth enfold:—</p> -<p class="line">In our green meadow it was cold.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">In our garden all was white.</p> -<p class="line">Our little garden all was white.</p> -<p class="line">Our tender rose-trees, fresh and green,</p> -<p class="line">All died of Winter’s frost-bite keen.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e2583" href="#xd24e2583" name= -"xd24e2583">49</a>]</span></p> -</div> -</div> -<div id="v21" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e627">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">YE MOUNTAIN BLUEBELLS</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By AVETIS -ISAHAKIAN</span></p> -<div class="lgouter"> -<p class="line"><span class="sc">Ye</span> mountain bluebells, weep -with me,</p> -<p class="line xd24e1269">And flowers in coloured crowds;</p> -<p class="line">Weep, nightingale, on yonder tree,—</p> -<p class="line xd24e1269">Cool winds dropped from the clouds.</p> -</div> -<div class="lgouter"> -<p class="line">All dark around the earth and sky,</p> -<p class="line xd24e1269">All lonely here I mourn.</p> -<p class="line">My love is gone,—light of my eye;</p> -<p class="line xd24e1269">I sob and weep forlorn.</p> -</div> -<div class="lgouter"> -<p class="line">Alas, no more he cares for me—</p> -<p class="line xd24e1269">He left me unconsoled;</p> -<p class="line">He pierced my heart, then cruelly</p> -<p class="line xd24e1269">Left me in pain untold.</p> -</div> -<div class="lgouter"> -<p class="line">Ye mountain bluebells, weep with me,</p> -<p class="line xd24e1269">And flowers in coloured crowds;</p> -<p class="line">Weep, nightingale, on yonder tree,—</p> -<p class="line xd24e1269">Cool winds dropped from the clouds.</p> -</div> -<p><span class="pagenum">[<a id="xd24e2629" href="#xd24e2629" name= -"xd24e2629">50</a>]</span></p> -</div> -</div> -<div id="v22" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e634">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE SUN WENT DOWN</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By AVETIS -ISAHAKIAN</span></p> -<div class="lgouter"> -<p class="line"><span class="sc">The</span> sun went down behind the -hill,</p> -<p class="line xd24e1269">No light was on the lea,</p> -<p class="line">The fowls and birds slept calm and still,</p> -<p class="line xd24e1269">But sleep came not to me.</p> -</div> -<div class="lgouter"> -<p class="line">The moon peeped in beneath the eaves,</p> -<p class="line xd24e1269">The Balance rose on high,</p> -<p class="line">The fresh night-wind that stirred the leaves</p> -<p class="line xd24e1269">Spoke to the starry sky.</p> -</div> -<div class="lgouter"> -<p class="line">Ah, gentle winds and stars of light,</p> -<p class="line xd24e1269">Where is my love to-night?</p> -<p class="line">Ye painted eyes of heaven so bright,—</p> -<p class="line xd24e1269">Saw you my love to-night?</p> -</div> -<div class="lgouter"> -<p class="line">Day dawned,—unbolted was our door:—</p> -<p class="line xd24e1269">The snowflakes whirled like foam,</p> -<p class="line">’Tis cloud and storm, the wild winds -roar—</p> -<p class="line xd24e1269">Why comes my love not home?</p> -</div> -<p><span class="pagenum">[<a id="xd24e2675" href="#xd24e2675" name= -"xd24e2675">51</a>]</span></p> -</div> -</div> -<div id="v23" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e641">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">BIRTHDAY SONG</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By NAHABED -KOUCHAK</span></p> -<div class="lgouter"> -<div class="lg"> -<p class="line"><span class="sc">On</span> the morning of thy birth</p> -<p class="line xd24e1269">We were glad but thou wert wailing,</p> -<p class="line">See that when thou leav’st the earth</p> -<p class="line xd24e1269">Thou art glad and we bewailing.</p> -</div> -<div class="lg"> -<p class="line">Let me speak unto thy heart,—</p> -<p class="line xd24e1269">List if thou hast understanding;</p> -<p class="line">Keep thyself from fools apart,</p> -<p class="line xd24e1269">All their flatteries withstanding.</p> -</div> -<div class="lg"> -<p class="line">For the fool, like fire and heat,</p> -<p class="line xd24e1269">Scorcheth everything, and burneth;</p> -<p class="line">But the wise, like water sweet,</p> -<p class="line xd24e1269">Deserts into gardens turneth.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e2714" href="#xd24e2714" name= -"xd24e2714">52</a>]</span></p> -</div> -</div> -<div id="v24" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e648">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">MORNING</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By HAROUTUNE -TOUMANIAN</span></p> -<div class="lgouter"> -<div class="lg"> -<p class="line"><span class="sc">Day</span> dawned. Bright tongues of -scarlet flame</p> -<p class="line xd24e1269">Shot up into the sky,</p> -<p class="line">The livid heav’ns blushed, and became</p> -<p class="line xd24e1269">A sea of crimson dye.</p> -</div> -<div class="lg"> -<p class="line">The sun his fiery beams unrolled</p> -<p class="line xd24e1269">Like strands of coloured thread;</p> -<p class="line">Embroidered all the clouds with gold,</p> -<p class="line xd24e1269">And blue, and green, and red.</p> -</div> -<div class="lg"> -<p class="line">Then o’er the mountain, full in view,</p> -<p class="line xd24e1269">Nature’s great Monarch rose:</p> -<p class="line">And from his tent of Royal blue</p> -<p class="line xd24e1269">Hurled darts upon his foes.</p> -</div> -<div class="lg"> -<p class="line">Eternal foe of Gloom and Night,</p> -<p class="line xd24e1269">On high he raised his arm;</p> -<p class="line">His shield of gold, all shining bright,</p> -<p class="line xd24e1269">Sheltered the world from harm.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e2761" href="#xd24e2761" name= -"xd24e2761">54</a>]</span></p> -<p class="par"></p> -<div class="figure xd24e2763width" id="plate04"><img src= -"images/plate04.jpg" alt="The Founding of Van" width="720" height= -"536"> -<p class="figureHead"><span class="sc">The Founding of Van</span></p> -<p class="par first">“It is needful that we build for ourselves a -city and palaces in this balmy clime and beautiful country, by the side -of these pure waters.”</p> -<p class="par signed"><i>Moses of Khorene.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e2774" href= -"#xd24e2774" name="xd24e2774">55</a>]</span></p> -</div> -</div> -<div id="v25" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e655">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE FOUNDING OF VAN</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><i>From the History of Armenia, -by</i></p> -<p class="par xd24e384">MOSES OF KHORENE</p> -<p class="par">And after these things Semiramis, having remained in the -plain called Aïrarat after Ara, went into the hill country towards -the south. For it was summer time and she wished to disport herself in -the valleys and the flowery plains. And seeing the beauty of the land -and the purity of the air, the clearness of the fountains and the -murmuring of the gliding rivers, she said, “It is needful that we -build for ourselves a city and palaces in this balmy clime and -beautiful country, by the side of these pure waters; so that we may -spend the fourth part of the year, which is the summer season, with -enjoyment in the land of Armenia; and the three cool seasons of the -year we will spend in Nineveh.”</p> -<p class="par">And passing over many places she came to the eastern -shore of the salt lake. And on the shore of the lake she saw a long -hill lying towards the setting sun. And south of the hill was a wide -valley like unto a plain, which came down from the eastern flank of the -hill unto the shore of the lake, spacious and of goodly shape. And the -rills of sweet water descending from the mountains ran down the -ravines, and meeting around the spurs of the hills they hastened to -join the river. And there were not a few buildings erected in the -valley on the right and left banks of the waters. And she selected a -small hill on the eastern side.</p> -<p class="par">After gazing thence for a while that evil and -hard-hearted woman Semiramis commanded that twelve thousand unskilled -workmen and six thousand of her chosen men skilled in all manner of -wood, stone, copper, and iron work should be brought from Assyria and -all other lands to the desired place. And it was done according to her -command. And immediately a great multitude of diverse workmen were -brought, and of wise and gifted workers in all the arts. And she -commanded first to make the dyke of the river, of boulders and great -rocks cemented together with clay, of great width and height; the which -it is said remains firm until this day, so that in the clefts of these -dykes pirates and exiles do fortify themselves as in the caves of the -mountains, none being able to wrench even one stone from the dyke. -<span class="pagenum">[<a id="xd24e2791" href="#xd24e2791" name= -"xd24e2791">56</a>]</span>And when one looked upon the cement it -appeared like a torrent of fat. Thus having taken the dyke round over -much ground she brought it unto the intended site of the city. There -she commanded the multitude of the workers to be divided into diverse -sections, placing over each section a chosen master of the arts. And -under such oppression did she keep them that after a few years the -wondrous rampart with its gates of wrought copper was completed. And -she made beautiful buildings in the city, and palaces of different -stones decorated with colours, two stories and three stories high. For -each one she did build summer-houses, separating the various quarters -of the town from each other by beautiful streets. She built also -wondrous baths in the midst of the city for the use of the people, and -divided the water passing through the town into two parts, one for -watering the fragrant orchards and flower-gardens, and the other for -the drinking water of the city and its surroundings. On the east, -north, and south of the city she built pleasure houses, and planted -orchards with leafy trees that bore diverse kinds of fruit and foliage; -she also planted many vines. The whole city she surrounded with stately -ramparts, and caused great multitudes to dwell therein.</p> -<p class="par">But concerning the far end of the city, and the -miraculous works that were done there, it surpasseth the power of a man -to tell, neither can they be understood by man. For there, surrounded -by fortifications, she did construct the Royal Palace, in great -mystery. For the entrances were hard, and the passages leading out of -it like those of hell. Concerning the manner of its making we have -never read a true description, neither do we propose to weave it into -our history; but we only say that of all royal works it is, as we have -heard, esteemed the first and greatest. And on the west side of the -rock—whereon no man can now make any impression, even with -iron—in this adamantine substance she constructed many temples, -bed-chambers, and treasure-houses; and great trenches, so that none -knoweth for what manner of things she made these marvellous -preparations. And smoothing the face of the rock as one would smooth -wax with a pen, she wrote many inscriptions thereon; so that even to -look at it causeth a man to be amazed. <span class="pagenum">[<a id= -"xd24e2795" href="#xd24e2795" name="xd24e2795">57</a>]</span></p> -</div> -</div> -<div id="v26" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e662">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">I HAVE A WORD I FAIN WOULD SAY</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> SAYAT NOVA</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">I have a word I fain would say—list patiently, -Light of my Eyes;</p> -<p class="line">A ceaseless longing fills my heart thy face to see, -Light of my Eyes.</p> -<p class="line">How have I sinned that thou shouldst thus offended be, -Light of my Eyes?</p> -<p class="line">The world is sated with the world,—I starve for -thee, Light of my Eyes.</p> -</div> -<div class="lg"> -<p class="line">A sea of blood is in my heart, and tears forever fill -my eyes;</p> -<p class="line">No salve can heal my wound, the cure in my -beloved’s presence lies.</p> -<p class="line">All sick of love I lay, and watched her pathway with my -longing eyes;</p> -<p class="line">When I was dead she came; ’twas but the layer-out -who heard her sighs.</p> -</div> -<div class="lg"> -<p class="line">Fair springtime now is fully here, the meadows gay with -leaf and flower;</p> -<p class="line">The hill-sides strewn with violets, the nightingale -sent to the bower.</p> -<p class="line">But why cannot his voice be heard? O thorn-tree, whence -thy cruel power?</p> -<p class="line">Thy branches pierced his heart; the rose was mourning -left within her tower.</p> -</div> -<div class="lg"> -<p class="line">The scarlet poppy thought to tempt and lure the -wandering nightingale,</p> -<p class="line">When he was dreaming of the rose tied round with wisps -of basil pale.</p> -<p class="line">None pitied him—the rose was plucked by those who -first came to the vale.</p> -<p class="line">Alas, poor nightingale, the hedge has caught and -pierced thy body frail!</p> -</div> -<div class="lg"> -<p class="line">God knows my life I count but nought; for thee -I’d give it joyfully.</p> -<p class="line">Come, let us taste of love’s delights, let him -that listeth envious be.</p> -<p class="line">No wish of thine shall be refused, so but thy face I -radiant see.</p> -<p class="line">If immortality thou’dst have, my love shall -e’en bring that to thee.</p> -</div> -<div class="lg"> -<p class="line">And if I had a thousand woes no murmur from my lips -would rise:</p> -<p class="line">Thou art my Ruler, none beside; no sovereign own I -otherwise.</p> -<p class="line">Sayat Nova says, “Heartless one, death is not -death for him who dies</p> -<p class="line">So thou but mourn him with thy locks spread over him, -Light of my Eyes.”</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e2859" href="#xd24e2859" name= -"xd24e2859">58</a>]</span></p> -</div> -</div> -<div id="v27" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e669">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE SONG OF THE PARTRIDGE</h2> -<h2 class="sub">FOLK SONG</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line">The sun has touched the mountain’s crest,</p> -<p class="line">The partridge rises from her nest;</p> -<p class="line">And down the hillside tripping fast,</p> -<p class="line">Greets all the flowers as she goes past.</p> -</div> -<div class="lg"> -<p class="line">I breakfast on my roof at morn</p> -<p class="line">When to my ear her voice is borne—</p> -<p class="line">When swinging from the mountain side,</p> -<p class="line">She chirps her song in all her pride.</p> -</div> -<div class="lg"> -<p class="line">Thy nest is dewed with summer showers;</p> -<p class="line">Basil, narcissus, lotus flowers,</p> -<p class="line">Enamel it, and breathe to thee</p> -<p class="line">Perfumes of immortality.</p> -</div> -<div class="lg"> -<p class="line">Soft feathers all thy body deck,</p> -<p class="line">Small is thy beak, and long thy neck.</p> -<p class="line">Thy wings are worked with colours rare,</p> -<p class="line">The dove is not so sweet and fair.</p> -</div> -<div class="lg"> -<p class="line">The little partridge flies aloft</p> -<p class="line">Upon the branch, and warbles soft;</p> -<p class="line">He cheers the world, and heals the smart</p> -<p class="line">When seas of blood well in the heart.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e2911" href="#xd24e2911" name= -"xd24e2911">59</a>]</span></p> -</div> -</div> -<div id="v28" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e676">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE LILY OF SHAVARSHAN</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> LEO -ALISHAN</p> -<p class="par xd24e384">(1820–1901)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Armenian maidens, come and view</p> -<p class="line">In Shavarshan a lily new!</p> -</div> -<div class="lg"> -<p class="line">The radiant type of maidenhood,</p> -<p class="line xd24e1269">Crown of Armenia’s pride!</p> -<p class="line">From the fair brow beneath her veil</p> -<p class="line xd24e1269">The wind-stirred curls float wide</p> -<p class="line">With little steps, like turtle dove,</p> -<p class="line xd24e1269">She walks the dew-bright plain;</p> -<p class="line">Her lips drop honey, and her eyes</p> -<p class="line xd24e1269">Effulgent glances rain.</p> -</div> -<div class="lg"> -<p class="line">The beauty of Armenia,</p> -<p class="line xd24e1269">A sun-like mirror clear,</p> -<p class="line">Our Northern star is bright Santoukhd,</p> -<p class="line xd24e1269">The king’s fair daughter dear.</p> -<p class="line">She has come forth, the graceful bride</p> -<p class="line xd24e1269">On whom the East and West</p> -<p class="line">Desire to look, while fires of love</p> -<p class="line xd24e1269">Consume the gazer’s breast.</p> -</div> -<div class="lg"> -<p class="line">Less fair the bright and morning star,</p> -<p class="line xd24e1269">’Mid cloudlets small and fine;</p> -<p class="line">Less fair the fruit whose rosy tints</p> -<p class="line xd24e1269">’Mid apple leaves outshine;</p> -<p class="line">Araxes’ hyacinthine flower</p> -<p class="line xd24e1269">That chains of dew doth wear,</p> -<p class="line">All are less beautiful than she,</p> -<p class="line xd24e1269">With gracious mien and air.</p> -</div> -<p><span class="pagenum">[<a id="xd24e2978" href="#xd24e2978" name= -"xd24e2978">60</a>]</span></p> -<div class="lg"> -<p class="line">At sight of her, the snowy peaks</p> -<p class="line xd24e1269">Melt and are flushed with rose;</p> -<p class="line">Trees, flowers bud forth; the nightingales</p> -<p class="line xd24e1269">All sing where’er she goes.</p> -<p class="line">The bell-flowers open myriad eyes</p> -<p class="line xd24e1269">When she comes through the bowers;</p> -<p class="line">Beneath her breath, the vales and hills</p> -<p class="line xd24e1269">Alike are clad in flowers.</p> -</div> -<div class="lg"> -<p class="line">Before her have been bent to earth</p> -<p class="line xd24e1269">Foreheads with diadems;</p> -<p class="line">The valley has become a hill</p> -<p class="line xd24e1269">Of scattered gold and gems.</p> -<p class="line">Where passes by with humble grace</p> -<p class="line xd24e1269">Armenia’s virgin sweet,</p> -<p class="line">Fine sands of pearls come longingly</p> -<p class="line xd24e1269">To spread beneath her feet.</p> -</div> -<div class="lg"> -<p class="line">Full many a monarch’s valiant son</p> -<p class="line xd24e1269">Has left his palace home</p> -<p class="line">In Persia or Albania,</p> -<p class="line xd24e1269">In India or in Rome.</p> -<p class="line">Admiringly they gaze on her,</p> -<p class="line xd24e1269">Exclaiming, “Happy he</p> -<p class="line">Who wins the fair Armenian maid</p> -<p class="line xd24e1269">His bride beloved to be!”</p> -</div> -<div class="lg"> -<p class="line">But palace worthy of Santoukhd</p> -<p class="line xd24e1269">The earth can nowhere show,</p> -<p class="line">And for the arches of her brows</p> -<p class="line xd24e1269">This world is all too low.</p> -</div> -<p><span class="pagenum">[<a id="xd24e3039" href="#xd24e3039" name= -"xd24e3039">61</a>]</span></p> -<div class="lg"> -<p class="line">The Sky says, “Let her on my throne</p> -<p class="line xd24e1269">Reign queen o’er every land.”</p> -<p class="line">The Ocean says, “My purple waves</p> -<p class="line xd24e1269">Shall bow to her command.”</p> -</div> -<div class="lg"> -<p class="line">There is One greater than the earth,</p> -<p class="line xd24e1269">More wide than sea-waves run,</p> -<p class="line">Higher and vaster than the heavens,</p> -<p class="line xd24e1269">And brighter than the sun.</p> -<p class="line">There is a formidable King</p> -<p class="line xd24e1269">Whose power no bound has known;</p> -<p class="line">The royal maid Santoukhd shall be</p> -<p class="line xd24e1269">For Him, and Him alone.</p> -<p class="line">Her halls of light are all prepared,</p> -<p class="line xd24e1269">And for a footstool meet</p> -<p class="line">The azure sky adorned with stars</p> -<p class="line xd24e1269">Awaits her dove-like feet.</p> -</div> -<p class="tb">. . . . . . . . . . . . . . . . . . . . .</p> -<div class="lg"> -<p class="line">The sharp sword glitters in the air,</p> -<p class="line xd24e1269">And swift the red blood flows;</p> -<p class="line">Santoukhd, who was a lily fair,</p> -<p class="line xd24e1269">Falls to the earth, a rose.</p> -<p class="line">The sword flashed once, and aspects three</p> -<p class="line xd24e1269">Were in Santoukhd descried;</p> -<p class="line">Her heart dropped blood, and roses red</p> -<p class="line xd24e1269">Sprang up on every side;</p> -<p class="line">Her eyes were violet chalices,</p> -<p class="line xd24e1269">Sweet e’en while they expire;</p> -<p class="line">Her face, like lilies half unclosed,</p> -<p class="line xd24e1269">But on her lips what fire!</p> -</div> -<div class="lg"> -<p class="line">The heaven and earth shine white and red;</p> -<p class="line xd24e1269">Come forth and gather, maids,</p> -</div> -<p><span class="pagenum">[<a id="xd24e3108" href="#xd24e3108" name= -"xd24e3108">62</a>]</span></p> -<div class="lg"> -<p class="line">The rose and lily joined in one,</p> -<p class="line xd24e1269">This peerless flower that fades!</p> -<p class="line">Lay in the tomb that youthful corpse,</p> -<p class="line xd24e1269">With Thaddeus, good and brave.</p> -<p class="line">Sweet maiden of Armenia,</p> -<p class="line xd24e1269">Her sweet soil be thy grave!</p> -<p class="line">Armenian maids, a lily new</p> -<p class="line xd24e1269">Is brought to Shavarshan for you!<a class= -"noteref" id="xd24e3126src" href="#xd24e3126" name= -"xd24e3126src">1</a></p> -</div> -</div> -<p class="par first xd24e2187"><i>Translated by Alice Stone -Blackwell.</i> <span class="pagenum">[<a id="xd24e3133" href= -"#xd24e3133" name="xd24e3133">63</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e3126" href="#xd24e3126src" name="xd24e3126">1</a></span> -Santoukhd was martyred by the order of her father, King Sanadroug, for -becoming a Christian. <a class="fnarrow" href= -"#xd24e3126src">↑</a></p> -</div> -</div> -</div> -<div id="v29" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e683">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">CRADLE SONG</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><i>By</i> RAPHAEL PATKANIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Nightingale, oh, leave our garden,</p> -<p class="line xd24e1269">Where soft dews the blossoms steep;</p> -<p class="line">With thy litanies melodious</p> -<p class="line xd24e1269">Come and sing my son to sleep!</p> -<p class="line">Nay, he sleeps not for thy chanting,</p> -<p class="line xd24e1269">And his weeping hath not ceased.</p> -<p class="line">Come not, nightingale! My darling</p> -<p class="line xd24e1269">Does not wish to be a priest.</p> -</div> -<div class="lg"> -<p class="line">O thou thievish, clever jackdaw,</p> -<p class="line xd24e1269">That in coin findest thy joy,</p> -<p class="line">With thy tales of gold and profit</p> -<p class="line xd24e1269">Come and soothe my wailing boy!</p> -<p class="line">Nay, thy chatter does not lull him,</p> -<p class="line xd24e1269">And his crying is not stayed.</p> -<p class="line">Come not, jackdaw! for my darling</p> -<p class="line xd24e1269">Will not choose the merchant’s -trade.</p> -</div> -<div class="lg"> -<p class="line">Wild dove, leave the fields and pastures</p> -<p class="line xd24e1269">Where thou grievest all day long;</p> -<p class="line">Come and bring my boy sweet slumber</p> -<p class="line xd24e1269">With thy melancholy song!</p> -<p class="line">Still he weeps. Nay, come not hither,</p> -<p class="line xd24e1269">Plaintive songster, for I see</p> -<p class="line">That he loves not lamentations,</p> -<p class="line xd24e1269">And no mourner will he be.</p> -</div> -<div class="lg"> -<p class="line">Leave thy chase, brave-hearted falcon!</p> -<p class="line xd24e1269">Haply he thy song would hear.</p> -<p class="line">And the boy lay hushed, and slumbered,</p> -<p class="line xd24e1269">With the war-notes in his ear.</p> -</div> -</div> -<p class="par first xd24e2187"><i>Translated by Alice Stone -Blackwell.</i> <span class="pagenum">[<a id="xd24e3207" href= -"#xd24e3207" name="xd24e3207">64</a>]</span></p> -</div> -</div> -<div id="v30" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e690">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE WIND IS HOWLING THROUGH THE WINTER NIGHT</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> AVETIS -ISAHAKIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">The wind is howling through the winter night,</p> -<p class="line">Like to a pack of angry wolves that cry.</p> -<p class="line">My hapless willows bend before its might;</p> -<p class="line">Their broken branches in the garden lie.</p> -</div> -<div class="lg"> -<p class="line">Alas, my heart, thy love since childhood’s -days</p> -<p class="line">Hath wept; thy dream was understood by none.</p> -<p class="line">Seek not in vain a friend to know thy ways—</p> -<p class="line">The soul is born eternally alone.</p> -</div> -<div class="lg"> -<p class="line">Thou from thy hopeless heart that love shalt -cast—</p> -<p class="line">That child of earth, false, illegitimate:</p> -<p class="line">Shalt fling it to the night and wintry blast—</p> -<p class="line">Out in the storm—there let it find its fate.</p> -</div> -<div class="lg"> -<p class="line">There motherless and orphaned let it weep,</p> -<p class="line">And let the wind its sobbings onward bear</p> -<p class="line">Unto some desert place, or stormy deep—</p> -<p class="line">But not where human soul its voice may hear.</p> -</div> -<div class="lg"> -<p class="line">The wind is howling in its agony</p> -<p class="line">All through this snow-bound night, with piercing -cry;</p> -<p class="line">Alas, beneath the broken willow tree</p> -<p class="line">My shattered love lies dying—let it die.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e3262" href="#xd24e3262" name= -"xd24e3262">65</a>]</span></p> -</div> -</div> -<div id="v31" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e698">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE ARMENIAN POET’S PRAYER</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> ALEXANDER -DZADOURIAN</p> -<p class="par xd24e384">(<i>Born</i> 1870)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">O God, ’tis not for laurel wreaths I pray,</p> -<p class="line">For pompous funeral or jubilee;</p> -<p class="line">Nor yet for fame beyond my life’s -decay—</p> -<p class="line">All these my country will accord to me.</p> -</div> -<div class="lg"> -<p class="line">One favour, Lord of Heaven, I implore—</p> -<p class="line">One that my land to me will never give:</p> -<p class="line">Grant me a crust of bread, or else such store</p> -<p class="line">Of grace that I on air may learn to live!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e3294" href="#xd24e3294" name= -"xd24e3294">66</a>]</span></p> -</div> -</div> -<div id="v32" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e705">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE CHRAGAN PALACE</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> THOMAS -TERZYAN</p> -<p class="par xd24e384">(1842–1909)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Have you ever seen that wondrous building,</p> -<p class="line xd24e1269">Whose white shadows in the blue wave -sleep?</p> -<p class="line">There Carrara sent vast mounds of marble,</p> -<p class="line xd24e1269">And Propontis, beauty of the deep.</p> -</div> -<div class="lg"> -<p class="line">From the tombs of centuries awaking,</p> -<p class="line xd24e1269">Souls of every clime and every land</p> -<p class="line">Have poured forth their rarest gifts and treasures</p> -<p class="line xd24e1269">Where those shining halls in glory stand.</p> -</div> -<div class="lg"> -<p class="line">Ships that pass before that stately palace,</p> -<p class="line xd24e1269">Gliding by with open sails agleam,</p> -<p class="line">In its shadow pause and gaze, astonished,</p> -<p class="line xd24e1269">Thinking it some Oriental dream.</p> -</div> -<div class="lg"> -<p class="line">New its form, more wondrous than the Gothic,</p> -<p class="line xd24e1269">Than the Doric or Ionic fair;</p> -<p class="line">At command of an Armenian genius<a class="noteref" id= -"xd24e3339src" href="#xd24e3339" name="xd24e3339src">1</a></p> -<p class="line xd24e1269">Did the master builder rear it there.</p> -</div> -<div class="lg"> -<p class="line">By the windows, rich with twisted scroll-work,</p> -<p class="line xd24e1269">Rising upward, marble columns shine,</p> -<p class="line">And the sunbeams lose their way there, wandering</p> -<p class="line xd24e1269">Where a myriad ornaments entwine.</p> -</div> -<p><span class="pagenum">[<a id="xd24e3353" href="#xd24e3353" name= -"xd24e3353">67</a>]</span></p> -<div class="lg"> -<p class="line">An immortal smile, its bright reflection</p> -<p class="line xd24e1269">In the water of the blue sea lies,</p> -<p class="line">And it shames Granada’s famed Alhambra,</p> -<p class="line xd24e1269">O’er whose beauty wondering bend the -skies.</p> -</div> -<div class="lg"> -<p class="line">Oft at midnight, in the pale, faint starlight,</p> -<p class="line xd24e1269">When its airy outline, clear and fair,</p> -<p class="line">On the far horizon is depicted,</p> -<p class="line xd24e1269">With its trees and groves around it -there,</p> -</div> -<div class="lg"> -<p class="line">You can fancy that those stones grow living,</p> -<p class="line xd24e1269">And, amid the darkness of the night,</p> -<p class="line">Change to lovely songs, to which the spirit,</p> -<p class="line xd24e1269">Dreaming, listens with a vague delight.</p> -</div> -<div class="lg"> -<p class="line">Have you ever seen that wondrous building</p> -<p class="line xd24e1269">Whose white shadows in the blue wave -sleep?</p> -<p class="line">There Carrara sent vast mounds of marble,</p> -<p class="line xd24e1269">And Propontis, beauty of the deep.</p> -</div> -<div class="lg"> -<p class="line">It is not a mass of earthly matter,</p> -<p class="line xd24e1269">Not a work from clay or marble wrought;</p> -<p class="line">From the mind of an Armenian genius</p> -<p class="line xd24e1269">Stands embodied there a noble thought.</p> -</div> -</div> -<p class="par first xd24e2187"><i>Translated by Alice Stone -Blackwell.</i> <span class="pagenum">[<a id="xd24e3403" href= -"#xd24e3403" name="xd24e3403">68</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e3339" href="#xd24e3339src" name="xd24e3339">1</a></span> The late -Hagop Bey Balian. <a class="fnarrow" href= -"#xd24e3339src">↑</a></p> -</div> -</div> -</div> -<div id="v33" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e712">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE DREAM</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> SMPAD -SHAHAZIZ</p> -<p class="par xd24e384">(1840–1897)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Soft and low a voice breathed o’er me,</p> -<p class="line xd24e1269">Near me did my mother seem;</p> -<p class="line">Flashed a ray of joy before me,</p> -<p class="line xd24e1269">But, alas, it was a dream!</p> -</div> -<div class="lg"> -<p class="line">There the murmuring streamlet flowing</p> -<p class="line xd24e1269">Scattered radiant pearls around,</p> -<p class="line">Pure and clear, like crystal glowing—</p> -<p class="line xd24e1269">But it was a dream, unsound.</p> -</div> -<div class="lg"> -<p class="line">And my mother’s mournful singing</p> -<p class="line xd24e1269">Took me back to childhood’s day,</p> -<p class="line">To my mind her kisses bringing—</p> -<p class="line xd24e1269">’Twas a dream and passed away!</p> -</div> -<div class="lg"> -<p class="line">To her heart she pressed me yearning,</p> -<p class="line xd24e1269">Wiped her eyes which wet did seem;</p> -<p class="line">And her tears fell on me burning—</p> -<p class="line xd24e1269">Why should it have been a dream?</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e3451" href="#xd24e3451" name= -"xd24e3451">69</a>]</span></p> -</div> -</div> -<div id="v34" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e719">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE SORROWS OF ARMENIA</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line">In many a distant, unknown land,</p> -<p class="line xd24e1269">My sons belovèd exiled roam,</p> -<p class="line">Servile they kiss the stranger’s hand;</p> -<p class="line xd24e1269">How shall I find and bring them home?</p> -</div> -<div class="lg"> -<p class="line">The ages pass, no tidings come;</p> -<p class="line xd24e1269">My brave ones fall, are lost and gone.</p> -<p class="line">My blood is chilled, my voice is dumb,</p> -<p class="line xd24e1269">And friend or comfort I have none.</p> -</div> -<div class="lg"> -<p class="line">With endless griefs my heart is worn,</p> -<p class="line xd24e1269">Eternal sorrow is my doom;</p> -<p class="line">Far from my sons, despis’d, forlorn,</p> -<p class="line xd24e1269">I must descend the darksome tomb.</p> -</div> -<div class="lg"> -<p class="line">Thou shepherd wandering o’er the hill,</p> -<p class="line xd24e1269">Come weep with me my children lost;</p> -<p class="line">Let mournful strains the valleys fill</p> -<p class="line xd24e1269">For those we loved and valued most.</p> -</div> -<div class="lg"> -<p class="line">Fly, crane, Armenia’s bird, depart;</p> -<p class="line xd24e1269">Tell them I die of grief; and tell</p> -<p class="line">How hope is dead within my heart—</p> -<p class="line xd24e1269">Bear to my sons my last farewell!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e3502" href="#xd24e3502" name= -"xd24e3502">70</a>]</span></p> -</div> -</div> -<div id="v35" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e726">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">ARTASHES AND SATENIK</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><i>From the History of Armenia,</i></p> -<p class="par xd24e384"><i>by</i></p> -<p class="par xd24e384">MOSES OF KHORENE</p> -<p class="par">At this time the Alans united with all the people of the -mountain country, and having taken possession of the half of Georgia, -spread themselves in great multitudes over our land. And Artashes -collected a mighty host together, and there was war between the two -great nations. The Alans retreated somewhat, and crossing over the -river Kur they encamped on its northern bank. And when Artashes -arrived, he encamped on the southern bank, so that the river was -between them. But because the son of the King of the Alans was taken -captive by the Armenian hosts and brought to Artashes, the King of the -Alans sought peace, promising to give to Artashes whatsoever he should -ask. And he swore an eternal peace unto him, so that the sons of the -Alans might not be carried away captive into the land of the Armenians. -And when Artashes would not consent to give back the youth, his sister -came to the river’s bank and stood upon a great rock. And by -means of the interpreters she spoke to the camp of Artashes, -saying:—“O brave Artashes, who hast vanquished the great -nation of the Alans, unto thee I speak. Come, hearken unto the -bright-eyed daughter of the Alan King, and give back the youth. For it -is not the way of heroes to destroy life at the root, nor for the sake -of humbling and enslaving a hostage to establish everlasting enmity -between two great nations.” And on hearing such wise sayings, -Artashes went to the bank of the river. And seeing that the maiden was -beautiful, and having heard these words of wisdom from her, he desired -her. And calling Smpad his chamberlain he told him the wishes of his -heart, and commanded that he should obtain the maiden for him, swearing -unto the great Alan nation oaths of peace, and promising to send the -youth back in safety. And this appeared wise in the eyes of Smpad, and -he sent messengers unto the King of the Alans asking him to give the -lady Satenik his daughter as wife unto Artashes. And the King of the -Alans answered, “From whence shall brave Artashes give thousands -upon thousands and tens of thousands upon tens of thousands unto the -Alans in return for the maiden?” <span class="pagenum">[<a id= -"xd24e3518" href="#xd24e3518" name="xd24e3518">71</a>]</span></p> -<p class="par"></p> -<div class="figure xd24e3520width" id="plate05"><img src= -"images/plate05.jpg" alt="Artashes and Satenik" width="720" height= -"532"> -<p class="figureHead"><span class="sc">Artashes and Satenik</span></p> -<p class="par first">“O brave Artashes, who hast vanquished the -great nation of the Alans, unto thee I speak. Come, hearken unto the -bright-eyed daughter of the Alan King, and give back the youth. For it -is not the way of heroes to destroy life at the root nor ... to -establish everlasting enmity between two great nations.”</p> -<p class="par signed"><i>Moses of Khorene.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e3531" href= -"#xd24e3531" name="xd24e3531">74</a>]</span></p> -<p class="par"></p> -<div class="figure xd24e3533width" id="plate06"><img src= -"images/plate06.jpg" alt="The Wedding" width="720" height="535"> -<p class="figureHead"><span class="sc">The Wedding</span></p> -<p class="par first">“It rained showers of gold when Artashes -became a bridegroom. It rained pearls when Satenik became a -bride.”</p> -<p class="par signed"><i>Moses of Khorene.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e3544" href= -"#xd24e3544" name="xd24e3544">75</a>]</span></p> -<p class="par">Concerning this the poets of that land sing in their -songs:—</p> -<div class="lgouter"> -<p class="line">“Brave King Artashes</p> -<p class="line">Mounted his fine black charger,</p> -<p class="line">And took the red leathern cord</p> -<p class="line">With the golden ring.</p> -<p class="line">Like a swift-winged eagle</p> -<p class="line">He passed over the river,</p> -<p class="line">And cast the golden ring</p> -<p class="line">Round the waist of the Alan Princess;</p> -<p class="line">Causing much pain</p> -<p class="line">To the tender maiden</p> -<p class="line">As he bore her swiftly</p> -<p class="line">Back to his camp.”</p> -</div> -<p class="par first">Which being interpreted meaneth that he was -commanded to give much gold, leather, and crimson dye in exchange for -the maiden. So also they sing of the wedding:—</p> -<div class="lgouter"> -<p class="line">“It rained showers of gold when Artashes became a -bridegroom.</p> -<p class="line">It rained pearls when Satenik became a -bride.”</p> -</div> -<p class="par first">For it was the custom of our kings to scatter -coins amongst the people when they arrived at the doors of the temple -for their wedding, as also for the queens to scatter pearls in their -bridechamber. <span class="pagenum">[<a id="xd24e3583" href= -"#xd24e3583" name="xd24e3583">76</a>]</span></p> -</div> -</div> -<div id="v36" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e733">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">MY DEATH</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> BEDROS -TOURIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">When Death’s pale angel comes to me,</p> -<p class="line">And smiling sweetly on my head,</p> -<p class="line">Bids all my pains and sorrows flee,—</p> -<p class="line">Believe not then that I am dead.</p> -</div> -<div class="lg"> -<p class="line">When my cold limbs they shroud with care,</p> -<p class="line">And on my brow love’s tear-drops shed,</p> -<p class="line">And lay me on my ebon bier,—</p> -<p class="line">Believe not then that I am dead.</p> -</div> -<div class="lg"> -<p class="line">And when the tolling bell shall ring</p> -<p class="line">To my black coffin’s muted tread</p> -<p class="line">—Death’s fiendish laughter, -quivering,—</p> -<p class="line">Believe not then that I am dead.</p> -</div> -<div class="lg"> -<p class="line">And when the black-robed priests shall sing,</p> -<p class="line">And prayers and incense round me spread,</p> -<p class="line">With faces dark and sorrowing—</p> -<p class="line">Believe not still that I am dead.</p> -</div> -<div class="lg"> -<p class="line">When on my tomb they heap the clay,</p> -<p class="line">And leave me in my lonely bed,</p> -<p class="line">And loved ones turn with sobs away—</p> -<p class="line">Then never think that I am dead.</p> -</div> -<div class="lg"> -<p class="line">But if my grave neglected lie,</p> -<p class="line">My memory too be gone and fled,</p> -<p class="line">And dear ones pass unheeding by,</p> -<p class="line">Ah, then believe that I am dead!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e3647" href="#xd24e3647" name= -"xd24e3647">77</a>]</span></p> -</div> -</div> -<div id="v37" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e740">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE EAGLE’S LOVE</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> SHUSHANIK -GOURGHINIAN</p> -<p class="par xd24e384">(<i>Born</i> 1876)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">An eagle sat upon the fell,—</p> -<p class="line xd24e1269">He sat and sang alone.</p> -<p class="line">A pretty maid passed in the dell,</p> -<p class="line xd24e1269">He saw—his heart was won.</p> -</div> -<div class="lg"> -<p class="line">“Ah, lovely maid, enchanting maid,</p> -<p class="line xd24e1269">Alas, thou canst not fly!</p> -<p class="line">Down in the vale thou soon shalt fade,</p> -<p class="line xd24e1269">And like a floweret die.</p> -</div> -<div class="lg"> -<p class="line">“I’d make thee queen, if thou -could’st fly,</p> -<p class="line xd24e1269">Of all my mountains steep;</p> -<p class="line">At night I’d sing thy lullaby,</p> -<p class="line xd24e1269">And in my wings thou’dst sleep.</p> -</div> -<div class="lg"> -<p class="line">“Those eyes are like black night to me,</p> -<p class="line xd24e1269">That smile like sunshine bright;</p> -<p class="line">And heaven itself would quickly be</p> -<p class="line xd24e1269">Subdued before thy might.</p> -</div> -<div class="lg"> -<p class="line">“Good Lord, canst thou not fly at all?</p> -<p class="line xd24e1269">Who made thee without wings?</p> -<p class="line">Art thou content down there to crawl</p> -<p class="line xd24e1269">With loathsome creeping things?”</p> -</div> -<div class="lg"> -<p class="line">Thus on his rock the eagle proud</p> -<p class="line xd24e1269">Sat singing, then he sailed</p> -<p class="line">O’er hill and valley, and aloud</p> -<p class="line xd24e1269">The maiden’s fate bewailed.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e3715" href="#xd24e3715" name= -"xd24e3715">78</a>]</span></p> -</div> -</div> -<div id="v38" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e747">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">CONCERNING THE ROSE AND THE NIGHTINGALE</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> GRIGORIS OF -AGHTAMAR</p> -<p class="par xd24e384">(<i>Fifteenth Century</i>)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">The Rose was gone. When to the empty tent</p> -<p class="line">The Nightingale returned, his heart was torn.</p> -<p class="line">He filled the night with mourning and lament,</p> -<p class="line">And wandered through the darkness lone and lorn.</p> -</div> -<div class="lg"> -<p class="line">“To thee I speak, O Garden, answer me,</p> -<p class="line">Why did’st thou not preserve my precious -Rose,</p> -<p class="line">Whose perfume breathed of immortality,</p> -<p class="line">Whose colour made her queen of all that grows?</p> -</div> -<div class="lg"> -<p class="line">“May’st thou become a desert parched and -dry,</p> -<p class="line">And may the flowers that grow within thee fade;</p> -<p class="line">May thy protecting walls in ruin lie—</p> -<p class="line">By ruthless feet thy soil in waste be laid.</p> -</div> -<div class="lg"> -<p class="line">“Ye trees, now cast away your verdant leaves,</p> -<p class="line">And rushing torrents, your swift courses stay.</p> -<p class="line">Reckless I speak, as one who sorely grieves,</p> -<p class="line">For they have taken my sweet love away.</p> -</div> -<p><span class="pagenum">[<a id="xd24e3765" href="#xd24e3765" name= -"xd24e3765">79</a>]</span></p> -<div class="lg"> -<p class="line">“My Rose is gone and I am desolate.</p> -<p class="line">Light of my eyes was she, now darkness reigns.</p> -<p class="line">Both day and night I weep disconsolate.</p> -<p class="line">My reason leaves me, and my spirit wanes.</p> -</div> -<div class="lg"> -<p class="line">“Was it the gardener took her away</p> -<p class="line">And grieved my soul? If never more again</p> -<p class="line">I should behold her face, what shall I say?</p> -<p class="line">Instead of joy, I’ll sing of grief and pain.</p> -</div> -<div class="lg"> -<p class="line">“Or else I fear the mighty wind arose,</p> -<p class="line">And blasted with its strength her petals frail;</p> -<p class="line">Or did the scorching sunbeams burn my Rose</p> -<p class="line">Within her leaves, and turn her beauty pale?...</p> -</div> -<div class="lg"> -<p class="line">“I think perhaps the flowers were wroth with -me</p> -<p class="line">And hid her from my sight; I’ll go to them.</p> -<p class="line">Or else the clouds in cruel enmity</p> -<p class="line">Sent hailstones down that broke her from the -stem!”</p> -</div> -<div class="lg"> -<p class="line">Then all the flowers together made reply,</p> -<p class="line">“We have no tidings of the Rose at all,</p> -<p class="line">She left us suddenly, we know not why.</p> -<p class="line">We have no tidings of the Rose at all.”</p> -</div> -<div class="lg"> -<p class="line">The Nightingale then rose into the air,</p> -<p class="line">“I’ll ask the birds in friendly -wise,” he said,</p> -<p class="line">“If they can tell me why she went, and where;</p> -<p class="line">If not, a sea of tears my eyes shall shed.</p> -</div> -<div class="lg"> -<p class="line">“Birds, do you know what came to pass to-day?</p> -<p class="line">The lovely Rose was stolen from her home.</p> -<p class="line">Know you perchance who carried her away?</p> -<p class="line">Have you seen aught, or heard where she doth -roam?”</p> -</div> -<p><span class="pagenum">[<a id="xd24e3830" href="#xd24e3830" name= -"xd24e3830">80</a>]</span></p> -<div class="lg"> -<p class="line">They said, “The Lord Creator knoweth all;</p> -<p class="line">No secrets of the heart from Him are hid.</p> -<p class="line">On Him as witness reverently we call—</p> -<p class="line">We have not seen or touched her—God -forbid!”</p> -</div> -<div class="lg"> -<p class="line">The Nightingale then sadly made reply,</p> -<p class="line">“What will become of me? From night to morn</p> -<p class="line">I have no rest, and I shall surely die,</p> -<p class="line">Parted from her, with ceaseless longings worn.</p> -</div> -<div class="lg"> -<p class="line">“If in her stead the world to me were given</p> -<p class="line">I would esteem it but a paltry thing;</p> -<p class="line">If choirs of minstrels sang the songs of heaven,</p> -<p class="line">To me their songs as discords harsh would ring.</p> -</div> -<div class="lg"> -<p class="line">“Oh, in what corner have they buried thee?</p> -<p class="line">How shall I e’er forget thy tenderness?</p> -<p class="line">My heart and soul are wounded grievously,</p> -<p class="line">All flowers are dead—this place a wilderness.</p> -</div> -<div class="lg"> -<p class="line">“The Psalmist’s words are now fulfilled in -me;</p> -<p class="line">Mournful I go, and like a pelican</p> -<p class="line">About the wilderness roam hopelessly,</p> -<p class="line">Or like an owl the sandy desert scan.”</p> -</div> -<div class="lg"> -<p class="line">The gardener then with soothing words drew near,</p> -<p class="line">“Weep not, she will return, O Nightingale.</p> -<p class="line">The Violet, her forerunner, is here,</p> -<p class="line">And brings thee messages and words of hail.”</p> -</div> -<div class="lg"> -<p class="line">Then he rejoiced and blessed the gardener,</p> -<p class="line">“May’st thou in peace upon this earth -abide,</p> -<p class="line">Thy garden flourish with its bright allure,</p> -<p class="line">Its circling walls renew their former pride.</p> -</div> -<p><span class="pagenum">[<a id="xd24e3894" href="#xd24e3894" name= -"xd24e3894">81</a>]</span></p> -<div class="lg"> -<p class="line">“May all thy plants grow verdant once again,</p> -<p class="line">And gently sway about upon the breeze,</p> -<p class="line">May they receive fresh brightness from the rain,</p> -<p class="line">And waft sweet perfume human hearts to -please!”</p> -</div> -</div> -<p class="par first">Then did the Nightingale write a letter unto the -Rose who collected all the Flowers and caused it to be read in their -presence.</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">They took the letter to the Rose’s Court,</p> -<p class="line">Where Hazrevart, her minister austere,</p> -<p class="line">Stood on his feet with stately mien and port</p> -<p class="line">And read it out for all the flowers to hear:—</p> -</div> -<div class="lg"> -<p class="line">“I greet thee, O beloved of my heart,</p> -<p class="line">And fain would hear concerning this thy rape.</p> -<p class="line">I trust through God’s protecting care thou -art</p> -<p class="line">Perfect in health, as faultless in thy shape.</p> -</div> -<div class="lg"> -<p class="line">“For which with outstretched hands I ever -pray,</p> -<p class="line">And beg that length of days be granted thee;</p> -<p class="line">All flowers bend to thee and homage pay,</p> -<p class="line">Thou rulest them in all thy majesty.</p> -</div> -<div class="lg"> -<p class="line">“Thy hue is beautiful, thy perfume sweet,</p> -<p class="line">Each morn thou shinest brighter than the sun.</p> -<p class="line">Happy the day when thee once more I meet,—</p> -<p class="line">For thou art full of grace, my spotless one.</p> -</div> -<p><span class="pagenum">[<a id="xd24e3943" href="#xd24e3943" name= -"xd24e3943">82</a>]</span></p> -<div class="lg"> -<p class="line">“Apart from thee, in humble reverence,</p> -<p class="line">I worship thee, and pray for thy return.</p> -<p class="line">I have no sleep at night for this suspense,</p> -<p class="line">Now Spring is here I ever weep and mourn.</p> -</div> -<div class="lg"> -<p class="line">“The icy winter passed—I lived it -through,</p> -<p class="line">Still suffering many things because of thee;</p> -<p class="line">They mocked at me, and said thou wast not -true—</p> -<p class="line">My Rose had no more love or care for me.”</p> -</div> -<div class="lg"> -<p class="line">Then sent the Rose unto the Nightingale,</p> -<p class="line">And said: “Behold, I send him many flowers.</p> -<p class="line">And they shall cover mountain, hill, and dale,</p> -<p class="line">My Nightingale shall dwell within those bowers.</p> -</div> -<div class="lg"> -<p class="line">“I cannot there return immediately;</p> -<p class="line">A little he must wait, in patient wise:</p> -<p class="line">But if his love is perfectly with me,</p> -<p class="line">Tell him to look for it in Paradise.”</p> -</div> -<div class="lg"> -<p class="line">The Nightingale rejoiced on hearing this</p> -<p class="line">And said: “The beauteous Rose shall then -return!</p> -<p class="line">What tidings wonderful of untold bliss!</p> -<p class="line">For all the world her ransom could not earn.”</p> -</div> -<div class="lg"> -<p class="line">And when the sun into the Ram had passed,</p> -<p class="line">The thunder rolled, the storm-clouds broke in -showers;</p> -<p class="line">Myriads of blossoms o’er the earth were -cast:—</p> -<p class="line">He sought the Rose—she was not of those -flowers.</p> -</div> -<div class="lg"> -<p class="line">Until one morn he saw her foliage green,</p> -<p class="line">Lovely and fresh as it had been before:</p> -<p class="line">The Rose was hidden in a silken screen</p> -<p class="line">And every flower worshipped her once more.</p> -</div> -<p><span class="pagenum">[<a id="xd24e4008" href="#xd24e4008" name= -"xd24e4008">83</a>]</span></p> -<div class="lg"> -<p class="line">The Nightingale beheld and said: “Thank -Heaven!</p> -<p class="line">Blessing and praise from every mouth be breathed;</p> -<p class="line">To Heaven’s King be endless glory -given—</p> -<p class="line">For in her bud I saw the Rose ensheathed!”</p> -</div> -<p class="tb">. . . . . . . . . . . . . . . . . . . . .</p> -<div class="lg"> -<p class="line">Foolish Aghtamartzi, beware this bane,</p> -<p class="line">For this world’s love is ever linked with -thorn;</p> -<p class="line">A little while ’tis gladness, then ’tis -pain—</p> -<p class="line">What boots the joy which needs must make us mourn?</p> -</div> -</div> -<p class="par first"></p> -<div class="figure xd24e4029width"><img src="images/p057.png" alt= -"ISLAND MONASTERY OF AGHTAMAR, LAKE VAN." width="604" height="401"> -<p class="figureHead">ISLAND MONASTERY OF AGHTAMAR, LAKE VAN.</p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e4033" href= -"#xd24e4033" name="xd24e4033">84</a>]</span></p> -</div> -</div> -<div id="v39" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e755">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE ARRIVAL OF THE CRUSADERS</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> SAINT NERSES -SHNORHALI</p> -<p class="par xd24e384">(1102–1173)</p> -<div class="lgouter"> -<p class="line">Once more God hither moves their course;</p> -<p class="line">With countless infantry and horse,</p> -<p class="line">As swell the waves towards the strand,</p> -<p class="line">Fierce and tempestuous, they land.</p> -<p class="line">Like sands that by the ocean lie,</p> -<p class="line">Or like the stars that strew the sky,</p> -<p class="line">They fill the earth where’er they go</p> -<p class="line">And whiten it as wool or snow.</p> -<p class="line">Their voice is like the northern wind,</p> -<p class="line">Driving the storm-cloud from behind.</p> -<p class="line">They clear the land from end to end,</p> -<p class="line">The unbelievers forth they send,</p> -<p class="line">Redeeming from such hopeless plight</p> -<p class="line">All Christians held within their might.</p> -<p class="line">Now in the churches cold and dark,</p> -<p class="line">Once more shall burn the taper’s spark;</p> -<p class="line">And you, my sons, late forced to flee</p> -<p class="line">To distant lands, afar from me,</p> -<p class="line">Shall now return in chariots fair</p> -<p class="line">Drawn by brave steeds with trappings rare.</p> -<p class="line">And I shall lift mine eyes above</p> -<p class="line">Beholding near me those I love.</p> -<p class="line">My arms about you I shall fold,</p> -<p class="line">Rejoicing with a joy untold;</p> -<p class="line">And my black robes aside will lay</p> -<p class="line">To dress in greens and crimsons gay.</p> -</div> -<p><span class="pagenum">[<a id="xd24e4099" href="#xd24e4099" name= -"xd24e4099">85</a>]</span></p> -</div> -</div> -<div id="v40" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e762">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">LIKE AN OCEAN IS THIS WORLD</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> HOVHANNES -ERZINGATZI</p> -<p class="par xd24e384">(<i>Born</i> 1260)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line xd24e1269">Like an ocean is this world;</p> -<p class="line">None undrenched may cross that ocean.</p> -<p class="line xd24e1269">My ship too its sails unfurled,</p> -<p class="line">Ere I knew it was in motion.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">Now we draw towards the land,</p> -<p class="line">And I fear the sea-board yonder:—</p> -<p class="line xd24e1269">Lest the rocks upon the strand</p> -<p class="line">Break and tear our planks asunder.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">I will pray God that He raise</p> -<p class="line">From the shore a breeze to meet us,—</p> -<p class="line xd24e1269">To disperse this gloomy haze,</p> -<p class="line">That a happy land may greet us.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e4140" href="#xd24e4140" name= -"xd24e4140">86</a>]</span></p> -</div> -</div> -<div id="v41" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e769">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE ROCK</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> HOVHANNES -HOVHANNESSIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Above the waters, like a hoary giant,</p> -<p class="line">The rock stands up, majestic and defiant.</p> -<p class="line">The little waves, as to and fro they move,</p> -<p class="line">Greet him with kisses and with looks of love.</p> -</div> -<div class="lg"> -<p class="line">The wavelets of the river laugh and dance,</p> -<p class="line">As in their arms the mirrored sunbeams glance;</p> -<p class="line">And with their smiles of winning, child-like grace,</p> -<p class="line">They woo the rock, and murmur in his face:</p> -</div> -<div class="lg"> -<p class="line">“O Aged-One, why art thou never glad?</p> -<p class="line">The lines that seam thy countenance are sad.</p> -<p class="line">The world is ever changing; thou alone</p> -<p class="line">Art still the same with thy dark face of stone.</p> -</div> -<div class="lg"> -<p class="line">“Free children of the mountains ever free,</p> -<p class="line">We bring rich gifts of jewels unto thee;</p> -<p class="line">Scent thee with perfumes of the mountain -rose—</p> -<p class="line">Heaven’s daughter fair, that on our margin -grows.</p> -</div> -<div class="lg"> -<p class="line">“Sweet strains of gentle melody we breathe,</p> -<p class="line">And call the fishes from our depths beneath;</p> -<p class="line">And gilded with the spring-tide’s golden -rays,</p> -<p class="line">We make thee on our merry revels gaze.</p> -</div> -<p><span class="pagenum">[<a id="xd24e4194" href="#xd24e4194" name= -"xd24e4194">87</a>]</span></p> -<div class="lg"> -<p class="line">“And songs of love we warble in thine ear,</p> -<p class="line">From morning dawn until the stars appear:—</p> -<p class="line">We fondle thee, and on thine aged breast</p> -<p class="line">Our passions lull, and bid them sink to -rest.”</p> -</div> -<div class="lg"> -<p class="line">The wavelets hasten, moving to and fro,</p> -<p class="line">The rock still sorrows o’er his ancient woe;</p> -<p class="line">The wavelets play, and laughing onward press—</p> -<p class="line">The rock remains, gloomy and motionless.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e4213" href="#xd24e4213" name= -"xd24e4213">88</a>]</span></p> -</div> -</div> -<div id="v42" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e777">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE CRANE</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> HOVHANNES -TOUMANIAN</p> -<p class="par xd24e384">(<i>Born</i> 1869)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">The Crane has lost his way across the heaven,</p> -<p class="line">From yonder stormy cloud I hear him cry,</p> -<p class="line">A traveller o’er an unknown pathway driven,</p> -<p class="line">In a cold world unheeded he doth fly.</p> -</div> -<div class="lg"> -<p class="line">Ah, whither leads this pathway long and dark,</p> -<p class="line">My God, where ends it, thus with fears obsessed?</p> -<p class="line">When shall night end this day’s last glimmering -spark?</p> -<p class="line">Where shall my weary feet to-night find rest?</p> -</div> -<div class="lg"> -<p class="line">Farewell, belovèd bird, where’er thou -roam</p> -<p class="line">Spring shall return and bring thee back once more,</p> -<p class="line">With thy sweet mate and young ones, to thy -home—</p> -<p class="line">Thy last year’s nest upon the sycamore.</p> -</div> -<div class="lg"> -<p class="line">But I am exiled from my ruined nest,</p> -<p class="line">And roam with faltering steps from hill to hill,</p> -<p class="line">Like to the fowls of heaven in my unrest</p> -<p class="line">Envying the boulders motionless and still.</p> -</div> -<div class="lg"> -<p class="line">Each boulder unassailed stands in its place,</p> -<p class="line">But I from mine must wander tempest tossed—</p> -<p class="line">And every bird its homeward way can trace,</p> -<p class="line">But I must roam in darkness, lone and lost.</p> -</div> -<div class="lg"> -<p class="line">Ah, whither leads this pathway long and dark,</p> -<p class="line">My God, where ends it, thus with fears obsessed?</p> -<p class="line">When shall night end this day’s last glimmering -spark?</p> -<p class="line">Where shall my weary feet to-night find rest?</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e4281" href="#xd24e4281" name= -"xd24e4281">89</a>]</span></p> -</div> -</div> -<div id="v43" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e784">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE HAWK AND THE DOVE</h2> -<h2 class="sub">FOLK SONG</h2> -<div class="lgouter"> -<p class="line">The Hawk said to the Dove, “My dear,</p> -<p class="line">Why dost thou shed tear after tear,</p> -<p class="line">That go to swell the streamlet clear?”</p> -<p class="line">The Dove said to the Hawk, “I fear</p> -<p class="line">That spring is gone and autumn’s here;</p> -<p class="line">The rills have ceased their glad career,</p> -<p class="line">The leaves and flowers are dead and sere,</p> -<p class="line">The partridges no more we hear;</p> -<p class="line">So I shall weep in my despair,</p> -<p class="line">And from my eyes shed many a tear:—</p> -<p class="line">How shall I find my babies’ fare?”</p> -<p class="line">He said, “Weep not this autumn drear,</p> -<p class="line">For spring will come another year,</p> -<p class="line">And sunshine bring the world its cheer,</p> -<p class="line">And Hope shall for the poor appear.</p> -<p class="line">Upon my pinions thee I’ll bear</p> -<p class="line">Where those tall trees their summit rear,</p> -<p class="line">And high upon those mountains bare</p> -<p class="line">I’ll build a nest with tender care,</p> -<p class="line">I’ll make for thee a dwelling there,—</p> -<p class="line">A hearth laid in that rocky lair,</p> -<p class="line">With chimney open to the air;</p> -<p class="line">The smoke shall to the clouds repair—</p> -<p class="line">And to the South Wind fly our care!”</p> -<p class="line">Autumn gave place to springtime fair, <span class= -"pagenum">[<a id="xd24e4340" href="#xd24e4340" name= -"xd24e4340">90</a>]</span></p> -<p class="line">The rills were loosed on their career</p> -<p class="line">And went to swell the streamlet clear,</p> -<p class="line">Like blood-drops from the boulders bare.</p> -<p class="line">Bright yellow flowers the hills did wear,</p> -<p class="line">And violets, with perfume rare,</p> -<p class="line">And flowers of countless colours fair;</p> -<p class="line">And birds with music filled the air,</p> -<p class="line">And bleating lambs called everywhere</p> -<p class="line">To God for all His love and care.</p> -</div> -<p><span class="pagenum">[<a id="xd24e4360" href="#xd24e4360" name= -"xd24e4360">92</a>]</span></p> -</div> -<div class="divBody"> -<p class="par"></p> -<div class="figure xd24e4362width" id="plate07"><img src= -"images/plate07.jpg" alt="Artavasd" width="720" height="539"> -<p class="figureHead"><span class="sc">Artavasd</span></p> -<div class="lgouter"> -<p class="line">“When thou ridest forth to hunt</p> -<p class="line">Over the free heights of Ararat,</p> -<p class="line">The Strong Ones shall have thee,</p> -<p class="line">And shall take thee up</p> -<p class="line">On to the free heights of Ararat.</p> -<p class="line">There shalt thou abide,</p> -<p class="line">And never more see the light.”</p> -</div> -<p class="par first signed"><i>Moses of Khorene.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e4386" href= -"#xd24e4386" name="xd24e4386">93</a>]</span></p> -</div> -</div> -<div id="v44" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e791">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">ARTAVASD</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><i>From the History of Armenia,</i></p> -<p class="par xd24e384"><i>by</i></p> -<p class="par xd24e384">MOSES OF KHORENE</p> -<p class="par">After the death of Artashes his son Artavasd reigned, -and he drove all his brothers and sisters to the lands of Aghyovd and -Arberan, that they might not live in Aïrarat, on the territory of -the King. And when he had reigned but a little while, as he was riding -over the bridge of Artashat to hunt deer and wild asses on the banks of -the Ghin, he was seized by some visionary terror and lost his reason. -And urging his horse down a steep bank he fell into a chasm, wherein he -sank and disappeared.</p> -<p class="par">The singers of Ghogtan tell concerning him, that when -his father was dying many people killed themselves according to the -customs of the heathen; and they say that Artavasd was wroth, and said -unto his father:</p> -<div class="lgouter"> -<p class="line">“Now that thou art gone</p> -<p class="line">And hast taken with thee the whole land,</p> -<p class="line">How shall I reign over the ruins?”</p> -</div> -<p class="par first">Therefore Artashes cursed him, and said:</p> -<div class="lgouter"> -<p class="line">“When thou ridest forth to hunt</p> -<p class="line">Over the free heights of Ararat,</p> -<p class="line">The Strong Ones shall have thee,</p> -<p class="line">And shall take thee up</p> -<p class="line">On to the free heights of Ararat.</p> -<p class="line">There shalt thou abide,</p> -<p class="line">And never more see the light.”</p> -</div> -<p class="par first">Old women also tell of him how that he is confined -in a cavern and bound with iron chains. And his two dogs do daily try -to gnaw through the chains to set him free, that he <span class= -"pagenum">[<a id="xd24e4431" href="#xd24e4431" name= -"xd24e4431">94</a>]</span>may come and put an end to the world; but at -the sound of the hammers striking on the anvil, the chains are -strengthened. So also even in our own times many blacksmiths do keep up -the tradition and strike the anvil three or four times on a Monday, to -strengthen, as they say, the chains of Artavasd. But the truth -concerning him is as we have declared above.</p> -<p class="par">Others say that at his birth the women of the house of -Ahasuerus did try to bewitch him, and therefore Artashes tormented them -much; and these same singers say also that the Children of the Dragons -stole the infant Artavasd and put a devil in his place. But unto us it -seemeth that being full of wickedness from his very birth, so also did -he end. <span class="pagenum">[<a id="xd24e4435" href="#xd24e4435" -name="xd24e4435">95</a>]</span></p> -</div> -</div> -<div id="v45" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e798">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">CHARM VERSES<a class="noteref" id="xd24e4441src" href= -"#xd24e4441" name="xd24e4441src">1</a></h2> -<h2 class="sub">FOLK SONGS</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line">Snowless hang the clouds to-night,</p> -<p class="line">Through the darkness comes no light;</p> -<p class="line xd24e1269">While my lover, far away,</p> -<p class="line">Line or letter will not write.</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">Snowless hang the clouds to-night,</p> -<p class="line">Through the darkness comes no light;</p> -<p class="line xd24e1269">On this lonely pillow now,</p> -<p class="line">Never more shall sleep alight.</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">Like a star whose brightness grows</p> -<p class="line">On the earth my beauty shows;</p> -<p class="line xd24e1269">Thou shalt long for yet, and seek</p> -<p class="line">My dark eyes and arching brows.</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">I beheld a dream last night,</p> -<p class="line">Saw these haystacks all alight;—</p> -<p class="line xd24e1269">They have borne thy love away,—</p> -<p class="line">Wilt not come and for her fight?</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">Soft winds move beneath the trees</p> -<p class="line">And thy locks wave in the breeze.</p> -<p class="line xd24e1269">Whilst thou roamest hill and field</p> -<p class="line">Sleep my eyelids ever flees.</p> -</div> -<p class="tb">* * *</p> -<p><span class="pagenum">[<a id="xd24e4496" href="#xd24e4496" name= -"xd24e4496">96</a>]</span></p> -<div class="lg"> -<p class="line">Eden’s smile my vineyard wore,</p> -<p class="line">Flowers bloomed, a goodly store;</p> -<p class="line xd24e1269">Handsome youth and ugly maid—</p> -<p class="line">This was never seen before!</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">For the mountain air I’d die,</p> -<p class="line">For his form so fair I’d die,</p> -<p class="line xd24e1269">Now he’s far off, for the eyes</p> -<p class="line">That have seen him there I’d die.</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">’Tis a moonlight night to-night,</p> -<p class="line">Eyes so black and cheeks so bright.</p> -<p class="line xd24e1269">Give me but the one I love—</p> -<p class="line">Peace to you then, and good-night!</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">On my finger is a ring,</p> -<p class="line">Crimson rubies, glistening.</p> -<p class="line xd24e1269">He that parts me from my love,—</p> -<p class="line">Satan to his soul shall cling.</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">Long and lone this night to me</p> -<p class="line">Passing slow and wearily;</p> -<p class="line xd24e1269">Passing full of sighs and tears—</p> -<p class="line">Love, what doth it bring to thee?</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">Round the moon a halo grew,</p> -<p class="line">In its depths the storm-cloud drew;</p> -<p class="line xd24e1269">Go and ask them who it was</p> -<p class="line">Turned from me my lover true.</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">Dainty is the frock I wear,</p> -<p class="line">Bright the gauze upon my hair:</p> -<p class="line xd24e1269">Since my love is coy with me,</p> -<p class="line">I’ll be coy, and will not care!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e4568" href="#xd24e4568" name= -"xd24e4568">97</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e4441" href="#xd24e4441src" name="xd24e4441">1</a></span> A great -number of these little poems exist. They are traditional, and are used -for fortune-telling. On the Eve of Ascension Day all those who wish to -have their fortunes told place some little trinket into a bowl -containing seven different kinds of flowers and water from seven -springs. The bowl is left open to the stars until dawn, when the party -assemble and select a child who cannot tell where the sun rises to take -the trinkets out as the verses are repeated. The owner of the token -takes the verse preceding its being brought out as his or her -fortune. <a class="fnarrow" href="#xd24e4441src">↑</a></p> -</div> -</div> -</div> -<div id="v46" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e805">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE TEARS OF ARAXES</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> RAPHAEL -PATKANIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">I walk by Mother Arax</p> -<p class="line xd24e1269">With faltering steps and slow,</p> -<p class="line">And memories of past ages</p> -<p class="line xd24e1269">Seek in the waters’ flow.</p> -</div> -<div class="lg"> -<p class="line">But they run dark and turbid,</p> -<p class="line xd24e1269">And beat upon the shore</p> -<p class="line">In grief and bitter sorrow,</p> -<p class="line xd24e1269">Lamenting evermore.</p> -</div> -<div class="lg"> -<p class="line">“Araxes! with the fishes</p> -<p class="line xd24e1269">Why dost not dance in glee?</p> -<p class="line">The sea is still far distant,</p> -<p class="line xd24e1269">Yet thou art sad, like me.</p> -</div> -<div class="lg"> -<p class="line">“From thy proud eyes, O Mother,</p> -<p class="line xd24e1269">Why do the tears downpour?</p> -<p class="line">Why dost thou haste so swiftly</p> -<p class="line xd24e1269">Past thy familiar shore?</p> -</div> -<div class="lg"> -<p class="line">“Make not thy current turbid;</p> -<p class="line xd24e1269">Flow calm and joyously.</p> -<p class="line">Thy youth is short, fair river;</p> -<p class="line xd24e1269">Thou soon wilt reach the sea.</p> -</div> -<div class="lg"> -<p class="line">“Let sweet rose-hedges brighten</p> -<p class="line xd24e1269">Thy hospitable shore,</p> -<p class="line">And nightingales among them</p> -<p class="line xd24e1269">Till morn their music pour.</p> -</div> -<p><span class="pagenum">[<a id="xd24e4631" href="#xd24e4631" name= -"xd24e4631">98</a>]</span></p> -<div class="lg"> -<p class="line">“Let ever-verdant willows</p> -<p class="line xd24e1269">Lave in thy waves their feet,</p> -<p class="line">And with their bending branches</p> -<p class="line xd24e1269">Refresh the noonday heat.</p> -</div> -<div class="lg"> -<p class="line">“Let shepherds on thy margin</p> -<p class="line xd24e1269">Walk singing, without fear;</p> -<p class="line">Let lambs and kids seek freely</p> -<p class="line xd24e1269">Thy waters cool and clear.”</p> -</div> -<div class="lg"> -<p class="line">Araxes swelled her current,</p> -<p class="line xd24e1269">Tossed high her foaming tide,</p> -<p class="line">And in a voice of thunder</p> -<p class="line xd24e1269">Thus from her depths replied:—</p> -</div> -<div class="lg"> -<p class="line">“Rash, thoughtless youth, why com’st -thou</p> -<p class="line xd24e1269">My age-long sleep to break,</p> -<p class="line">And memories of my myriad griefs</p> -<p class="line xd24e1269">Within my breast to wake?</p> -</div> -<div class="lg"> -<p class="line">“When hast thou seen a widow,</p> -<p class="line xd24e1269">After her true-love died,</p> -<p class="line">From head to foot resplendent</p> -<p class="line xd24e1269">With ornaments of pride?</p> -</div> -<div class="lg"> -<p class="line">“For whom should I adorn me?</p> -<p class="line xd24e1269">Whose eyes shall I delight?</p> -<p class="line">The stranger hordes that tread my banks</p> -<p class="line xd24e1269">Are hateful in my sight.</p> -</div> -<div class="lg"> -<p class="line">“My kindred stream, impetuous Kur,</p> -<p class="line xd24e1269">Is widowed, like to me,</p> -<p class="line">But bows beneath the tyrant’s yoke,</p> -<p class="line xd24e1269">And wears it slavishly.</p> -</div> -<p><span class="pagenum">[<a id="xd24e4696" href="#xd24e4696" name= -"xd24e4696">99</a>]</span></p> -<div class="lg"> -<p class="line">“But I, who am Armenian,</p> -<p class="line xd24e1269">My own Armenians know;</p> -<p class="line">I want no stranger bridegroom;</p> -<p class="line xd24e1269">A widowed stream I flow.</p> -</div> -<div class="lg"> -<p class="line">“Once I, too, moved in splendour,</p> -<p class="line xd24e1269">Adorned as is a bride</p> -<p class="line">With myriad precious jewels,</p> -<p class="line xd24e1269">My smiling banks beside.</p> -</div> -<div class="lg"> -<p class="line">“My waves were pure and limpid,</p> -<p class="line xd24e1269">And curled in rippling play;</p> -<p class="line">The morning star within them</p> -<p class="line xd24e1269">Was mirrored till the day.</p> -</div> -<div class="lg"> -<p class="line">“What from that time remaineth?</p> -<p class="line xd24e1269">All, all has passed away.</p> -<p class="line">Which of my prosperous cities</p> -<p class="line xd24e1269">Stands near my waves to-day?</p> -</div> -<div class="lg"> -<p class="line">“Mount Ararat doth pour me,</p> -<p class="line xd24e1269">As with a mother’s care,</p> -<p class="line">From out her sacred bosom</p> -<p class="line xd24e1269">Pure water, cool and fair.</p> -</div> -<div class="lg"> -<p class="line">“Shall I her holy bounty</p> -<p class="line xd24e1269">To hated aliens fling?</p> -<p class="line">Shall strangers’ fields be watered</p> -<p class="line xd24e1269">From good Saint Jacob’s spring?</p> -</div> -<div class="lg"> -<p class="line">“For filthy Turk or Persian</p> -<p class="line xd24e1269">Shall I my waters pour,</p> -<p class="line">That they may heathen rites perform</p> -<p class="line xd24e1269">Upon my very shore<span class="corr" id= -"xd24e4760" title="Source: ,">.</span></p> -</div> -<p><span class="pagenum">[<a id="xd24e4764" href="#xd24e4764" name= -"xd24e4764">100</a>]</span></p> -<div class="lg"> -<p class="line">“While my own sons, defenceless,</p> -<p class="line xd24e1269">Are exiled from their home,</p> -<p class="line">And, faint with thirst and hunger,</p> -<p class="line xd24e1269">In distant countries roam?</p> -</div> -<div class="lg"> -<p class="line">“My own Armenian nation</p> -<p class="line xd24e1269">Is banished far away;</p> -<p class="line">A godless, barbarous people</p> -<p class="line xd24e1269">Dwells on my banks to-day.</p> -</div> -<div class="lg"> -<p class="line">“Shall I my hospitable shores</p> -<p class="line xd24e1269">Adorn in festive guise</p> -<p class="line">For them, or gladden with fair looks</p> -<p class="line xd24e1269">Their wild and evil eyes?</p> -</div> -<div class="lg"> -<p class="line">“Still, while my sons are exiled,</p> -<p class="line xd24e1269">Shall I be sad, as now.</p> -<p class="line">This is my heart’s deep utterance,</p> -<p class="line xd24e1269">My true and holy vow.”</p> -</div> -<div class="lg"> -<p class="line">No more spake Mother Arax;</p> -<p class="line xd24e1269">She foamed up mightily,</p> -<p class="line">And, coiling like a serpent,</p> -<p class="line xd24e1269">Wound sorrowing toward the sea.</p> -</div> -</div> -<p class="par first xd24e2187"><i>Translated by Alice Stone -Blackwell.</i> <span class="pagenum">[<a id="xd24e4814" href= -"#xd24e4814" name="xd24e4814">101</a>]</span></p> -</div> -</div> -<div id="v47" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e812">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE EVE OF ASCENSION DAY<a class="noteref" id= -"xd24e4819src" href="#xd24e4819" name="xd24e4819src">1</a></h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> DERENIK -DEMIRJIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Night with her ebon hair and starry crown</p> -<p class="line xd24e1248">Upon the hills came down.</p> -<p class="line">Her loosened tresses floated all unbound</p> -<p class="line xd24e1248">And veiled her form around.</p> -</div> -<div class="lg"> -<p class="line">The fountain murmured like an endless tale</p> -<p class="line xd24e1248">On her entrancing lips; and it would seem</p> -<p class="line">As if God spake within the silent vale,</p> -<p class="line xd24e1248">And sleeping Earth were listening, in a -dream.</p> -</div> -<div class="lg"> -<p class="line">Like blackened clouds, in Jorokh’s stream -arise</p> -<p class="line xd24e1248">Those rocks that through her savage waters -pierce;</p> -<p class="line">Like dragons twain, they glare with threatening -eyes,</p> -<p class="line xd24e1248">Facing each other, arrogant and fierce.</p> -</div> -<div class="lg"> -<p class="line">Wild Jorokh through that fearsome valley -flows—</p> -<p class="line xd24e1248">Flows like a caravan that onward sweeps;</p> -<p class="line">First roaring loud, then hushed into repose,</p> -<p class="line xd24e1248">Groping its way through darkness, on it -creeps.</p> -</div> -<div class="lg"> -<p class="line">The sounds of Earth are melted into rest,</p> -<p class="line xd24e1248">While strikes the hour of expectation -deep;</p> -<p class="line">Earth’s waters heave, against each other -pressed,</p> -<p class="line xd24e1248">And breathless listening, all their vigils -keep.</p> -</div> -<div class="lg"> -<p class="line">Decked out like lovely brides stand all the -flowers;</p> -<p class="line xd24e1248">With nuptial joy the forests trembling -wait:</p> -<p class="line">Until Heaven’s blessing fall in sacred -showers,</p> -<p class="line xd24e1248">And whispering softly, each may clasp its -mate.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e4880" href="#xd24e4880" name= -"xd24e4880">102</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e4819" href="#xd24e4819src" name="xd24e4819">1</a></span> The Eve -of Ascension Day is the time when betrothals are arranged and destinies -decided. <a class="fnarrow" href="#xd24e4819src">↑</a></p> -</div> -</div> -</div> -<div id="v48" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e819">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">“THY VOICE IS SWEET”</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> SAYAT NOVA</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Thy voice is soft, thy speech all sweetness flows;</p> -<p class="line">May he protect who hath thy heart, my love!</p> -<p class="line">Thy waist is the gazelle’s, thy hue the rose,</p> -<p class="line">Brocade from Franguistan thou art, my love!</p> -</div> -<div class="lg"> -<p class="line">If I compare thee to brocade, ‘twill fray;</p> -<p class="line">If to a plane-tree, ‘twill be felled one day;</p> -<p class="line">All girls are likened to gazelles thou’lt -say—</p> -<p class="line">How then shall I describe thee truly, love?</p> -</div> -<div class="lg"> -<p class="line">The violet is wild, and low of birth;</p> -<p class="line">Rubies are stones, for all their priceless worth:</p> -<p class="line">The moon itself is made of rocks and earth—</p> -<p class="line">All flame, thou shinest like the sun, my love.</p> -</div> -<div class="lg"> -<p class="line">Thy door I seek as pilgrims seek a shrine:</p> -<p class="line">Thine eyes are roses, new-blown eglantine;</p> -<p class="line">Thy tongue a pen, thy hands like paper fine,</p> -<p class="line">A flower fresh from the sea thou art, my love!</p> -</div> -<div class="lg"> -<p class="line">Within my soul thy hand has placed love’s -seed;</p> -<p class="line">Thy wiles and coyness make my heart to bleed:</p> -<p class="line">Thy Sayat Nova thou hast slain indeed,</p> -<p class="line">Thine evil fate he bears for thee, my love.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e4934" href="#xd24e4934" name= -"xd24e4934">104</a>]</span></p> -<p class="par"></p> -<div class="figure xd24e4936width" id="plate08"><img src= -"images/plate08.jpg" alt="Christ’s Letter to Abgarus" width="720" -height="534"> -<p class="figureHead"><span class="sc">Christ’s Letter to -Abgarus</span></p> -<p class="par first">“And after My ascension I will send thee one -of My disciples, that he may heal thee from thy disease, and give Life -unto thee and to them that are with thee.”</p> -<p class="par signed"><i>Moses of Khorene.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e4947" href= -"#xd24e4947" name="xd24e4947">105</a>]</span></p> -</div> -</div> -<div id="v49" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e826">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">CHRIST AND ABGARUS</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><i>From the History of Armenia,</i></p> -<p class="par xd24e384"><i>by</i></p> -<p class="par xd24e384">MOSES OF KHORENE</p> -<p class="par">Abgar the son of Arsham began to reign in the twentieth -year of the reign of Arshavr King of Persia. This Abgar was called the -Great Man because of his exceeding meekness and wisdom. In the third -year of his reign the whole of Armenia fell under the jurisdiction of -Rome.... Therefore the Romans sent commissioners unto the land of -Armenia who brought the image of Cæsar and placed it in all the -temples.</p> -<p class="par">At this time was born our Saviour Jesus Christ, the Son -of God.</p> -<p class="par">And there was a dispute between Abgar and Herod. For -Herod commanded that his image also should be placed in the temples of -Armenia, with that of Cæsar; to which Abgar not acceding, the -anger of Herod was kindled against him. And he sent his brother’s -son with a great army against him. And Abgar met and fought him; and he -was slain in the battle and his army fled.</p> -<p class="par">Soon after these things Augustus died, and Tiberius -reigned over the Roman Empire; and Germanicus sent messengers from Rome -unto Arshavr and Abgar concerning the battle in which Herod’s -brother’s son was slain. Whereupon Abgar was displeased, and -thought to prepare for revolt and war. Then did he build the city of -Edessa wherein to keep the hosts of Armenia, and removed thither his -court from Mdzpin, with all his idols: Nebog, Bel, Batnikol, and -Tarata; also with the Royal Palace he removed the books of the schools -belonging to the temples.</p> -<p class="par">But strife had arisen between his kinsmen of the -reigning house of Persia, and Abgar collected his armies and went to -reconcile and pacify them. And having settled their disputes he -returned home; not sound in his body, but tormented with a painful -disease.</p> -<p class="par">At that time Marinus was governor over Phœnicia, -Palestine, Assyria, and Mesopotamia. And Abgarus sent two of his -notables unto him to show him the treaty of peace between Arshavr and -his brother (for the Romans suspected that he had been to Persia to -collect armies against them). And Marinus received them with peace and -great honour, sending word unto Abgarus, “Fear nothing, only -hasten to raise all the taxes.”</p> -<p class="par">And on their return the messengers went up to Jerusalem -to see our Saviour Christ, having heard of His wonderful deeds. -<span class="pagenum">[<a id="xd24e4976" href="#xd24e4976" name= -"xd24e4976">106</a>]</span></p> -<p class="par">And when they had seen Him with their own eyes they -returned and told Abgar; at which the king marvelled, and believed Him -to be the very Son of God. And because His body was tormented with a -painful disease contracted in the land of Persia seven years before, -and he was not able to find any cure by men, he sent unto Him a letter -asking Him to come and heal him of his disease.</p> -<p class="par"><i>The Letter of Abgarus to our Saviour Jesus -Christ.</i></p> -<p class="par">“Abgarus, a prince of the world, unto Jesus, the -Saviour and Benefactor, Who hast appeared in the City of Jerusalem, -greetings.</p> -<p class="par">“I have heard of Thee and of the healings wrought -by Thy hands, without drugs and without roots; for it is said that Thou -givest sight to the blind, Thou makest the lame to walk, and Thou -cleansest the lepers; Thou curest those who have been long tormented by -diseases, and raisest even the dead. And when I heard all this -concerning Thee I thought that either Thou art God come down from -Heaven that workest these things, or the Son of God. I have written -unto Thee that Thou shouldest trouble Thyself to come unto me, and heal -me of my disease. I have heard also that the Jews murmur against Thee, -and think to torture Thee. My city is a small one, but it is beautiful, -and it is sufficient for us twain.”</p> -<p class="tb"></p> -<p class="par"></p> -<p class="par">And taking the letter they found Him in Jerusalem. And -unto this the gospel beareth witness, saying: “There were some -amongst the heathen that came up to Him.” But our Saviour did not -undertake to come at the time when they called Him, but made Abgarus -worthy of a letter thus.</p> -<p class="par"><i>The Answer to the Letter of Abgarus, written at the -command of our Saviour by the Apostle Thomas.</i></p> -<p class="par">“Blessed is he who believeth on Me though he hath -not seen Me. For it is written concerning Me thus: ‘They that -have seen Me believed not on Me, but they that have not seen Me shall -believe and live.’ And concerning that which thou hast written -unto Me to come down unto thee, it is needful that I fulfil all that -for which I was sent; and when I have fulfilled it I will ascend unto -Him that sent Me. And after My ascension I will send one of My -disciples, who shall heal thee of thy disease, and give Life unto thee -and unto all them that are with thee.”</p> -<p class="tb"></p> -<p class="par"></p> -<p class="par">This letter did Anan the messenger bring unto Abgarus, -with the Image of the Saviour, which remaineth in the city of Edessa -until this day. <span class="pagenum">[<a id="xd24e5002" href= -"#xd24e5002" name="xd24e5002">107</a>]</span></p> -</div> -</div> -<div id="v50" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e833">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">ARAXES CAME DEVOURINGLY</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> HOVHANNES -HOVHANNESSIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Araxes came devouringly,</p> -<p class="line">Swept o’er her boulders scouringly—</p> -<p class="line">Where shall I lay my aching head</p> -<p class="line">Bowed down with grief o’erpoweringly?</p> -</div> -<div class="lg"> -<p class="line">Oh my Araxes, flow serene;—</p> -<p class="line">Tell me, hast thou my sweet love seen?</p> -<p class="line">My heart’s desire is unfulfilled;—</p> -<p class="line">Arax, hast thou more happy been?</p> -</div> -<div class="lg"> -<p class="line">Mount Ararat with clouds is veiled,</p> -<p class="line">My love is lost, my hope has failed.</p> -<p class="line">For pity’s sake an answer give</p> -<p class="line">To my sad heart with grief assailed.</p> -</div> -<div class="lg"> -<p class="line">I sob and weep the livelong night;</p> -<p class="line">Till dawn I watch—I watch and write;</p> -<p class="line">Arax, ere sunrise gild thy waves</p> -<p class="line">To thee I bring my spirit’s blight.</p> -</div> -<div class="lg"> -<p class="line">Upon the rocks the sunbeams dart,</p> -<p class="line">Red flames devour my mourning heart;</p> -<p class="line">Those eyes and brows have left with me</p> -<p class="line">A sorrow which shall ne’er depart.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5057" href="#xd24e5057" name= -"xd24e5057">108</a>]</span></p> -</div> -</div> -<div id="v51" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e840">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE PARROT’S SONG</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> RAFFI</p> -<p class="par xd24e384">(1837–1888)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">With nuts and sweets and dainty fare,</p> -<p class="line xd24e1269">My lady feeds me oft.</p> -<p class="line">She decks my cage with tender care,</p> -<p class="line xd24e1269">And hands so white and soft.</p> -</div> -<div class="lg"> -<p class="line">But not a moment’s joy can give</p> -<p class="line xd24e1269">This pampering care to me,</p> -<p class="line">Since as a prisoner here I live,</p> -<p class="line xd24e1269">In gilded misery.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5086" href="#xd24e5086" name= -"xd24e5086">109</a>]</span></p> -</div> -</div> -<div id="v52" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e847">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">EARTH AND SKY</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> HOVHANNES -TOUMANIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">The Sky bent down his piercing gaze one day</p> -<p class="line">On Mother Earth, that far beneath him lay.</p> -<p class="line">And as he looked on mountain, sea, and grove,</p> -<p class="line">On hill and dale, he burnt with thoughts of love.</p> -</div> -<div class="lg"> -<p class="line">Earth lying numbed and frozen ‘neath the -snow,</p> -<p class="line">Sudden awoke to springtime’s ardent glow,</p> -<p class="line">And flames of fire her beating heart consumed,</p> -<p class="line">While myriad flowers the air around perfumed.</p> -</div> -<div class="lg"> -<p class="line">And thus they loved, though never side by side,</p> -<p class="line">Though Nature willed they should be parted -wide—</p> -<p class="line xd24e1269">The Earth and Sky.</p> -</div> -<div class="lg"> -<p class="line">But when has love accepted with content</p> -<p class="line">An obstacle? When o’er the earth steals -night,</p> -<p class="line">The starry Sky, his vision downward bent,</p> -<p class="line">Opens his thousand eyes of shining light,</p> -<p class="line">And gazes on his love in worship still,</p> -<p class="line">Gazes till dawn, and cannot take his fill.</p> -</div> -<div class="lg"> -<p class="line">And as he gazes, all his starry eyes</p> -<p class="line">Are strewn into Earth’s breast of waters -blue,</p> -<p class="line">Which foam, and heave, and swell, and strive to -rise,</p> -<p class="line">Longing to reach and join her lover true.</p> -</div> -<div class="lg"> -<p class="line">He, more and more inflamed by passion’s fire,</p> -<p class="line">In all the splendours of the night arrayed,</p> -<p class="line">Pours in her ear his longing and desire,</p> -<p class="line">And shows her all his pomp and pride displayed;</p> -<p class="line xd24e1269">Towards her turning</p> -<p class="line xd24e1269">And ever yearning.</p> -</div> -<p><span class="pagenum">[<a id="xd24e5155" href="#xd24e5155" name= -"xd24e5155">110</a>]</span></p> -<div class="lg"> -<p class="line">But when he finds his love is out of reach</p> -<p class="line">He turns away, nor utters sound nor speech;</p> -<p class="line">And in the dark the tears that dim his sight</p> -<p class="line">Fall on earth’s cheeks in showers of dewdrops -bright,—</p> -<p class="line">Dewdrops of pearl—the tears that heaven -weeps,</p> -<p class="line">And then Earth’s bosom swells. Her thousand -deeps,</p> -<p class="line">Her boundless oceans, rise once more to meet</p> -<p class="line">The far-off loved one; and her mountain peaks</p> -<p class="line">Like myriad lips rise up the clouds to -greet,—</p> -<p class="line">To kiss their gloomy forms, and sullen cheeks.</p> -</div> -<div class="lg"> -<p class="line">And love torments her with its ceaseless fire.</p> -<p class="line">Her waters foam, and writhe, and are convulsed,</p> -<p class="line">Yet never may they reach their heart’s -desire,—</p> -<p class="line">Restlessly sobbing, ever more repulsed.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">And from her gloomy throne,</p> -<p class="line xd24e1269">Behind the clouds, alone,</p> -<p class="line">The moon beheld it with her sleepless eye.</p> -<p class="line">And told the Poet how she did espy</p> -<p class="line">That in the darkness of the silent night</p> -<p class="line">Earth heaved her bosom up to Heaven above;</p> -<p class="line">And that the sky smiled on her with delight,</p> -<p class="line">As they exchanged the secret kiss of love;</p> -<p class="line">And for each other sweetest songs they sing</p> -<p class="line">And they embrace each other and caress,</p> -<p class="line">Like living souls, each other gladdening.</p> -</div> -<div class="lg"> -<p class="line">Then on the Poet fell a deep distress,</p> -<p class="line">A jealous sorrow—for he fain would, too,</p> -<p class="line">Possess a love as noble and as true.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5216" href="#xd24e5216" name= -"xd24e5216">111</a>]</span></p> -</div> -</div> -<div id="v53" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e855">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">O’ER THE MOUNTAINS HIGH HE WENT</h2> -<h2 class="sub">FOLK SONG</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line">O’er the mountains high he went,</p> -<p class="line xd24e1269">Love, love!</p> -<p class="line xd24e1269">In the meadows above</p> -<p class="line xd24e1269">I seek for my love.</p> -<p class="line">With a weary sigh he went.</p> -<p class="line xd24e1269">Love, love!</p> -<p class="line xd24e1269">To fight thou art gone</p> -<p class="line xd24e1269">While I stay here alone.</p> -</div> -<div class="lg"> -<p class="line">Neither quail nor partridge stirred.</p> -<p class="line xd24e1269">Love, love!</p> -<p class="line xd24e1269">In the meadows above</p> -<p class="line xd24e1269">I look for my love</p> -<p class="line">And he left without a word.</p> -<p class="line xd24e1269">Love, love!</p> -<p class="line xd24e1269">To fight thou art gone</p> -<p class="line xd24e1269">While I stay here alone.</p> -</div> -<div class="lg"> -<p class="line">Like a flower’s fragrance sweet</p> -<p class="line">He came past, and vanished fleet.</p> -<p class="line xd24e1269">I beheld him and I loved—</p> -<p class="line xd24e1269">But we never more shall meet.</p> -</div> -<div class="lg"> -<p class="line">When my lover rode away</p> -<p class="line">Not a farewell did I say;</p> -<p class="line xd24e1269">None there is to help him now—</p> -<p class="line xd24e1269">Sourb Carapet,<a class="noteref" id= -"xd24e5275src" href="#xd24e5275" name="xd24e5275src">1</a> bless his -way!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5278" href="#xd24e5278" name= -"xd24e5278">112</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e5275" href="#xd24e5275src" name="xd24e5275">1</a></span> The -patron saint of lovers. <a class="fnarrow" href= -"#xd24e5275src">↑</a></p> -</div> -</div> -</div> -<div id="v54" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e862">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">COMPLAINTS</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> BEDROS -TOURIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Farewell, thou Sun, and Thou, O Power Divine,</p> -<p class="line">That far above my spirit dimly shine.</p> -<p class="line">I go to add another star to heaven:—</p> -<p class="line">For what are stars, but anguished curses, riven</p> -<p class="line">From innocent and hapless souls, that fly</p> -<p class="line">To burn the brow of Heaven? and they supply</p> -<p class="line">Fresh armaments, and jewels fiery red,</p> -<p class="line">To God, the source of lightning flashes dread!</p> -</div> -<div class="lg"> -<p class="line">Alas, what do I say? Send forth thy fires,</p> -<p class="line">O God! Consume this brain that thus aspires</p> -<p class="line">To soar, and dares to pierce the depths of heaven;</p> -<p class="line">And e’en to climb unto the stars has striven!</p> -</div> -<div class="lg"> -<p class="line">Creator of our trembling beings, hail!</p> -<p class="line">Of light and youth, of age when forces fail;</p> -<p class="line">Thou that the roses from my brow hast wrenched,</p> -<p class="line">Hast stilled my trembling lips, my longings -quenched;</p> -<p class="line">Mist to mine eyes hast given, sobs to my -breath:—</p> -<p class="line">Yet thou hast sworn to smile on me in death!</p> -<p class="line">Ah, surely thou hast kept for me a life</p> -<p class="line">Of fragrance, light, and prayer beyond this strife!</p> -<p class="line">But if my latest breath must perish here</p> -<p class="line">All silently, in this dark atmosphere—</p> -<p class="line">From now a flash of lightning I would be,</p> -<p class="line">Coiled round thy name, and, murmuring ceaselessly,</p> -<p class="line">A curse I would become to pierce Thy side—</p> -<p class="line">God, the Arch Enemy, I would deride!</p> -</div> -<div class="lg"> -<p class="line">Ah me, I tremble, and am pale as death.</p> -<p class="line">My brain seethes like a hell; a sobbing breath -<span class="pagenum">[<a id="xd24e5348" href="#xd24e5348" name= -"xd24e5348">113</a>]</span></p> -<p class="line">I am amongst the mournful cypress trees,</p> -<p class="line">An autumn leaf soon wafted by the breeze!</p> -</div> -<div class="lg"> -<p class="line">Oh, I would live!—give me of life one spark!</p> -<p class="line">To dream—and then embrace the grave so dark?</p> -<p class="line">My God, how black is this decree of doom</p> -<p class="line">Writ in the lees of dread sepulchral gloom!</p> -<p class="line">Oh, give my soul one drop of living fire—</p> -<p class="line">To love—and live for ever I desire!</p> -<p class="line">Ye stars of heaven, into my spirit fall,</p> -<p class="line">There live, and hear your hapless lover call!</p> -</div> -<div class="lg"> -<p class="line">To my pale brow the springtime brings no rose.</p> -<p class="line">No smile for me in this world’s sunbeams -glows.</p> -<p class="line">Night is my coffin, stars for lights flame round.</p> -<p class="line">The moon all weeping seeks my funeral mound.</p> -<p class="line">There are some men for whom no mourners sigh—</p> -<p class="line">It was for them He placed that moon on high;</p> -<p class="line">And he that to death’s portals draweth near</p> -<p class="line">First life would have—and then a mourner’s -tear.</p> -</div> -<div class="lg"> -<p class="line">In vain the stars of heaven spelt “Love” -for me</p> -<p class="line">And nightingales explained its mystery.</p> -<p class="line">In vain of Love I learnt to know the truth,</p> -<p class="line">And crystal waves reflected back my youth.</p> -<p class="line">In vain the forest silent lay around—</p> -<p class="line">The secret leaves gave forth no breath or sound;</p> -<p class="line">They would not break upon my reverie—</p> -<p class="line">They let me dream of Love eternally.</p> -<p class="line">All, all in vain I saw the flowers of spring</p> -<p class="line">Their incense to my dreams’ fair altar bring;</p> -<p class="line">With their delights they all have mocked at -me—</p> -<p class="line">And all the world is but God’s mockery!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5413" href="#xd24e5413" name= -"xd24e5413">114</a>]</span></p> -</div> -</div> -<div id="v55" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e869">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">A DAY AFTER</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> BEDROS -TOURIAN</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Slumbering darkly yesterday,</p> -<p class="line">As in deathly sweats I lay,</p> -<p class="line">And two roses fiery red</p> -<p class="line">On my faded cheeks were spread—</p> -<p class="line">On my brow perchance a ray</p> -<p class="line">Of Death’s pallor trembling lay.</p> -<p class="line">And I prayed and longed for death.</p> -<p class="line">Then I heard a sobbing breath....</p> -<p class="line">I unclosed my weary eyes</p> -<p class="line">And beheld my mother’s tears—</p> -<p class="line">Saw those priceless pearls arise,</p> -<p class="line">Tokens of her love, her fears.</p> -<p class="line">In her heart what grief she bore!</p> -<p class="line">And <i>I</i> was that anguish sore.</p> -<p class="line">Ah, I raged tempestuously,</p> -<p class="line">That black torrent outward leapt<a class="noteref" id= -"xd24e5459src" href="#xd24e5459" name="xd24e5459src">1</a>:—</p> -<p class="line">God of mercy, pardon me,</p> -<p class="line">For the tears my mother wept!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5466" href="#xd24e5466" name= -"xd24e5466">115</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e5459" href="#xd24e5459src" name="xd24e5459">1</a></span> The poem -entitled “Complaints,” written a few days before his -death. <a class="fnarrow" href="#xd24e5459src">↑</a></p> -</div> -</div> -</div> -<div id="v56" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e876">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">WITHOUT THEE WHAT ARE SONG AND DANCE TO ME?</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> SAYAT NOVA</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Without thee what are song and dance to me?</p> -<p class="line">The castagnettes I throw down wearily.</p> -<p class="line">My heart and thoughts are ever filled with thee,</p> -<p class="line">So rhymes and verses leave me, one by one.</p> -</div> -<div class="lg"> -<p class="line">How can one bandage serve for gashes twain?</p> -<p class="line">How on two masters wait a single swain?</p> -<p class="line">Would not one gardener tend two groves in vain?</p> -<p class="line">For he must graft the saplings one by one.</p> -</div> -<div class="lg"> -<p class="line">Well said our fathers, speaking of such woes,</p> -<p class="line">“I made a garden, others plucked the rose.</p> -<p class="line">Theirs was the sweetness, mine the thorny -close.”</p> -<p class="line">In sooth these things befell me one by one!</p> -</div> -<div class="lg"> -<p class="line">Without thee what are riches unto me?</p> -<p class="line">What worth could I in silks or cashmeres see?</p> -<p class="line">Arrayed in rags and sackcloth I would be,</p> -<p class="line">Wandering around the convents, one by one,</p> -</div> -<div class="lg"> -<p class="line">To meet perchance with some one, who might tell,</p> -<p class="line">My fair one, how to free me from thy spell;</p> -<p class="line">For Sayat Nova’s torments far excel</p> -<p class="line">The Seven Wise Men’s complaints told one by -one!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5521" href="#xd24e5521" name= -"xd24e5521">116</a>]</span></p> -</div> -</div> -<div id="v57" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e883">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE LAKE OF VAN</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By</span> RAFFI</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Unutterable silence here is spread</p> -<p class="line">On every hand, and Nature might be dead.</p> -<p class="line">A lonely exile, here I sit and weep,</p> -<p class="line">And far above, bright Moon, I see thee sweep.</p> -</div> -<div class="lg"> -<p class="line">From Earth’s creation till the skies shall -parch</p> -<p class="line">And she dissolve, thou circlest Heaven’s high -arch:</p> -<p class="line">Saw’st thou the laurels on Armenia’s -brow?</p> -<p class="line">And dost behold her hopeless sorrows now?</p> -</div> -<div class="lg"> -<p class="line">Mournful as I! I wonder dost thou see</p> -<p class="line">How she is ground by heels of tyranny!</p> -<p class="line">And do thine eyes with bitter tear-drops smart</p> -<p class="line">When barbèd arrows pierce her through the -heart</p> -</div> -<div class="lg"> -<p class="line">Thy heart is stone, thy pity stark and cold,</p> -<p class="line">For fields of innocent blood thou dost behold</p> -<p class="line">Without a word, and o’er Armenia’s land</p> -<p class="line">Thy nightly compass of the dome hast spanned</p> -<p class="line">With all the brightness that was thine of old.</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">O Lake, make answer! Why be silent more?</p> -<p class="line">Wilt not lament with one whose heart is sore?</p> -<p class="line">And you, ye Zephyrs, hurl the waters high</p> -<p class="line">That I may feed them from a mourner’s eye!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5578" href="#xd24e5578" name= -"xd24e5578">117</a>]</span></p> -<p class="par"></p> -<div class="figure xd24e5580width" id="plate09"><img src= -"images/plate09.jpg" alt="The Lake of Van" width="720" height="529"> -<p class="figureHead"><span class="sc">The Lake of Van</span></p> -<div class="lgouter"> -<p class="line">“Cleanse from thy lute the rust that soils its -string;</p> -<p class="line">Hasten thee back, and, as thou goest, sing</p> -<p class="line">Such gladsome lays as yet may re-inspire</p> -<p class="line">Hearts that are dead with ever tameless fire.</p> -<p class="line">His Will is done; the time is here. The Day</p> -<p class="line">Dawns; and the Morning Star, so God doth say,</p> -<p class="line">Shall be thy sign.”</p> -</div> -<p class="par first signed"><i>Raffi.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e5604" href= -"#xd24e5604" name="xd24e5604">119</a>]</span></p> -<div class="lgouter"> -<div class="lg"> -<p class="line">A garden once, luxuriantly fair,</p> -<p class="line">Now is Armenia choked with thorn and tare:</p> -<p class="line">Thou who hast seen her fortunes wax and wane,</p> -<p class="line">Tell me, I pray thee! Must she thus remain?</p> -</div> -<div class="lg"> -<p class="line">Must this unhappy nation ever be</p> -<p class="line">By foreign princes held in slavery?</p> -<p class="line">Is the Armenian and his stricken race</p> -<p class="line">Counted unworthy in God’s judgment-place?</p> -</div> -<div class="lg"> -<p class="line">Comes there a day, comes there a season that</p> -<p class="line">Shall hail a flag on topmost Ararat,</p> -<p class="line">Calling Armenians, wheresoe’er they roam,</p> -<p class="line">To seek once more their loved and beauteous home?</p> -</div> -<div class="lg"> -<p class="line">Hard tho’ it be, O heavenly Ruler, raise</p> -<p class="line">Armenia’s spirit, and her heart’s dark -ways</p> -<p class="line">Light with Thy knowledge: understanding so</p> -<p class="line">The mystery of life, her works shall show</p> -<p class="line">That all she does is ordered to Thy praise.</p> -</div> -<p class="tb">* * *</p> -<div class="lg"> -<p class="line">Then suddenly the surface of the lake</p> -<p class="line">Grew luminous, and from its depths did break</p> -<p class="line">A lovely maid that bore a lantern and</p> -<p class="line">A lyre of shining ivory in her hand.</p> -<p class="line">Was she an Angel in a strange disguise?</p> -<p class="line">Was she a Houri fled from Paradise?</p> -<p class="line">Nay, rather was she of the form and hue</p> -<p class="line">Of the Armenian Muses!</p> -<p class="line"><span class="hemistich">Of the Armenian Muses!</span> -“Tell me true,</p> -<p class="line">O Muse,” I cried, “our people’s -destiny!</p> -<p class="line">Speak of the Now and of the Yet-to-be!”</p> -</div> -<p><span class="pagenum">[<a id="xd24e5668" href="#xd24e5668" name= -"xd24e5668">120</a>]</span></p> -<div class="lg"> -<p class="line">Then the sweet heavenly Spirit made reply,</p> -<p class="line">“Wipe, O sad youth, the salt tears from thine -eye!</p> -<p class="line">I bring glad tidings: better days shall break,</p> -<p class="line">New days of joy, that carry in their wake</p> -<p class="line">The reign of God, Whose will is free and just:</p> -<p class="line">A Golden Age again shall gild the dust!</p> -</div> -<div class="lg"> -<p class="line">“Armenia’s Muses shall awake anew,</p> -<p class="line">And her Parnassus bloom with vernal hue,</p> -<p class="line">And the bright car Apollo whirls on high</p> -<p class="line">Shall sweep the shadows from her clouded sky.</p> -</div> -<div class="lg"> -<p class="line">“For many a day, like thee, we mourned aloud</p> -<p class="line">While the thick darkness wrapped her in its shroud:</p> -<p class="line">Now, O belovèd, may the weeping -cease,—</p> -<p class="line">To us has come the olive branch of peace!</p> -</div> -<div class="lg"> -<p class="line">“Cleanse from thy lute the rust that soils its -string;</p> -<p class="line">Hasten thee back, and, as thou goest, sing</p> -<p class="line">Such joyful lays as yet may re-inspire</p> -<p class="line">Hearts that are dead with new and tameless fire.</p> -<p class="line">His Will is done; the Time is here; the Day</p> -<p class="line">Dawns; and the Morning Star, so God doth say,</p> -<p class="line">Shall be thy sign.”</p> -<p class="line"><span class="hemistich">Shall be thy -sign.”</span> Then darkness fell again;</p> -<p class="line">The vision fled; but long there did remain</p> -<p class="line">An echo of the thrilling voice, that blended</p> -<p class="line">With the wild waves whose depths she had descended;</p> -<p class="line">And flowery perfumes filled the air like rain.</p> -</div> -<div class="lg"> -<p class="line">O message dear, and sweet prophetic strain!</p> -<p class="line">What happiness is come to us,—but Oh!</p> -<p class="line">Beautiful Muse, yet one thing would we know—</p> -<p class="line">Can a dead corpse rise up and live again?</p> -</div> -</div> -<p class="par first xd24e2187"><i>Translated by G. M. Green.</i> -<span class="pagenum">[<a id="xd24e5740" href="#xd24e5740" name= -"xd24e5740">121</a>]</span></p> -</div> -</div> -<div id="v58" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e890">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">SPRING</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By MUGGURDICH -BESHIGTASHLIAN</span></p> -<p class="par xd24e384">(1829–1868)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">O little breeze, how fresh and sweet</p> -<p class="line">Thou blowest in the morning air!</p> -<p class="line">Upon the flowers caressingly,</p> -<p class="line">And on the gentle maiden’s hair.</p> -<p class="line">But not my country’s breath thou art:</p> -<p class="line">Blow elsewhere, come not near my heart!</p> -</div> -<div class="lg"> -<p class="line">O little bird among the trees,</p> -<p class="line">The sweetness of thy joyful voice</p> -<p class="line">Entrances all the Hours of Love,</p> -<p class="line">And makes the listening woods rejoice.</p> -<p class="line">But not my country’s bird thou art:</p> -<p class="line">Sing elsewhere, come not near my heart!</p> -</div> -<div class="lg"> -<p class="line">How peacefully thou murmurest,</p> -<p class="line">O gentle, limpid little brook;</p> -<p class="line">Within thy mirror crystal-bright</p> -<p class="line">The rose and maiden bend to look.</p> -<p class="line">But not my country’s brook thou art:</p> -<p class="line">Flow elsewhere—come not near my heart!</p> -</div> -<div class="lg"> -<p class="line">Although Armenia’s breeze and bird</p> -<p class="line">Above a land of ruins fly;</p> -<p class="line">Although through mourning cypress groves</p> -<p class="line">Armenia’s turbid stream flows by,—</p> -<p class="line">They are the sighing of her heart,</p> -<p class="line">And never shall from mine depart!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5804" href="#xd24e5804" name= -"xd24e5804">122</a>]</span></p> -</div> -</div> -<div id="v59" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e897">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE FOX</h2> -<h2 class="sub">FOLK SONG</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line">The fox ran up into the mill,</p> -<p class="line">He raised his paws, and danced his fill.</p> -<p class="line xd24e1269">Brave Master Fox, ’tis but your -due,</p> -<p class="line xd24e1269">In all the world there’s none like -you!</p> -</div> -<div class="lg"> -<p class="line">A peck of corn he ground that day,</p> -<p class="line">Which on his back he bore away.</p> -</div> -<div class="lg"> -<p class="line">He ate the village chickens brown,</p> -<p class="line">And trod the upland cornfields down.</p> -</div> -<div class="lg"> -<p class="line">The fox lies on his shaggy side,</p> -<p class="line">His paws stretched out before him wide.</p> -</div> -<div class="lg"> -<p class="line">Sable and fox this fall we’ll catch,</p> -<p class="line">And for my son I’ll make a match.</p> -</div> -<div class="lg"> -<p class="line">Alas, this year no price they made:—</p> -<p class="line">My Hovhannes unmarried stayed!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e5845" href="#xd24e5845" name= -"xd24e5845">124</a>]</span></p> -</div> -<div class="divBody"> -<p class="par"></p> -<div class="figure xd24e5847width" id="plate10"><img src= -"images/plate10.jpg" alt= -"The Vision of Rosiphelee, Princess of Armenia" width="720" height= -"536"> -<p class="figureHead">The Vision of Rosiphelee, Princess of Armenia</p> -<p class="par first">From Gower’s “Confesio -Amantis.”</p> -<p class="par"><span class="sc">The Vision of Rosiphelee, Princess of -Armenia</span></p> -<div lang="enm" class="lgouter"> -<p class="line">“Sche syh comende vnder þe linde</p> -<p class="line">A womman vp an hors behinde.</p> -<p class="line">The hors on which sche rod was blak,</p> -<p class="line">Al lene and galled on þe back.”</p> -</div> -<p class="par"></p> -<p class="par signed"><i>John Gower.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e5871" href= -"#xd24e5871" name="xd24e5871">125</a>]</span></p> -</div> -</div> -<div id="v60" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e904">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE TALE OF ROSIPHELEE</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><i>From the “Confessio -Amantis” by</i></p> -<p class="par xd24e384">JOHN GOWER</p> -<p class="par xd24e384">(<i>Died 1408</i>)</p> -<div lang="enm" class="lgouter"> -<p class="line xd24e1248">Of Armenye, I rede þus,</p> -<p class="line">Ther was a king, which Herupus</p> -<p class="line">Was hote, and he a lusti Maide</p> -<p class="line">To dowhter hadde, and as men saide</p> -<p class="line">Hire name was Rosiphelee;</p> -<p class="line">Which þo was of gret renomee,</p> -<p class="line">ffor sche was boþe wys and fair,</p> -<p class="line">And scholde ben hire fader hair.</p> -<p class="line">Bot sche hadde o defalte of Slowþe</p> -<p class="line">Towardes loue, and þat was rowþe;</p> -<p class="line">ffor so wel cowde noman seie,</p> -<p class="line">Which mihte sette hire in þe weie</p> -<p class="line">Of loues occupacion</p> -<p class="line">Thurgh non ymaginacion;</p> -<p class="line">That scole wolde sche noght knowe.</p> -<p class="line">And þus sche was on of þe slowe</p> -<p class="line">As of such hertes besinesse,</p> -<p class="line">Til whanne Venus þe goddesse,</p> -<p class="line">Which loues court haþ forto reule,</p> -<p class="line">Haþ broght hire into betre reule,</p> -<p class="line">fforþ wiþ Cupide and wiþ his -miht:</p> -<p class="line">ffor þei merueille how such a wiht,</p> -<p class="line">Which þo was in hir lusti age,</p> -<p class="line">Desireþ nother Mariage</p> -<p class="line">Ne ȝit þe loue of paramours,</p> -<p class="line">Which euere haþ be þe comvn cours -<span class="pagenum">[<a id="xd24e5942" href="#xd24e5942" name= -"xd24e5942">126</a>]</span></p> -<p class="line">Amonges hem þat lusti were.</p> -<p class="line">So was it schewed after þere:</p> -<p class="line">ffor he þat hihe hertes loweþ</p> -<p class="line">Wiþ fyri Dartes whiche he -þrovreþ,</p> -<p class="line">Cupide, which of loue is godd,</p> -<p class="line">In chastisinge haþ mad a rodd</p> -<p class="line">To dryue awei hir wantounesse;</p> -<p class="line">So þat wiþinne a while, I gesse,</p> -<p class="line">Sche hadde on such a chance sporned,</p> -<p class="line">That al hire mod was ouertorned,</p> -<p class="line">Which ferst sche hadde of slow manere:</p> -<p class="line">ffor þus it fell, as þou schalt hiere.</p> -<p class="line">Whan come was þe Monþe of Maii,</p> -<p class="line">Sche wolde walke vpon a dai,</p> -<p class="line">And þat was er þe Sonne Ariste;</p> -<p class="line">Of wommen bot a fewe it wiste,</p> -<p class="line">And forþ sche wente priuely</p> -<p class="line">Vnto þe Park was faste by,</p> -<p class="line">Al softe walkende on þe gras,</p> -<p class="line">Til sche cam þer þe Launde was,</p> -<p class="line">Thurgh which þer ran a gret riuere.</p> -<p class="line">It þoghte hir fair, and seide, Here</p> -<p class="line">I wole abide vnder þe schawe:</p> -<p class="line">And bad hire wommen to wiþdrawe,</p> -<p class="line">And þer sche stod al one stille,</p> -<p class="line">To þenke what was in hir wille.</p> -<p class="line">Sche sih þe swote floures springe,</p> -<p class="line">Sche herde glade foules singe,</p> -<p class="line">Sche sih þe bestes in her kinde,</p> -<p class="line">The buck, þe do, þe hert, þe -hinde,</p> -<p class="line">The madle go wiþ þe femele;</p> -<p class="line">And so began þer a querele</p> -<p class="line">Betwen loue and hir oghne herte,</p> -<p class="line">ffro which sche couþe noght asterte. <span class= -"pagenum">[<a id="xd24e6014" href="#xd24e6014" name= -"xd24e6014">127</a>]</span></p> -<p class="line">And as sche caste hire yhe aboute,</p> -<p class="line">Sche syh clad in o suite a route</p> -<p class="line">Of ladis, wher þei comen ryde</p> -<p class="line">Along vnder þe wodes syde.</p> -<p class="line">On faire amblende hors þei sete,</p> -<p class="line">That were al whyte, fatte and grete,</p> -<p class="line">And euerichon þei ride on side:</p> -<p class="line">The Sadles were of such a Pride,</p> -<p class="line">Wiþ Perle and gold so wel begon,</p> -<p class="line">So riche syh sche neuere non:</p> -<p class="line">In kertles and in Copes riche</p> -<p class="line">Thei weren cloþed, alle liche,</p> -<p class="line">Departed euene of whyt and blew;</p> -<p class="line">Wiþ alle lustes þat sche knew</p> -<p class="line">Thei were enbrouded oueral.</p> -<p class="line">Here bodies weren long and smal,</p> -<p class="line">The beaute faye vpon her face</p> -<p class="line">Non erþly þing it may desface;</p> -<p class="line">Corones on here hed þei beere,</p> -<p class="line">As ech of hem a qweene weere,</p> -<p class="line">That al þe gold of Cresus halle</p> -<p class="line">The leste coronal of alle</p> -<p class="line">Ne mihte haue boght after þe worþ:</p> -<p class="line">Thus come þei ridende forþ.</p> -<p class="line xd24e1248">The kinges dowhter, which þis syh,</p> -<p class="line">ffor pure abaissht drowh hire adryh</p> -<p class="line">And hield hire clos vnder þe bowh,</p> -<p class="line">And let hem passen stille ynowh;</p> -<p class="line">ffor as hire þoghte in hire avis,</p> -<p class="line">To hem þat were of such a pris</p> -<p class="line">Sche was noght worþi axen þere,</p> -<p class="line">ffro when þei come or what þei were.</p> -<p class="line">Bot leuere þan þis worldes good</p> -<p class="line">Sche wolde haue wist hou þat it stod, -<span class="pagenum">[<a id="xd24e6086" href="#xd24e6086" name= -"xd24e6086">128</a>]</span></p> -<p class="line">And putte hire hed alitel oute;</p> -<p class="line">And as sche lokede hire aboute,</p> -<p class="line">Sche syh comende vnder þe linde</p> -<p class="line">A womman vp an hors behinde.</p> -<p class="line">The hors on which sche rod was blak,</p> -<p class="line">Al lene and galled on þe back,</p> -<p class="line">And haltede, as he were encluyed,</p> -<p class="line">Wherof þe womman was annvied;</p> -<p class="line">Thus was þe hors in sori plit,</p> -<p class="line">Bot for al þat a sterre whit</p> -<p class="line">Amiddes in þe front he hadde.</p> -<p class="line">Hir Sadel ek was wonder badde,</p> -<p class="line">In which þe wofull womman sat,</p> -<p class="line">And natheles þer was wiþ þat</p> -<p class="line">A riche bridel for þe nones</p> -<p class="line">Of gold and preciouse Stones.</p> -<p class="line">Hire cote was somdiel totore;</p> -<p class="line">Aboute hir middel twenty score</p> -<p class="line">Of horse haltres and wel mo</p> -<p class="line">Ther hyngen ate þo.</p> -<p class="line xd24e1248">Thus whan sche cam þe ladi nyh,</p> -<p class="line">Than tok sche betre hiede and syh</p> -<p class="line">This womman fair was of visage,</p> -<p class="line">ffreyssh, lusti, ȝong and of tendre age;</p> -<p class="line">And so þis ladi, þer sche stod,</p> -<p class="line">Beþoghte hire wel and vnderstod</p> -<p class="line">That þis, which com ridende þo,</p> -<p class="line">Tidinges couþe telle of þo,</p> -<p class="line">Which as sche sih tofore ryde,</p> -<p class="line">And putte hir forþ and preide abide,</p> -<p class="line">And seide, Ha, Suster, let me hiere,</p> -<p class="line">What ben þei, þat now riden hiere,</p> -<p class="line">And ben so richeliche arraied?</p> -<p class="line xd24e1248">This womman, which com so esmaied, -<span class="pagenum">[<a id="xd24e6158" href="#xd24e6158" name= -"xd24e6158">129</a>]</span></p> -<p class="line">Ansuerde wiþ ful softe speche,</p> -<p class="line">And seiþ, Ma Dame, I schal ȝou teche.</p> -<p class="line">These ar of þo þat whilom were</p> -<p class="line">Seruantz to loue, and trowþe beere,</p> -<p class="line">Ther as þei hadde here herte set.</p> -<p class="line">ffare wel, for I mai noght be let:</p> -<p class="line">Ma Dame, I go to mi seruise,</p> -<p class="line">So moste I haste in alle wise;</p> -<p class="line">fforþi, ma Dame, ȝif me leue,</p> -<p class="line">I mai noght longe wiþ ȝou leue.</p> -<p class="line xd24e1248">Ha, goode Soster, ȝit I preie,</p> -<p class="line">Tell me whi ȝe ben so beseie,</p> -<p class="line">And wiþ þese haltres þus begon.</p> -<p class="line xd24e1248">Ma Dame, whilom I was on</p> -<p class="line">That to mi fader hadde a king;</p> -<p class="line">Bot I was slow, and for no þing</p> -<p class="line">Me liste noght to loue obeie,</p> -<p class="line">And þat I now ful sore abeie.</p> -<p class="line">ffor I whilom no loue hadde,</p> -<p class="line">Min hors is now so fieble and badde,</p> -<p class="line">And al totore is myn arai;</p> -<p class="line">And euery ȝeer þis freisshe Maii</p> -<p class="line">These lusti ladis ryde aboute,</p> -<p class="line">And I mot nedes suie here route</p> -<p class="line">In þis manere as ȝe now se,</p> -<p class="line">And trusse here haltres forþ wiþ me,</p> -<p class="line">And am bot as here horse knaue.</p> -<p class="line">Non oþer office I ne haue,</p> -<p class="line">Hem þenkþ I am worþi nomore,</p> -<p class="line">ffor I was slow in loues lore,</p> -<p class="line">Whan I was able forto lere,</p> -<p class="line">And wolde noght þe tales hiere</p> -<p class="line">Of hem þat covþen loue teche.</p> -<p class="line xd24e1248">Now tell me þanne, I ȝov beseche, -<span class="pagenum">[<a id="xd24e6230" href="#xd24e6230" name= -"xd24e6230">130</a>]</span></p> -<p class="line">Wherof þat riche bridel serueþ.</p> -<p class="line xd24e1248">Wiþ þat hire chere awei sche -swerueþ,</p> -<p class="line">And gan to wepe, and þus sche tolde:</p> -<p class="line">This bridel, which ȝe nov beholde</p> -<p class="line">So riche vpon myn horse hed,—</p> -<p class="line">Ma Dame, afore, er I was ded,</p> -<p class="line">Whan I was in mi lusti lif,</p> -<p class="line">Ther fel into myn herte a strif</p> -<p class="line">Of loue, which me overcom,</p> -<p class="line">So þat þerafter hiede I nom,</p> -<p class="line">And þoghte I wolde loue a kniht:</p> -<p class="line">That laste wel a fourtenyht,</p> -<p class="line">ffor it no lengere mihte laste,</p> -<p class="line">So nyh my lif was ate laste.</p> -<p class="line">Bot now, allas, to late war</p> -<p class="line">That I ne hadde him loued ar:</p> -<p class="line">ffor deþ cam so in haste bime,</p> -<p class="line">Er I þerto hadde eny time,</p> -<p class="line">That it ne mihte ben achieued.</p> -<p class="line">Bot for al þat I am relieued,</p> -<p class="line">Of þat mi will was good þerto,</p> -<p class="line">That loue soffreþ it be so</p> -<p class="line">That I schal swiche a bridel were.</p> -<p class="line">Now haue ȝe herd al myn ansuere:</p> -<p class="line">To godd, ma Dame, I ȝou betake,</p> -<p class="line">And warneþ alle for mi sake,</p> -<p class="line">Of loue þat þei ben noght ydel,</p> -<p class="line">And bidd hem þenke vpon mi brydel.</p> -<p class="line">And wiþ þat word al sodeinly</p> -<p class="line">Sche passeþ, as it were a Sky,</p> -<p class="line">Al clene out of þis ladi sihte.</p> -<p class="line">And þo for fere hire herte afflihte,</p> -<p class="line">And seide to hirself, Helas!</p> -<p class="line">I am riht in þe same cas: <span class= -"pagenum">[<a id="xd24e6302" href="#xd24e6302" name= -"xd24e6302">131</a>]</span></p> -<p class="line">Bot if I liue after þis day,</p> -<p class="line">I schal amende it, if I may.</p> -<p class="line">And þus homward þis lady wente,</p> -<p class="line">And changede al hire ferste entente,</p> -<p class="line">Wiþinnne hire herte and gan to swere</p> -<p class="line">That sche none haltres wolde bere.</p> -</div> -<p><span class="pagenum">[<a id="xd24e6316" href="#xd24e6316" name= -"xd24e6316">132</a>]</span></p> -</div> -</div> -<div id="v61" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e911">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE SONG OF THE VULTURE</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By ELIA -DEMIRJIBASHIAN</span></p> -<p class="par xd24e384">(1851–1908)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">A great black bird like to a great black cloud</p> -<p class="line">Hovers forever o’er my spirit bowed.</p> -<p class="line">He is my guardian angel, but alack!</p> -<p class="line">Darker than night he is—than hell more black.</p> -</div> -<div class="lg"> -<p class="line">A fearful-looking bird, with wings wide spread,</p> -<p class="line">Ill-omened as the Devil, and as dread;</p> -<p class="line">He hovers round my wasted body, till</p> -<p class="line">I wonder if I yet have life or will.</p> -</div> -<div class="lg"> -<p class="line">Upon his wings no spot of white appears,</p> -<p class="line">His plumage black sheds horror down, and fears.</p> -<p class="line">Black are his talons—sharp, like daggers -fell;</p> -<p class="line">And like a hound I hear him howl and yell.</p> -</div> -<div class="lg"> -<p class="line">His wide-spread pinions hide the light from me;</p> -<p class="line">Heaven dark, and earth a dungeon black I see.</p> -<p class="line">All is in shadow—air and earth and -skies—</p> -<p class="line">He even hides the lightning from my eyes.</p> -</div> -<div class="lg"> -<p class="line">I cannot see the paleness of my face,</p> -<p class="line">I cannot see the maiden’s smiling grace;</p> -<p class="line">Black is the lake, the stars and lilies dark;</p> -<p class="line">What was that cry? The bird’s dread -calling!—Hark!</p> -</div> -<p><span class="pagenum">[<a id="xd24e6372" href="#xd24e6372" name= -"xd24e6372">133</a>]</span></p> -<div class="lg"> -<p class="line">I seem to totter on the brink of hell</p> -<p class="line">And think the evil fowl my corpse can smell.</p> -<p class="line">I seem to hear the goblins fight with him—</p> -<p class="line">Away with thee!—ours is this booty -grim!”</p> -</div> -<div class="lg"> -<p class="line">But he is cruel, strong, and merciless—</p> -<p class="line">This great black bird;—he heeds not my -distress.</p> -<p class="line">Ten years I’ve lived beneath his deadly -wings—</p> -<p class="line">Ten years unceasingly my death-bell rings.</p> -</div> -<div class="lg"> -<p class="line">Ten years ago one night it came to pass</p> -<p class="line">On Moda’s rock I sat and dreamed; alas,</p> -<p class="line">My foe came to me—Carnal was his name:</p> -<p class="line">He shouted, “Vain are Life and Love and -Fame!”</p> -</div> -<div class="lg"> -<p class="line">Youthful I was, and armed with Love and Hope</p> -<p class="line">I struggled. “Oh, my soul, arise and cope</p> -<p class="line">With this thy foe, and vanquish him,” I -cried.</p> -<p class="line">But ’twas in vain, as I full soon espied.</p> -</div> -<div class="lg"> -<p class="line">My sun and joy since then are on the wane.</p> -<p class="line">My foe cries out, “I, only I, shall reign!</p> -<p class="line">O’er all the universe none rules but -me!”—</p> -<p class="line">Then rose a Siren’s voice alluringly....</p> -</div> -<div class="lg"> -<p class="line">Nirvana and the flesh held me that hour:</p> -<p class="line">God was asleep—my soul was in their power.</p> -<p class="line">Then on the moon I saw a spot appear;—</p> -<p class="line">It grew, and grew ... my heart turned sick with -fear.</p> -</div> -<div class="lg"> -<p class="line">I was as dead. The carrion-eating bird</p> -<p class="line">Had left that heavenly corpse—the -moon—allured</p> -<p class="line">To earth by me. It sought my bosom where</p> -<p class="line">The image of Christ crucified lay bare.</p> -</div> -<p><span class="pagenum">[<a id="xd24e6437" href="#xd24e6437" name= -"xd24e6437">134</a>]</span></p> -<div class="lg"> -<p class="line">Beneath those evil wings I hopelessly</p> -<p class="line">Roam over the earth;—my guardian angel he;</p> -<p class="line">No more the cross I wear, nor in my breast</p> -<p class="line">Dwells holy faith; ’tis death: death without -rest.</p> -</div> -<div class="lg"> -<p class="line">Like to the moon, whether I wax or wane</p> -<p class="line">Still am I lifeless, cursed with this bane.</p> -<p class="line">I give the vulture of my flesh to tear,</p> -<p class="line">And shiver when the name of “love” I -hear.</p> -</div> -<div class="lg"> -<p class="line">While yet I live he is devouring me:</p> -<p class="line">I cannot bear this pain—Oh, set me free!</p> -<p class="line">I am not dead—Love still dwells with me here.</p> -<p class="line">I am alive—and some call me the -“Ner.”<a class="noteref" id="xd24e6465src" href= -"#xd24e6465" name="xd24e6465src">1</a></p> -</div> -<div class="lg"> -<p class="line">Ah, gruesome bird, art thou not yet content</p> -<p class="line">These ten long years my body to have rent?</p> -<p class="line">Ah, vulture black—black earth and ebon sky,</p> -<p class="line">’Tis time that I should lay me down and die.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e6477" href="#xd24e6477" name= -"xd24e6477">135</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e6465" href="#xd24e6465src" name="xd24e6465">1</a></span> -“Ner”—the Antichrist, concerning whom the Armenians -have many traditions. <a class="fnarrow" href= -"#xd24e6465src">↑</a></p> -</div> -</div> -</div> -<div id="v62" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e918">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">DANCE SONG<a class="noteref" id="xd24e6481src" href= -"#xd24e6481" name="xd24e6481src">1</a></h2> -<h2 class="sub">FOLK SONG</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line">“I have loved your winsome face,</p> -<p class="line">And your never-fading grace.</p> -<p class="line">If they give you not to me</p> -<p class="line">May God send them black disgrace!”</p> -</div> -<div class="lg"> -<p class="line">“Mountain sorrel, fresh with dew,</p> -<p class="line">Sweets I send and honey new;</p> -<p class="line">Is a dainty maid like me</p> -<p class="line">Fit to wed a youth like you?”</p> -</div> -<div class="lg"> -<p class="line">“You are arch, my little maid,</p> -<p class="line">In four plaits your hair you braid,</p> -<p class="line">Make no more pretence to me—</p> -<p class="line">For you love me, I’m afraid!”</p> -</div> -<div class="lg"> -<p class="line">“Drive your plough ahead, and go;</p> -<p class="line">Underneath it thistles grow.</p> -<p class="line">You are reckless, young, and wild—</p> -<p class="line">She is mad would wed you so!”</p> -</div> -<div class="lg"> -<p class="line">“Near your house a field I’ll sow</p> -<p class="line">And I’ll stone the ill-starred crow.</p> -<p class="line">When I have the girl I love</p> -<p class="line">I’ll let all my folly go.”</p> -</div> -<p><span class="pagenum">[<a id="xd24e6531" href="#xd24e6531" name= -"xd24e6531">136</a>]</span></p> -<div class="lg"> -<p class="line">“On its way the water flows,</p> -<p class="line">Washing with its waves the rose.</p> -<p class="line">My beloved amidst the youths,</p> -<p class="line">Like a mighty fortress shows.”</p> -</div> -<div class="lg"> -<p class="line">“In the vineyard you have grown,</p> -<p class="line">Where the melon plants are sown,</p> -<p class="line">Day and night upon my lute,</p> -<p class="line">You I sing, and you alone.”</p> -</div> -<div class="lg"> -<p class="line">“Sing a minstrel’s song to me,</p> -<p class="line">Or the blackbird’s rhapsody;</p> -<p class="line">All your praises I deserve,</p> -<p class="line">And my bridegroom you shall be!”</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e6559" href="#xd24e6559" name= -"xd24e6559">138</a>]</span></p> -</div> -<div class="divBody"> -<p class="par"></p> -<div class="figure xd24e6561width" id="plate11"><img src= -"images/plate11.jpg" alt="The Lady and the Minstrel" width="720" -height="536"> -<p class="figureHead"><span class="sc">The Lady and the -Minstrel</span></p> -<div class="lgouter"> -<p class="line">“The minstrel’s love stole out unseen,</p> -<p class="line xd24e1269">With burning thoughts of her -belov’d;</p> -<p class="line">All through the woods so dark and green,</p> -<p class="line xd24e1269">Seeking, and seeking him, she -roved.”</p> -</div> -<p class="par first signed"><i>Raffi.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e6579" href= -"#xd24e6579" name="xd24e6579">139</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e6481" href="#xd24e6481src" name="xd24e6481">1</a></span> -Haberban. <a class="fnarrow" href="#xd24e6481src">↑</a></p> -</div> -</div> -</div> -<div id="v63" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e925">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">BALLAD</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By RAFFI</span></p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Dark forests clothe the mountain-side,</p> -<p class="line xd24e1269">And o’er that mountain’s lofty -head</p> -<p class="line">The heavens bend their arches wide,</p> -<p class="line xd24e1269">And, dome-like, round its summit spread.</p> -</div> -<div class="lg"> -<p class="line">A castle stood upon the steep,</p> -<p class="line xd24e1269">Enchanted by a witch’s spell;</p> -<p class="line">A maiden wept within the keep,</p> -<p class="line xd24e1269">Bound by the chains of slav’ry -fell.</p> -</div> -<div class="lg"> -<p class="line">Alone and sad, the maiden fair</p> -<p class="line xd24e1269">Sat in her dark and narrow room.</p> -<p class="line">No hope had she, but dire despair</p> -<p class="line xd24e1269">Had worn her heart with thoughts of -gloom.</p> -</div> -<div class="lg"> -<p class="line">A minstrel passed—as it befell—</p> -<p class="line xd24e1269">A singer, singing sweetest strains;</p> -<p class="line">He broke the witch’s evil spell,</p> -<p class="line xd24e1269">And loosed the gentle maiden’s -chains.</p> -</div> -<div class="lg"> -<p class="line">She ran to him and kissed his face,</p> -<p class="line xd24e1269">And said, “How I have longed for -thee!</p> -<p class="line">God, in His mercy and His grace,</p> -<p class="line xd24e1269">Hath sent thee here to set me -free!”</p> -</div> -<p><span class="pagenum">[<a id="xd24e6634" href="#xd24e6634" name= -"xd24e6634">140</a>]</span></p> -<div class="lg"> -<p class="line">And when, above the mountain steep,</p> -<p class="line xd24e1269">The moon shone out her silver light,</p> -<p class="line">And when the stars began to peep,</p> -<p class="line xd24e1269">Twinkling and scatt’ring jewels -bright,</p> -</div> -<div class="lg"> -<p class="line">The minstrel’s love stole out unseen,</p> -<p class="line xd24e1269">With burning thoughts of her -belov’d;</p> -<p class="line">All through the woods so dark and green,</p> -<p class="line xd24e1269">Seeking, and seeking him, she roved.</p> -</div> -<div class="lg"> -<p class="line">A hut there was within that wood,</p> -<p class="line xd24e1269">Meet dwelling for some dervish old;</p> -<p class="line">All lined with moss and leaves, it stood</p> -<p class="line xd24e1269">Protected from the rain and cold.</p> -</div> -<div class="lg"> -<p class="line">The minstrel lived within this nook,</p> -<p class="line xd24e1269">And sang alone beneath the trees.</p> -<p class="line">His friend—Firdausi’s wondrous book,</p> -<p class="line xd24e1269">His comrades—Sadi and Hafiz.</p> -</div> -<div class="lg"> -<p class="line">The Houri of the castle there</p> -<p class="line xd24e1269">Spent many happy days and nights—</p> -<p class="line">Immortal souls in Jennet<a class="noteref" id= -"xd24e6678src" href="#xd24e6678" name="xd24e6678src">1</a> fair</p> -<p class="line xd24e1269">Have never tasted such delights.</p> -</div> -<div class="lg"> -<p class="line">He wiped the tears by sorrow shed,</p> -<p class="line xd24e1269">And healed the wounds by sorrow wrought;</p> -<p class="line">Like captive from a prison fled,</p> -<p class="line xd24e1269">Her cares and woes she soon forgot.</p> -</div> -<div class="lg"> -<p class="line">Broken and aged was her sire;</p> -<p class="line xd24e1269">A mighty Prince, the castle’s lord,</p> -<p class="line">To satisfy his heart’s desire,</p> -<p class="line xd24e1269">Had reft her from him with his sword.</p> -</div> -<p><span class="pagenum">[<a id="xd24e6702" href="#xd24e6702" name= -"xd24e6702">141</a>]</span></p> -<div class="lg"> -<p class="line">The Prince held office high at court,</p> -<p class="line xd24e1269">And countless women, bright as day,</p> -<p class="line">Lived in his harem’s vile resort,</p> -<p class="line xd24e1269">And slaves, more than my tongue can say.</p> -</div> -<div class="lg"> -<p class="line">His women, guarded day and night,</p> -<p class="line xd24e1269">Caged in with iron bars he keeps;</p> -<p class="line">But LOVE, more strong than despot’s might,</p> -<p class="line xd24e1269">Breaks through that cage, those bars -o’erleaps.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e6721" href="#xd24e6721" name= -"xd24e6721">142</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e6678" href="#xd24e6678src" name="xd24e6678">1</a></span> The -Paradise of Mohammed, where the souls of the blest are waited upon by -beautiful houris, and fed with delicious fruits. <a class= -"fnarrow" href="#xd24e6678src">↑</a></p> -</div> -</div> -</div> -<div id="v64" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e933">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">NO BIRD CAN REACH THE MOUNTAIN’S CREST</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By HOVHANNES -COSTANIANTZ</span></p> -<div class="lgouter"> -<div class="lg"> -<p class="line">No bird can reach the mountain’s crest.</p> -<p class="line">There blow the winds that never rest;</p> -<p class="line">And ‘midst the stars that crown the height,</p> -<p class="line">Saint Gregory’s fair lamp shines bright.<a class= -"noteref" id="xd24e6739src" href="#xd24e6739" name= -"xd24e6739src">1</a></p> -<p class="line xd24e1269">Ah, gentle brother, sweet and brave,</p> -<p class="line xd24e1269">That Light thy sword and spirit save!</p> -</div> -<div class="lg"> -<p class="line">How many rills the mountain yields!</p> -<p class="line">Those rills are streams, that dew the fields.</p> -<p class="line">My brother sweet, those rushing streams</p> -<p class="line">Are like my longings and my dreams.</p> -<p class="line xd24e1269">Happy the maid that loveth thee!</p> -<p class="line xd24e1269">When shall thy heart’s desire be?</p> -</div> -<div class="lg"> -<p class="line">See, in the South a tempest breaks—</p> -<p class="line">tempest howls, the leaflet quakes;</p> -<p class="line">The bluebell hangs its petals bright,</p> -<p class="line">The cock cries out with all his might.</p> -<p class="line xd24e1269">Like showers of gold comes down the -rain:—</p> -<p class="line xd24e1269">Why comes my love not home again?</p> -</div> -<p><span class="pagenum">[<a id="xd24e6772" href="#xd24e6772" name= -"xd24e6772">143</a>]</span></p> -<div class="lg"> -<p class="line">The Star of Light begins his course,</p> -<p class="line">The brave one mounts upon his horse.</p> -<p class="line">He drives his spurs into its flanks,</p> -<p class="line">And rides away to join the ranks.</p> -<p class="line xd24e1269">Happy the maid that loveth thee,</p> -<p class="line xd24e1269">When shall thy heart’s desire be?</p> -</div> -<div class="lg"> -<p class="line">There comes no news from far away,</p> -<p class="line">Our brave ones rest not from the fray.</p> -<p class="line">’Tis long that sleep my eyes doth flee—</p> -<p class="line">Our foemen press unceasingly.</p> -<p class="line xd24e1269">’Tis long for sleep I vainly pray:</p> -<p class="line xd24e1269">There comes no news from far away.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e6799" href="#xd24e6799" name= -"xd24e6799">144</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e6739" href="#xd24e6739src" name="xd24e6739">1</a></span> Above -the summit of Aragatz, the mountain that faces Ararat on the far side -of the plain, a weird light is sometimes visible, traditionally called -the Lamp of Saint Gregory the Illuminator. <a class="fnarrow" -href="#xd24e6739src">↑</a></p> -</div> -</div> -</div> -<div id="v65" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e940">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE NIGHTINGALE OF AVARAIR</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By LEO -ALISHAN</span></p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Whence comest thou, my moon, gentle and still,</p> -<p class="line">Spreading thy light o’er meadow, vale, and -hill,</p> -<p class="line">And o’er this patriarch, that lost in thought</p> -<p class="line">The midnight plains of Avaraïr has sought?</p> -<p class="line">Whereon our fathers, martyred for the right,</p> -<p class="line">As giants fell, to rise as angels bright!</p> -<p class="line">Com’st thou to spread upon their ashes cold</p> -<p class="line">From yonder snowy cloud a pall of gold?</p> -<p class="line">Or would’st thou bind around thy brow of -light</p> -<p class="line">A token of Armenia’s life-blood -bright?—</p> -<p class="line">Or art thou still in awestruck wonder lost</p> -<p class="line">To think how Vartan fell, with all his host;—</p> -<p class="line">Leaving death’s shadow in his foeman’s -breast,</p> -<p class="line">Trusting his soul to God, he sank to rest!</p> -</div> -<div class="lg"> -<p class="line">And thou, Dughmood, that stained with blood I see</p> -<p class="line">Winding amongst thy rushes sobbingly;</p> -<p class="line">Thou breeze that from Magou’s steep rock dost -waft,</p> -<p class="line">Or from great Ararat descendest soft;—</p> -<p class="line">Thou too like me dost tremble, and thy wings</p> -<p class="line">Listlessly bear thee on thy wanderings:</p> -<p class="line">O’er hill and dale thou fliest, from wood to -wood,</p> -<p class="line">Till on this plain thou stay’st thy wings to -brood;</p> -<p class="line">Then bearest on this careworn heart’s last -sigh</p> -<p class="line">To echo in Armenia ere it die!</p> -</div> -<p><span class="pagenum">[<a id="xd24e6859" href="#xd24e6859" name= -"xd24e6859">145</a>]</span></p> -<div class="lg"> -<p class="line">O friend of aching hearts, soul of the rose,</p> -<p class="line">That breakest with thy voice the night’s -repose;</p> -<p class="line">Sing, little Nightingale, from yonder tree—</p> -<p class="line">Armenia’s deathless heroes sing with me!</p> -<p class="line">From Thaddeus’ convent as thy voice I heard,</p> -<p class="line">Praying before the cross, my heart was stirred.</p> -<p class="line">I hastened forth beneath thy magic spell</p> -<p class="line">And found thee on the plain where Vartan fell.</p> -</div> -<div class="lg"> -<p class="line">Ah, Nightingale of Avaraïr, they say</p> -<p class="line">No bird art thou that nightly sing’st thy -lay,</p> -<p class="line">But Eghishé, the singer wondrous sweet,</p> -<p class="line">That in the rose’s heart Vartan dost greet.</p> -<p class="line">The winter drives thee far away to mourn;</p> -<p class="line">Spring’s roses bid thee to Ardaz return,</p> -<p class="line">In Eghishé’s sad notes to sob and cry,</p> -<p class="line">To call Vartan, and list for a reply.</p> -</div> -<div class="lg"> -<p class="line">If ever like the fainting Nightingale’s</p> -<p class="line">My voice with you, Togarmah’s sons, -prevails,—</p> -<p class="line">Sons of those fathers virtuous and wise,</p> -<p class="line">Who with their glories filled books, plains, and -skies;—</p> -<p class="line">If of Armenian blood one drop should flow</p> -<p class="line">Within your veins, or make your hearts to glow;</p> -<p class="line">Or if their glories past you too would share,</p> -<p class="line">To Ardaz with the patriarch repair!</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e6911" href="#xd24e6911" name= -"xd24e6911">146</a>]</span></p> -</div> -</div> -<div id="v66" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e947">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THOU ART SO SWEET</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By SAYAT NOVA</span></p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Thou art so sweet thou wilt not pain the minstrel -singing songs to thee,</p> -<p class="line">But when he loves thee thou dost frown—in vain he -tells his wrongs to thee.</p> -</div> -<div class="lg"> -<p class="line">Love’s fire is such, ‘twill not -consume—‘twill burn, and burn, and ever burn:</p> -<p class="line">If in that sea of flame I fall to cool me thou wilt -never turn.</p> -</div> -<div class="lg"> -<p class="line">Alas, how shall the minstrel bear thy lightning gleams -that pierce his heart?</p> -<p class="line">No pact or treaty wilt thou make—a monarch -absolute thou art.</p> -</div> -<div class="lg"> -<p class="line">If thou dost meet with mountains high like wax thou -meltest them away;</p> -<p class="line">If cities fair lie on thy path, their pride in ruins -thou dost lay.</p> -</div> -<div class="lg"> -<p class="line">In sooth, no compact wilt thou make with him who sings -these strains to thee:</p> -<p class="line">Sayat Nova no credit hath when he would tell his pains -to thee.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e6945" href="#xd24e6945" name= -"xd24e6945">147</a>]</span></p> -</div> -</div> -<div id="v67" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e954">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE WANDERING ARMENIAN TO THE SWALLOW</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By C. A. -DODOCHIAN</span></p> -<div class="lgouter"> -<div class="lg"> -<p class="line">O swallow, gentle swallow,</p> -<p class="line xd24e1269">Thou lovely bird of spring!</p> -<p class="line">Say, whither art thou flying</p> -<p class="line xd24e1269">So swift on gleaming wing?</p> -</div> -<div class="lg"> -<p class="line">Fly to my birthplace, Ashdarag,</p> -<p class="line xd24e1269">The spot I love the best;</p> -<p class="line">Beneath my father’s roof-tree,</p> -<p class="line xd24e1269">O swallow, build thy nest.</p> -</div> -<div class="lg"> -<p class="line">There dwells afar my father,</p> -<p class="line xd24e1269">A mournful man and grey,</p> -<p class="line">Who for his only son’s return</p> -<p class="line xd24e1269">Waits vainly, day by day.</p> -</div> -<div class="lg"> -<p class="line">If thou shouldst chance to see him,</p> -<p class="line xd24e1269">Greet him with love from me;</p> -<p class="line">Bid him sit down and mourn with tears</p> -<p class="line xd24e1269">His son’s sad destiny.</p> -</div> -<div class="lg"> -<p class="line">In poverty and loneliness,</p> -<p class="line xd24e1269">Tell him, my days are passed:</p> -<p class="line">My life is only half a life,</p> -<p class="line xd24e1269">My tears are falling fast.</p> -</div> -<p><span class="pagenum">[<a id="xd24e7000" href="#xd24e7000" name= -"xd24e7000">148</a>]</span></p> -<div class="lg"> -<p class="line">To me, amid bright daylight,</p> -<p class="line xd24e1269">The sun is dark at noon;</p> -<p class="line">To my wet eyes at midnight</p> -<p class="line xd24e1269">Sleep comes not, late or soon.</p> -</div> -<div class="lg"> -<p class="line">Tell him that, like a beauteous flower</p> -<p class="line xd24e1269">Smit by a cruel doom,</p> -<p class="line">Uprooted from my native soil,</p> -<p class="line xd24e1269">I wither ere my bloom.</p> -</div> -<div class="lg"> -<p class="line">Fly on swift wing, dear swallow,</p> -<p class="line xd24e1269">Across the quickening earth,</p> -<p class="line">And seek in fair Armenia</p> -<p class="line xd24e1269">The village of my birth!</p> -</div> -</div> -<p class="par first xd24e2187"><i>Translated by Alice Stone -Blackwell.</i> <span class="pagenum">[<a id="xd24e7032" href= -"#xd24e7032" name="xd24e7032">149</a>]</span></p> -</div> -</div> -<div id="v68" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e961">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE CHRIST-CHILD</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By SAINT GREGORY OF -NAREK</span></p> -<p class="par xd24e384">(951–1009)</p> -<div class="lgouter"> -<p class="line">The lips of the Christ-child are like to twin -leaves;</p> -<p class="line">They let roses fall when he smiles tenderly.</p> -<p class="line">The tears of the Christ-child are pearls when he -grieves;</p> -<p class="line">The eyes of the Christ-child are deep as the sea.</p> -<p class="line">Like pomegranate grains are the dimples he hath,</p> -<p class="line">And clustering lilies spring up in his path.</p> -</div> -<p class="par first xd24e2187"><i>Translated by Alice Stone -Blackwell.</i> <span class="pagenum">[<a id="xd24e7060" href= -"#xd24e7060" name="xd24e7060">150</a>]</span></p> -</div> -</div> -<div id="v69" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e968">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE CASTLE OF ANOUSH<a class="noteref" id= -"xd24e7065src" href="#xd24e7065" name="xd24e7065src">1</a></h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By RAFFI</span></p> -<p class="par">“Anoush” in name, but full of bitterness in -reality.</p> -<p class="par">On one side of the road that leads from Tisbon to -Ecbatana stands a steep, pointed crag. Its massive base rises from an -extensive bed of rock, on which Nature has placed it as on a firm -pedestal.</p> -<p class="par">Not a handful of earth is to be found upon its denuded -surface. Not a single plant grows on its hard, stony sides.</p> -<p class="par">The burning rays of the southern sun have dried and -baked it like an earthen vessel in the potter’s ever-burning -fire. From time immemorial that rock has ever been so.</p> -<p class="par">It happened one day that Farhat, the great Persian -sculptor, passed at the foot of the rock with his pickaxe on his -shoulder. He was aroused suddenly from the deep meditation in which he -had been lost by the sound of horns and trumpets. He stopped. -Greyhounds and hawk-bearers appeared, gay and thoughtless riders burst -into sight like a storm, then passed away from sight like a storm.</p> -<p class="par">The dim, shadowy outline of a face remained in his -heart; that vision stole away his peace of mind. Every day at the same -hour he was to be seen on the road waiting,—waiting with the -tenderest feelings of his heart aroused. The beloved vision would -appear, and after throwing a careless glance at him would pass by like -a flash of lightning.</p> -<p class="par">He lost his peace of mind, abandoned his Art, and -wandered like one beside himself in the solitudes of the mountains.</p> -<p class="par">Days passed, weeks passed, and months passed. One day he -was sitting there waiting. She appeared. But this time there were -neither greyhounds nor hawk-bearers with her. She was alone, with a -number of her maidens. She urged her horse on and came up to -Farhat.</p> -<p class="par">“Hail, great Master,” she said. “What -has chained thee to these mountains—to the solitudes of these -desert places? I ever see thee here.” <span class= -"pagenum">[<a id="xd24e7089" href="#xd24e7089" name= -"xd24e7089">151</a>]</span></p> -<p class="par"></p> -<div class="figure xd24e7092width" id="plate12"><img src= -"images/plate12.jpg" alt="The Castle of Anoush" width="720" height= -"542"> -<p class="figureHead"><span class="sc">The Castle of Anoush</span></p> -<p class="par first">“His warm blood sprinkled the wonders that -were the work of his hands.”</p> -<p class="par signed"><i>Raffi.</i></p> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e7103" href= -"#xd24e7103" name="xd24e7103">153</a>]</span></p> -<p class="par">“The joy of sometimes seeing a transcendently -beautiful vision light up the solitudes of these desert places,” -answered Farhat.</p> -<p class="par">“Is thy love so great, then?” she asked, -smiling.</p> -<p class="par">“Who can help loving her that has not a peer -amongst the immortals? Who can help loving her whose breath gives life, -whose one glance confers eternal happiness? Do you think that the heart -of him that is ever occupied with the stone and the chisel becomes so -hardened that there is no room left in it for beauty?”</p> -<p class="par">“I think not so. He that can give form and life to -a shapeless stone, he that creates beautiful beings out of cold marble, -cannot but love what is beautiful himself. But listen, Artist—to -win the heart of the daughter of the Arian King requires great -sacrifices.”</p> -<p class="par">“I know that great goddesses require great -sacrifices.”</p> -<p class="par">“I do not demand what is impossible—I only -wish to try thy love. Look, Farhat, dost thou see yonder rock?” -and she pointed to the sharp crag. “Thou must create palaces for -me out of that rock, so that I may look down from the summit with -delight, and watch how the Tigris threads the beautiful plains of -Assyria with its silvery curves, or how the tall palm-trees of -Baghistan wave at the breathing of the gentle zephyrs. And in the heart -of the rock thou must make storehouses for my treasures, and underneath -there must be dwelling-places for my horses. When all this is ready I -shall be thine.”</p> -<p class="par">She spoke, and rode away.</p> -<p class="par">Years passed away. The pickaxe and hammer of the Master -worked untiringly at the unyielding rock. The ceaseless sounds of the -heavy blows were to be heard day and night. The work was carried on -successfully. Love strengthened the genius of the great Master, and the -beauty of the Arian King’s daughter fired him with enthusiasm. He -made chambers, he made state-rooms, he made halls decorated with -pictures, and out of the solid rock he created a palace of marvellous -beauty. He made the walls of the apartments live with pictures carved -in relief. In one place he sculptured the battles that the old heroes -and giants of Iran had fought with devils and evil spirits; in another -the glory and greatness of the ancient kings of Iran, and festivals -celebrating their victories and deeds of prowess. He drew on the stone -the valiant acts of ancestral kings, their virtues, and the benefits -that they scattered over the land of the Arians. He worked all these -wonders for the one being to whom he had devoted all the passion of his -love. He worked them all so that she might be continually reminded of -the glorious past of Iran, that her heart might continually be rejoiced -with the noble pride that she was the descendant of a great dynasty -born of the gods, which had always done god-like deeds. <span class= -"pagenum">[<a id="xd24e7120" href="#xd24e7120" name= -"xd24e7120">154</a>]</span></p> -<p class="par">She came and saw it all.</p> -<p class="par">“It is very beautiful,” she said, “but -there is no water here—there are no trees. Make fountains for me -that shall throw the water up higher than the clouds. Plant trees for -me under whose shadow I may rest;—rest in thine arms!”</p> -<p class="par">She spoke, and rode away.</p> -<p class="par">He turned the courses of far distant streams and brought -the water by underground channels to the very summit of the rock. He -shaped the stone, dug out basins, and created silvery fountains. Day -and night the never-ending supply of water rose out of the fountains, -and dewed the surrounding plants with pearl-like drops. He levelled the -surface of the rock, and covered it with earth brought from distant -places. He planted trees and made lofty hanging gardens that looked as -if they were growing in the air. Years passed. The trees grew and gave -fruit, the flowers blossomed and filled the scented gardens with their -gladdening perfumes. The birds came and filled the place with their -happy songs. But she who was to have been the queen and pride of that -beautiful paradise did not appear.</p> -<p class="par">One day the Master sat at the foot of the palace he had -made, leaning his chin on his hand and looking sorrowfully down the -road. A peasant came up singing, and sat down beside him to rest a -little.</p> -<p class="par">“Whence comest thou?” asked the Master. -“Thou art fortunate in being so happy.”</p> -<p class="par">“From Tisbon,” said the peasant. “And -why should I not be happy when all the world is rejoicing?”</p> -<p class="par">“What has happened?”</p> -<p class="par">“Dost thou not know that in town the wedding has -already been going on for seven days and seven nights? The wine is -flowing in rivers, and there is no limit to the dainty fare. They are -eating, drinking, and making merry. The whole town resounds with the -strains of music, and the feet of the dancers are never weary. I also -came in for my share of good things—I ate and drank as much as I -could, and now I am taking home what will be enough for my wife and -children for many weeks.”</p> -<p class="par">“Whose wedding is it?”</p> -<p class="par">“The King’s.”</p> -<p class="par">“To whom is he married?”</p> -<p class="par">“To Anoush.”</p> -<p class="par">The Master spoke no more. He only started as one struck -by lightning, then remained motionless. Then he rose and walked with -weak, trembling steps towards the palace he had created. He looked -around, and for the last time raised his sorrowful eyes to all the -<span class="pagenum">[<a id="xd24e7151" href="#xd24e7151" name= -"xd24e7151">155</a>]</span>work that was the result of passionate love -and beautiful Art. Then he entered into his work-room. His tools were -lying about. He took up a heavy hammer and came out on to the narrow -ledge. “She deceived me!” he said, and threw the hammer up -into the air. It turned over and over, then fell on to his head. His -warm blood sprinkled the wonders that were the work of his hands.</p> -<p class="par">Farhat did not obtain the desire of his heart, but the -name of his beloved Anoush remained with that stone fortress, and it -was called the Castle of Anoush.</p> -<p class="par">That rock-hewn palace which was prepared to be the -temple of love and everlasting happiness became a hell full of tears -and unending suffering. It was there that the Kings of Persia -imprisoned the Armenian Kings who fell captive into their hands. -<span class="pagenum">[<a id="xd24e7157" href="#xd24e7157" name= -"xd24e7157">156</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7065" href="#xd24e7065src" name="xd24e7065">1</a></span> Anoush - -sweet. <a class="fnarrow" href="#xd24e7065src">↑</a></p> -</div> -</div> -</div> -<div id="v70" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e975">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">HAPPINESS</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By ARSCHAG -TCHOBANIAN</span></p> -<p class="par xd24e384">(<i>Born 1872</i>)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Weary of vainly seeking Happiness</p> -<p class="line">In city alleys full of sound and strife,</p> -<p class="line">I hastened from the noisy human press,—</p> -<p class="line">The labyrinth of this dark, grovelling life.</p> -</div> -<div class="lg"> -<p class="line">I said, “The mountain knows its place of -rest,”</p> -<p class="line">And clambered up above the level plain;</p> -<p class="line">But the bald Titan answered me distressed:—</p> -<p class="line">“Dullness alone doth Time for me -ordain.”</p> -</div> -<div class="lg"> -<p class="line">I left the mountain and approached the winds—</p> -<p class="line">Those infinite, proud spirits, ever free;</p> -<p class="line">“We are the sighs of griefs that to your -minds</p> -<p class="line">Must still remain unknown,” they answered me.</p> -</div> -<div class="lg"> -<p class="line">And then above the winds and clouds I rose,</p> -<p class="line">Soared to the skies, and asked the stars of Heaven.</p> -<p class="line">“We are the tears that flow from countless -woes,”</p> -<p class="line">The answer by those eyes of darkness given.</p> -</div> -<div class="lg"> -<p class="line">Above the stars, in the lone fields of space,</p> -<p class="line">I saw God musing, sorrowful and mild.</p> -<p class="line">“Father,” I cried, “where is -Joy’s dwelling-place?”</p> -<p class="line">He said, “I also do not know, my -child.”</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e7217" href="#xd24e7217" name= -"xd24e7217">157</a>]</span></p> -</div> -</div> -<div id="v71" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e982">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">CONCERNING DEATH</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By HOVHANNES -TULKOURANTZI</span></p> -<p class="par xd24e384">(1450–1525)</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">O evil man, with passions fraught,</p> -<p class="line">How long wilt thou strive after sin?</p> -<p class="line">Enough the ill that thou hast wrought:</p> -<p class="line">Repent,—a holier life begin.</p> -</div> -<div class="lg"> -<p class="line">From Adam’s time until this day,</p> -<p class="line">No soul hath had immortal breath;</p> -<p class="line">Thou heed’st not what the Scriptures -say—</p> -<p class="line">The sinner’s punishment is death.</p> -</div> -<div class="lg"> -<p class="line">He that had palaces of gold,</p> -<p class="line">And brilliant cities, fortress-bound,</p> -<p class="line">Hath left behind his wealth untold,</p> -<p class="line">And lies beneath the sodden ground.</p> -</div> -<div class="lg"> -<p class="line">Who loved to quaff the spicy wine,</p> -<p class="line">And spent his life in ribaldry,</p> -<p class="line">I saw him like a swollen swine,—</p> -<p class="line">loathsome corpse, unsavoury.</p> -</div> -<div class="lg"> -<p class="line">The man that rode an arch-necked steed</p> -<p class="line">And flashed his sword around to slay,</p> -<p class="line">I saw him penitent indeed:—</p> -<p class="line">Between two wooden planks he lay.</p> -</div> -<p><span class="pagenum">[<a id="xd24e7273" href="#xd24e7273" name= -"xd24e7273">158</a>]</span></p> -<div class="lg"> -<p class="line">And evil wenches, women fair,</p> -<p class="line">Who dress in robes of gaudy dye,</p> -<p class="line">Who love to curl and braid their hair—</p> -<p class="line">Their brightness with the sun might vie:</p> -</div> -<div class="lg"> -<p class="line">They swing about, and turn, and sway,</p> -<p class="line">And are beloved of every man;</p> -<p class="line">But hateful when Death comes are they,</p> -<p class="line">To all who would their features scan.</p> -</div> -<div class="lg"> -<p class="line">Christ sits upon the throne of Light,</p> -<p class="line">Rewarding those who loved His Word,</p> -<p class="line">Crowning the just with glory bright</p> -<p class="line">And penitents His voice that heard.</p> -</div> -<div class="lg"> -<p class="line">Ah, Hovhannes Tulkourantzi,</p> -<p class="line">Listen with open heart and ear;</p> -<p class="line">Seek out some way diligently</p> -<p class="line">To win the crown of glory there.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e7310" href="#xd24e7310" name= -"xd24e7310">159</a>]</span></p> -</div> -</div> -<div id="v72" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e989">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">LOVE ONE ANOTHER</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By BEDROS -TOURIAN</span></p> -<div class="lgouter"> -<div class="lg"> -<p class="line">Undying Love, Whose beams forever glow</p> -<p class="line">On rose-red Golgotha’s stupendous brow;</p> -<p class="line">Wilt Thou those shafts still in Thy bosom keep?</p> -<p class="line">What guardest Thou?—bones, spectres, chasms -deep,—</p> -<p class="line">That in the echoes of the mountain-side</p> -<p class="line">Thy noble words, “Love one another,” -died?</p> -</div> -<div class="lg"> -<p class="line">Effaced and trampled is the poor man’s tomb;</p> -<p class="line">The poor man’s candle flickers out in gloom;</p> -<p class="line">And in that darkness starving children weep,</p> -<p class="line">While in the palace revels high they keep.</p> -<p class="line">The rich man’s carriage dashes gaily past,</p> -<p class="line">The beggar’s lonely corpse to earth is cast.</p> -</div> -<div class="lg"> -<p class="line">The pallid angel of Gethsemane</p> -<p class="line">Tears doth not heed nor flowers, nor glory’s -plea.</p> -<p class="line">The poor find rest in his cold arms alone,</p> -<p class="line">For in Death’s shroud the high and low are -one.</p> -<p class="line">Though lightning-winged the winds cry o’er the -moor,</p> -<p class="line">“Love one another,” here none love the -poor.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e7358" href="#xd24e7358" name= -"xd24e7358">160</a>]</span></p> -</div> -</div> -<div id="v73" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e996">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">PASQUA ARMENA<a class="noteref" id="xd24e7362src" -href="#xd24e7362" name="xd24e7362src">1</a></h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By VITTORIA AGANOOR -POMPILJ</span></p> -<div lang="it" class="lgouter"> -<div class="lg"> -<p class="line">Non fu di fiele abbeverato? Il petto</p> -<p class="line">non gli squarciò l’ignobile scherano?</p> -<p class="line">Non fu percosso, irriso, e un’empia mano</p> -<p class="line">non lo inchiodò sul legno maledetto?</p> -</div> -<div class="lg"> -<p class="line">Pur, quale mai più glorïoso e forte</p> -<p class="line">risorgere, se ancor tuona la voce</p> -<p class="line">dell’Osanna, e dovunque apre una croce</p> -<p class="line">le braccia, dall’idea vinta è la -morte?</p> -</div> -<div class="lg"> -<p class="line">Armenia, ed anche a te squarciato il seno</p> -<p class="line">vedo dai nuovi farisei. Raccolto</p> -<p class="line">hanno il fango a scagliartelo sul volto;</p> -<p class="line">per dissetarti apprestano il veleno.</p> -</div> -<div class="lg"> -<p class="line">Ma se l’insazïata orda ferina</p> -<p class="line">sulle tue membra flagellate e grame</p> -<p class="line">oggi rinnova la tortura infame</p> -<p class="line">del Golgota, la tua Pasqua è vicina.</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e7408" href="#xd24e7408" name= -"xd24e7408">161</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7362" href="#xd24e7362src" name="xd24e7362">1</a></span> This and -the following poem are reprinted from <i lang="it">Nuove Liriche</i>, -by Vittoria Aganoor Pompilj, Roma. Nuova Antologia. <a class= -"fnarrow" href="#xd24e7362src">↑</a></p> -</div> -</div> -</div> -<div id="v74" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e1003">Contents</a>]</span> -<div class="divHead"> -<h2 lang="it" class="main">“IO VIDI”</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By VITTORIA AGANOOR -POMPILJ</span></p> -<div lang="it" class="lgouter"> -<div class="lg"> -<p class="line">Accostarsi all’oscuro</p> -<p class="line">mio letto, dalle porte</p> -<p class="line">raggianti, io vidi il puro</p> -<p class="line">angiolo della morte.</p> -</div> -<div class="lg"> -<p class="line">Una dorata ciocca</p> -<p class="line">velava gli occhi suoi:</p> -<p class="line">diceva la sua bocca</p> -<p class="line">sorridendo:—Mi vuoi?—</p> -</div> -<div class="lg"> -<p class="line">Rapita io nella bianca</p> -<p class="line">sua desiata faccia,</p> -<p class="line">io, di vane opre stanca,</p> -<p class="line">a lui tendo le braccia;</p> -</div> -<div class="lg"> -<p class="line">e, mentre l’affannoso</p> -<p class="line">mio cor s’apre alla fede</p> -<p class="line">del perfetto riposo</p> -<p class="line">che solo egli concede;</p> -</div> -<div class="lg"> -<p class="line">mi sibila vicina</p> -<p class="line">una maligna voce:</p> -<p class="line">“Destati; orsù, cammina,</p> -<p class="line">ripiglia la tua croce!”</p> -</div> -</div> -<p><span class="pagenum">[<a id="xd24e7462" href="#xd24e7462" name= -"xd24e7462">163</a>]</span></p> -</div> -</div> -<div id="v75" class="div1 chapter"><span class="pagenum">[<a href= -"#xd24e1011">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">ARMENIA:</h2> -<h2 class="sub">ITS EPICS, FOLK-SONGS, AND MEDIAEVAL POETRY</h2> -</div> -<div class="divBody"> -<p class="par first xd24e384"><span class="sc">By ARAM RAFFI</span></p> -<p class="par">The country that is called Armenia consists of a large -plateau, covered with numerous mountain ranges, which are intersected -by many valleys and passes, as well as by rivers and lesser streams of -considerable depth. The climate differs in various parts of the -country, the meteorological conditions ranging from frost and snow to -extreme heat. Over the plains towers Mount Ararat, on which, as we read -in the Bible, the Ark rested after the Flood. Here also is the -traditional site of the Garden of Eden, and the four rivers mentioned -in Genesis as rising in the Garden still flow through the Armenian -land.</p> -<p class="par">The origin of the Armenian people is enveloped in -mystery, but it is an established fact that Armenia has had a -civilisation of its own from a very early date, and that the Armenians -are one of the most ancient races in the world. They have had their -periods of independence, but, on account of its geographical position, -Armenia has seldom figured as one of the great ruling states of the -world, although it has repelled by arms invasions of such nations as -Assyria. Assyrian records are filled with descriptions of conflicts -with Armenian kings; King Assur Nazir Haban (1882–1857 -<span class="sc">B.C.</span>) gives this account of one of his -“victories”:—“They (the people of Ararat, or -Urardu) fled to the impregnable mountains so that I might not be able -to get at them, for the mighty summits were like drawn swords pointing -to the skies. Only the birds of heaven soaring on their wings could -reach them. In three days I was there, spreading terror in places where -they had taken refuge. Their corpses, like autumn leaves, filled the -clefts. The rest escaped to distant inaccessible heights.”</p> -<p class="par">Notwithstanding the boasts of the Assyrian kings, they -did not succeed in permanently crushing the independence of -Armenia.</p> -<p class="par">Tigranes the Great brought Armenia more in contact with -distant foreign lands. In his time his country began to be considered -of importance by Greek and Roman historians. The Romans sent Lucullus -to engage in war with Tigranes in order to crush his growing power. -This is what—according to Plutarch—Lucullus said of -Tigranes:—</p> -<p class="par">“In Armenia Tigranes, King of Kings, is seated, -surrounded with that power which <span class="pagenum">[<a id= -"xd24e7485" href="#xd24e7485" name="xd24e7485">164</a>]</span>has -wrested Asia from the Parthians, which carries Grecian colonies into -Media, subdues Syria and Palestine, cuts off the Seleucidae and carries -their wives and daughters into captivity.” Cicero says of -Tigranes the Great:—“He made the Republic of Rome tremble -before the prowess of his arms.”</p> -<p class="par">To give even a short outline of Armenian folklore and -poetry it is essential to point out those agencies and influences which -have served to originate that literature. Hence its literature and -history, like those of all countries, are interwoven. Notwithstanding -its periods of greatness, Armenia was unable, as we said above, to -continue to be a powerful and independent state. Thus we see Armenia -serving as a bridge between armies engaged in war, and such has been -its fate in all periods, even up to the present time.</p> -<p class="par">It fell successively under the dominion of Assyria, -Babylonia, and, finally, of Persia when, after the time of Cyrus, the -kingdom of Persia was extended by Darius over nearly the whole of Asia. -Although Armenia became a tributary of Persia, it still had its own -independent king.</p> -<p class="par">The Median Empire had been founded probably in -677–672 <span class="sc">B.C.</span> From that time Iranian -influence was strongly felt in the politics, language, and social -organisation of Armenia, and the Iranian religion, with its -terminology, names of divinities, and many folk-beliefs, permeated -Armenian paganism.</p> -<p class="par">Moreover, the Armenians, being the near neighbours of -the Persians, closely resembled them in their manner of life and their -religion. After the conquest of Alexander the Great, Armenia, like all -other Asiatic nations, fell under Greek dominion. Then the Macedonian -rule gave way to the Parthian, and the dynasty of the Arsacidae held -sway, a king of that race being set over Armenia and founding an -independent Armenian dynasty. The Arsacidae introduced Greek -civilisation and culture into Armenia. During this period the character -of the Armenians changed. Not only their religion but their manners and -customs became different from those of the Persians. The rule of -Macedonia over Armenia lasted 180 years (330–150 <span class= -"sc">B.C.</span>). The Graecophile Arsacid dynasty lasted 376 years -(150 <span class="sc">B.C.</span>-226 <span class="sc">A.D.</span>). -These long periods brought the Armenians into close contact with the -Greeks and separated them from the Persians.</p> -<p class="par">To the periods which we have outlined belongs the -literature of Armenia preceding the introduction of Christianity. Of -this literature the remains that have come down to us consist of -legends, songs, and fragments of epics. Of the epics we have some -records and summaries, chiefly found in the History of Moses of Khorene -(5th century <span class="sc">A.D.</span>), who has also preserved some -of the heroic songs in their original form. These epics relate the -history of Armenian <span class="pagenum">[<a id="xd24e7513" href= -"#xd24e7513" name="xd24e7513">165</a>]</span>ancestral and mythical -heroes, to whom are ascribed the foundation and development of the -Armenian nation. In them we see Armenian ideals of the earliest times. -As these ideals are closely interwoven with the religious beliefs of -the pre-Christian period, let us now cast a glance at Armenian -Paganism.</p> -<p class="par">It is said by ancient Armenian historians that the -Armenians were originally worshippers of the One True God, but they, -like all other nations, deserted Him and took up with various -religions. Sun-worship was one of these; Zoroastrianism also had its -turn; in due course, the Greeks introduced their own deities; even -India succeeded in making its influence felt. Strabo has it that the -Armenians, during the period of the Arsacid dynasty, were of the same -religion as the Parthians. It appears that the Armenians fused together -Zoroastrianism and the polytheism of Greece and other nations, thus -combining eastern and western religion. One result of this fusion was -that though the Zoroastrians made no visible representation of their -God, the temples of Armenia were full of images, brought from -Mesopotamia, Asia Minor, and Greece.</p> -<p class="par">The principal god of Armenia was <i>Aramazd</i>, whom -the Armenians called “the Architect of the Universe, Creator of -Heaven and Earth.” He was also the father of the other gods. The -Armenians annually celebrated the festival of this god on the 1st day -of Navasard,<a class="noteref" id="xd24e7522src" href="#xd24e7522" -name="xd24e7522src">1</a> when they sacrificed white animals of various -kinds—goats, horses, mules, with whose blood they filled goblets -of gold and silver. The most prominent sanctuaries of Aramazd were in -the ancient city of Ani in Daranali, the burial-place of the Armenian -kings, as well as in the village of Bagavan in Bagravand.<a class= -"noteref" id="xd24e7525src" href="#xd24e7525" name= -"xd24e7525src">2</a></p> -<p class="par">Aramazd had an attendant incorporeal spirit, named -<i>Tir</i> or <i>Grogh</i> (“writer”), whom he sent to -earth to watch men and record in a book their good and evil deeds. -After death, human souls were conducted by Tir to Aramazd, who opened -the book at each soul’s record, in accordance with which he -assigned a reward or punishment. In a village near Vargharshapat there -was a temple of this god, where the priests interpreted dreams after -consulting his oracle. The influence of Tir was great in Armenia, for -he was a personification of hope and fear. There are traces of the cult -of this god in the Armenian language. It is still usual to hear, used -as a curse, the expression, “May Grogh take you!” The son -of Aramazd was <i>Mihr</i>, Fire. He guided the heroes in battle and -conferred wreaths on the victors. The word <i>mehian</i> -(“temple”) is derived from Mihr; also some Christian names. -One of the months in the ancient Armenian calendar (Mehekan) was named -after him. His commemoration-day was celebrated with <span class= -"pagenum">[<a id="xd24e7548" href="#xd24e7548" name= -"xd24e7548">166</a>]</span>great splendour at the beginning of spring. -Fires were kindled in the open market-place in his honour, and a -lantern lighted from one of these fires was kept burning in his temple -throughout the year. This custom of kindling fires in the spring is -still observed in some parts of Armenia.<a class="noteref" id= -"xd24e7551src" href="#xd24e7551" name="xd24e7551src">3</a></p> -<p class="par">Although the Persians and the Armenians were both -worshippers of Mihr, the conceptions and observances of the two nations -differed. The Armenian sacred fire was invisible, but the Persian was -material and was kept up in all the temples. For this reason the -Armenians called the Persians fire-worshippers. But the Armenians had -also a visible fire-god, who, although material, was -intangible—the sun—to which many temples were dedicated and -after which one of the months (<i>Areg</i>) was named.</p> -<p class="par">Long after the introduction of Christianity, there was a -sect of sun-worshippers existent in Armenia, who were called -“Children of the Sun.” A small remnant of them is still -supposed to be found, dwelling between the Tigris and the Euphrates. -Traces of sun-worship are also evident in the Armenian language and in -the Armenian literature of Christian times. Some sayings and phrases -are still in use which contain references to sun-worship, such as the -expression of endearment, “Let me die for your sun!” and -the oath, “Let the sun of my son be witness.”</p> -<p class="par">One of the most famous Armenian goddesses was -<i>Anahit</i>, who answered to the Greek Artemis and the Roman Diana. -She was a “pure and spotless goddess,” and, as a daughter -of Aramazd, was “mother of chastity,” as well as the -benefactress of the whole human race; “through her the Armenian -land exists, from her it draws its life; she is the glory of our nation -and its protectress”<a class="noteref" id="xd24e7566src" href= -"#xd24e7566" name="xd24e7566src">4</a>; and for her the ancient -Armenians felt intense love and adoration.</p> -<p class="par">Many images and shrines were dedicated to her under the -names of “the Golden Mother,”<a class="noteref" id= -"xd24e7572src" href="#xd24e7572" name="xd24e7572src">5</a> “the -Being of Golden Birth,” etc. Every summer there was a festival in -her honour. On that day, a dove and a rose were offered to her golden -image, whence the day was called <i>Vardavar</i>, which means -“the flaming of the Rose.” On the introduction of -Christianity, the temple of Anahit was destroyed and her festival -became the Feast of the Transfiguration of Christ; it falls in the last -days of the year according to the ancient Armenian calendar; but the -name “Vardavar” still remains and doves are still set -flying on that day. This is also <span class="pagenum">[<a id= -"xd24e7581" href="#xd24e7581" name="xd24e7581">167</a>]</span>the -Armenian “water-day,” during which the people amuse -themselves throwing water at each other.<a class="noteref" id= -"xd24e7583src" href="#xd24e7583" name="xd24e7583src">6</a></p> -<p class="par">Anahit was sought also in cases of great sickness.</p> -<p class="par">The sister of Anahit was <i>Astghik</i>,<a class= -"noteref" id="xd24e7596src" href="#xd24e7596" name="xd24e7596src">7</a> -the goddess of beauty, a personification of the moon, corresponding to -the Phoenician and Sidonian Astarte. Strange to say, the Persians had -no goddess of beauty, but the bright sky of Armenia, its numerous -valleys, the torrents running down from snow-capped mountains, the -lakes, the cultivated fields and meadows tended to strengthen the sense -of beauty, and, therefore, Armenia had a goddess of beauty, who was not -to be found in the pantheon of the neighbouring country.</p> -<p class="par">The Armenians assigned Astghik a husband worthy of her. -He was Vahagn, deified on account of his valour. In ancient songs, he -is credited with a miraculous birth. The fires of heaven and earth, and -the sea crimson in the light of dawn, travailed to bring him into -being.<a class="noteref" id="xd24e7604src" href="#xd24e7604" name= -"xd24e7604src">8</a> As we shall see later, Moses of Khorene has -preserved portions of these songs. Vahagn was called Vishapakagh -(Uprooter of dragons), as he cleared the Armenian land of monsters and -saved it from evil influences. His exploits were known not only in -Armenia, but in the abode of the gods. Having stolen corn from the -barns of King Barsham of Assyria, he ran away and tried to hide himself -in heaven. From the ears he dropped arose the Milky Way, which is -called in Armenia the Track of the Corn-stealer.</p> -<p class="par">The third daughter of Aramazd was <i>Nané</i> or -<i>Nooné</i>. She was the goddess of contrivance. It was -believed by the Armenians that contrivance was a necessary power for a -woman, because, in the management of the household, she had to make big -things out of small ones, and circumstances were already against her on -account of the vicissitudes which Armenia was constantly -undergoing.</p> -<p class="par"><i>Sandaramet</i>, the wife of Aramazd, was an invisible -goddess and a personification of the earth. Aramazd sent rain upon her, -which brought forth the vegetation on the earth. She came to be a -synonym of Hades and was very frequently referred to as such in -theological books and in the hymnary of the Christian Church.</p> -<p class="par">Besides these gods of their own, the Armenians also -adopted alien divinities. When <span class="pagenum">[<a id="xd24e7621" -href="#xd24e7621" name="xd24e7621">168</a>]</span>Tigranes brought a -number of Phoenicians to Armenia as prisoners, they brought with them -their god Ammon, from whose name comes the word -<i>Ammonor</i>,<a class="noteref" id="xd24e7626src" href="#xd24e7626" -name="xd24e7626src">9</a> “the day of Ammon”—the New -Year. Assyrian, Arab, and other emigrations also led to the -introduction of foreign deities. An Armenian king, when he brought home -captives, also introduced the gods of those captives, whose images were -placed in the temples beside those of the native gods that they most -closely resembled. Even Indian fugitives brought the brother-gods, -Demetr and Gisanes, whose images were not like those of the other gods -of Armenia, for the images of the gods of Armenia are, as a rule, -small, whereas these were very tall, with long black hair and black -faces. There was also a great immigration of Jews into Armenia, and -this influenced the Armenians in the direction of monotheism. Besides -the principal gods, there were also secondary ones. These were spirits, -corresponding to angels, who acted as guardians to different classes of -natural objects:—<i>Kadjk</i>,<a class="noteref" id= -"xd24e7635src" href="#xd24e7635" name="xd24e7635src">10</a> who -occupied the mountains; <i>Parik</i>, who presided over flocks; and -many others.</p> -<p class="par">Water was honoured in Armenia as a masculine principle. -According to Tacitus (<i>Annals</i>, vi. 37) the Armenians offered -horses as sacrifices to the Euphrates, and divined by its waves and -foam. Sacred cities were built around the river Araxes and its -tributaries. Even now there are many sacred springs with healing -powers, and the people always feel a certain veneration towards waters -in motion.</p> -<p class="par">There were gods who lived in the waters and destroyed -harmful monsters of the deep. There was also a god who breathed out a -mysterious atmosphere which destroyed malignant creatures. One wonders -whether this is a foreshadowing of the fear of microbes. All the gods -of this class were friendly to agriculturists.</p> -<p class="par">There were also “<i>Haurot-Maurot</i>,” the -name of a flower (<i>hyacinthus racemosus Dodonei</i>) first mentioned -by Agathangelos. The Arabs incorporated them in the Quran (ii. 96) as -two angels sent down to live in Babel in human circumstances.</p> -<p class="par"><i>Alk</i>, who dwelt in the waters, was a very harmful -devil. He used to live in the corners of houses and stables, and in -damp places. He had eyes of fire, nails of copper, teeth of iron, and -the jaws of a wild boar. He carried a sword of iron in his hand and was -a bitter enemy to pregnant women, near whom he sat at the time their -child was born.</p> -<p class="par">There were nymphs, who were guardians of women. They -wandered through gardens and amid streams, but were invisible. They -attended weddings and frequented bathrooms and the women’s -quarters in general. These nymphs and spirits were innumerable. -<span class="pagenum">[<a id="xd24e7665" href="#xd24e7665" name= -"xd24e7665">169</a>]</span>Every woman was supposed to have a guardian -nymph. The nymphs were supposed by some to be immortal and endowed with -perpetual youth; others described them as mortal though they never grew -old. There was also a group of male spirits who were regarded by some -as mortal, by others as immortal. They wandered with the nymphs through -forests, gardens, and other open places. They were imagined as very -tall, with features like those of men; some were half-man and -half-animal. Some were called <i>Parik</i>, “dancers”; -others <i>Hushka parik</i>, “dancers to a melody in a minor -key.”</p> -<p class="par">In some places, even now, a belief in these nymphs (or -fairies) survives. Many stories are told of their beauty, their -marvellous dancing, and their wondrous music. They are never called by -the name of “nymphs,” but are spoken of by the people of -the country as “our betters.” Still in some parts of -Armenia, in May and October, a festival is held annually in honour of -them, generally by the women in the Public Baths. They assemble early -in the morning and remain till late at night, dancing, eating, and -bathing.</p> -<p class="par">Before the people thought of building temples, they -worshipped their gods in forests and on mountains. One of these forests -was the Forest of Sos. According to tradition the son of Ara the -Beautiful, Anushavan, who devoted himself to the worship of this sacred -place, was called, after the forest, Sos. The priests derived oracles -from the rustling of the leaves in this holy wood.</p> -<p class="par">Besides temples, which were numerous in Armenia, there -were, all over the country, altars and shrines, as well as images and -pictures.</p> -<p class="par">To sum up, the pre-Christian religion of Armenia was at -first a kind of nature-worship, which developed into polytheism. There -were two elements in Armenian religion, the native and the foreign.</p> -<p class="par">Besides nature-worship, there was a recognition, among -the Armenians, of the Good and Evil Spirit, but predominance was given -to the former. It is curious that, in the Armenian pantheon, there is -no god of evil, and Armenian epic heroes are always described as -fighting against evil <i>spirits</i>.</p> -<p class="par">In Armenian epics, the immortals stand in the -background, the most prominent place being assigned to legendary -heroes, to whom poets attribute divine descent, thus tracing the origin -of the Armenian race to the gods. Unfortunately, the greater part of -these epics is lost, though a few fragments are preserved, in their -original shape, by Moses of Khorene.</p> -<p class="par">The following is one of these fragments, which gives the -general conception of the gods and the heroes descended from -them:—</p> -<p class="par">“Glorious and awful were the former gods. They -were the cause of the greatest blessings <span class="pagenum">[<a id= -"xd24e7693" href="#xd24e7693" name="xd24e7693">170</a>]</span>of the -earth; also of the beginning of the world and the generations of men. -From them arose a race of giants, with great limbs, fantastical, of -stupendous stature, who, in their arrogance, conceived the impious idea -of tower-building. But by the wrath of the gods, a mighty wind arose, -overthrowing and shattering the structure. The speech of men was -confused; there was general bewilderment.”</p> -<p class="par">Among the giants mentioned in this passage was Haik, the -brave and illustrious chief—a famous archer, who is the -patronymic hero of Armenia, and is described by Moses of Khorene as -having curly hair and being beautiful to look upon, with brawny arms, -well-set shoulders, and fiery eyes. Recoiling from submission to Belus, -he, with his followers, went northwards to the foot of a mountain, -where they took up their abode. Belus sent emissaries to him, bearing -the following message:—</p> -<p class="par">“Thou hast departed and hast settled in a chill -and frosty region. Soften thy hard pride, change thy coldness to -geniality; be my subject, and come and live a life of ease in my -domain. Thus shalt thou find pleasure.”</p> -<p class="par">Haik’s answer was to prepare for combat. The -fights between Haik and Belus are minutely recounted. The dress of the -two champions, their looks, their weapons, are all described in detail. -At last Belus was vanquished and slain by his adversary.</p> -<p class="par">Before the time of Moses of Khorene, Haik was known as a -great hunter like the Greek Orion. In the passages in Job and Isaiah -where “Orion” appears in the English Bible as the name of a -constellation, “Haik” appears in the Armenian version.</p> -<p class="par">The country that Haik conquered was named Hayastan, -after him.</p> -<p class="par">He was succeeded by Armenak, who extended the boundaries -of his kingdom. This expansion is thus described by Moses of -Khorene:—</p> -<p class="par">“Armenak, taking with him all his host, goes to -the north-east. He descends on a plain surrounded by high mountains, -through which, from the west, murmuring streams flow. The plain extends -towards the east. From the foot of the mountains gush springs no less -limpid, mingling together to form little rivers, which, with gentle -flow, run round the edge of the plain, parallel to the base of the -mountains.</p> -<p class="par">“But the southern mountain, with its white peak, -at first rises straight up; afterwards it curves, looking beside the -other heights like a hoary stooping elder amid youths.”</p> -<p class="par">Armenak was succeeded by Aramais. This king took up his -abode on a hill beside a river, where he built a town which he named -Aramavir. The river he called by the name of his grandson, Araxes. He -had a son, named Shara, who was a glutton and had an immense number of -children. He sent him to a very fertile place which was called, after -him, Shirak. <span class="pagenum">[<a id="xd24e7714" href="#xd24e7714" -name="xd24e7714">171</a>]</span>Moses of Khorene quotes a proverb -relating to Shara:—“If thou hast the gullet of a Shara, our -stores are not the stores of a Shirak.”</p> -<p class="par">Shara had a son, Amasa. After him Mount Ararat was named -“Masis.”</p> -<p class="par">Moses of Khorene mentions another descendant of Haik, -whose name was Tork. He was ugly and of tremendous strength. He was -able to break great stones with his hands. Once, when he was on the -shore of the Sea of Pontus, he hurled huge rocks at the ships of his -enemies and sank them. This incident reminds us of the Cyclops -Polyphemus, in the <i>Odyssey</i>. Tork had also artistic proclivities. -After dividing large stones with his hands, he smoothed them with his -nails, and with his nails covered them with drawings of eagles and -other pictures.<a class="noteref" id="xd24e7723src" href="#xd24e7723" -name="xd24e7723src">11</a></p> -<p class="par">Then the historian gives a table of royal names down to -Aram, whom he describes as industrious and patriotic, and who said that -he would rather die for his fatherland than endure the sight of -strangers devastating it. He collected an army of 50,000 and drove the -foreign invaders out of Armenia. Epic poems, according to Moses of -Khorene, praise Aram’s valour in his conflicts with Barsham, King -of Assyria, whom he eventually subdued. He was succeeded by Ara the -Beautiful.</p> -<p class="par">The romantic love of Semiramis for this king, which was -a favourite theme of ancient Armenian song and epic, is elaborately -recounted by Moses of Khorene. A translation of his narrative is given -on page 23 of this volume. There are several variants of this story, -which is still related in Armenia, and the names of many places as well -as many superstitions can be traced to it.</p> -<p class="par">Semiramis invited Ara to Nineveh to be her husband, -promising him the half of the kingdom, but Ara refused her offer, -having a wife already. Semiramis thereupon sent an army against Ara, -with orders to capture the king alive and bring him to her; but, -instead of the living king, they brought his corpse. Semiramis, who, as -is well known, was wont to practise magic, laid the body on a certain -high place, in order that the gods might descend and restore it to life -by licking the wounds. This height is still called <i>Lezk</i>, and in -former times others used it for the same purpose as Semiramis. The idea -of this mode of cure probably originated from the fact that wounded -men, lying unconscious on the battlefield, have often been revived by -the licking of dogs and other animals.</p> -<p class="par">In Moses of Khorene we find this story about the -childhood of Sanatruk. One day, he, under the care of his mother and -his nurse, was walking among the mountains of Kordua, when suddenly a -high wind arose, accompanied by a snowstorm, and separated the mother -<span class="pagenum">[<a id="xd24e7737" href="#xd24e7737" name= -"xd24e7737">172</a>]</span>from her son. For three days and nights the -nurse and the child were buried in the snow, but the gods sent a -miraculous white animal which rescued them and brought them home -alive.<a class="noteref" id="xd24e7739src" href="#xd24e7739" name= -"xd24e7739src">12</a></p> -<p class="par">But, though such legends as these may have some -foundation in fact, there are others that are entirely fabulous, like -the following, which is related by Moses of Khorene:—</p> -<p class="par">The heir to the principality of Ardzruni, when a boy, -fell asleep in the open air. A storm of rain came on and drenched him; -and then the hot sun shone down and scorched him with its rays; -whereupon an eagle flew up and hovered over his head with outspread -wings, sheltering him from the assaults of nature.</p> -<p class="par">In the fourth century <span class="sc">A.D.</span>, we -find a similar story told of Prince Mushegh Mamikonian. After his death -his relatives put his body on a high tower, believing that the spirits -would descend and restore him to life. This story is found in Faustus -Byzand (<span class="sc">A.D.</span> 337–384).</p> -<p class="par">The animals figuring in such stories as these are not -represented as merely adjuncts to man, but as independent individuals -who act in accordance with their own characters and inclinations. -Plato, in his <i>Republic</i>, gives a slightly different version of -the legend of Ara. Er was an Armenian (or, as some commentators say, -“The son of Armenios”), a native of Pamphylia. He was slain -in battle, and ten days afterwards, when the bodies of the dead were -taken up, already in a state of corruption, his body was found -unaffected by decay and carried away home to be buried. And on the -twelfth day, as he was lying on the funeral pile, he returned to life -and told them what he had seen in the other world.</p> -<p class="par">The name “Er” is evidently a variant of Ara. -The story, as told by Plato, has all the features of a transplanted -legend.</p> -<p class="par">Moses of Khorene says that, after the death of Ara the -Beautiful, Semiramis passed the rest of her days in Armenia, which -place she greatly loved. Here she established the city of Van. A -picturesque account of its foundation given by the historian is -included in this volume (page 33).</p> -<p class="par">The following account is given of the end of -Semiramis:—</p> -<p class="par">Being pursued by her enemies, she ran away on foot, and, -becoming thirsty, she stopped to drink water from the Lake of Van. Here -she was overtaken by the “swordsmen,” whereupon, after -taking off her magic bracelet and throwing it into the lake, she -herself was turned into stone. <span class="pagenum">[<a id="xd24e7768" -href="#xd24e7768" name="xd24e7768">173</a>]</span></p> -<p class="par">With regard to the bracelet of Semiramis, the following -story is even now commonly told in the neighbourhood of Van:—</p> -<p class="par">Once Semiramis saw a bracelet in the hands of some -little boys, who had found it in the river, and were examining it with -curiosity. Semiramis, knowing that the bracelet had magic powers, took -it away from the children. By means of this jewel, she allured youths -to their destruction. This licentiousness brought her into general -disfavour. An old man, at last, snatched the bracelet from her and ran -with it towards the sea. Semiramis rushed after him in a fury, but, not -being able to come up with him, she let down her long hair and used it -as a sling to hurl a great rock at him. The weight of the rock pulled -out her hair. The rock itself fell into a ditch near Artamet. -Semiramis, through fear and amazement, was turned into stone. The old -man threw the bracelet into the Lake of Van. Even now a rock is shown -at Artamet which bears the name of “the Rock of -Semiramis.”</p> -<p class="par">Then Moses of Khorene speaks of <i>Tigranes I.</i>, who, -in conjunction with Cyrus, put an end to the kingdom of Media. The -epics say of Tigranes that “his face was of lovely hue, his eyes -were soft and lustrous, his shoulders stalwart, the calves of his legs -were well-shaped, he was altogether fair to look upon; in food and -drink he was moderate; he was of lofty mind, eloquent in speech, and -masterly in the conduct of affairs. Just and equitable, he weighed each -man’s acts in the scale of his mind. He was not jealous of the -great nor did he despise men of low estate, but spread the mantle of -his care over all men alike. He increased our treasures of gold, -silver, and precious stones. Under him, men and women wore fine -garments, of divers colours, richly embroidered, which made the -ill-favoured to look fair and the beautiful to look like demi-gods.</p> -<p class="par">“Tigranes, the bringer of peace and prosperity, -caused all men to grow fat with butter and honey. In his day, the -infantry became cavalry, slingers became skilful archers, -dagger-bearers were equipped with swords, and naked soldiers were -provided with shields and armour.”</p> -<p class="par">The historian adds that the splendour of the arms and -equipments was enough of itself to drive back the enemy.</p> -<p class="par">As the head of a band of warriors, he performed many -valorous deeds:—“We were under the yoke of others, but he -put other nations under our yoke and made them our -tributaries.”</p> -<p class="par">His rival, Astyages, King of Media, was always -suspicious and distrustful of him.</p> -<p class="par">One night Astyages had a terrible dream. The next -morning he summoned his courtiers. They found him sighing, looking on -the ground with gloomy mien, and heaving groans from the depths of his -heart. “When the courtiers inquired the reason of his -behaviour” (continues <span class="pagenum">[<a id="xd24e7789" -href="#xd24e7789" name="xd24e7789">174</a>]</span>the historian) -“the king remained silent for hours, then in a sad voice he -related his dream, which was as follows:—</p> -<p class="par">“‘To-day I was in an unknown country, close -to a mountain, which rose very high above the ground; its summit was -covered with ice. It seemed to me to be in Armenia. After I had gazed -for a long time, it appeared to me that there was a woman sitting on -the summit. Her garments were purple. Her face was covered by a blue -veil. Her eyes were beautiful. She was tall, with rosy cheeks. She was -in travail, and for a long time I looked on her with admiration, then I -beheld her give birth to three heroes, all of equal stature: the first, -sitting on a lion, soared towards the west; the second, seated on a -leopard, went towards the north; the third, bridling a huge dragon, -defiantly attacked our kingdom. In these confused dreams, I seemed to -be standing on the roof of my palace, and the covering of my chambers -was adorned with beautiful fountains of variegated colours. The gods -that had crowned me were standing there, with wondrous faces, and I, -with you, was honouring them with incense and sacrifice. Suddenly -looking up, I saw the man who was seated on the dragon wing his course -in our direction, desiring to overthrow our gods. I advanced to the -attack and engaged in fight with that youthful hero. First of all, with -lances we pierced each other’s bodies, calling forth rivers of -blood, and past our sunlit palace flowed a crimson sea. For hours we -fought also with other arms. But, to be brief, the fight ended in my -defeat. I was bathed in sweat, sleep forsook me, and ever since I have -felt as if I had no life in me. For all these visions signify that the -Armenian king, Tigranes, is about to attack us. And whosoever amongst -you, by counsel or deeds, wishes to aid me, and aspires to the honour -of being a king, equal to myself, let him speak.’”</p> -<p class="par">Then the story goes on to tell how Astyages, in order to -prevent Tigranes from making war on him, proposed that his -rival’s sister, <i>Tigranuhi</i>, should be his wife; therefore -Astyages sent to Tigranes one of his councillors with a letter -accompanied by many precious gifts. Moses of Khorene gives the letter, -which runs as follows:—</p> -<p class="par">“Thou knowest, beloved brother, that of all the -gifts of the gods to us none is more precious than the multitude of our -dear ones, especially when they are wise and valiant. The reason of -this is that, in such case, quarrels will not arise from outside, and -if they arise, they will be unable to make their way within and will -disperse themselves. Having seen the great advantage of such -relationships, it has entered my mind to confirm and strengthen the -love that is between us, so that, both of us being secured on all -sides, we may be able to carry on the affairs of our kingdom in greater -safety. All this will be ensured, if thou wilt give me to wife thy -sister Tigranuhi, the Great Lady of Armenia. I hope that thou wilt look -favourably <span class="pagenum">[<a id="xd24e7800" href="#xd24e7800" -name="xd24e7800">175</a>]</span>on this proposal, that she may be the -Queen of Queens. Mayest thou have a long life, fellow sovereign and -dear brother.”</p> -<p class="par">We have presented this letter as a matter of curiosity, -because in none of the early European epics are there texts of letters. -This usage is characteristically oriental. In Isaiah we read of the -letter of Sennacherib to Hezekiah; there is also a letter in the -Persian Firdusi’s <i>Shah-nameh</i>.</p> -<p class="par">After his marriage with Tigranuhi, Astyages tried to set -her at enmity with her brother, and once he contrived cunningly to -entice Tigranes to become his guest in order that he might slay him. -But his wife perceived his treachery and secretly sent a message to her -brother. Tigranes accepted the invitation of Astyages, but came -accompanied by a great army. He postponed his attack till his sister -had made her escape. In the battle which ensued, Astyages was -killed.</p> -<p class="par">Of this Tigranes, Xenophon says a great deal in his -<i>Cyropaedia</i>, from which we cite the following -incident:—</p> -<p class="par">The Armenian king having revolted against Cyrus, the -latter invaded Armenia and conquered him. Cyrus intended to deal very -severely with the rebel monarch, but Tigranes, the son of the Armenian -king, persuaded him to be more lenient. Xenophon gives a long -conversation, discussing the terms of peace, in the course of which -Cyrus asked Tigranes, who was newly married and greatly loved his wife, -what he would give to regain her freedom, she having fallen into the -hands of the victor, together with the other women of the royal family. -“Cyrus,” was the Prince’s reply, “to save her -from servitude, I would lay down my life.”</p> -<p class="par">On which Cyrus replied: “Take, then, thine own, -for I cannot reckon that she is properly our captive, for thou didst -never flee from us.” Then, turning to the king, he added: -“And thou, Armenian, take thy wife and children, without paying -anything for them, that they may know they come to thee -freely.”</p> -<p class="par">On the return of the king and prince, after this -interview, there was much talk at the Armenian court about Cyrus; one -spoke of his wisdom, another of his patience and resolution, another of -his mildness; one also spoke of his beauty, his fine figure and lofty -stature, whereupon Tigranes turned to his wife, saying: “Dost -thou think Cyrus handsome?”</p> -<p class="par">“Indeed,” she answered, “I never -looked at him.” “At whom, then, didst thou look?” -asked Tigranes. “At him,” was the reply, “who said -that, to save me from servitude, he would give his own life.” -<span class="pagenum">[<a id="xd24e7823" href="#xd24e7823" name= -"xd24e7823">176</a>]</span></p> -<p class="par">Of all the epics from which Moses of Khorene has derived -incidents or of which he gives fragments, the only one that has -survived among the people in complete form, with numerous variants, is -<i>Sasmadzrer</i>. There is a reference in the Bible to the story which -is related in this poem.</p> -<p class="par">In <a class="biblink xd24e228" title= -"Link to cited location in Bible" href= -"https://www.biblegateway.com/passage/?search=2%20kgs%2019:37&version=NRSV"> -2 Kings xix. 37</a>, and <a class="biblink xd24e228" title= -"Link to cited location in Bible" href= -"https://www.biblegateway.com/passage/?search=isa%2037:38&version=NRSV"> -Isaiah xxxvii. 38</a>, we read:—</p> -<p class="par">“And it came to pass, as he (Sennacherib) was -worshipping in the house of Nisroch his god, that Adramelech and -Sharezer, his sons, smote him with the sword; and they escaped into the -land of Armenia.”</p> -<p class="par">Moses of Khorene tells the same story, adding that the -Armenian king assigned an abode to Sharezer in the south of Armenia and -to Adramelech in the south-east.</p> -<p class="par">The epic, referred to above, relates the doings of the -two brothers and their descendants in Armenia, among the rest the -founding by them of the city of Sassoon.</p> -<p class="par">The poem is divided into four parts. It is still -transmitted orally, word for word, in Armenia; in many places in -poetical form. During the last forty years, several versions of it have -been taken down in writing and published, and these have received much -attention from scholars. We cannot do more than mention this most -interesting production; the space at our disposal forbids our giving -even an outline of its contents.</p> -<p class="par">So far we have derived our information from the prose -versions of passages in the epics found in Moses of Khorene either as -quotations or as paraphrased in his own words. But that historian has -also given a few extracts from the poems in their original form, being -the first historian to do so. To these extracts we now turn.</p> -<p class="par">Although they are very few, they convey some idea of -ancient Armenian poetry. The historian says he has himself heard these -poems sung to the accompaniment of various musical instruments, of -which he gives long and minute descriptions. According to him, these -poems were sung chiefly in the province of Goghtan (the present Agulis, -in Russian Armenia). This place abounded in gardens and vineyards, and -produced a variety of good wines. The people were gay and fond of -merry-making. Their love of the old pagan religion and manners still -continued long after their conversion to Christianity. In this respect -they resembled the Saxons of Germany, and, even in the early part of -the fifth century, they observed pagan rites, sometimes openly, -sometimes secretly. One of the old Armenian songs, describing the birth -of the Armenian king Vahagn, is given in this volume, page 10. This is -supposed to be a myth describing the rise of the sun over the sea.</p> -<p class="par">At sunrise the sky gradually becomes light; between the -light and the darkness there is a <span class="pagenum">[<a id= -"xd24e7852" href="#xd24e7852" name="xd24e7852">177</a>]</span>kind of -struggle; all nature is waiting in expectancy of a life-giving power, -of the rising of the sun. It seems to be this expectancy of nature and -man that the poet likens to the travail of heaven, earth, and sea. The -“crimson reed” is perhaps the long red gleam sent forth -from the East over the sea at dawn.</p> -<p class="par">We have already referred to Vahagn when dealing with -Armenian mythology. In the Armenian translation of the Bible, in 2 -Maccabees iv. 19, the name “Vahagn” is substituted for -“Hercules.” This name is derived from the Sanscrit words -<i>vah</i>, “to bring,” and <i>agn</i>, “fire,” -and therefore means “fire-bringer.” In connection with -this, it is interesting to compare the Armenian legend with a similar -legend in the <i>Rig-Veda</i>. The word “<i>Agni</i>” is -the same as “<i>Agn</i>.” The god Agni was born of the -rising sun, to the accompaniment of thunder and lightning; of Vahagn -the song says: “Out of the flame sprang the child.” -“His hair was of fire and a beard had he of flame”; Agni -had “flaming hair and a golden beard.” A comparison of the -two poems shows that the similarity between them arises, not from the -imitation of one poet by the other, but from identity of theme, for the -belief in a fire-god or fire-hero is common to all mythologies. -According to Agathangelos, Vahagn was a favourite deity, and his temple -at Taron was famous. King Tiridates, when greeting the Armenian people -in a manifesto, says: “May Vahagn, of all Armenia, send you -courage!” He puts the name of Vahagn after the names of Aramazd -and Anahit. But, in Moses of Khorene, Vahagn is little more than an -ordinary king, the son of Tigranes I., though the historian gives the -story of his birth and his fights with dragons, as related by the -poets. He also calls Vahagn the first of the <i>Vahuni</i> or priestly -caste; but this caste was far more ancient than the historian thinks, -as sun worship is one of the oldest forms of religion.<a class= -"noteref" id="xd24e7875src" href="#xd24e7875" name= -"xd24e7875src">13</a></p> -<p class="par">Moses of Khorene says, moreover, that there was an image -of Vahagn in Georgia, where he was worshipped as a god. <span class= -"pagenum">[<a id="xd24e7928" href="#xd24e7928" name= -"xd24e7928">178</a>]</span></p> -<p class="par">As to the form of this poem—we note the -parallelism, similar to that of the old Hebrew songs: “To Sisera -<i>a prey of diverse colours</i>, <i>a prey of diverse colours of -needlework, of diverse colours of needlework, on both sides</i>” -(<a class="biblink xd24e228" title="Link to cited location in Bible" -href= -"https://www.biblegateway.com/passage/?search=jdg%205:30&version=NRSV">Judges -v. 30</a>).<a class="noteref" id="xd24e7940src" href="#xd24e7940" name= -"xd24e7940src">14</a></p> -<p class="par">The Song of Deborah, from which we have just quoted, is -supposed to be the oldest passage in the Bible, and is a good specimen -of ancient oriental poetry.</p> -<p class="par">The songs quoted in Moses of Khorene are also examples -of this poetry, and will therefore be welcome to scholars, as throwing -light on this class of ancient literature.</p> -<p class="par">The ancient Armenian form of verse has, doubtless, its -own national peculiarities. One of its characteristics is that it -consists of one main idea expressed in two or more sentences, regularly -connected with one another. There are no complex sentences, only short -simple ones, and the manner of expression is direct and definite, but, -in order that they may not tire the ear by monotony, they are, by means -of parallelism, systematically interwoven so as to form one consistent -whole. Thus the different sentences become related to one leading -thought. The words are carefully chosen and harmonious to the ear. -Metaphor and allegory abound. In colour and splendour these songs might -vie with any classical poem, and their existence is a proof that long -before the Christian era the Armenians had a perfected poetical -language, which, in its construction, imaginative force, brilliancy, -and grammatical development, bears the impress of literary culture.</p> -<p class="par">Most of the nouns and adjectives in this poem are in the -diminutive form, which expresses endearment:—</p> -<div class="table"> -<table> -<tr> -<td lang="hy-latn" class="cellLeft cellTop">karmrik</td> -<td class="cellTop">=</td> -<td class="cellRight cellTop">reddish</td> -</tr> -<tr> -<td lang="hy-latn" class="cellLeft">achkunk</td> -<td>=</td> -<td class="cellRight">little eyes</td> -</tr> -<tr> -<td lang="hy-latn" class="cellLeft">egheknik</td> -<td>=</td> -<td class="cellRight">little reed</td> -</tr> -<tr> -<td lang="hy-latn" class="cellLeft">aregakunk</td> -<td>=</td> -<td class="cellRight">little suns</td> -</tr> -<tr> -<td lang="hy-latn" class="cellLeft cellBottom">patanekik</td> -<td class="cellBottom">=</td> -<td class="cellRight cellBottom">little boy</td> -</tr> -</table> -</div> -<p class="par"></p> -<p class="par">The adjectives used here do not qualify the nouns, but -simply serve as epithets, or attributes, like the adjectives in the -Homeric poems. The Armenian word <i>dzirani</i>,<a class="noteref" id= -"xd24e8008src" href="#xd24e8008" name="xd24e8008src">15</a> used in -this poem, does not always mean “red”; applied to a robe it -means “red,” applied to a belt it means -“variegated”; it may originally have had the sense of -“pleasing” (cf. Russian <i>krasni</i>, which originally -meant “beautiful,” but now denotes only -“red-coloured”). <span class="pagenum">[<a id="xd24e8019" -href="#xd24e8019" name="xd24e8019">179</a>]</span></p> -<p class="par">Another of these extant songs, belonging to the time -before the Christian era, has, as its theme, the love story of King -Artashes II., one of the greatest kings of the Arsacid dynasty. The -former, as well as all the other stories we have mentioned, belong to -the Haikazian dynasty, but the story of Artashes II. belongs to the -Arsacid dynasty and is contained in the second book of Moses of -Khorene, the contents of which are less legendary than those of the -first book. When narrating the story of Artashes, the historian -addresses himself to Sahak Bagratuni, by whose command his history was -written, in these terms:—</p> -<p class="par">“The doings of Artashes are known to thee, through -the epical songs which are sung in the province of Goghtan; that is to -say, his founding of Artaxata (Artashat),<a class="noteref" id= -"xd24e8024src" href="#xd24e8024" name="xd24e8024src">16</a> his -alliance by marriage with the royal house of the Alans, his sons and -their descendants, the loves of Satenik with the Vishapazuns (progeny -of dragons) who were of the race of Astyages; his wars with them, the -overthrow of their dynasty, their slaughter, the burning of their -palaces, the rivalries of the sons of Artashes, the intrigues of their -wives, which further fomented the discord amongst them. Although these -things are well known to thee through the epical songs, I will, -nevertheless, narrate them again and will explain their allegorical -meaning.”</p> -<p class="par">Then Moses of Khorene gives, in detail, a prose account -of the deeds of Artashes and his son Artavazd, as they are related in -the epic of Artashes, quoting, in the course of his narrative, the -songs given in this volume on pages 48 and 49.</p> -<p class="par">Besides these songs, there are included in the history -two or three metrical lines, which must be extracts from the epic. One -of these lines contains the reply of the Alan king when he is asked to -give his daughter in marriage to Artashes: “From whence shall -brave ...” (see for the rest page 48, the last lines, in this -volume). The same poem contains a description of the wedding (see page -49 of this volume).</p> -<p class="par">We learn from ancient Armenian historians that weddings -were times of great festivity, especially royal weddings. All the -people of the country, old and young, were astir. In the great square -they danced and sang, hand in hand. There was a special kind of song -sung on these occasions, called “Tzutzk.”</p> -<p class="par">The marriage of Satenik was unhappy, because, besides -the Vishapazuns, she loved Argavan, the chief of the Median prisoners, -who was greatly honoured by Artashes. Another of the verses quoted by -Moses of Khorene refers to this amour of Satenik. These lines throw -some light on the nature of ancient Armenian metre. We quote the text -here:— <span class="pagenum">[<a id="xd24e8036" href="#xd24e8036" -name="xd24e8036">180</a>]</span></p> -<div lang="hy-latn" class="lgouter"> -<p class="line">“Tencha Satenik tenchans</p> -<p class="line">Zartakhoir khavart</p> -<p class="line">Ev ztitz khavardzi</p> -<p class="line">I bardzitzn Argavana.”</p> -</div> -<p class="par first">The sense of the passage is not very clear, as it -contains two words the signification of which is disputed. M. Emin -holds that the meaning of these two words is the same, both signifying -“crown,” and he interprets the line as saying that Satenik -loves Argavan so dearly that she would gladly exchange her royal crown -for his princely diadem. After much controversy among scholars, -Professor Khalatian discovered that, in one Armenian dialect, these -words are the names of certain plants, about which there was a -superstition that, if they were put under the pillow of the beloved -being, and afterwards under the pillow of the lover, mutual affection -would be ensured; therefore, according to Professor Khalatian, the -passage means that Satenik was desirous of getting these plants from -under Argavan’s pillow.</p> -<p class="par">In the time of Artashes science and poetry -flourished.</p> -<p class="par">One of the sons of this king, Vroir, was a poet; another -was Artavazd, who was disliked by the people. The poem says that, when -the prince was born, the Vishapazuns stole him, and substituted a devil -in his place, and it was this evil spirit that went by the name of -Prince Artavazd.</p> -<p class="par">In this poem, also, there is an account of the obsequies -of Artashes, which were celebrated with great splendour, for he was -dearly beloved by his subjects, many of whom committed suicide at his -grave, not caring to survive him. His son Artavazd, who was present, -became very jealous and uttered a complaint which Moses of Khorene -gives in the words of the epic (see page 65 of this volume).</p> -<p class="par">We have omitted many other incidents of the story of -Artashes, as given by Moses of Khorene, but it may be gathered, from -what we have of the Artashes epic, that the whole poem was very -lengthy.</p> -<p class="par">From other sources we know that the poem was sung by -minstrels as late as the eleventh century, for the well-known scholar -of that time, Grigor Magistros, says in one of his writings that he has -heard it, and he quotes some of its lines in their original form.</p> -<p class="par">Artashes died in a foreign country while engaged in a -campaign. In his last moments he is seized with home-sickness, as he -remembers his fatherland. He recalls the spring of life and of the -year, when the light of dewy morn, like a thin mist, is spreading over -the towns and villages. The poem gives his dying words:— -<span class="pagenum">[<a id="xd24e8061" href="#xd24e8061" name= -"xd24e8061">181</a>]</span></p> -<div class="lgouter"> -<p class="line">“Who will give me the smoke of the chimneys and -the morn of Navasard,<a class="noteref" id="xd24e8065src" href= -"#xd24e8065" name="xd24e8065src">17</a></p> -<p class="line">The running of the stag and the coursing of the -deer?</p> -<p class="line">We sounded the horn and beat the drum</p> -<p class="line">As is the manner of kings.”</p> -</div> -<p class="par first">We have already said that Artashes was a popular -king, much beloved by his people, whose death was greatly lamented; -this being so, no doubt the Artashes epic must have contained some -striking dirges, composed in honour of this monarch, but unfortunately -neither Moses of Khorene nor Grigor Magistros records any such songs in -connection with him. The despair and melancholy which cast their shadow -over pagans is conspicuous in ancient Armenian funeral songs. There -were companies of professional mourners, called <i>egheramark</i> -(“mothers of lamentation”), also there were groups of -singing maidens. All these followed the corpse, dressed in black, with -dishevelled hair, solemnly clapping their hands and moving in a slow -dance. Moses of Khorene gives details of such obsequies as we have -mentioned. Even now in some parts of Armenia such companies of mourners -exist. Faustus Byzand describes minutely the funeral of a prince and -gives also an account of the funeral of Queen Tigranuhi, of whom we -have already spoken, adding that the songs sung in her praise, on this -occasion, were such that Tigranes felt that they uttered all that was -passing in his own mind.</p> -<p class="par">The subjects of funeral songs were the life of the -deceased, his stature, the manner of his death, and his domestic -relations, so that a collection of these songs would furnish a -biography.</p> -<p class="par">We have also details of these dirges from other sources. -The song opens with a prologue, addressing the deceased and calling on -him to arise from his slumbers and carry on his usual occupations. It -then goes on to rebuke him for being deaf to the prayers of the -survivors and vouchsafing neither word nor smile. Next comes a -description of the new dwelling that the departed has chosen for -himself; the grave—an abode without doors or windows. Then comes -a repetition of the words spoken by the dead man during his last -illness, followed by a series of laudatory epithets, and finally there -is the recognition that all prayers for his recovery have been -unanswered, followed by an epilogue, taking farewell of the deceased -and sending messages by him to dead relatives and friends.</p> -<p class="par">We learn from Moses of Khorene that, in his time, -besides the epics, there was other pre-Christian Armenian literature, -written and unwritten, of various kinds. We have had examples of songs -and epical stories in their gradual development from the stage when man -was weak and ignorant, when the people sought after the supernatural -and the marvellous, and the subject <span class="pagenum">[<a id= -"xd24e8085" href="#xd24e8085" name="xd24e8085">182</a>]</span>of epic -songs was the mystic relation between nature and man, to the stage when -the heroes are no longer gods, but men endowed with valour and every -other virtue, without spot or flaw. The stories we have described are -sufficient to prove that Armenia had a large store of epic and heroic -poems, of which unhappily only fragments have come down to us.</p> -<p class="par">Some specimens of other branches of pre-Christian -literature figuring in the list of Moses of Khorene are <i>Temple -Books</i> and <i>Histories of Temples</i>. Throughout ancient times -members of the priestly class were the chroniclers of the -nation’s history and its instructors in wisdom; and there is no -doubt that this was the case in Armenia. We know that the famous -Gnosticos Bardazan, in the second century <span class="sc">A.D.</span>, -came to Armenia to collect material for his history, and in the -fortress of Ani he made extracts from the Temple History, which was a -chronicle of the doings of the Armenian kings.</p> -<p class="par">Armenia had its own written histories which were, for -the most part, destroyed on the introduction of Christianity in the -fourth century <span class="sc">A.D.</span> Moses of Khorene mentions -an Armenian historian named Ughup, who was a priest presiding over the -temple of Ani in 150 <span class="sc">B.C.</span></p> -<p class="par">To continue the list—we find <i>Books of the -Kings</i>, containing chronicles of kings and their works, and -<i>Collections of Historical Songs</i>, which were kept in the temples. -These collections were in existence in the fifth century <span class= -"sc">A.D.</span> Moses of Khorene gives extracts from them and they -were also sung by minstrels.</p> -<p class="par"><i>Tueliatz Songs</i> recounted the doings of kings and -princes in chronological order, hence their name, <i>Tueliatz</i>, or -chronicles.</p> -<p class="par">There were also other species of literature, such as -<i>Historical Legends</i>, not included in the list, from which Moses -of Khorene makes quotations elsewhere, such as the <i>History of the -Origin of the Bagratuni Race</i>, the <i>History of Haik</i>, and four -other books, without titles, of which he speaks with great -admiration.</p> -<p class="par">There is mention of a poet, by name David, who wrote -<i>The Wars between Armenia and Media</i>, founding his narrative on -Armenian minstrel songs. Unfortunately, none of his works have come -down to us.</p> -<p class="par">There is also mention of an Armenian translation, from -the Greek, of an epic called <i>Legends of Aramasdes and Hermia</i>. -Some scholars think that this must be one of the lost books of Homer, -as there are still extant some fragments of an Armenian translation of -the Homeric poems.</p> -<p class="par">The Hindoos believed that originally dramas were -invented by the gods and were performed in heaven. They were brought to -earth by Brahma and introduced to men. Whether the ancient Armenians -held a similar belief we cannot tell, but it appears that they had, in -<span class="pagenum">[<a id="xd24e8148" href="#xd24e8148" name= -"xd24e8148">183</a>]</span>early times, a drama of their own. The -themes of their plays were the doings of the gods of the earth, but -there is no record that in Armenia drama ever reached such a high level -as it attained in Greece. It may be noticed that, though Persia, the -neighbour of Armenia, was rich in lyric and epic poetry, it produced no -dramatic literature. It is true that, in Mohammedan times, the Persians -had a religious drama; but this merely formed part of their worship and -has never had an independent development.</p> -<p class="par">But the Armenians must have done better, as mention is -made of Armenian drama by Greek and Roman writers, from whom we learn -that King Artavazd I.<a class="noteref" id="xd24e8152src" href= -"#xd24e8152" name="xd24e8152src">18</a> wrote tragedies, some of which -were known to Plutarch. We also learn from Plutarch and others that, in -the time of Tigranes II., there were theatres in Armenia, and Plutarch -records that, when Lucullus entered Tigranocerta, he found a body of -actors busily engaged in preparing to produce a drama in the theatre -newly built by Tigranes, and made use of them in the games and other -public diversions in honour of his victory. Armenian historians also -make mention of the theatres in Armenia. As late as the fifth century -<span class="sc">A.D.</span>, Hovhannes Mandakuni, a religious author, -wrote an essay against theatres and actors, which shows that, even -after the introduction of Christianity, drama survived in Armenia.</p> -<p class="par">At later periods, in Law Books, restrictions on theatres -are mentioned.</p> -<p class="par">In order to determine the date of the Heroic Poems, we -must define the different periods of Armenian history. It is now -generally accepted by scholars that, towards the end of the seventh -century <span class="sc">B.C.</span>, the Vannic or Chaldean kingdom -fell before the invading hordes of Cimmerians or Scythians, and, during -the period of anarchy, Armenians also entered the country, which was -henceforth to bear the name of “Armenia.” The only -uncertainty with regard to this migration is about the date. It is -universally agreed that it cannot have been later than the seventh -century <span class="sc">B.C.</span>, though it may have been earlier. -In the fifth century <span class="sc">B.C.</span> Xenophon found -Armenia an established kingdom under Tigranes I. Vahe was the last of -the Haikazian dynasty. He fell in the war with Alexander the Great in -330 <span class="sc">B.C.</span></p> -<p class="par">The next Armenian dynasty was that of the Arsacidae, of -which the first king was Wagharshag I., whose reign began in 149 -<span class="sc">B.C.</span></p> -<p class="par">All the epical songs that we have mentioned belong to -the Haikazian period, except the Artashes Cycle, which belongs to the -Arsacid period. During the 185 years between these two periods, there -was no national independence to supply themes for new epics and -therefore there is no heroic poetry belonging to this interval. -<span class="pagenum">[<a id="xd24e8181" href="#xd24e8181" name= -"xd24e8181">184</a>]</span></p> -<p class="par">The second period of Armenian literature (before the -establishment of Christianity) extends from the accession of the -Arsacid dynasty to the fourth century <span class="sc">A.D.</span></p> -<p class="par">During this period, learning flourished and the -libraries in the temples and palaces were the centre of culture. The -libraries in palaces were open to any one who wished to consult the -archives with a view to writing histories of the countries, and in the -temples the priests were engaged in compiling records of the past. In -these libraries the histories of the Haikazian dynasty were kept. To -this period belongs the epic of Artashes.</p> -<p class="par">Under the rule of the Arsacidae, the number of the -nobles greatly increased and the chief amusement of the king and the -nobility was sport. Nearly every noble had his own park, which was full -of all kinds of deer and in which special sporting parties were given. -One of the chief attractions of these parties was the minstrels who -sang songs specially composed for the occasion. As upwards of seventy -families were ennobled under the Arsacidae, and entertainments were -given both by them and by those of lower rank, it will be understood -that the number of minstrels must have been large.</p> -<p class="par">As we have mentioned, to this period belongs the -Artashes Cycle (<span class="sc">A.D.</span> 85–126).</p> -<p class="par">We have also some evidence as to the date of the epics -from foreign sources. Armenian epics must have been known, not only in -Armenia itself, but in other countries. In migration, their form must -sometimes have changed, as, in Plato, we have found the legend of Ara -transformed into the story of Er. As the story of Ara was known to -Plato, we may take for granted that it existed in the fourth century -<span class="sc">B.C.</span></p> -<p class="par">Strabo gives an erroneous etymology of the name -“Armenia,” which he derives from -“Armenios.”<a class="noteref" id="xd24e8204src" href= -"#xd24e8204" name="xd24e8204src">19</a> Perhaps he had heard of Aram, -whose story is told in the epics. This story is known to us through -Moses of Khorene, who derives the word “Armenia” from Aram, -and says that the country was called by this name only by foreigners. -As to the etymology of the word “Armenia,” there are many -different opinions which we cannot discuss here; we will only say that -the name “Armenia” is found in an inscription of Darius -Hystaspes (510 <span class="sc">B.C.</span>).</p> -<p class="par">We confine ourselves to one more foreign reference to -Armenian epics, viz., that of the philosopher Olympiodorus, who, in an -assembly of wise men at Athens, gave an account of an old book which -had existed in former times and which contained the history of Noah and -his descendants. He added that the incidents related in this book were -still sung by Armenian minstrels to the accompaniment of various -musical instruments. <span class="pagenum">[<a id="xd24e8223" href= -"#xd24e8223" name="xd24e8223">185</a>]</span></p> -<p class="par">We have frequently quoted Moses of Khorene, whose work -contains all the extant remains of the epics and all the information -that has come down to us with regard to these poems. In fact the first -book of his History, as well as the first nine chapters of Book II., -consists of summaries and quotations from epics, together with other -legends. In taking leave of the pre-Christian period of Armenia let us -cast a glance on this historian and his work.</p> -<p class="par">Moses of Khorene was born some time between <span class= -"sc">A.D.</span> 404 and 408. He was one of those young Armenians who -were sent by the ecclesiastical authorities to Greece for higher -education. After completing his studies, he worked in the libraries of -Alexandria, Palestine, and other places. On his return from Palestine, -he was shipwrecked on the coast of Italy; thence he went to Rome, -Athens, and Byzantium, returning to Armenia about 440. He found his -benefactors dead, the Arsacid dynasty extinct, and Christianity -endangered by the Persians. It is said that on his return he was so -disappointed in both the clergy and the laity—being especially -grieved by the ignorance of the former—that he retired into -solitude and remained concealed for some time. It happened that the -Catholicos Gute, while travelling, alighted at a certain village where -he was entertained by the peasants, each of whom made a short speech in -his honour. An old man who was of the company was urged also to say -something. At first he excused himself on the plea that he was a -stranger, but, on being further pressed, to the surprise of all -present, he recited an impromptu ode greeting the Catholicos and ended -by disclosing his identity, proclaiming himself Moses of Khorene. At -first the Catholicos was incredulous, but, on a careful examination of -the old man’s features, he recognised him as one of his former -fellow-students, whereupon he burst into tears and held him in a long -embrace.</p> -<p class="par">That day was one of great rejoicing in Armenia, and, -soon after, Moses became Bishop of Bagravand.</p> -<p class="par">These Armenian students educated abroad were looked on -askance by some of the ignorant clergy, and, for this reason, some of -the former used to retire and study in seclusion. In his History, Moses -of Khorene inveighs bitterly against these illiterate priests.</p> -<p class="par">Ghazar Pharpe says:—</p> -<p class="par">“Moses, the philosopher of blessed memory, met -with much opposition and annoyance from the unlearned clergy, who -called this enlightened man a heretic, and in their ignorance found -fault with his books, besides performing many unfriendly acts towards -him.”</p> -<p class="par">After this passage, several pages of the manuscript are -missing. The next page we have begins:—</p> -<p class="par">“They exhumed his bones from the grave and threw -them into the river.” <span class="pagenum">[<a id="xd24e8244" -href="#xd24e8244" name="xd24e8244">186</a>]</span></p> -<p class="par">It is doubtful whether these words refer to Moses or to -some one else.</p> -<p class="par">Moses of Khorene attempted to write the history of two -or three thousand years, beginning with dark and unknown ages, weaving -his materials in such a way as to produce a vivid and life-like -picture, tinged with the colours of all the centuries which he depicts. -He writes in poetic language and his style is simple and picturesque. -Every event recorded by him becomes beautiful, noble, and great. There -is not a paragraph, not a sentence, which falls below the general level -of the work. The History is a marvellous panorama, which, as it -unfolds, fills us with ever fresh wonder and admiration. The story of -Tiridates is narrated in such a way as to draw tears from every reader -and—to use an Armenian expression—to make him feel as if -the hairs of his head had turned into thorns. He speaks with such warm -admiration of Tigranes that it might be thought he was speaking of a -contemporary.</p> -<p class="par">In the following passage he displays strong feeling, in -reference to one of his teachers whom he found dead on his return from -abroad.</p> -<p class="par">“Where is the calm of those gentle eyes, which to -the just gave rest, and inspired the guilty with awe?</p> -<p class="par">“Where is the smile of his cheerful lips, as he -met his pupils?</p> -<p class="par">“Where is the hope that enlivened the tedium of -weary journeys? that gave repose in the midst of labour?</p> -<p class="par">“How shall I write my tragedy? and who is there to -weep at it?”</p> -<p class="par">One sees by his writing that Moses was a man of strong -character, with firm principles, neither vacillating nor superficial. -The reader is profoundly impressed by his words; they sink deeply into -him, pressing like lead on a tablet, and casting him under the spell of -the author. This effect is due, in part, to his convincing power; it is -impossible not to realise what he records. His statements are concise; -what others would take pages to express, he conveys in a few words. In -descriptive powers he is unrivalled, not only among Armenians, but even -as compared with Greek and Roman historians. His graphic pictures of -people and places, together with his remarks and reflections and his -frequent quotations from the national epics, prove his historical skill -and literary taste.</p> -<p class="par">In a word, as one reads him, one feels him to be a -genius of the first magnitude.</p> -<p class="par">Moses of Khorene wrote his History at the request of -Sahak Bagratuni, a man of noble or princely birth. The History consists -of three books. Book I., as we have already said, is mainly based on -national epics and legends. Although these relate only to a few heroes, -the treatment is very elaborate.</p> -<p class="par">Then comes the history of 180 years, over which he -passes very lightly, merely giving a <span class="pagenum">[<a id= -"xd24e8268" href="#xd24e8268" name="xd24e8268">187</a>]</span>list of -names, with a few words added to each. This shows that, for this -period, he has not been able to find any material in the native epics -and songs.</p> -<p class="par">Book II. relates to the Arsacid dynasty, speaking also -of the introduction of Christianity, and going on to the death of -Tiridates and of Gregory the Illuminator.</p> -<p class="par">Book III. contains the history of the successors of -Tiridates up to the sad end of the Arsacid dynasty. This book ends with -a long lament over the pitiful plight of Armenia. It contains also a -bitter invective against the author’s -contemporaries—princes, judges, clergy, soldiery—in short -against all who, being careless of duty and regardless of the ideal, -lead the people astray.</p> -<p class="par">Moses of Khorene has left other works besides his -History, one of which is a Geography, containing, among other things, -an account of the British Isles.</p> -<p class="par">For 1400 years, the History of Moses of Khorene was -revered and accepted as the only authentic History of Armenia; and it -was not till the nineteenth century that criticism was directed against -it, not only by Armenian scholars, but also by French, German, Italian, -English, and Russian scholars. This criticism was chiefly levelled at -the principal source from which the Armenian historian professed to -draw his information.</p> -<p class="par">Arshak the Great, according to Moses, after casting off -the Macedonian yoke and conquering Assyria, set his brother, -Wargharshak, on the throne of Armenia. So commences the Arsacid -dynasty. The new king wished to know what kind of men had been ruling -the country before him. Was he (he asked) the successor of brave men or -of bad men? He found an intelligent man, a Syrian, named -Mar-Abas-Katina, and sent him to his brother, Arshak the Great, with -this letter:—</p> -<p class="par">“To Arshak, the king of the earth and the sea, -whose form and person are like unto the gods and whose triumphs are -above those of all kings; the greatness of whose mind can fathom all -things of earth, Wargharshak, thy youngest brother and comrade in arms, -appointed by thee King of Armenia, greeting. Victory ever attend -thee.</p> -<p class="par">“I have received from thee the behest to encourage -bravery and wisdom. I have not forgotten thy counsel. On the contrary, -I have done all that my mind could devise or my skill carry into -effect, and now, thanks to thy guardianship, I have put this country in -order. And next I want to know who, before myself, has subdued the land -of Armenia, and from whom are descended the noble families who are -established here. There does not seem to be any fixed grade of classes; -among the chief men, it is impossible to ascertain which is highest and -which lowest; so that some confusion ensues. I therefore beg that the -archives may be opened in the presence of this man whom I have sent to -present himself in thy great <span class="pagenum">[<a id="xd24e8284" -href="#xd24e8284" name="xd24e8284">188</a>]</span>country, in order -that he may bring back the information that is desired by thy son and -brother.”</p> -<p class="par">This Syrian (says the historian) found in the library at -Nineveh a book translated from the Chaldean into Greek, by order of -Alexander the Great, which contained various ancient histories. From -this book Mar-Abas copied only the authentic history of Armenia, which -he took back to Wargharshak, who, esteeming this document his most -precious treasure, preserved it with great care in his palace and -engraved part of it on a stone monument.</p> -<p class="par">It is this document of Mar-Abas-Katina that Moses of -Khorene cites as his chief authority for the early authentic history of -Armenia, though he also mentions several other native and foreign -writers as sources of his work.</p> -<p class="par">With regard to these statements, critics point out that -the library of Nineveh was not in existence in the second century -<span class="sc">B.C.</span>, as it was destroyed in 625 <span class= -"sc">B.C.</span>; some even maintain that Mar-Abas-Katina was a -fictitious personage, invented by Moses of Khorene to give more weight -to his own statements, in accordance with the universal custom of his -time, when contemporary writings were continually ascribed to the great -men of old or even to imaginary characters. Moses of Khorene, say these -critics, was himself a great lover of the folklore, legends, and epics -of his country, but he knew that, if he gave these as his only source -of information, his History would gain no credence, especially as, at -the period when he wrote, just after the establishment of Christianity, -everything pagan was regarded with suspicion. Moreover, Moses, being -himself a bishop, could not have avowed such a source for all his -statements, though, as we have said, he quotes from the epics and says -that some of the contents of his work are derived from them. It is, -however, generally admitted that Moses of Khorene had in his hands such -a book as he describes and that this book was one of his sources. The -book has even been traced.</p> -<p class="par">As to Mar-Abas-Katina, although his book may not have -been compiled under the circumstances described in the History, Moses -may have believed that he was the author of the book in his possession. -Professor Mar has even found, in Arabic literature, some independent -traces of Mar-Abas-Katina.</p> -<p class="par">There is also some controversy about the date of Moses -of Khorene himself. By some he is placed even as late as the seventh -century, because his writings contain references to events as late as -that period.</p> -<p class="par">But it is not difficult to account for this without -disputing the generally received date of the historian, for, when we -consider how many ancient books have been re-edited, we see -<span class="pagenum">[<a id="xd24e8305" href="#xd24e8305" name= -"xd24e8305">189</a>]</span>how easily the work before us may have been -touched up by a later hand in the seventh century.<a class="noteref" -id="xd24e8307src" href="#xd24e8307" name="xd24e8307src">20</a></p> -<p class="par">In concluding this account of Moses of Khorene, we must -acknowledge that he has not only rendered much service to Armenian -history, but that his book is one of the great works of all literature, -and, if it were better known, would take a high place among the -masterpieces of the world.</p> -<p class="par">The most momentous event in the national life of -Armenia—an event which was the chief determining factor in the -early history of the country—was the change of religion made by -the adoption of Christianity, the foundation of which had been already -laid by King Abgarus (<span class="sc">A.D.</span> 3–34) and the -preaching of the Apostles St. Thaddeus (<span class="sc">A.D.</span> -33–48) and St. Bartholomew (<span class="sc">A.D.</span> 49), and -finally established by Tiridates (<span class="sc">A.D.</span> -286–342). By this the Armenians were entirely severed from the -pagan Persians and brought into close contact with the Greeks, whose -representative was then the Emperor of Byzantium. As a result of this -religious agreement, a treaty was concluded in 319 between Tiridates -and Constantine, the first Christian Emperor of Rome, by which the two -Christian monarchs bound themselves to defend each other against all -pagans.</p> -<p class="par">The adoption of Christianity meant, to the Armenians, a -revolution in their whole view of life, a severance from their -ancestral beliefs, though these beliefs have left traces in Armenian -folklore which are visible even to this day. These beliefs and the -folklore arising out of them were regarded by the Christian clergy as a -poisonous flower grown up in the fields of paganism. The historians of -the period have chronicled the efforts of the clergy to exterminate -every relic of the old faith. Temples were pulled down and churches -built in their stead; images and other monuments were broken in pieces; -heathen books and records were destroyed; pagan festivals were turned -into Christian ones. We learn from Faustus of Byzantium that laws were -even made against the use and the singing of pagan songs, but, -notwithstanding this persecution, according to Faustus and other -historians, the Armenians “languished for these songs.” -Even as late as the fifth century, when there was an attempt to restore -paganism in Armenia, Vasak Suni had books of these songs copied and -distributed among the people in order to win them back to heathenism. -This had the effect of rekindling hostility against the songs, and the -books were destroyed when Christianity finally triumphed, although, as -we have shown above, echoes of the songs are to be heard as late as the -eleventh century.</p> -<p class="par">Gregory the Illuminator (<span class="sc">A.D.</span> -239–325), who converted Armenia to Christianity, belonged -<span class="pagenum">[<a id="xd24e8348" href="#xd24e8348" name= -"xd24e8348">190</a>]</span>to the royal race of the Arsacidae. He had -studied at Caesarea. He and his family had hellenising tendencies in -religion, education, and politics. There was a section opposed to -Hellenism which favoured Syrian ideas and, in politics, inclined to -Persia. At this early period of Christianity, the Bible was read in -Greek in the north-west provinces of Armenia, while in the south-east -provinces it was read in Syriac. During this period, schools were -established for the education of the young on Christian principles. Out -of the pupils in these schools about 100 were chosen to be sent to -educational centres abroad, where Greek learning was taught. At the -time when this contact of Armenians with Greek culture took place, the -ancient glories of Hellas were past, and Greek scholars busied -themselves chiefly with theological subtilties. Of course the main -object of educating the students from the Christian schools was to -indoctrinate them in religious lore and fit them for the priesthood, -but, nevertheless, the youths also brought away with them a tincture of -Greek culture, and this led to the rise of the Golden Age of Armenian -literature.</p> -<p class="par">It was the aim of the Greek Empire at this time to make -the Armenian Church a branch of the Greek Church and to gain a -political ascendency over the Armenians, but the head of the Armenian -Church and the leaders of the intellectual movement were resolved on -religious and national independence. Towards that end two important -steps were taken. In 404, the Armenian alphabet was invented, and, in -491, the Armenian Church was separated from the Greek Church.</p> -<p class="par">The Armenian language belongs to the Indo-European -group. Though it has been regarded by some as an offshoot of the Iranic -branch, recent scholars of eminence have maintained its right to rank -as a distinct branch, intermediate between the Iranic and the European. -It has a very independent character and many peculiarities of its own; -it has also great strength and flexibility. It has a great number of -roots, and is capable of expressing ideas of all kinds and denoting -fine shades of meaning. It is read from left to right like European -languages. It is rich in particles, to which circumstance its -expressiveness is partly due. It has also a treasure of dialectic -words, which have the effect of importing vigour to Armenian speech. It -is not harsh in sound, as has been alleged by some who are imperfectly -acquainted with it. Its alphabet consists of thirty-six characters, -with which it is possible to represent every variety of sound, -consisting of vowels as well as consonants; it has no vowel points, in -this respect resembling the European, and differing from most oriental, -alphabets. The spelling is almost perfectly phonetic.</p> -<p class="par">The language of the period with which we are dealing was -<i>Grabar</i> or Ancient Armenian, which remained the literary language -till the beginning of the nineteenth century and is still <span class= -"pagenum">[<a id="xd24e8359" href="#xd24e8359" name= -"xd24e8359">191</a>]</span>the Church language, being used in all -religious services. Modern Armenian has not departed very widely from -<i>Grabar</i>. During pagan times, the Armenians had an alphabet of -their own, but, on the introduction of Christianity, it was discarded -on account of its pagan origin.</p> -<p class="par">The honour of being the inventor of the new Armenian -alphabet belongs to St. Mesrop (361–440), a former secretary of -King Tiridates. He found some of the ancient letters and invented -others to complete the alphabet in 404. St. Mesrop and St. Sahak -(353–439) were the forerunners of the Armenian intellectual -movement, the former as the inventor of the alphabet, the latter, -together with his pupils, as the translator of the Bible into Armenian. -This translation is called “the Queen of Translations.” The -language is so simple and direct, and, at the same time, so beautiful, -that there is nothing to be compared with it.</p> -<p class="par">The Armenian translation of the Bible is the -foundation-stone of Armenian Christianity. Perhaps no translation of -the Scriptures has ever made so deep an impression on a people as this -one has made on the Armenians. By them it was taken as a symbolical -history of their own country. Did not the events recorded in the very -first chapters happen in Armenia? and also the second Creation after -the Flood? Did not their beloved mountain, Ararat, figure in the latter -story? In the Bible they found even the names of their national heroes, -Haik and Vahagn, though, as we have seen, for the latter names only the -translators are responsible. Other Bible stories resemble the records -of Armenian history. Moses led his tribe from the land of bondage into -a land of freedom, just as Haik did. All the stories of suffering under -a foreign yoke and of revolt against oppression have their parallels in -the annals of Armenia.</p> -<p class="par">At the end of the fourth century (374–383), Nerses -the Great was Catholicos. During these ten years he displayed great -energy. Under his rule, many councils were held and many regulations -drawn up to safeguard the morals of the people. In addition to this, a -number of schools, hospitals, orphanages, almshouses, and other -charitable institutions arose under his supervision. A contemporary -historian says that during Nerses’ term of office, upwards of -2000 abbeys and monasteries were built. These religious houses served -as centres, not only of religious life, but also of learning, where -numerous ecclesiastics and teachers were trained. This intellectual -movement, which was of a purely religious and educational character, -not merely lived through the political tempest of those times, but -gradually grew and progressed. In the year 400, the representative of -the Arsacid dynasty on the throne was Vramshapuh, an able monarch, who, -being himself a lover of peace, did much to encourage and foster the -intellectual movement and to keep the country free from foreign foes -and internal dissensions. King Vramshapuh reigned twenty-one years and -it was, approximately, these years that constituted what is called -“the Golden Age of Armenian literature.” <span class= -"pagenum">[<a id="xd24e8371" href="#xd24e8371" name= -"xd24e8371">192</a>]</span></p> -<p class="par">St. Sahak (353–439), who, with St. Mesrop, was the -moving spirit of the intellectual movement, was Catholicos during part -of this period.</p> -<p class="par">The Golden Period was of short duration, only lasting -twenty-five years, but it was rich in achievements. The students -educated abroad on their return originated a new literature, pervaded -by Christian ideas. They considered themselves as torch-bearers in the -new movement, and all their work is animated by inspiration.</p> -<p class="par">This period is one of marvellous activity. The new -national alphabet had charms that wrought like magic and, coupled with -the new religion of hope, captivated all Armenian hearts. Armenians -realised that it was a religion for the people, not merely for the -great and powerful. All over Armenia national schools were opened. -Nearly every book of importance written in Greek and Syriac was -translated into Armenian, as well as some of the Latin authors. -Translation was a recognised profession, and “translator” -was a title of honour, like the European “doctor.” There -are upwards of fifty chronicles and histories written in ancient -Armenian, which is richer in literature than the Greek of the same -period, and the Armenian language is so flexible and so well adapted to -the exact rendering of every kind of literature that if, for instance, -the Anabasis of Xenophon were lost, it might be reproduced in Greek, -almost word for word, from the Armenian version. Among the writings -which now survive only in Armenian, the originals having been lost, are -the <i>Homilies</i> of St. John Chrysostom, two works of Philo on -<i>Providence</i>, together with some of his Biblical commentaries, the -<i>Chronicle</i> of Eusebius, the works of St. Ephrem and others.</p> -<p class="par">Besides translations, Armenia produced, during the -period with which we are concerned, original works, chiefly of an -historical character. These give very succinct accounts of the Persian -and Mongol invasions, and throw fresh light on the state of the East -during the Middle Ages. As these works lie outside our present subject, -we cannot here even name their authors. Those who wish to investigate -them are referred to what we have written elsewhere.<a class="noteref" -id="xd24e8389src" href="#xd24e8389" name="xd24e8389src">21</a></p> -<p class="par">What is most remarkable is that, at the very beginning -of the intellectual movement, when the alphabet had just been formed, -the literary language is so highly developed, so rich and subtle, that -it is more like a language which is the product of centuries of -culture. This very fact shows that culture was no novelty in Armenia. -The new movement only introduced a fresh era in Armenian -civilisation.</p> -<p class="par">Twenty-five years after the introduction of the Armenian -alphabet, the Arsacid dynasty <span class="pagenum">[<a id="xd24e8399" -href="#xd24e8399" name="xd24e8399">193</a>]</span>fell (428), the last -king being Artashir III. From this time the Armenians have ceased to be -politically independent.</p> -<p class="par">From 432 onwards, the greater part of Armenia was -governed by Persian satraps. The Persians regarded with great -apprehension the adoption of Christianity in Armenia, as this caused -the Armenians to enter into closer relations with the Greeks. As a -matter of fact, at the end of the fourth century, the Greeks came to -aid the Armenians in driving away the Persians. It was the aim of the -Persians to eradicate Christianity from Armenia. In order to further -this object, they declared war on the Greek Empire. The latter, instead -of fighting, made peace with the Persians, accepting very humiliating -terms. The Armenians were left to their fate, but, nevertheless, they -resolved to stand up for their religion against the Persian monarch, -who led a great army against them with the intention of enforcing -Zoroastrianism. At this time there was no Armenian king. The majority -of the remaining princes and nobles, however, formed a regular army, -the people gladly serving as volunteers, though there was a very small -party, led by Prince Vasak Suni, that were inclined, for political -reasons, to entertain the Persian proposals.</p> -<p class="par">All this took place between 449 and 454. The first -religious war (451) is known as <i>Vardanantz</i>, because Vardan -Manikomian, who was the commander-in-chief of the Armenian army of -defence, was the moving spirit in the struggle of Armenian Christianity -against the religion of Persia. He fell in the battle of Avarair, but -his fame survived him and he is the most beloved of Armenian -heroes.</p> -<p class="par">This war, though it crushed the hopes in which the -Armenians had indulged themselves of regaining their political -independence, nevertheless convinced the Persians of the impossibility -of uprooting a religion which was so firmly implanted in the hearts of -the people.</p> -<p class="par">The first religious war was followed by a second, in -which the Armenian princes offered a valiant resistance and the -Persians were obliged to give way. The leader of the resisting princes -was appointed satrap by the Persians. Thus Armenia won back partial -independence, the Persians themselves appointing an Armenian satrap and -proclaiming religious liberty. The Chief of the Magi, who was sent to -convert the Armenians to Mazdiism, returned unsuccessful and reported -to the Persian king: “Even if the immortals themselves came to -our aid, it would be impossible to establish Mazdiism in -Armenia.” Although Vardan and his followers perished in this war, -and although the Armenians, apparently, lost the battle, the struggle -resulted in the triumph of the ideal for which Armenia was -struggling—that of religious freedom. This the Persians realised -and never, after this time, did they make any attempt to force the -Armenians to change their faith. Neither did any of the various -Mohammedan conquerors <span class="pagenum">[<a id="xd24e8413" href= -"#xd24e8413" name="xd24e8413">194</a>]</span>venture on any steps -towards bringing about the conversion of the whole Armenian nation, -though they have enforced conformity on a small scale; they have had to -content themselves with political supremacy. The Mohammedan world has -realised that Christianity is a great power in Armenia, and this is the -reason why the religious heads of the nation—the Catholicos and -the patriarchs—meet with great consideration, not only from the -governments of Christian states, but also from Mohammedan powers; both -by Christian and by Mohammedan countries which have rule over Armenia -these dignitaries are recognised as representatives of their country, -not only in religious, but also in secular affairs. Thus the Christian -National Church has been one of the chief factors of the unity and the -national consciousness which exists among Armenians even up to the -present day, and this is the reason why the battle of Vardan is -regarded as a national triumph and is still annually -commemorated.<a class="noteref" id="xd24e8415src" href="#xd24e8415" -name="xd24e8415src">22</a></p> -<p class="par">When Armenia had ceased to be an independent state, its -literature became more religious, as the clergy were anxious to foster -devotion. Christianity introduced a new kind of poetry, namely, Church -hymns and chants. These were called, in Armenian, <i>sharakans</i>. -They were not only written in metre, but they were composed with a view -to being sung. The word <i>sharakan</i> means a “row of -gems.” Historians of the Middle Ages say that the -<i>sharakans</i> were mainly written by the “translators,” -<i>i.e.</i>, by writers of the fourth and fifth centuries. As a matter -of fact, very few <i>sharakans</i> were written after the thirteenth -century. Since then, no prayers or hymns have been introduced into the -Armenian Church.</p> -<p class="par">It is said by writers of the Middle Ages that St. Sahak -arranged the <i>sharakans</i> for ten voices and St. Stephanos for -twenty-six voices, corresponding to created things—elements, -plants, birds, and animals. There were also women <i>sharakan</i> -writers. One of these was Sahakadukht, who lived in the eighth century. -She not only wrote, but also composed music, and taught singing. Out of -modesty, she used to hide behind a curtain, whence she gave instruction -to both sexes. An historian of the time, Ghevond Eretz, says of her -<i>sharakans</i>: “They were angelic songs on earth.” -Singing was considered a great art in Armenia, and musicians were -called “philosophers.” Several of such -“philosophers” were canonised and had the word -“philosopher” prefixed to their names. The fame of some of -these musicians spread to foreign lands. This explains the fact that, -when Catholicos Petros Getadardz went to Constantinople, he took with -him a company of musicians, whom he presented, as a gift, for the -service of the Byzantine court.</p> -<p class="par">There was a revival of <i>sharakan</i>-writing in the -thirteenth century, which was a flourishing <span class= -"pagenum">[<a id="xd24e8451" href="#xd24e8451" name= -"xd24e8451">195</a>]</span>literary period. It was during this time -that Bishop Khachatour Tarinetzi invented distinctively Armenian -musical notes, which are quite unrelated to European ones, so that the -Armenians had now, not only an alphabet of their own, but also their -own musical notation, and their hymns could be set to music. This -notation was improved in the eighteenth century.</p> -<p class="par">Armenian hymns are written in a style which is not only -picturesque, but which also has a charm of its own; its colours are -very rich; the pictures it conjures up are vivid. When one remembers -that many of them were written when national life and death were -hanging in the balance, because of foreign oppression, at a time when -they had no one to turn to but the Creator, we understand how it is -that so much tenderness, hope, and devotion are embodied in these -“rows of gems,” nor can one help thinking that Armenian is -the natural language for religious poems. A vein of mysticism runs -through many of these hymns, especially through those written by -Gregory of Narek (951–1009), one example of -which—“The Christ-Child”—appears on page 113 of -this volume. But this mysticism is not obscure; on the contrary, it is -to the hymn what light and shade are to a picture serving to bring it -into touch with nature.</p> -<p class="par">Hymns have always been popular among the Armenians. Even -peasants know them by heart and sing them. The hymn tunes are unique, -being entirely independent of those of other Christian nations. Their -somewhat strange rhythm recalls the chorus of singers round the altars -of the pagan gods. No doubt some pagan melodies have found their way -into the Christian hymn tunes of Armenia.</p> -<p class="par">The Armenians are rich in folksongs. The music to which -these songs are set possesses great charm. In it, also, the rhythm is -most important. An Armenian composer, speaking of these folksongs, -says:—</p> -<p class="par">“By means of those ethereal and heavenly waves of -melody one sees enchanting mermaids who, after dancing on the banks of -large and small lakes and poising themselves on the waters, allure -towards themselves the pagan Armenians, offering love kisses to all -minstrels.”</p> -<p class="par">In later years Armenian music and poetry were affected -by European influence, but in her hymns and folksongs she has musical -treasures that are all her own.</p> -<p class="par">Side by side with the written literature of this period, -the unwritten literature continued to grow. The latter consists mainly -of folktales, fables, and proverbs.</p> -<p class="par">It is easy to distinguish a Christian folktale from a -pagan one by the different ideals embodied in it. Some of the folktales -of this period have arisen out of historical events.</p> -<p class="par">In the folktales, it is the youngest child that is the -hero or heroine. These stories express <span class="pagenum">[<a id= -"xd24e8470" href="#xd24e8470" name="xd24e8470">196</a>]</span>the -people’s outlook on life and are the product of their -experiences, which have been handed down from generation to -generation.</p> -<p class="par">There is a great deal of folklore current in Armenia, -some of which has been collected and published.</p> -<p class="par">Grigor Magistros says that, in his time, unwritten -fables in rhyme were very popular.</p> -<p class="par">There are also many Armenian proverbs. It seems to have -been a custom in ancient times—and the usage is still retained in -some places—for a man to go and meet the girl he wishes to marry -on the banks of a stream or in a forest and to ask her a riddle. If she -gives the correct answer to the riddle, he marries her.</p> -<p class="par">Here are a few of the riddles used on these -occasions:—</p> -<p class="par">“What paper is it that you cannot write on? and -what sort of pen can write on this paper?”</p> -<p class="par">A maiden who desires to marry the man should -answer:—</p> -<p class="par">“The heart is the paper on which no pen can write; -language is the pen that writes on the heart.”</p> -<p class="par">“What rose is it that opens in the winter and in -due time fades and is gone?”</p> -<p class="par">Answer: “Snow is the rose that opens in the -winter; when summer comes, it fades and is gone.”</p> -<p class="par">“The brother chases the sister, the sister the -brother, but neither can catch the other.”</p> -<p class="par">Answer: “The sun and the moon.”</p> -<p class="par">There is another usage, belonging especially to young -girls, which has given rise to an extensive literature. This literature -consists of <i>charm-verses</i>, which are used for fortune-telling. A -selection of these is given on pages 67–68.</p> -<p class="par">Once a year, on the Eve of Ascension Day, young maidens -who want their fortunes told decorate a bowl with certain specially -selected flowers. Into this bowl each girl casts a token—a ring, -a brooch, a thimble. After filling the bowl with flowers of seven -different kinds, and water drawn from seven springs, they cover it with -an embroidered cloth and take it by night to the priest, who says a -prayer over it. They then put it out in the moonlight, open to the -stars, leaving it till dawn. Next morning, at daybreak, furnished with -provisions for the whole day, they go out of the village carrying the -bowl, to the side of a spring, to the foot of a mountain, or into an -open field, gathering, on the way, various kinds of flowers, with which -they deck themselves. Arrived at their destination, they first play -games, dance, and sing, then they take a beautiful little girl, too -young to tell where the sun rises, who has been previously chosen for -their purpose and gaily dressed for the occasion, and who does not know -to whom <span class="pagenum">[<a id="xd24e8502" href="#xd24e8502" -name="xd24e8502">197</a>]</span>each token belongs, and cover her face -with a richly wrought veil, so that she may not see what is in the -bowl. The child draws the articles out of the bowl, one by one, and -holds each in her hand. While she does this, one of the party recites a -charm-song, and the owner of each token takes the song which -accompanies it as her fortune.</p> -<p class="par">There are thousands of these charm-songs. In form they -are very simple. Sometimes two consecutive lines deal with quite -distinct subjects, though they rhyme together and their construction is -the same. Each is a perfect poem.</p> -<p class="par">After the end of the Arsacid dynasty, Armenia remained -under the rule of Persia for two hundred years. During this period, -sometimes the whole country fell temporarily into the hands of the -Greeks; on other occasions the same fate befell a few provinces. -Speaking generally, after the fall of the Arsacidae, the -eastern—and more extensive—part of Armenia remained under -Persian rule, and the western—and smaller—part came under -Greek dominion. The Greeks and the Persians were continually fighting -with one another for the possession of the whole country. Armenia was -the battlefield, and the sufferer was always the Armenian people. After -the Arabs had embraced Mohammedanism, they formed a powerful empire, -conquering Mesopotamia and then passing on to Persia. They forced the -Persians to become Mohammedans, and in 640 entered Armenia. Eastern -Armenia, which was then in the hands of the Persians, fell into their -possession.</p> -<p class="par">The Greeks greatly dreaded the taking of Armenia by the -Arabs, as it formed a strong barrier against the assault of the Greek -colonies in Asia Minor. Therefore, as they had before fought in Armenia -against the Persians, so they now proceeded to fight against the Arabs; -and again Armenia was the battlefield and the sufferers were the -Armenians. The Greeks came from time to time demanding tribute of them, -and if their demand were resisted, the people were plundered and -slaughtered. On the departure of the Greek army, the Arabs came, making -the same demand. Thus, during the first two hundred years following the -fall of the Arsacidae, the Armenians were between the two fires of the -Persians and the Greeks, and then for another two hundred years between -the two fires of the Greeks and the Arabs. During this period, the -Armenian princes offered resistance from time to time and succeeded in -regaining independence for short intervals. The governors set by the -Arabs over Armenia were in the habit of persecuting the native princes, -to prevent them from organising revolts. Of these governors, the most -bloodthirsty were Kashm and Bugha. The former cunningly invited all the -Armenian princes to the town of Nakhejevan, where they assembled in the -church; whereupon, by order of the government, the church was -surrounded by piles of wood and set on fire, and the princes burnt -alive (704). The army was then set to plunder and <span class= -"pagenum">[<a id="xd24e8510" href="#xd24e8510" name= -"xd24e8510">198</a>]</span>slaughter the Armenians and burn the towns -and villages, as the people, deprived of their princes, could offer no -resistance. Many were exiled to the Arab capital, Damascus. Bugha (850) -surpassed even Kashm in his cruelty, but we need not chronicle his -atrocities here. Under such governors as these, the tribute and the -taxes were enormous, and the people became very poor. There were, -however, also good governors, during whose rule the people were free -from oppression and were allowed to pursue their peaceful -occupations.</p> -<p class="par">But gradually the power of the Arabs declined.</p> -<p class="par">The Armenians took advantage of the weakening of the -Arab power to form independent kingdoms. One of the principal noble -families during the period of Arab dominion was that of the Bagratuni. -This family was rich and powerful and had much land in its possession. -Under the Arsacidae, the head of this family was hereditary -“coronator” (<i>i.e.</i>, he had the privilege of putting -the crown on the king’s head, on the occasion of a new -sovereign). During the rule of the Arabs, the command of the Armenian -army was given to this family. The Bagratuni, though extremely -courageous and patriotic, were also cautious and tactful in their -relations with the Arabs, whom they served faithfully, thus gaining the -respect of the Khalifs. As they also won the love and esteem of their -own countrymen by rebuilding and restoring what the Arabs had -destroyed, they were able to act as mediators between the Khalifs and -the Armenian people. In wars against the enemies of the Arabs, members -of this family had many successes. Once a Persian prince revolted -against the Khalif and a Persian army of 80,000 marched into Armenia. -The Arabs were too weak to make any resistance, but Ashot Bagratuni -with his troops defeated the invaders. After the victory, the Khalif of -Bagdad sent a crown to Ashot, thus making him a king, thinking, -“He is so powerful that, if I do not give him a crown, he will -seize one for himself.”</p> -<p class="par">Thus in 885 Ashot became the first king of the Bagratuni -dynasty. The Greek emperor, Basil I., also sent a crown to Ashot, with -a view to gaining the friendship and influence of Armenia. During the -dominion of the Bagratuni, the régime of the Arsacidae was -restored and the country prospered. Ani, which was the seat of -government during the greater part of this period, though formerly it -was little more than a fortress, became one of the most flourishing -cities of the time. It was full of fine edifices—churches, -palaces, museums, etc.—and was called “the city of a -thousand and one churches.” Its fame even spread to foreign -lands.</p> -<p class="par">There were several other noble Armenian families with -ambitions. In 908 one of these—the Ardzruni family—made the -lands they held into a kingdom, called Vaspurakan, with Van as a -capital city. In taking this step they were encouraged by the Arabs, -who were watching with alarm the growing power of the Bagratuni. -<span class="pagenum">[<a id="xd24e8523" href="#xd24e8523" name= -"xd24e8523">199</a>]</span></p> -<p class="par">In 908 another Armenian kingdom was set up with Kars as -its capital.</p> -<p class="par">Ashot III., who was then the king of the Bagratuni -dynasty, was quite aware that the Arabs were encouraging the formation -of small Armenian kingdoms, but he offered no opposition, leaving his -rivals alone to serve the people each in his own way.</p> -<p class="par">This Ashot was one of the greatest sovereigns of this -dynasty. He was called “Ashot the Compassionate” because of -his love of the people and his numerous charitable provisions for their -benefit. It was said that he would never dine without sending for some -beggars out of the street to share the meal with him.</p> -<p class="par">The most renowned as well as the wisest and most -powerful king of this dynasty was Gagik I. (990–1020), under whom -the country enjoyed its period of greatest prosperity.</p> -<p class="par">The danger of the Arabs was past, but now a new peril -threatened the East, that of the Seljukian Turks, who came from Central -Asia in search of a new country. Persia and Mesopotamia fell before -them and they entered Armenia. Several of the Armenian princes offered -them stout resistance with some success, but, fearing that this success -was only temporary, others transferred themselves and their subjects to -more secure parts of the country.</p> -<p class="par">The Seljuks conquered Persia and established a Persian -kingdom of their own, but the new Persia was no longer Zoroastrian, but -Mohammedan. Armenia again became a battlefield. The Greeks also claimed -the city of Ani, and this led to many conflicts in which the Armenians -made a brave defence. The town, however, fell through treachery and the -Greeks devastated some parts of the country, treating the inhabitants -no better than the Arabs and the Seljuks had done. In order to weaken -the power of Armenia, they also made attempts to exterminate the native -princes and nobles.</p> -<p class="par">About the same time, the Seljuks again invaded Armenia -and completed the desolation which the Greeks had begun. They wrought -great destruction in Ani.</p> -<p class="par">The last king of the Bagratuni dynasty was unable to -re-establish his kingdom and was killed by the Greeks. His two sons and -his grandson were poisoned. So ended the race of the Bagratuni whose -dynasty had lasted 160 years.</p> -<p class="par">During the rule of this house, the country had a period -of rest and the energies of the people were directed to the restoration -and development of the country. The ruined monasteries and churches -were rebuilt, schools were again established; commerce, arts, and -handicrafts throve. This was a particularly flourishing time for the -national architecture, which now assumed a new character. Most of the -Armenian abbeys and churches were built during <span class= -"pagenum">[<a id="xd24e8543" href="#xd24e8543" name= -"xd24e8543">200</a>]</span>this time, and as these places had always -been seats of learning, alternative erudition revived, original writing -and the transcription of manuscripts going on briskly within the -convent walls. The literature of this period is chiefly of a religious -character. In it we see traces of Arabic influence—the influence -of the eighth century, when Arabic literature was at its zenith. The -chief debt of Armenian literature to the Arabs is the introduction of -rhyme, which is first found in Armenian verse in the eleventh -century.</p> -<p class="par">In dealing with this period, as we are only concerned -with Armenian poetry, we must leave unmentioned the historians and -other famous prose writers.</p> -<p class="par">The most remarkable Armenian poet under the Bagratuni -dynasty was <span class="sc">Grigor Narekatzi</span> (951–1009), -who has been called the Pindar of Armenia and has also been canonised -as a saint. From his pen came elegies, odes, panegyrics, and homilies. -His sacred elegies (ninety-five in number) are elevated in style, -showing Arabian influence, and very pure in sentiment. His canticles -and melodies are still chanted in the Armenian Church. Verbosity is a -characteristic of his work; in one passage the word “God” -is accompanied by ninety adjectives.</p> -<p class="par">He was greatly loved and revered by the people, but he -aroused jealousy in some of his ecclesiastical colleagues. On one -occasion, they went to the Catholicos with accusations against him. The -Catholicos appointed priests to investigate the case. These priests -repaired to the abbey where Grigor Narekatzi was, arriving about dinner -time on a Friday. To their surprise they found roast pigeons on the -table, and reminded Grigor that it was fast-day, whereupon the latter -said, addressing himself to the pigeons: “If that be so, off with -you!” and the roasted birds took to themselves wings and flew -away. The astonished investigators, without going into the case, turned -back and reported the miracle to the Catholicos. Of course this is an -extravagant legend, but it shows the high estimation in which Grigor -Narekatzi was held by his contemporaries.</p> -<p class="par">The greatest work of this writer and the one on which -his fame rests is <i>Narek</i>. It is divided into ninety-five -chapters, and is a tragic devotional monologue composed of poetical -prayers. Here the author reveals his heart and soul in converse with -God. Hope, fear, love, faith, repentance, entreaty, aspiration, breathe -as if mingled with tears in fine and noble lines and periods. There is -a copious stream of epithets, a flood of rhetoric, an unfailing flow of -ideas. With all this wealth of diction, this work is sincere and -strikingly original, and gives evidence of the author’s -high-soaring imagination. He begins with an address to God, in which he -represents himself as one of the vilest of creatures, saying that, if -all the trees in all the forests of the world were pens and all the -seas ink, they would not suffice to write down <span class= -"pagenum">[<a id="xd24e8560" href="#xd24e8560" name= -"xd24e8560">201</a>]</span>his sins, but towards even such sinfulness -as this the mercy of God is great, and the Creator is so powerful that -it will be possible for Him to bleach the sins as white as snow.</p> -<p class="par">This work gives evidence that its author had, on the one -hand, great love of God and a firm faith, and on the other hand a vivid -imagination and poetic fire. All this he has worded together with great -skill.</p> -<p class="par"><i>Narek</i> is a mingling of prose and verse. It begins -in prose and then breaks into verse, then again, after continuing to -some length, returns to prose, and so on. It was printed for the first -time in 1673 at Constantinople; in all thirty editions have been -published in different places. It stands by itself, being the only long -mystic work in Armenian literature, mysticism being quite alien to the -typical Armenian mind. Even the mysticism of <i>Narek</i> and a few -other works of the same period has its own peculiarities. It is not so -obscure as ordinary mysticism, partaking, rather, of the nature of -allegory. Notwithstanding its unusual character, <i>Narek</i> was -formerly regarded with veneration little short of that accorded to the -Bible itself. Within recent times superstitious people ascribed to it -miraculous medical qualities, believing that if certain chapters were -read over a patient he would be cured. It was also believed that if any -one read certain chapters—forty in number—with concentrated -attention, banishing thought of everything else, he would have the -power of controlling devils, but this it is said is very difficult and -even dangerous, because while the reading is going on, evil spirits -come and try to distract the mind of the reader, annoying, terrifying, -and even torturing him; if his attention wanders, he may become -possessed. All this shows the value and importance that were attached -to <i>Narek</i>. At the end of this work, the author states that he -finished writing it in the year 1001–2. Gregory of Narek also -wrote several songs. Some of his prayers and <i>sharakans</i> are used -in the church services. Another great writer of this period was Grigor -Magistros (—— -1058) who produced poetry of some value. He -was of princely lineage and, unlike the Armenian authors who were his -predecessors or contemporaries, he was a layman. He gained reputation -as a linguist, a scholar, and a writer, and was one of the greatest -politicians of his time. He received the title of “duke” -from the Greek emperors Constantine and Monomachus. Early in life he -gave up politics and retired to his estate, where he devoted himself to -literary pursuits. He wrote both poetry and prose. His chief poetical -work is a long metrical narration (a thousand lines in extent) of the -principal events recorded in the Bible, from the Creation to the -Resurrection of Christ. The author states that this work was written in -three days at the request of a Mohammedan noble who wished to make -acquaintance with the Christian Scriptures and who, after reading the -poem, became converted to Christianity. Grigor Magistros was almost the -first poet to adopt the use of rhyme, introduced <span class= -"pagenum">[<a id="xd24e8580" href="#xd24e8580" name= -"xd24e8580">202</a>]</span>into Armenia by the Arabs. In his work -Grigor Magistros tells some interesting stories which he has learnt -from the peasants. One is the following. The lark, fearing that heaven -would fall down, lay on her back, stretching up her feet towards the -sky, thinking she would thus prevent the catastrophe. Some laughed at -her and said, “With your spindle legs, you want to become a tree, -O bird, with a mind capacious as the sea.” The lark replied, -“I am doing what I can.”</p> -<p class="par">At the end of the eleventh century, chronicles and -histories were written in ancient Armenian (<i>Grabar</i>), but there -was also a language of the people, in which books for popular use, such -as collections of medical recipes, began to be written at this period, -as well as songs. When the country again lost its independence many -migrations took place. It was not only peasants and citizens who -migrated; some of the nobles also sought more secure dwelling places in -mountainous districts. The majority of these settled in the region of -the Taurus Mountains, and there the emigrants multiplied to such an -extent that they equalled the Greeks in number. In their new home they -built many churches and abbeys, where they educated the boys of the -settlement. Soon they established a number of villages and small towns, -and the princes set up fortresses. The Byzantine emperors rather -encouraged this progress, as they thought that the existence of small -buffer-states on their frontier would serve as a barrier against the -attacks of Mohammedan countries. One of these princes, Rubin by name, -established himself there in 1080. He chose an impregnable stronghold, -and the Armenians of the neighbourhood came and put themselves under -his protection. Other Armenian princes, settled in the surrounding -districts, adopted him as their chief. Having concentrated and -strengthened his power, he ruled his little realm—which was -called, after him, the Rubinian Principality—with great wisdom -for fifteen years. He was succeeded by his son, Constantine, in 1095. -Constantine extended his dominions by taking some almost impregnable -fortresses from the Greeks. During his reign many Europeans began to -come, with their armies, to the East. They wore the badge of the cross -on their arms, and were therefore called “Crusaders.” They -cleared Palestine and Syria of Mohammedans and set up new Christian -principalities in those countries. The Armenians called these strangers -“Latins” because they were all Catholics of the Roman -Church. Constantine rendered great services to the Crusaders by -furnishing them with guides, providing them with provisions, etc., and -the European princes, as an acknowledgment, conferred on him the title -of “marquis.”</p> -<p class="par">The successors of Constantine extended still further the -boundaries of the principality. After gaining possession of the -mountains and strongholds, they came to the plains of Cilicia and -imposed their rule as far as the sea-coast. At this time the Byzantine -Empire was very <span class="pagenum">[<a id="xd24e8589" href= -"#xd24e8589" name="xd24e8589">203</a>]</span>weak, and the Mohammedan -Seljuks and Arabs were not very strong, as they had become divided -among themselves and were engaged in strife with one another. The -Crusaders had also formed new Christian principalities in those -regions, so that the Rubinians had no fears either of Mohammedans or of -any other foe. Precisely one hundred years after the accession of Rubin -I., the Armenians possessed the extensive reach of territory between -the Taurus Range and the sea, where they had built many fortresses, -towns, and even ports.</p> -<p class="par">Leo II. (1185) succeeded in repelling the attacks of the -Sultan of Damascus and other Mohammedan rulers, even taking some towns -from them.</p> -<p class="par">During this period, Saladin, Sultan of Egypt, taking -advantage of dissension among the crusading princes, attacked them, and -took Jerusalem and the rest of Palestine (1187).</p> -<p class="par">Then a new Crusade was started, led by the German -Emperor Frederick Barbarossa. This monarch sent emissaries to Leo, -asking his help against the Mohammedans, promising him a crown as a -reward. Leo supplied the Crusaders with provisions and rendered them -other assistance. Barbarossa died without fulfilling his promise, but -the crown was sent by his successor, Henry VI., after consultation with -the Pope of Rome. Leo was crowned king in 1198. The following year, the -new Armenian king also obtained recognition from the Byzantine Emperor, -who sent him a crown. Leo still further extended his dominions and put -the whole kingdom into excellent condition. He did not, like the -Bagratunis, re-establish the régime of the Arsacidae, but tried -to imitate European institutions, inviting many French, English, and -German experts to his kingdom, giving them appointments in the court, -the army, and the council. Many new schools were opened in this reign -in which the teaching was entrusted to learned Europeans as well as to -Armenians.</p> -<p class="par">Arts and handicrafts, commerce and agriculture also -flourished under this king. Leo died in 1219 after a reign of -thirty-four years. For his great services to his people, he was called -“Leo the Benefactor.”</p> -<p class="par">It was under the rule of this king that Armenia entered -into close relations with Europe. Just as the Zoroastrian Persians and -afterwards the Greeks had inflicted all kinds of persecutions on the -Armenians in order to convert them to their religions, so also in the -reign of Leo II. and for many years afterwards the popes of Rome did -everything possible to make the Armenians join their Church. The popes -promised the Armenians help against the Mohammedans, they even offered -to organise a Crusade, but the first condition was that the Armenians -should become Catholics. When the Armenians did not accept these -advances, a number of Catholic priests came to Armenia and tried to -convert them. These priests were called “Unitors.” At this -time the Tartars (who were heathens) became very strong and conquered -<span class="pagenum">[<a id="xd24e8601" href="#xd24e8601" name= -"xd24e8601">204</a>]</span>Persia. The Armenian king when this conquest -took place was Hetum. This king, though he maintained friendly -relations with the courts of Europe, attached little weight to promises -emanating from these quarters; he therefore formed an alliance with the -Tartars against the Mohammedans. He tried to indoctrinate his new -allies in Christian ideas and almost effected their conversion to -Christianity. That he did not quite gain his object is due to external -causes. Hetum, in conjunction with the Tartars, fought successfully -against many Mohammedan sultans, but the Egyptian mamelukes grew strong -and the Tartars became Mohammedans (1302), whereupon enmity arose -between them and the Armenians. Three Mohammedan races—Seljuks, -Tartars, and mamelukes—one after another attacked Cilicia, -devastating the country and plundering many towns. The Armenians asked -assistance from the Pope and from European kings; help was promised -from France, but it never came, so the Tartars conquered Cilicia and -slew its king, who, however, was avenged by his youngest brother, -Ashin, who collected an army and drove the Tartars out of the country -(1308).</p> -<p class="par">The Mohammedan kingdoms became very powerful at this -time. The mamelukes dominated, besides Egypt, Arabia, Palestine, and -Syria as far as the Euphrates.</p> -<p class="par">The common aim of all the Mohammedan governments was to -destroy the independent kingdom of Armenia, because it was the only -Christian state in Asia that was capable of rendering assistance to -European sovereigns should any of them enter on a new Crusade in order -to gain possession of the Holy Sepulchre. When the mamelukes heard that -the European states were planning a new Crusade, they formed an -alliance with the Tartars and the Sultan of Iconia and devastated -Cilicia. But the Armenians made a brave defence and the mamelukes -granted a peace for fifteen years. By this peace it was agreed that the -King of Armenia should pay a certain amount of tribute and the -mamelukes should restore the places they had taken. Again there was -talk of a Crusade, and the Sultan of Egypt again attacked Cilicia. Leo -V. (King of Armenia) asked for help from Europe, but the only -assistance given was 10,000 florins sent by the King of France and a -few sacks of corn from the Pope. This was not what the Armenians -wanted; in fact they were again left to their fate. The Mohammedan -sultan offered to restore Leo’s kingdom if he would swear on the -Cross and the Gospels that he would have no dealings with the -Crusaders. Leo V. died in 1341, and as he had no children the throne -passed to the Lusignan dynasty.</p> -<p class="par">There were only four kings of this dynasty: the last -king was Leo VI. (1365–1375). He was taken prisoner when the -sultan invaded and devastated Cilicia. Thus ended the kingdom of -Armenia. After a few years, through the mediation of John, King of -Castille, Leo was set at liberty. He came to Europe to ask for help in -regaining his kingdom. There was a talk of <span class= -"pagenum">[<a id="xd24e8610" href="#xd24e8610" name= -"xd24e8610">205</a>]</span>a Crusade specially on behalf of the -Armenians, but it never went beyond the stage of promises, and the last -King of Armenia died in Paris in 1393 and is buried there in the Abbey -of St. Celestin.</p> -<p class="par">We have spoken mostly of Cilicia during this period. If -we wish to complete the picture of the devastation of Armenia, we must -name Zenghis Khan, Tamerlane (1387), and other enemies of the human -race, but we will not enter into particulars of their work of -desolation.</p> -<p class="par">The period whose history we have sketched (twelfth to -fourteenth centuries), especially the two former centuries, is called -the Silver Age of Armenian literature. The independence of Armenia gave -a breathing space which facilitated the production of literary works. -This is the period of the revival of learning and also the period when -Armenia came in contact with the countries of Western Europe and became -acquainted with Western civilisation.</p> -<p class="par"><span class="sc">Catholicos Nerses</span>, surnamed -“the Gracious,” is the most brilliant author of the -beginning of this period (1100–1173). He was the great-grandchild -of Grigor Magistros, and his brother Grigorios was Catholicos before -him. His songs and <i>sharakans</i> are greatly loved by the people and -some of the latter are sung in the churches. He was canonised as a -saint. Nerses was the first Armenian to write very long poems. He -followed his great-grandfather in using rhyme. There is a great variety -of metre in his works. As a rule his long poems are written in -eight-feet lines, the same rhyme being employed nearly throughout the -poem. This practice he abandoned in certain cases for, as he himself -remarks, “it might tire the reader”! He has also poems -written in couplets of short lines, which are the most musical and -successful of his works. Some of his poems have peculiarities of their -own. He sometimes begins the lines of the first stanza with A, those of -the next with B, and so on in alphabetical order, or he uses the same -letter for the beginning of the first line and the conclusion of the -last. He also sometimes makes metrical acrostics of his own name. Of -course these contrivances were in common use in his time. Sometimes he -makes acrostics of the titles or names in dedications of his poems. But -these artificialities do not spoil the poem or give the impression of a -<i>tour de force</i>, in fact they are so unobtrusive that they might -easily escape the reader’s notice. In all he has written 15,000 -lines.</p> -<p class="par">One of his long poems entitled <i>Jesus the Son</i> -consists of 4000 eight-feet lines. These lines, with very few -exceptions, end with the Armenian syllable <i>-in</i>. Some of the -songs in this poem are very beautiful and are sung in churches.</p> -<p class="par">Another of his long poems is an elegy on the Fall of -Edessa which was taken from the <span class="pagenum">[<a id= -"xd24e8636" href="#xd24e8636" name="xd24e8636">206</a>]</span>Crusaders -by the Turks in 1144. This is an allegory: the town itself recounts its -misfortunes and addresses itself to other cities of the world, to the -mountains, to the seas, and begs them not to judge her by what she is -in her present condition, but assures them that she was once a crown -bearer and in a most happy state, but now she is in mourning, and -misfortune has befallen her. As Nerses was a contemporary of the event -which forms the subject of the poem, the latter has an historical -value, being a first-hand source of information relating to the times -of the Crusaders.</p> -<p class="par">Nerses also wrote a long poem narrating the history of -Armenia from the days of Haik up to his own time. Leo III., one hundred -and fifty years after the poet’s death, asked the bishop Vahram -Rabun to continue the poem from the death of Nerses to his own time -(1275), thus giving the annals of the Rubinian dynasty. In writing this -sequel, in 1500 lines, he said: “It is a bold act to continue the -work of Nerses the Gracious,” but he adds that, knowing that with -gold thread embroidery black threads are sometimes introduced, he -consented to undertake the labour.</p> -<p class="par">It is not within our province here to describe the great -work achieved by Nerses in other directions, but he was much beloved by -his people and has left an immortal name as the greatest personality of -his age. We only here record one incident to show the breadth of his -ideas. In the town of Edessa pestilence was raging and sufferers from -the disease were taken out of the town and segregated. It was -considered hopeless to cure them, as it was believed that the disease -came as a punishment from God. Nerses sent out an epistle to the -plague-stricken people, offering them consolation, saying that, in -compensation for their suffering, they would receive eternal bliss. In -this letter, he declares that the disease was not sent from Heaven as a -punishment and people should not avoid the sick; on the contrary, it -was their duty to care for their brethren when they were in distress, -and he assured them that, with patience and right treatment, it was -possible to get rid of the disease.</p> -<p class="par">This counsel made an immense impression on the people, -as they had the word of the Catholicos that this was not a heaven-sent -chastisement; they nursed the patients and in a short time the -pestilence was stayed.</p> -<p class="par">This idea of Nerses, though it is now commonly held, was -very remarkable in the age in which he lived. Nerses the Gracious is -considered the Fénelon of Armenia. Some of his elegies are -perfect gems of poetic art. One of his prayers is divided into -twenty-four verses, according to the twenty-four hours, one verse to be -used each hour, but, seeing that this is sometimes impracticable, he -says that it might be read in three portions of light verses in the -morning, at noon, and at night. If this division is also impossible, he -recommends that it <span class="pagenum">[<a id="xd24e8646" href= -"#xd24e8646" name="xd24e8646">207</a>]</span>should be read in two -portions, in the morning and evening. This prayer has been translated -into thirty-six languages, of which English is one.</p> -<p class="par">An example of the work of Nerses the Gracious, entitled -“The Arrival of the Crusaders,” is given in this volume on -page 58.</p> -<p class="par">This is hardly a representative poem and is not the best -specimen of the author’s work. It was inserted because of the -interest of the Crusades for Europeans. The gems of his work may be -found among the <i>sharakans</i>, which we can say without hesitation -will bear comparison with any work of this class in any language of the -world. Unfortunately, it is impossible to do justice to these hymns in -a translation. Nerses also wrote verses for children, and riddles, both -in the vernacular.</p> -<p class="par">In general, his language is simple and expressive. He -also composed short fables, according to a contemporary historian; some -of these were recited at weddings and other festivals.</p> -<p class="par">Mkhitar Gosh was the author of one hundred and fifty -fables, marked by good taste, purity, and elegance. He died in 1213. He -is called the Aesop of Armenia.</p> -<p class="par">The following is a specimen of Mkhitar Gosh’s -fables: The owl sent matchmakers to the eagle, asking his daughter in -marriage, in these terms: “You are the ruler of the day; I am the -ruler of the night. It will be better for us to form an alliance by -marriage.”</p> -<p class="par">The proposal was accepted.</p> -<p class="par">After the wedding, the bridegroom could not see by day -and the bride could not see by night. Therefore the falcons ridiculed -them, and their marriage was unhappy.</p> -<p class="par">This fable is meant as a warning against marriages -between Christians and pagans.</p> -<p class="par">Many of Mkhitar Gosh’s fables are very original -and have a charm of their own.</p> -<p class="par">Another famous fabulist was Vardan Aigektzi. His -collection of fables is called <i>The Book of the Fox</i>. Several -additions have been made to this work by later hands, so that the book -has no uniformity of style and some fables in the collection are -childish and trivial.</p> -<p class="par">This is one of the fables in this book:</p> -<p class="par">Mankind is like three fools. The first went to the tops -of the mountains trying to catch a wind, and take it home, but though -he tried a hundred years he never caught a wind that was as big as a -drop of rain. The second, taking with him a number of servants and a -great deal of money, sat down by the side of a river, trying to use its -waters as a tablet on which to inscribe an elegy, but he could not form -a word or trace a letter, though he laboured for a hundred years. The -third tried to surpass the others by undertaking two enterprises at -once. He had a huge bow made with arrows to match, and tried by night -to shoot at the stars and other heavenly bodies and bring them home, -that he alone might have light, but he could not catch <span class= -"pagenum">[<a id="xd24e8680" href="#xd24e8680" name= -"xd24e8680">208</a>]</span>a spark. Besides this, during the day he ran -after his own shadow, but never caught it, though he tried for a -hundred years.</p> -<p class="par">The moral of this fable is the futility of human life -and human endeavour. “Vanity of vanities; all is -vanity.”</p> -<p class="par"><span class="sc">Moses Kaghankatvatzi</span> (seventh -century) mentions in his history some interesting fables. In one of -them, which arose when there was a great famine in the land, the story -is put into the mouth of a personification of the grain millet, whose -narrative is to this effect:—</p> -<p class="par">“I, Millet, was lying in an unknown place in the -village of Kaku, in the province of Shakashen. All the purchasers -treated me with contempt and rejected me. Then came my brother, Famine, -and dominated the land. From that day I went and sat on the tables of -the King and the Catholicos.”</p> -<p class="par">Armenian apologues and proverbial sayings are worthy of -attention. Here are a few characteristic specimens; some of these are -rhymed in the original, in others the contrasted words -rhyme:—</p> -<p class="par">One fool threw a stone into a well; forty wise men were -unable to get it out.</p> -<p class="par">He crossed the sea safely, and was drowned in a -brook.</p> -<p class="par">They were reading the Gospel over the wolf’s head. -He said: “Hurry up! The sheep will get past.”</p> -<p class="par">They asked the partridge: “Why are your feet -red?” “From the cold,” he replied. “We have -seen you in the summer as well,” they rejoined.</p> -<p class="par">Are you the corn of the upper field? (Who are you that -you should be set above others?)</p> -<p class="par">A black cat has passed between them. (Referring to -friends who have quarrelled.)</p> -<p class="par">Whenever you touch a stone, may it become gold! (A -blessing.)</p> -<p class="par">The donkey began its tricks on the bridge.</p> -<p class="par">Light for others, fire for the house. (A saint abroad, a -devil at home.)</p> -<p class="par">The black donkey is tied up at the gate. (A worthless -thing is always at hand.)</p> -<p class="par">Here is a riddle by Nerses Shnorhali:—</p> -<p class="par">I saw an outspread white tent, wherein black hens were -perched, that laid eggs of various kinds and spoke in human language. -(A book.)</p> -<p class="par">Between the end of the thirteenth century and the -beginning of the fourteenth lived, almost contemporaneously, three -great poets, all ecclesiastics:—<span class="sc">Constantine -Erzingatzi</span>, <span class="sc">Hovhannes Erzingatzi</span>, and -<span class="sc">Frik</span>, who were almost the last singers of the -dying Armenian kingdom.</p> -<p class="par">The first of these, <span class="sc">Constantine -Erzingatzi</span>, was born about 1250–1260 in <span class= -"pagenum">[<a id="xd24e8733" href="#xd24e8733" name= -"xd24e8733">209</a>]</span>Erzingan. From early youth he showed poetic -talent and gained favour from the people, but incurred the jealousy of -his own associates. In one of his poems he says he cannot tell why his -enemies hate him and expresses a desire to know their reason. -Erzingatzi had a friend, a certain Amir Tol, who lived in Tabriz. -Erzingatzi used to send his poems, as he wrote them, to this friend, -who entered them in a book. The poems in this collection number -twenty-two. The manuscript is preserved in the library of St. Lazare, -Venice. The themes of Erzingatzi’s poems are—among other -things—the love of the rose and the nightingale, the beauty of -nature, the wedding of the flowers, spring, dawn, and morning. In his -love poems, he throws over his emotions a mystic veil of celestial hue, -and some of his lines rise to a higher level than ordinary amorous -verse. For him, love and beauty are one and the same. He says that one -who is without love has no sense of beauty. He calls his lady-love a -breeze of spring, and himself a thirsty flower, but a flower on which -only a hot southern blast is ever blowing, so that his love-thirst -continually endures. He likens his mistress to the radiant heavenly -bodies—the sun, moon, and stars—but her light is stronger -than that of all other luminaries, for it alone can illumine his -darkened heart.</p> -<p class="par">Erzingatzi says that, if he is to have any share in the -life of love in this world, he will be content with one hour of -“morning love” that springs from the heart. For that he is -willing to exchange his life. He prays to God for such love, always -emphasising the word “morning.”</p> -<p class="par">Among his works is a beautiful poem on Spring, which -begins with a hundred thousand thanksgivings for the blessing that has -flown down from heaven to earth:—</p> -<p class="par">“It was dark and every stone was ice-bound; there -was not a green herb, but now the earth arrays itself anew. The winter -was like a prison, the spring like a sun that rises in the night. -Everything is merry and joyous; even the dew-bringing cloud thunders -gently, spanning the earth with its bow and causing many swift rivers -to flow, which, without distinction, throw into rapturous intoxication -all places of the earth.</p> -<p class="par">“Terribly roar the streams that come down from the -mountains, but, after strolling to and fro among the meadows in loving -fashion, pass on to touch the face of the sea.</p> -<p class="par">“The birds sing sweetly; the swallow chants -psalms, the lark comes, reciting the praise of the morning. All leap -into life—plants, birds, beasts with their offspring; they all -form themselves into one great flock and dance together. The flowers -have assembled in the garden. The Nightingale, proclaiming the glad -things of the great resurrection, also enters the garden, seeking the -Rose.</p> -<p class="par">“When the time is ripe, she opens, and the other -flowers, when they see the splendour of <span class="pagenum">[<a id= -"xd24e8748" href="#xd24e8748" name="xd24e8748">210</a>]</span>the Rose, -run off, over hill and dale, and, from fear, lose their colour. The -Nightingale is intoxicated with the sweet odour of the Rose. Then takes -place a festival of nature and the Rose sings her own -praise.”</p> -<p class="par">The original text of this poem is a real achievement as -regards language, poetical expressions, and art, showing that -Erzingatzi was a master of his craft.</p> -<p class="par">Erzingatzi was also the author of a long narrative poem, -called <i>Farman and Asman</i>, recounting the love adventures of a -Persian princess. This was composed at the request of a Syrian knight -and shows some traces of Persian influence.</p> -<p class="par">Another long narrative poem of this writer, entitled -<i>A Girl’s Questions</i>, seems to owe something to Arabic -literature.</p> -<p class="par">Erzingatzi is also the author of many didactic poems. -Here are a few stanzas from another of his poems:—</p> -<div class="lgouter"> -<div class="lg"> -<p class="line xd24e1269">“Waken from your dreams</p> -<p class="line">And behold, you that were sleeping,</p> -<p class="line xd24e1269">How through all the night</p> -<p class="line">They their sleepless watch are keeping.</p> -<p class="line xd24e1269">Ever circling round</p> -<p class="line">By the will of God who made them:</p> -<p class="line xd24e1269">And heaven’s arches wide</p> -<p class="line">To uplift and hold He bade them.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">“I awoke from sleep</p> -<p class="line">And a while I stood and waited.</p> -<p class="line xd24e1269">When the long night passed,</p> -<p class="line">When appeared the dawn belated,—</p> -<p class="line xd24e1269">Many stars of light</p> -<p class="line">Watching stood to greet the morning;</p> -<p class="line xd24e1269">Servants of our God,</p> -<p class="line">All the sky of night adorning.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">“Then a Star arose</p> -<p class="line">Near the Morning Star, in Heaven;</p> -<p class="line xd24e1269">Fairer than all stars,</p> -<p class="line">Radiance to that Star was given.</p> -</div> -<div class="lg"> -<p class="line xd24e1269">“When the moon beheld</p> -<p class="line">She bade all the stars to vanish. <span class= -"pagenum">[<a id="xd24e8813" href="#xd24e8813" name= -"xd24e8813">211</a>]</span></p> -<p class="line xd24e1269">All turned pale, and set,</p> -<p class="line">As she spoke their light to banish.</p> -<p class="line xd24e1269">Cleared was heaven’s face</p> -<p class="line">And the sun arose in splendour;</p> -<p class="line xd24e1269">Then a Child appeared,</p> -<p class="line">Sweet the Name He had, and tender.”<a class= -"noteref" id="xd24e8826src" href="#xd24e8826" name= -"xd24e8826src">23</a></p> -</div> -</div> -<p class="par first"><span class="sc">Hovhannes Erzingatzi</span> -(<i>b.</i> 1250) was educated in a monastery on the confines of Georgia -and Armenia under a bishop who was renowned for his learning. He -returned to Erzingan in 1272 and travelled to Jerusalem in 1281, in the -course of his journey passing through Cilicia in order to visit the -Armenian royal seat, where King Leon was then reigning. By his learning -and talents he attracted the attention of the Catholicos, who appointed -him director of all the schools in the city.</p> -<p class="par">By order of the Catholicos, he wrote a grammar, -remarkable for its dear and comprehensible style and language. He also -came under the notice of the king. At the annual horse race two of the -king’s sons were among the competitors. On this occasion -Erzingatzi made a speech, which left a great impression and gained him -recognition as an orator. In Cilicia he learnt Latin and made several -translations from that language into Armenian. He wrote many Biblical -commentaries, besides other religious and devotional works, as well as -treatises on astrology; but his fame rests chiefly on his verse. In -addition to religious and moral poems, he wrote love songs, and lays -relating to nature. In his ethical as well as in his love poems we find -quaint metaphors and similes.</p> -<p class="par">As, for instance, in the following stanza, where our -poet seems to be forestalling Bunyan:—</p> -<div class="lgouter"> -<p class="line xd24e1269">“All my sins I once amassed</p> -<p class="line">And sat down before them weeping.</p> -<p class="line xd24e1269">When the caravan went past</p> -<p class="line">With my load I followed, leaping.</p> -<p class="line xd24e1269">Then an angel that we met,</p> -<p class="line">‘Woful pilgrim, whither farest?</p> -<p class="line xd24e1269">Thou wilt there no lodging get</p> -<p class="line">With that burden that thou bearest.’”</p> -</div> -<p class="par first">In another poem, entitled “<a href= -"#v40">Like an Ocean is this World</a>,” which appears on page 59 -of <span class="pagenum">[<a id="xd24e8863" href="#xd24e8863" name= -"xd24e8863">212</a>]</span>this volume, he uses the metaphor afterwards -employed in Donne’s <i>Hymn to Christ</i> and Tennyson’s -<i>Crossing the Bar</i>.</p> -<p class="par">His love poems are exquisitely fresh and rich.</p> -<p class="par">The aesthetic character of his love and his enthusiasm -for beauty are shown by his declaration, in one of the poems, after a -rapturous expression of his passion for a lady of whom he gives a -rich-hued word-portrait, that the only thing that keeps his feelings -within bounds is the knowledge that, after death, her face will wither -and its colours fade.</p> -<p class="par">In 1284 he went to Tiflis, the capital town of Georgia, -where he gave, in the newly-built church, on the occasion of its -opening, a discourse on the movements of the heavenly bodies. This -subject had a great fascination for him and he treated it in a manner -that deeply impressed his hearers, including the king’s son who -was present. His discourse was not a sermon, but a poetical oration. On -the prince’s asking him to write a poem on the same subject, he -wrote one of a thousand lines. At the desire of another prince, he -composed another poem on the same theme.</p> -<p class="par"><span class="sc">Khachatur Kecharetzi</span> (better -known by his pen-name, <span class="sc">Frik</span>) was a priest who -was born at the end of the thirteenth century and died about 1330. He -wrote many poems, several of which are of an allegorical character; -also laments on the state of his country, and several mystic and other -religious poems, as well as love songs; but his most characteristic -work is the poem addressed to God, asking why He is unmindful of the -terrible condition of the Armenian nation, and also enumerating the -inequalities of the world, showing how the wicked prosper and the -righteous suffer.</p> -<p class="par">“If we are useless creatures” (he says) -“unworthy of Thy care, why dost Thou not entirely destroy -us?”</p> -<p class="par">An extract from this long poem is given in this volume -on page xv.</p> -<p class="par">At the close of the fourteenth century, the glory of -Cilicia vanished, as the Armenian kingdom became extinct, after an -existence of nearly three hundred years; and Armenia once more became -the scene of turmoil and bloodshed.</p> -<p class="par">The fifteenth century opened with the invasion of -Tamerlane, when the country was again desolated and subdued. This was a -century of the overthrow of Eastern civilisation.</p> -<p class="par">The Byzantine Empire, shaken from its foundation, was -dashed to pieces, and its capital, Constantinople, fell into the hands -of the Ottomans (1453), a new Mohammedan power, which aspired to become -master of the whole of Asia. The Turcomans and, later, the Persians, -tried to check the advance of the Turks into their territories. Hence -commenced a long series of <span class="pagenum">[<a id="xd24e8894" -href="#xd24e8894" name="xd24e8894">213</a>]</span>wars between the two -Mohammedan states which continued through four centuries, and Armenia -passed now into the hands of the one, now into the hands of the other. -The country was again the scene of war, wherein reigned desolation, -fire, and death.</p> -<p class="par">After the occupation of Constantinople, Turkish -influence extended over most of the eastern part of Armenia.</p> -<p class="par">From this time, migrations of Armenians out of their own -country into different parts of the world became more frequent.</p> -<p class="par">Twenty years after the invention of printing (1476) a -grammar in many tongues was published in France, which contains several -pages in Armenian.</p> -<p class="par">In 1512 the first Armenian printed book was issued in -Venice. After that Armenians set up presses in various countries.</p> -<p class="par">Notwithstanding the political position of the country, -its poetry continued to flourish and assumed a definite character; and -the voices of the poets rose continually louder and louder. This -century, together with the two preceding and the two following ones, -forms a flourishing age for poetry.</p> -<p class="par">The chief poets of this century are:—Hovhannes -Tulkourantzi, Mkrtich Naghash, Grigoris of Aghtamar, Nahapet Kouchak, -Arakel Sunetzi.</p> -<p class="par"><span class="sc">Hovhannes Tulkourantzi</span> -(1450–1525) was Catholicos of Sis. He is a poet of the days of -spring, flowers, beauty, love. He wrote also moral and religious poems, -besides other things. He cannot understand how it is possible for one -who loves a beautiful woman to grow old and die.</p> -<p class="par">“Whosoever loves you, how can he die? How can his -face grow pale in death?”</p> -<p class="par">He sings of the sanctity of family life, warning his -readers against the strange woman “who brings torment and grief. -Even his lawful wife brought trouble to Adam; what then is to be -expected of the stranger?”</p> -<p class="par">He has a striking poem on Death, which he addresses -thus:—</p> -<div class="blockquote"> -<p class="par first">“There is nothing so bitter as thou, no -venom is more bitter; only Hell surpasseth thee, and it is thou who -bringest Hell in thy train. Solomon remembered thee, saying, ‘Of -what profit is my wisdom? Say not I am a King possessing gold and -treasures.’</p> -<p class="par">“Alas, O death! thou hast a grudge against the -sons of Adam and thou avengest thyself on them.</p> -<p class="par">“Thou didst not consider that Moses was a prophet, -nor art thou ashamed of assaulting David; thou takest even Father -Abraham; thou draggest King Tiridates from his throne; and thou -respectest not the Emperor Constantine.<a class="noteref" id= -"xd24e8926src" href="#xd24e8926" name="xd24e8926src">24</a> -<span class="pagenum">[<a id="xd24e8929" href="#xd24e8929" name= -"xd24e8929">214</a>]</span></p> -<p class="par">“If a hero is attended by 1000 horsemen and -arrayed in six coats of armour, thou shootest thine arrows at him and -bringest him down, then thou castest him into prison and before the -entrance thou placest a great stone.”</p> -</div> -<p class="par"></p> -<p class="par">The poem continues:—</p> -<div class="lgouter"> -<p class="line xd24e1269">“Like an eagle flying far,</p> -<p class="line">Forth on wide-spread wings thou farest;</p> -<p class="line xd24e1269">All the strong ones of the earth</p> -<p class="line">In thy wing-tips rolled thou bearest.”</p> -</div> -<p class="par first">In other poems we see his susceptibility to -passion and his sense of love’s power. In one of these poems he -depicts<a class="noteref" id="xd24e8947src" href="#xd24e8947" name= -"xd24e8947src">25</a> a bishop of 100 years old whose beard had turned -from white to yellow and who, when officiating at the altar, suddenly -uttered the name of a lady in his invocation before the cross.</p> -<p class="par"><span class="sc">Mkrtich Naghash</span> was Archbishop -of Diarbekr. He lived when the country was in difficult political -circumstances. His talents were appreciated not only by Armenians, but -also by the Mohammedan rulers with whom, thanks to his tact, he -established friendly relations, whereby he was able to protect his -compatriots from many oppressions. He built a church, which he adorned -with beautiful pictures of his own painting. But, after the death of -the Mohammedan princes who were his patrons, tyranny and oppression -began again under their successors. He went to Byzantium to solicit aid -for his suffering countrymen, but returned disappointed.</p> -<p class="par">Besides his artistic skill, he was a poet of -considerable merit. His poems are generally on moral and religious -themes—the vanity of the world, avarice, and so forth; he also -wrote songs of exile, and love songs.</p> -<p class="par">In his poem on avarice he says that that vice is the -root of all evil: “Kings and princes are continually fighting -against one another, watering the country with blood. They destroy -flourishing towns; they drive the inhabitants into exile; and spread -desolation wherever they go; and all this is through -avarice.”</p> -<p class="par">He goes on to specify other evils springing from this -sin.</p> -<p class="par">In the love songs of Mkrtich Naghash, the Rose and the -Nightingale whisper to each other fiery love speeches complaining of -each other’s cruelty. Then they admonish each other not to let -their passion consume them, and sing each other’s praises.</p> -<p class="par">This is an extract from one of his songs of exile: -“The thoughts of an exile from his <span class="pagenum">[<a id= -"xd24e8964" href="#xd24e8964" name="xd24e8964">215</a>]</span>country -are wanderers like himself. If his mind is wiser than Solomon’s, -if his words are precious pearls, in a foreign land they bid him be -silent and call him an ignorant fool. His death is as bitter as his -life; there is no one to cross his hands over his heart; they laugh as -they cover him with earth; no mourner follows him to the grave. But I, -Naghash, say that an exile’s heart is tender. In a foreign land, -what is sweet seems gall; the rose becomes a thorn. Speak gently to an -exile; give him a helping hand, and you will expiate your sins which -rankle like thorns.”</p> -<p class="par">These songs of exile (or pilgrim songs) are a special -feature of Armenian poetry and for ages have been written by various -poets. They are original and often quaint and express the feelings of -Armenians who live far from their native mountains and fields, showing -how they pine for the land of their birth, reflecting the natural -beauties of their fatherland, and their yearning for their hearth and -the dear faces of home.</p> -<p class="par">In 1469 in the town of Mardin there was an epidemic of -smallpox, which caused many deaths. He thus describes one of the -victims: “A youth beautiful to see, the image of the sun; his -brows were arches; his eyes like lamps guiding him by their light. This -lovely child lay on the ground, writhing piteously, looking to right -and left, while the terrible Angel of Death was busily engaged in -loosing the cords of his soul. Then the boy cried, saying: ‘Pity -me and save me from the hands of this holy angel, for I am -young.’ Then he turned to his father, and asking help from him, -said: ‘There are a thousand desires in my heart and not one of -them fulfilled.’</p> -<p class="par">“The father answered: ‘I would not begrudge -gold and silver for thy redemption; but these are of no avail. I would -willingly give my life for thine.’ In the end the light of the -child’s life was extinguished; the lovely hue of his face faded; -his sea-like eyes lost their lustre; the power of his graceful arm was -cut off.”</p> -<p class="par">Here is a translation in verse of a poem on a mysterious -Flower:—</p> -<div class="lgouter"> -<p class="line">“All the lovely flowers that were</p> -<p class="line">One by one have left and gone,</p> -<p class="line">One Flower too there was that went</p> -<p class="line">Mourned and wept by every one.</p> -<p class="line xd24e1269">Sweetest fragrance had that Flower,</p> -<p class="line xd24e1269">Scent that filled the earth and air,</p> -<p class="line xd24e1269">So that all the flowers of earth</p> -<p class="line xd24e1269">Sought in love this Blossom fair.</p> -<p class="line">Some for this sweet Flow’ret’s sake</p> -<p class="line">Paled and withered languidly; <span class= -"pagenum">[<a id="xd24e8996" href="#xd24e8996" name= -"xd24e8996">216</a>]</span></p> -<p class="line">Many for this Flow’ret’s sake</p> -<p class="line">Blossomed like the almond tree.</p> -<p class="line xd24e1269">God Himself had sent that Flower,</p> -<p class="line xd24e1269">But all did not know its worth.</p> -<p class="line xd24e1269">He that gave took back His own,</p> -<p class="line xd24e1269">Many wept upon the earth.</p> -<p class="line">And the Flower went to a place</p> -<p class="line">Where all flowers rejoiced and smiled;</p> -<p class="line">Flowers of many a brilliant hue</p> -<p class="line">With its sweetness it beguiled.</p> -<p class="line xd24e1269">From its beauty other flowers</p> -<p class="line xd24e1269">Borrowed lustre, and they glowed;</p> -<p class="line xd24e1269">Every blossom in its kind</p> -<p class="line xd24e1269">To that Flower knelt and bowed.”</p> -</div> -<p class="par first"><span class="sc">Grigoris of Aghtamar</span> was -born about 1418 and was Catholicos of Aghtamar, an island in the Lake -of Van, which has picturesque surroundings fit to inspire a poet; so -that it is not surprising that our Catholicos became a singer animated -by poetic fire, the exponent of love and beauty—of the -Nightingale and the Rose.</p> -<p class="par">It is evident, from his works, that Grigoris had a great -love of life. We see this especially in a poem entitled <i>The Gardener -and his Garden</i>. The Gardener, says the poet, enters his garden -every morning and hears the sweet voice of the nightingale as he -examines the newly planted flowers of various colours. This beautiful -spot he surrounds with a hedge, bringing stones from the river, thorns -from the mountain. He has just built arbours, made a fountain, -introduced little running brooks, and planted vines, when, all of a -sudden, a voice utters the command: “Come out of thy -garden.” It is Death who beckons him out. He expostulates: -“I have not yet seen life and light; I have not yet seen the -fruit of the garden; I have not yet smelt the rose; I have not yet -drunk my wine or filled my casks; I have not plucked flowers for a -nosegay. I have not yet rejoiced over my garden.”</p> -<p class="par">But his prayers are not heeded; obedient to the -unchangeable law of the universe, he at last capitulates to the Angel -of Death.</p> -<p class="par">After describing the Gardener’s death and burial, -the poet goes on to tell what happens to the garden after its owner has -left it; the rose fades; the other flowers disappear; the hedge is -broken down, and what was once a lovely garden becomes a scene of -desolation.</p> -<p class="par">This is his description of the face of his lady-love. He -likens her eyebrows to a sword; the sparkle of her eyes to a sharp -lance; her eyes to the sunlit sea. She is, he says, as straight -<span class="pagenum">[<a id="xd24e9042" href="#xd24e9042" name= -"xd24e9042">217</a>]</span>as a willow; her lips are like harp strings; -her teeth, a row of pearls; her tongue is sugar; and, wherever she -rests, the place becomes a garden. She has fragrance sweeter than the -violet of the spring; she is like a white rose, pure and sweet, like a -newly opened flower; a young almond plant. Her face is red and white, -like an apple of the forest. She soars high, like a daring eagle. She -is brilliant as a peacock with golden feathers.</p> -<p class="par">We have in this volume (page 52) a translation of one of -Grigoris’ longer poems, entitled “Concerning the Rose and -the Nightingale,” in which it is interesting to note -that—quaintly enough—the poet gives the text of a letter -sent with great pomp, by special messengers, to the Rose; adding the -consequence which followed, and the verbal answer returned.</p> -<p class="par">The subject of the Rose and the Nightingale is a Persian -one originally, but the outstanding characteristics of the Armenian -versions consist in the refinements and subtleties of the feelings -described, the deference paid to the Rose, and the idea of continuity -and faithfulness in love. These feelings are minutely described in this -beautiful poem, and summed up in the Rose’s message to the -Nightingale on p. 56:—</p> -<div class="lgouter"> -<p class="line">“I cannot there return immediately;</p> -<p class="line">A little he must wait, in patient wise:</p> -<p class="line">But if his love is perfectly with me,</p> -<p class="line">Tell him to look for it in Paradise.”</p> -</div> -<p class="par first">These ideals constitute the difference between the -mentality of Mohammedanism and Christianity.</p> -<p class="par"><span class="sc">Nahapet Kouchak</span> was a fine poet -of the seventeenth century. He is called the Psalmist of Love. Although -there is a slight resemblance in style between his writings and those -of the Persian poets, his poetry is original. The works attributed to -him have only recently been published as a whole; they have been -translated into French and other languages, and greatly admired. Some -critics have placed him higher than Sadi and other Persian poets. -(Examples of his work are given on pages 4, 5, and 31.)</p> -<p class="par"><span class="sc">Arakel Sunetzi</span> was the -Metropolitan of the province of Suni. He appears to have possessed a -thorough acquaintance with the writings of his time. His chief work is -the <i>Book of Adam</i>, a long narrative poem, telling the story of -the Fall in the style of a romance in which theology, lyrics, heroic -lays, and folklore are all fused together.</p> -<p class="par">Adam, though because of his great love for his wife he -was inclined to yield to her petition, yet wavered, not knowing whether -to hearken to his spouse or to his Creator. “But his mind -<span class="pagenum">[<a id="xd24e9073" href="#xd24e9073" name= -"xd24e9073">218</a>]</span>went with his eyes; he deserted God, but not -the woman; for, without Eve, half of his body was dead, and with the -other half it was impossible to live.”</p> -<p class="par">Among the lyrics in this book is one entitled <i>The -Rib</i>, of which we subjoin two stanzas:—</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">“The rib is bow-shaped, so her face,</p> -<p class="line">Sped by her looks, is like a dart;</p> -<p class="line">Who gazeth on a woman’s grace,</p> -<p class="line">No salve or drug can cure his smart.</p> -</div> -<div class="lg"> -<p class="line">“And for the rib is high and low—</p> -<p class="line">One side is vaulted, one is round,</p> -<p class="line">Her face doth love and sweetness show</p> -<p class="line">Whilst in her heart fierce hate is found.”</p> -</div> -</div> -<p class="par first">Here is a passage from another poem of -Sunetzi’s entitled <i>The Glory of the Saint</i>s, describing the -Resurrection:—</p> -<div class="lgouter"> -<p class="line xd24e1269">“Opened are the tombs;</p> -<p class="line">Now rise the dead that long in dust have lain.</p> -<p class="line xd24e1269">Decked with brilliant hues,</p> -<p class="line">Bright as the sun, they cannot fade again.</p> -<p class="line xd24e1269">While the earth, renewed,</p> -<p class="line">Doth greet the Lord, all fresh and dazzling white;</p> -<p class="line xd24e1269">And the heavens are decked</p> -<p class="line">More richly than before, sevenfold more bright.</p> -<p class="line xd24e1269">Then in heaven shines forth</p> -<p class="line">With arms stretched out like rays, the Holy Rood.</p> -<p class="line xd24e1269">With the Cross appear</p> -<p class="line">The hosts of fire—a countless multitude.</p> -<p class="line xd24e1269">Butterflies dance forth</p> -<p class="line">Amongst the angels—none may mark them -out.”</p> -</div> -<p class="par first">In the sixteenth century, Turkish and Persian wars -became fiercer and the Armenian history of this century becomes the -record of the sufferings of the country during these wars. Poets of -this period were Nerses Mokatzi, Minas Tokhatzi, Ghazar of Sebastia, -Sarkavak Bertaktzi.</p> -<p class="par"><span class="sc">Nerses Mokatzi</span> was an -ecclesiastic and poet. Very few of his works have come down to us. One -of the poems we have—entitled <i>The Dispute between Heaven and -Earth</i>—is interesting. The poet begins by saying that Heaven -and Earth are brothers. One day these <span class="pagenum">[<a id= -"xd24e9143" href="#xd24e9143" name="xd24e9143">219</a>]</span>brothers -disputed as to which of them was the greater. “Of course,” -says the poet, “the Heaven is high, but the Earth is more -fruitful.”</p> -<p class="par">He then goes on to report a dialogue between the -brothers in which each enumerates his own possessions, declaring them -superior to those of the other. The following is a short prose summary -of this dialogue:—</p> -<div class="blockquote"> -<div class="sp"> -<p class="speaker"><i>Heaven.</i></p> -<p class="par">Surely I possess more than you. The stars, with their -radiance, are all in my domain.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Earth.</i></p> -<p class="par">The flowers, with their six thousand colours, are in -mine.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Heaven.</i></p> -<p class="par">If I withhold my dew, how will your flowers array -themselves?</p> -</div> -<div class="sp"> -<p class="speaker"><i>Earth.</i></p> -<p class="par">You derive your dew from the sea, which originates in -me. If I cut off the source of the sea, how would you get your dew?</p> -</div> -<div class="sp"> -<p class="speaker"><i>Heaven.</i></p> -<p class="par">I have something else that you have not: should I veil -my sun your flowers would fade.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Earth.</i></p> -<p class="par">Oh, I will bring forth waters from my abyss to keep my -flowers alive.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Heaven.</i></p> -<p class="par">The lightning and the hail could destroy your flowers if -I willed it so.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Earth.</i></p> -<p class="par">I have mountains and valleys that would intercept them -and shield the flowers.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Heaven.</i></p> -<p class="par">All brave and wise men are buried in your depths.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Earth.</i></p> -<p class="par">When God recalls the souls that are His, what is to be -done? If I did not receive and conceal their bodies, the angels would -flee from the deathly odour, and Heaven and Earth would be shaken.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Heaven.</i></p> -<p class="par">The Nine Orders of Angels are all here with me.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Earth.</i></p> -<p class="par">In my realm are the Apostles and Prophets.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Heaven.</i></p> -<p class="par">I am the Heaven of Seven Regions; the Sun, the Moon, and -the Creator-God sitting on His throne all have their abode in me.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Earth.</i></p> -<p class="par">Your Seven Regions will be shaken from their foundation. -The Sun, the Moon, and the Stars will be cast into the darkness and -your Creator-God, with His throne, will descend to me. The Judgment -will be held in my domain.</p> -</div> -<div class="sp"> -<p class="line xd24e1269">“Heaven then bent down its head</p> -<p class="line">To the Earth in adoration,</p> -<p class="line xd24e1269">You too, children of the Earth,</p> -<p class="line">Bow to her in adoration.</p> -<p class="line xd24e1269">What is higher than the Earth?</p> -<p class="line">Praise and love bring to enwreathe her.</p> -<p class="line xd24e1269">For to-day we walk on her</p> -<p class="line">And to-morrow sleep beneath her.”<a class= -"noteref" id="xd24e9265src" href="#xd24e9265" name= -"xd24e9265src">26</a></p> -</div> -</div> -<p class="par"><span class="pagenum">[<a id="xd24e9328" href= -"#xd24e9328" name="xd24e9328">220</a>]</span></p> -<p class="par">This poem is interesting, as it breathes the spirit of -the revival of popular poetry, with its worship of nature, beauty, and -love, of which things the Earth is the personification. Hence the poet -exalts Earth above Heaven. Here we see also a change of ideas. The -older Christian poets were churchmen and sang contempt of the present -world and concentration on the joys of heaven. This new note, struck -from the beginning of the fifteenth century, gradually grows bolder, -and sounds forth daringly, as we hear it in this poem, which seems all -the more remarkable when we remember that its author was a priest. This -is the song, not of a lover of vanities, but, rather, of an enthusiast, -who loves beauty and has learnt that it is good to live on the earth, -because it also contains beautiful things that are worth living for. -This poem also shows the conquest of learning and science which, at the -time it was written, had found their way into Armenia as well as -elsewhere, perhaps through the new Armenian colonies formed in Europe -and other parts of the world.</p> -<p class="par"><span class="sc">Minas Tokhatzi</span>, a humorous poet, -lived in Poland. He wrote verses on Toothache and on Tobacco -(descanting on its objectionable odour and showing how the smoker -becomes its slave); also on Flies.</p> -<p class="par">To convey an idea of his art, we give the substance of -the last-named work:—</p> -<p class="par">“The flies,” says the poet, “for some -reason or other, went forth to combat against me. They also entered -into a conspiracy with my penknife. Knowing of this, I implored the -knife not to listen to the accursed insects, who had already caused me -enough pain. The attack was begun in a novel fashion; the flies came, -buzzing, in gay and merry mood, and settled on my hands and arms in a -friendly manner, asking me to write them something in red ink. At the -same time, the penknife, playing me a perfidious trick, cut my hand. I -<span class="pagenum">[<a id="xd24e9340" href="#xd24e9340" name= -"xd24e9340">221</a>]</span>protested against this treatment. The -penknife justified itself by saying it had acted thus because I had -told a lie. I got a few moments’ rest, after this, from the -flies, till, at dinner-time, I met with three of them, who announced -that more were coming. The combat was renewed. During the night, the -flies were relieved by their allies, the fleas.”</p> -<p class="par"><span class="sc">Ghazar of Sebastia</span>, an -ecclesiastic, has fallen under the spell of some eyes “as deep as -the sea.” He describes the torment under which he is pining away -and his longing for his mistress’s arrival, like the longing of a -patient for his physician. The face of his love (he says) is like -glistening amber; her eyes are so bewitching, that</p> -<div class="lgouter"> -<p class="line">“The sun and moon have unto thee come down,</p> -<p class="line">Lovingly on thy locks they hang, and gleam;</p> -<p class="line">And clustering stars thy beauteous forehead crown,</p> -<p class="line">Aflame and drunken with thy love they seem.”</p> -</div> -<p class="par first">There is nothing known of <span class= -"sc">Sarkavak Bertaktzi</span>, but this poem from his pen is -interesting:—</p> -<div class="lgouter"> -<p class="line">“O vine, you should commended be</p> -<p class="line">For you are beautiful to see;</p> -<p class="line">Your fruit is of all fruits most fair:—</p> -<p class="line">The crown and diadem they wear.</p> -<p class="line">Like strands of gold your branches spread,</p> -<p class="line">Like ropes of pearl the grapes they thread.</p> -<p class="line">For some are dark and some are white,</p> -<p class="line">And some are red, transmitting light.</p> -<p class="line">Some glow like amber in the dusk,</p> -<p class="line">Perfumed with frankincense and musk.</p> -<p class="line">Left us by the Creator’s care,—</p> -<p class="line">From Eden’s fields a keepsake rare.</p> -<p class="line">To us on earth you seem to be</p> -<p class="line">The fruit of immortality.</p> -<p class="line">To Noah you were by angels borne</p> -<p class="line">His heart to gladden and adorn.</p> -<p class="line">Your fruit when gathered from the vine</p> -<p class="line">Unto the wine-press we assign;</p> -<p class="line">Your juice like crimson roses glows</p> -<p class="line">And through the press in torrents flows.</p> -<p class="line">Then into jars we pour the meath,</p> -<p class="line">There without fire to boil and seethe.</p> -<p class="line">How many kings around you press,</p> -<p class="line">Your name how many princes bless! <span class= -"pagenum">[<a id="xd24e9411" href="#xd24e9411" name= -"xd24e9411">222</a>]</span></p> -<p class="line">The Sovereign’s heart you fill with joy,</p> -<p class="line">With power to conquer and destroy;</p> -<p class="line">If he is wroth with any man,</p> -<p class="line">And places him beneath his ban,</p> -<p class="line">One drop of you immediately</p> -<p class="line">Would move his heart to set him free.</p> -<p class="line">The man that from his birth was blind,</p> -<p class="line">Drinking of you, his sight doth find;</p> -<p class="line">Of glorious cities he can tell,</p> -<p class="line">Wherein his footsteps never fell.</p> -<p class="line">The dumb, that halted in his speech,</p> -<p class="line">To prate with fluency you teach.</p> -<p class="line">More glibly than a parrot, he</p> -<p class="line">Will jest and wanton dotingly.</p> -<p class="line">At mass, within the sacred cup,</p> -<p class="line">The holy priest doth raise you up.</p> -<p class="line">Disease and pain through you will cease,</p> -<p class="line">By you all sinners find release.</p> -<p class="line">To town and village you are borne,</p> -<p class="line">To convent, wilderness forlorn;</p> -<p class="line">Where men do not your sparkle see,</p> -<p class="line">No mass nor service can there be.”</p> -</div> -<p class="par first">The seventeenth century resembles its predecessor -as regards the political position of Armenia, except that the misery is -even greater.</p> -<p class="par">During the last years of the eighteenth century, the -Russian conquest of Armenia began.</p> -<p class="par">At the end of the eighteenth century an Armenian monk -named <span class="sc">Mkhitar Sepastatzi</span> established at St. -Lazare in Venice an Armenian Brotherhood, who devoted themselves to -literature. This Brotherhood is still in existence, and has a branch in -Vienna. During this period of more than a century its members have -printed hundreds of old MSS. of historical value. They have also -produced many works dealing with history and other branches of -learning, and translations of foreign classics, thus rendering a great -service to Armenian literature.</p> -<p class="par">It will be remembered that Byron stayed at St. Lazare -and studied Armenian, He actually took part in the publication of an -Armenian-English dictionary and grammar.</p> -<p class="par">For centuries music and song have become a joy to -Armenians through minstrels called <i>ashoughs</i>. <i>Ashoughs</i> are -invited to all weddings and other festivities, where they are the life -of the party and the makers of merriment. They sing also on the bridges -and in the squares, <span class="pagenum">[<a id="xd24e9478" href= -"#xd24e9478" name="xd24e9478">223</a>]</span>and wander from courtyard -to courtyard. Their song is not always merry; it is sometimes sad, -sometimes even bitter. They always carry with them their <i>saz</i> or -<i>tar</i> or <i>kamancha</i>, oriental instruments, on which they -accompany their songs. Many of the ashoughs are blind. To be an -<i>ashough</i> is considered a high attainment. In order to acquire the -art, any one who aspires to become an <i>ashough</i> first observes a -fast of seven weeks, then goes to the monastery of <i>Sourb -Karapet</i>, which is the Parnassus of Armenian musicians. “Sourb -Karapet” is John the Baptist, who is the patron saint of Armenian -minstrels. In the Near East, <i>ashoughs</i> (who are mostly Armenians) -are greatly admired not only by Armenians, but by Persians, Turks, and -other races, as some of them sing in other languages besides Armenian. -Some ashoughs sing their own verses, but as a rule the songs are the -composition of a special class of poets. The songs of these other -<i>ashoughs</i> often reveal deep feelings and many of them are -high-class poems.</p> -<p class="par">As a typical <i>ashough</i> author, I will only mention -<span class="sc">Sayat Nova</span>. His lyre attained extreme -sweetness; he combines all the vivid colouring of the East with soft -and refined shading. He was born in 1712. He was a special favourite at -the court of the Georgian king. In his own words, he “sat in the -palace among the beauties and sang to them,” but his songs seem -not merely to be poems in praise of court beauties, or for their -amusement; they seem an expression of the deep feelings of his heart. A -word-picture of his lady-love will be found on page 74 of this volume -(“Thy Voice is Sweet”).</p> -<p class="par">His love is so intense that one sees at once that he is -capable of deep feelings and one is drawn to him; yet this love is pure -and unselfish. He describes his love as a sea and himself as a little -barque floating on it. For ten years he has wooed the lady as a prince, -but without success; he will not relinquish the pursuit of her, but -resolves now for seven years to pay court to her in the character of a -pilgrim-minstrel.</p> -<p class="par">He is even content only to sleep on her doorstep. There -is something else that is a part of his life, namely, his -<i>kamancha</i>. He threatens to cut the strings of his instrument if -he is a week without seeing his beloved.</p> -<p class="par">Once he comes face to face with his lady-love and -says:—</p> -<p class="par">“What avails me now a physician? The ointment -burns, and does not heal the wound, but your medicine is a different -one.”</p> -<p class="par">But she replies that she has no remedy for him. In -another poem he is in despair, and says:—</p> -<p class="par">“Without thee, of what use is the world’s -wealth? I will don the habit of a monk and visit the monasteries one by -one. Perhaps in one of them I shall discover a way of redemption -<span class="pagenum">[<a id="xd24e9528" href="#xd24e9528" name= -"xd24e9528">224</a>]</span>from my hopeless love.” (See -“Without Thee what are Song and Dance to Me?” on page 85 of -this volume.)</p> -<p class="par">In another poem he expresses the wavering between -earthly and heavenly life, saying:—</p> -<p class="par">“If one obeys the will of the soul, then the body -is offended. How shall I escape this sorrow?”</p> -<p class="par">At last he carries out his declaration and becomes a -monk. He secludes himself from the world in a lonely monastery, far -away from Tiflis; but once he hears that a minstrel has come to that -city whom none can equal, whereupon he steals out of the monastery, -disguised as a layman, and taking his <i>saz</i> with him, goes to -Tiflis, enters into contest with the new minstrel, and conquering him, -saves the honour of his native town.</p> -<p class="par">In 1795 Agha Mohammed Khan laid waste Tiflis and many -other towns of that region. His soldiers entered the monastery where -Sayat Nova was praying and commanded him to come out and become a -Mohammedan if he wished to save his life; but he replied, in verse, -that he was an Armenian and would not deny his Christ. He was therefore -martyred on the spot. Other poems of his appear on pages 35 (“I -have a Word I fain would say”), 14 (“I beheld my Love this -Morning”), 110 (“Thou art so Sweet”).</p> -<p class="par">We have given specimens of mediaeval Armenian poetry; we -now proceed to indicate in outline its most striking -characteristics.</p> -<p class="par">The theme of the Armenian pagan minstrels was the heroic -deeds of their country’s history. The adoption of Christianity -imparted to Armenian poetry a specific form and tone. At the same time -it was the revival of the old Armenian valour, which, strengthened by -the circumstances in which the Armenians lived, produced a religious -poetry of great purity of feeling, and of a depth and solemnity -unequalled by any other poetry of this class.</p> -<p class="par">In the Middle Ages, the poetry gave expression to the -love and other emotions of the Armenian poets.</p> -<p class="par">A new poetry of the now Mohammedan Persia written in -modern Persian came into being almost simultaneously with the Armenian -poetry of the Middle Ages.</p> -<p class="par">Firdusi, Omar Khayyam, Sadi, Hafiz, with a splendid -retinue of less famed singers, made Persian the language of verse -which, together with Arabic poetry in its earlier stages, no doubt had -some influence on the Armenian poets of the Middle Ages; but this -influence affected form rather than spirit or character.</p> -<p class="par">Armenian mediaeval poetry does not possess the burning -hues of oriental verse, and is <span class="pagenum">[<a id="xd24e9554" -href="#xd24e9554" name="xd24e9554">225</a>]</span>perhaps less -luxurious, but the grace, charm, ease, and fancy of the Armenian lays -are inimitable, and their originality and occasional quaintness are so -marked that one feels there is a magic in them. These characteristics -are the outcome of the mutual assimilation of eastern and western art, -so that the poetry of Armenia, like its language, its art, its Church, -stands by itself.</p> -<p class="par">In comparing Armenian with Persian and Arabic poetry, -one must remember that the Armenians, as Christians, were not -polygamists; and that, to them, marriage was sanctified by the law of -God and man. This is what the great Persian poet Sadi says of women: -“Choose a fresh wife every spring, or every New Year’s day, -for the almanac of last year is good for nothing.” It would have -been impossible for any Armenian poet to entertain such an idea as -that.</p> -<p class="par">Whereas women are so cheap in the eyes of the Persian -poet, Armenian girls endowed with beauty were considered by their -parents and the community very precious possessions, to be zealously -guarded, as they were in constant danger of attracting the attention of -their Mohammedan lords and being forcibly carried off into harems. This -fact had the effect of mingling compassion with the Armenian -poets’ admiration of a girl’s beauty and made them write -more feelingly of women.</p> -<p class="par">It must also be remembered that, whereas Mohammedanism -looks upon woman as a soulless being, in the eyes of a Christian she -possesses a soul as precious as that of a man.</p> -<p class="par">It is an interesting fact that love poems were written -by the clergy, often by ecclesiastics of high position, who, by the law -of the Armenian Church, are vowed to celibacy. One explanation of this -is that they were born poets, and only regarded love as one among many -feelings fitted to be the subject of verse. Their use of the first -person is only dramatic.</p> -<p class="par">There are also many folksongs which differ, in style and -character, from the love-songs of poets. The spirit of these songs is -that of Armenian pagan poems. The following is an example of songs of -this class. It describes the adventure of a girl.</p> -<div class="lgouter"> -<p class="line xd24e1269">“I beheld a youth to-day</p> -<p class="line">As at dawn I walked unheeding,</p> -<p class="line xd24e1269">And the youth stopped on his way,</p> -<p class="line">Struck my cheek, and left it bleeding.</p> -<p class="line xd24e1269">Then my mother questioned me,</p> -<p class="line">‘Who was it that struck you?’ saying,</p> -<p class="line xd24e1269">‘’Twas a thorn, as near the -tree</p> -<p class="line">With the roses I was playing.’</p> -<p class="line xd24e1269">‘May the tree turn dry and sear</p> -<p class="line">Which thy pretty cheek left bleeding!’ -<span class="pagenum">[<a id="xd24e9588" href="#xd24e9588" name= -"xd24e9588">226</a>]</span></p> -<p class="line xd24e1269">‘Mother, dear, oh, do not speak,</p> -<p class="line">’Twas a youth that stopped to kiss it.</p> -<p class="line xd24e1269">’Twas for luck he kissed my cheek,</p> -<p class="line">If thou curse him he will miss it!’”</p> -</div> -<p class="par first">Armenian religious and devotional poetry has -characteristics of its own. This class of literature falls into two -divisions. In the first division are works of a purely literary -character written in old Armenian; in the second, works meant for -popular use, written in the language of the people. These latter are -written in a more familiar style, proverbs and paraphrases being often -introduced, in a picturesque fashion, which appeals to the -unlearned.</p> -<p class="par">As an example of the popular class of literature we give -an extract from a poem about Gregory the Illuminator, who was cast by -King Tiridates into a well infested with serpents and other loathsome -creatures:—</p> -<div class="lgouter"> -<p class="line">“‘Take the saint and put him into the -prison where dragon-serpents are assembled.’</p> -<p class="line">They took the saint and put him in the prison where the -dragon-serpents were assembled.</p> -<p class="line">And the poisonous serpents inclined their tongues in -worship.</p> -<p class="line">And said: ‘Pity us, O Saint Gregory, and hearken -to the complaint of us, dragon-serpents.</p> -<p class="line">It is many thousands of years since we drank water from -the springs;</p> -<p class="line">We have not drunk water from the springs, but only the -blood of condemned men.</p> -<p class="line">We have eaten no green herbs, but only the flesh of the -condemned.’”</p> -</div> -<p class="par first">The poet goes on to tell how St. Gregory when he -came out of the well set free the dragon-serpents in answer to their -prayer.</p> -<p class="par">This poem is very old, being written in the fifth or -sixth century at the latest. The metre is that of the pagan poets.</p> -<p class="par">We cite here another poem of this class—an -allegorical description of Christ on the Cross:—</p> -<div class="lgouter"> -<div class="lg"> -<p class="line">“A little Bird I saw—a peerless -One—</p> -<p class="line">Upon the four-armed Sign, that peer hath none.</p> -<p class="line">O Peerless One, who is like Thee, Thou Peerless -One?</p> -<p class="line xd24e9631">Thou alone.</p> -</div> -<div class="lg"> -<p class="line">“Its silvery wings were of a matchless white</p> -<p class="line">More brilliant than the sun’s clear, matchless -light.</p> -<p class="line">O Matchless One, who is like Thee, Thou Matchless -One?</p> -<p class="line xd24e9631">Thou alone.</p> -</div> -<p><span class="pagenum">[<a id="xd24e9642" href="#xd24e9642" name= -"xd24e9642">227</a>]</span></p> -<div class="lg"> -<p class="line">“Piteous Its voice—a great, transcendent -sigh;</p> -<p class="line">Mighty, as Gabriel’s transcendent cry.</p> -<p class="line">Transcendent One, who is like Thee, Transcendent -One?</p> -<p class="line xd24e9631">Thou alone.</p> -</div> -<div class="lg"> -<p class="line">“Within Its eyes, gem-like, unrivalled tears;</p> -<p class="line">Surpassing those the morn unrivalled wears;</p> -<p class="line">Unrivalled One, who is like Thee, Unrivalled One?</p> -<p class="line xd24e9631">Thou alone.”</p> -</div> -</div> -<p class="par first">A characteristic species of Armenian poetry is the -lullaby. There are hundreds of old Armenian cradle-songs which are -still sung by mothers to their infants, and they are exquisitely dainty -and sweet.</p> -<p class="par">Here are some stanzas from one of these -songs:—</p> -<div class="lgouter"> -<div class="lg"> -<p class="line xd24e1269">“Thou art lovely, feet and all,</p> -<p class="line">Whom wouldst have to be thy playmate?</p> -<p class="line xd24e1269">Hush, the silver moon I’ll -call—</p> -<p class="line">The bright star to be thy playmate.</p> -</div> -<div class="lg"> -<p class="line">“Crimson rose and petals wide,</p> -<p class="line">Thou hast bloomed, our garden’s pride.</p> -<p class="line">As many suns shine on thy years</p> -<p class="line">As the leaves our garden bears.</p> -</div> -<div class="lg"> -<p class="line">“<i>Oror</i>, hush, the deer are here,</p> -<p class="line">The deer have come from the hills so high,</p> -<p class="line">Have brought sweet sleep to my baby dear,</p> -<p class="line">And filled it in his deep, deep eye.”</p> -</div> -</div> -<p class="par first">There are series of Armenian folksongs for every -event in life—birth, marriage, death, and so on.</p> -<p class="par">The following is a folksong of death, being the lament -of a mother over her dead son:—</p> -<div class="lgouter"> -<p class="line xd24e1269">“As to-night I walked alone</p> -<p class="line">To the earth my ear inclining,</p> -<p class="line xd24e1269">From the ground I heard a moan,—</p> -<p class="line">My son’s voice I heard repining.</p> -<p class="line xd24e1269">‘Do not leave me in the ground,</p> -<p class="line">With the serpents round me crawling. <span class= -"pagenum">[<a id="xd24e9714" href="#xd24e9714" name= -"xd24e9714">228</a>]</span></p> -<p class="line xd24e1269">“Food in plenty we have -found,”</p> -<p class="line">To their young ones they are calling,</p> -<p class="line xd24e1269">“From his ribs we’ll gnaw the -flesh,</p> -<p class="line xd24e1269">From his eyes drink water -fresh.”’</p> -<p class="line xd24e1269">All the night I found no rest,</p> -<p class="line xd24e1269">I cried out, ‘Give me a knife,</p> -<p class="line xd24e1269">I will plunge it in my breast,</p> -<p class="line xd24e1269">I will have no more of -life!’”</p> -</div> -<p class="par first">Yet another feature of the literature of this -period is the contemporary history in verse. We come across metrical -narratives of great events written by those who experienced them. There -is a long and vivid description in verse, by an eye-witness, of the -siege of Constantinople. The poet is Abraham Vardapet.</p> -<p class="par">There are also agricultural and craft songs, which are -sung by workmen over their labour.</p> -<p class="par">These songs are adapted to the movements necessitated by -each occupation.</p> -<p class="par">Another marked difference between Armenian and -Mohammedan literature is that Armenians are entirely free from the -fatalism which is a distinctive feature of the Mohammedan view of -life.</p> -<p class="par">Sadi relates, in his <i>Gulistan</i>, the story of a -fisherman that gives the Mohammedan conception of Fate. This fisherman -had caught a fish which his strength did not allow him to drag to -shore. Fearing to be drawn into the river himself, he abandoned his -line, and the fish swam away with the bait in his mouth. His companions -mocked him, and he replied: “What could I do? This animal escaped -because his last hour, fixed by fate, was not yet come. Fate governs -all, and the fisherman cannot overcome it more than another, nor can he -catch fish, if fate is against him, even in the Tigris. The fish -itself, <i>even though dry</i>, would not die, if it were the will of -fate to preserve its life.” The poet adds: “O man! why -shouldst thou fear? If thy hour is not come, in vain would thy enemy -rush against thee with his lance in rest: his arms and his feet would -be tied by fate, and the arrow would be turned away, though in the -hands of the most expert archer.”</p> -<p class="par">The spirit of Armenian poetry is neither despondent nor -fatalistic. Its songs are of dawn, of spring, of sunrise, of struggle; -not of sunset. And perhaps this clinging to hope and this desire to -live is the only secret of the survival of the Armenian nation. -Armenian poetry is the product of dwellers in a hill country. To them -mountains, deep valleys, clear skies, running brooks are familiar -every-day companions.</p> -<p class="par">This brings us down to the Renaissance of Armenian -literature which took place almost simultaneously in Russia and Turkey, -but the field of modern Armenian literature is such a <span class= -"pagenum">[<a id="xd24e9752" href="#xd24e9752" name= -"xd24e9752">229</a>]</span>wide one that we cannot attempt an analysis -of it here. There are, however, some examples of modern Armenian poetry -in this volume.</p> -<p class="par">The occupation of the Armenian provinces by Russia in -1828, with the attendant emigration of thousands from Persia and Turkey -into Russian Armenia, strengthened the nation. National schools were -soon opened, supported by the Armenians themselves. An Armenian Academy -was established in Moscow in 1815 and a Seminary in Tiflis in 1826. -Many Armenians went to Moscow and Petrograd, and also to foreign -universities, especially to those of Germany, Switzerland, and France. -The educational revival produced a new era, and a new Armenian -literature came into being. Many Armenian newspapers and reviews were -founded and published in different places. Tiflis was the centre of the -literature and learning of Russian Armenia. A similar revival of -letters occurred in Turkish Armenia. In 1860 a national and -ecclesiastical constitution was granted to the Armenians in Turkey. For -Turkish Armenians the literary centres were Constantinople and Smyrna. -In the latter city, good work was done in translating western classics, -but Constantinople was the chief seat of Armenian culture in Turkey. -Thus Armenian literature became divided into two branches—Russian -Armenian and Turkish Armenian—each of which has its own -peculiarities of language, style, and tone. It was poetry that first -burst into bloom and reached maturity soonest. At first the -<i>motifs</i> of the poems were mainly national. The imagination of the -poets was kindled by the past, present, and future of Armenia, its -sufferings, its national beauty, its shortcomings. They looked forward -to a national regeneration. They were apostles of light, science, -learning; and pointed out new paths of national salvation. The result -of all this was the production of some beautiful national songs. These -songs are not triumphant anthems like those of other countries; they -are songs of suffering, but with a note of hope. Then Armenian poetry -developed a truer relation with what had been created in literature and -art, and the poets looked at things in a new way, and assumed new -poetical forms. It combined poetry and imagination with passionate -feeling for life and truth. Some of the poems of this period are of -exquisite workmanship, breathing the very spirit of the time.</p> -<p class="par">As we have said, Armenian poetry of the nineteenth -century is so full of merit and of such intense interest that it would -be impossible to do it justice without writing at great length. We have -already exhausted the space at our disposal, and hope to devote a -separate work to it.</p> -<p class="par">Persian and Arabic poetry are things of the past, but -Armenian poetry, like the Armenian nation, has an unquenchable -vitality, ever advancing towards new horizons, and soaring to loftier -heights. <span class="pagenum">[<a id="xd24e9764" href="#xd24e9764" -name="xd24e9764">231</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<div class="footnote-body"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7522" href="#xd24e7522src" name="xd24e7522">1</a></span> Navasard -fell, according to the later calendar of pagan Armenia, in -August. <a class="fnarrow" href="#xd24e7522src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7525" href="#xd24e7525src" name="xd24e7525">2</a></span> See -<i>Agathangelos</i> (fourth century <span class= -"sc">A.D.</span>). <a class="fnarrow" href= -"#xd24e7525src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7551" href="#xd24e7551src" name="xd24e7551">3</a></span> Annual -bonfires are kindled by Armenians on the festival of Candlemas, or the -Purification of the Blessed Virgin Mary (February 13/2). <a class= -"fnarrow" href="#xd24e7551src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7566" href="#xd24e7566src" name="xd24e7566">4</a></span> -<i>Agathangelos.</i> <a class="fnarrow" href= -"#xd24e7566src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7572" href="#xd24e7572src" name="xd24e7572">5</a></span> Statues -of massive gold were consecrated to her, one of which was captured by -the soldiers of Antony (Pliny, <i>H. N.</i>, xxx. 24). <a class= -"fnarrow" href="#xd24e7572src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7583" href="#xd24e7583src" name="xd24e7583">6</a></span> At each -festival, the Armenians had to show what progress they had made during -the past year, in art and in other occupations, and races and other -competitions took place, the victors being crowned with wreaths of -roses. When the doves were set flying the High Priest sprinkled the -people with the waters of the Aradzani—a tributary of the -Euphrates—and the people in their turn sprinkled each other. The -customs dated back to traditions of the deluge—that universal -baptism with which God cleansed all the sinful earth, and the same -expression of love and forgiveness is manifested in the presence of the -dove at the baptism of Jordan. See Raffi’s <i>Samuel</i>, chap. -ix. <a class="fnarrow" href="#xd24e7583src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7596" href="#xd24e7596src" name="xd24e7596">7</a></span> -<i>Astghik</i> means in Armenian “little -star.” <a class="fnarrow" href= -"#xd24e7596src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7604" href="#xd24e7604src" name="xd24e7604">8</a></span> It is a -curious coincidence that Venus, the Greek goddess of beauty, was also -the wife of a fire-god, Vulcan. <a class="fnarrow" href= -"#xd24e7604src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7626" href="#xd24e7626src" name="xd24e7626">9</a></span> Some say -that <i>Ammanor</i> was an ancient Armenian god and not -foreign. <a class="fnarrow" href="#xd24e7626src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7635" href="#xd24e7635src" name="xd24e7635">10</a></span> -<i>Kadjk</i> means in Armenian “brave ones.” <a class= -"fnarrow" href="#xd24e7635src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7723" href="#xd24e7723src" name="xd24e7723">11</a></span> -Zarmaïr, another king of this dynasty, took part in the defence of -Troy. The historian emphasises the fact that he was killed by Achilles -himself. <a class="fnarrow" href="#xd24e7723src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7739" href="#xd24e7739src" name="xd24e7739">12</a></span> It is -interesting to recall, in this connection, some passages of Strabo. -Speaking of Armenia he says:—“It is said that people -passing by the foot of the mountains are often buried in the snow which -falls from the summits. In order to be prepared for such a mishap, -travellers carry with them two long sticks for the purpose of making -breathing places for themselves, should they be covered by the snow. -The sticks, at the same time, serve as signals to any other travellers -who may happen to be passing.” <a class="fnarrow" href= -"#xd24e7739src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7875" href="#xd24e7875src" name="xd24e7875">13</a></span> Cf. the -original text of the Armenian poem which is as follows:—</p> -<div class="q"> -<div class="nestedtext"> -<div class="nestedbody"> -<div class="lgouter footnote"> -<div lang="hy" class="lg footnote"> -<p class="line">Երգներ -երգին և -երգիր</p> -<p class="line">Երգներ և -ծիրանի ծով</p> -<p class="line">Երգն ի -ծովուն -ուներ</p> -<p class="line"> -Զգարմրիգ -եղեկնիգն.</p> -<p class="line">Ընգ -եղեգան փող, -ծուխ -ելաներ</p> -<p class="line">Ընգ -եղեգան փող, -քոց ելաներ</p> -<p class="line">Եվ ի -քոցտին -պատանեկիկ -վազեր,</p> -<p class="line">Նա հուր -հեր ուեր,</p> -<p class="line">Ապա թե -բոց ուներ -մօրուս</p> -<p class="line">Եվ -աչկունքն -եին -արեգակունք.</p> -</div> -<div lang="hy-latn" class="lg footnote"> -<p class="line">Erkner erkin ev erkir</p> -<p class="line">Erkner ev dzirani dzov</p> -<p class="line">Erkn i dzovun uner</p> -<p class="line">Zkarmrik eghegnikn.</p> -<p class="line">Ŭnd eghegan pogh, dzukh elaner</p> -<p class="line">Ŭnd eghegan pogh, botz elaner,</p> -<p class="line">Ev i botzuin patanekik vazer,</p> -<p class="line">Na hur her uner,</p> -<p class="line">Apa te botz uner morus</p> -<p class="line">Ev achkunkn ein aregakunk.</p> -</div> -</div> -</div> -</div> -</div> -<p class="par"> <a class="fnarrow" href= -"#xd24e7875src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e7940" href="#xd24e7940src" name="xd24e7940">14</a></span> The -following lines from a Chaldean description of <i>Ut-napisti</i>, the -Chaldean Noah’s sacrifice after the Flood, furnish an example -from Assyrian poetry:—</p> -<div class="q"> -<div class="nestedtext"> -<div class="nestedbody"> -<div class="lgouter footnote"> -<p class="line">“The gods smelled a savour,</p> -<p class="line">The gods smelled a sweet savour,</p> -<p class="line">The gods gathered like flies over the -sacrifice.”</p> -</div> -</div> -</div> -</div> -<p class="par"> <a class="fnarrow" href= -"#xd24e7940src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8008" href="#xd24e8008src" name="xd24e8008">15</a></span> -<i lang="hy-latn">Dziran</i> in Armenian means “apricot,” -therefore <i lang="hy-latn">dzirani</i> = “of apricot -colour.” <a class="fnarrow" href= -"#xd24e8008src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8024" href="#xd24e8024src" name="xd24e8024">16</a></span> Strabo -says about Artaxata that it was built upon a design which Hannibal gave -to King Artaxes (Artashes), who made it the capital of Armenia, and -Tournefort, the famous French botanist, who travelled in Armenia in the -seventeenth century, exclaims, in reference to this fact: “Who -could have imagined that Hannibal would come from Africa to Armenia to -be engineer to an Armenian king? But so it is.” <a class= -"fnarrow" href="#xd24e8024src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8065" href="#xd24e8065src" name="xd24e8065">17</a></span> April, -when the New Year commenced. <a class="fnarrow" href= -"#xd24e8065src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8152" href="#xd24e8152src" name="xd24e8152">18</a></span> The son -of Tigranes the Great. <a class="fnarrow" href= -"#xd24e8152src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8204" href="#xd24e8204src" name="xd24e8204">19</a></span> -“Armenios, one of the Argonauts, who was believed to have been a -native of Rhodes or of Armenion in Thessaly, and to have settled in the -country which was called after him, <i>Armenia</i>” (Strabo, xi. -530, etc.; Justin, xlii. 2; Steph. Byz. S. V. <span class="trans" -title="Armenia"><span class="Greek" lang= -"grc">Αρμενια</span></span>). <a class="fnarrow" -href="#xd24e8204src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8307" href="#xd24e8307src" name="xd24e8307">20</a></span> -Translations of Moses of Khorene: <i>Latin</i> (with Armenian text), -Whiston (G. & G.), London, 1736; <i>Italian</i>, Cappelletti (G.), -Venice, 1841; Tommaseo (H.), Venice, 1849–50; <i>German</i>, -Lauer (M.), Regensburg, 1869; <i>French</i> (with Armenian text), Le -Vaillant de Florivel (P. E.), Paris, 1841 (2 vols.), and in -Langlois’ Collection, vol. ii.; <i>Russian</i>, M. Emin, -Moscow. <a class="fnarrow" href="#xd24e8307src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8389" href="#xd24e8389src" name="xd24e8389">21</a></span> See -<i>Travel and Politics in Armenia</i>, by Noel Buxton, M.P., and Rev. -Harold Buxton; with Introduction by Viscount Bryce and a Contribution -on Armenian History and Culture by Aram Raffi. Smith, Elder & Co. -1914. <a class="fnarrow" href="#xd24e8389src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8415" href="#xd24e8415src" name="xd24e8415">22</a></span> The -history of this war is recorded by Eghishé, a contemporary -ecclesiastic, whose work is more widely read than any book except the -Bible. He is a poet rather than an historian. <a class="fnarrow" -href="#xd24e8415src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8826" href="#xd24e8826src" name="xd24e8826">23</a></span> All the -metrical translations quoted are by Miss Z. C. Boyajian. Like her other -translations in this volume they are almost literal renderings; and the -original metre has been kept. <a class="fnarrow" href= -"#xd24e8826src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8926" href="#xd24e8926src" name="xd24e8926">24</a></span> These -monarchs are mentioned because they were the first Christian -sovereigns. <a class="fnarrow" href="#xd24e8926src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e8947" href="#xd24e8947src" name="xd24e8947">25</a></span> In the -Armenian Church there are two classes of clergy—the higher order -to which bishops belong and who do not marry, and the lower order of -parish priests who do marry. <a class="fnarrow" href= -"#xd24e8947src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd24e9265" href="#xd24e9265src" name="xd24e9265">26</a></span> It is -interesting to compare this with a Persian poem by Essedi of Tus called -a dispute between Day and Night. In the former the <i>Earth</i> is -victorious, in the latter the <i>Day</i>. The Persian is essentially -Mohammedan in spirit and conventional, whereas the Armenian is almost -modern.</p> -<div class="q"> -<div class="nestedtext"> -<div class="nestedbody"> -<div class="sp"> -<p class="speaker"><i>Day.</i></p> -<p class="line">By day the pious fast and pray;</p> -<p class="line">And solemn feasts are held by day.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Night.</i></p> -<p class="line">Day can but paint the skies with blue,</p> -<p class="line">Night’s starry hosts amaze the view.</p> -</div> -<div class="sp"> -<p class="speaker"><i>Day.</i></p> -<p class="line">... I am a Moslem—white my vest,</p> -<p class="line">Thou a vile thief, in sable drest.</p> -<p class="line">Out, negro-face!—dar’st thou compare</p> -<p class="line">Thy cheeks with mine, so purely fair?</p> -</div> -<div class="sp"> -<p class="line">... The Sun is ruddy, strong, and hale:</p> -<p class="line">The moon is sickly, wan, and pale.</p> -<p class="line">Methinks ’twas ne’er in story told</p> -<p class="line">That silver had the worth of gold!</p> -<p class="line">The moon, a slave, is bowed and bent,</p> -<p class="line">She knows her light is only lent,</p> -<p class="line">She hurries on, the way to clear,</p> -<p class="line">Till the Great Shah himself appear.</p> -</div> -</div> -</div> -</div> -<p class="par"></p> -<p class="par footnote cont xd24e2187"><i>From “The Rose Garden -of Persia.”</i> <a class="fnarrow" href= -"#xd24e9265src">↑</a></p> -</div> -</div> -</div> -</div> -<div class="back"> -<div id="ixchronological" class="div1 index"><span class= -"pagenum">[<a href="#xd24e1018">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">CHRONOLOGICAL INDEX TO AUTHORS</h2> -</div> -<div class="divBody"> -<p class="par first"><span class="sc">Moses of Khorene</span>, fifth -century— PAGE<br> -<a href="#v9">Vahagn, King of Armenia</a>, 10<br> -<a href="#v18">Ara and Semiramis</a>, 23<br> -<a href="#v25">The Founding of Van</a>, 33<br> -<a href="#v35">Artashes and Satenik</a>, 48<br> -<a href="#v44">Artavasd</a>, 65<br> -<a href="#v49">Christ and Abgarus</a>, 75</p> -<p class="par"><span class="sc">Folk Songs</span>—<br> -<a href="#v3">The Exile’s Song</a>, 1<br> -<a href="#v4">The Apple Tree</a>, 3<br> -<a href="#v13">The Fox, the Wolf, and the Bear</a>, 15<br> -<a href="#v20">The Song of the Stork</a>, 27<br> -<a href="#v27">The Song of the Partridge</a>, 36<br> -<a href="#v43">The Hawk and the Dove</a>, 63<br> -<a href="#v45">Charm Verses</a>, 67<br> -<a href="#v53">O’er the Mountains High He went</a>, 81<br> -<a href="#v59">The Fox</a>, 90<br> -<a href="#v62">Dance Song (Haberban)</a>, 101</p> -<p class="par"><span class="sc">Author Unknown</span>, -mediaeval—<br> -<a href="#v8">Yesternight I walked Abroad</a>, 7</p> -<p class="par"><span class="sc">Saint Gregory of Narek</span>, -951–1009—<br> -<a href="#v68">The Christ-Child</a>, 113</p> -<p class="par"><span class="sc">Saint Nerses Shnorhali</span>, -1102–1173—<br> -<a href="#v39">The Arrival of the Crusaders</a>, 58</p> -<p class="par"><span class="sc">Hovhannes Erzingatzi</span>, b. -1260—<br> -<a href="#v40">Like an Ocean is this World</a><span class="corr" id= -"xd24e9876" title="Not in source">,</span> 59</p> -<p class="par">“<span class="sc">Frik</span>,” <i>d.</i> -1330—<br> -<a href="#v1">Reproaches</a>, xv</p> -<p class="par"><span class="sc">John Gower</span>, <i>d</i>. -1408—<br> -<a href="#v60">The Tale of Rosiphelee</a>, 91</p> -<p class="par"><span class="sc">Hovhannes Tulkourantzi</span>, -1450–1525—<br> -<a href="#v71">Concerning Death</a>, 119</p> -<p class="par"><span class="sc">Grigoris of Aghtamar</span>, fifteenth -century—<br> -<a href="#v38">Concerning the Rose and the Nightingale</a>, 52</p> -<p class="par"><span class="sc">Nahabed Kouchak</span>, fifteenth -century—<br> -<a href="#v5">My Heart is turned into a Wailing Child</a>, 4<br> -<a href="#v6">O Night, be long</a>, 5<br> -<a href="#v23">Birthday Song</a>, 31</p> -<p class="par"><span class="sc">Sayat Nova</span>, -1713–1795—<br> -<a href="#v12">I beheld my Love this Morning</a>, 14<br> -<a href="#v26">I have a Word I fain would say</a>, 35<br> -<a href="#v48">“Thy Voice is Sweet”</a>, 74<br> -<a href="#v56">Without Thee what are Song and Dance to Me?</a>, 85<br> -<a href="#v66">Thou art so Sweet</a>, 110</p> -<p class="par"><span class="sc">Leo Alishan</span>, -1820–1901—<br> -<a href="#v28">The Lily of Shavarshan</a>, 37<br> -<a href="#v65">The Nightingale of Avarair</a>, 108</p> -<p class="par"><span class="sc">Mikael Nalbandian</span>, -1829–1866—<br> -<a href="#v11">Liberty</a>, 12</p> -<p class="par"><span class="sc">Muggurdich Beshigtashlian</span>, -1829–1868—<br> -<a href="#v58">Spring</a>, 89</p> -<p class="par"><span class="sc">Raphael Patkanian</span>, -1830–1892—<br> -<a href="#v17">Cradle Song</a>, 21<br> -<a href="#v29">Cradle Song</a>, 41<br> -<a href="#v46">The Tears of Araxes</a>, 69</p> -<p class="par"><span class="sc">Raffi</span>, -1837–1888—<br> -<a href="#v51">The Parrot’s Song</a>, 78<br> -<a href="#v57">The Lake of Van</a>, 86<br> -<a href="#v63">Ballad</a>, 103<br> -<a href="#v69">The Castle of Anoush</a>, 114</p> -<p class="par"><span class="sc">Karekin Srvanstian</span>, -1840–1892—<br> -<a href="#v19">Lament over the Heroes fallen in the Battle of -Avarair</a>, 25 <span class="pagenum">[<a id="xd24e10033" href= -"#xd24e10033" name="xd24e10033">232</a>]</span></p> -<p class="par"><span class="sc">Smpad Shahaziz</span>, -1840–1897—<br> -<a href="#v33">The Dream</a>, 46</p> -<p class="par"><span class="sc">Thomas Terzyan</span>, -1842–1909—<br> -<a href="#v32">The Chragan Palace</a>, 44</p> -<p class="par"><span class="sc">Elia Demirjibashian</span>, -1851–1908—<br> -<a href="#v61">The Song of the Vulture</a><span class="corr" id= -"xd24e10057" title="Not in source">,</span> 98</p> -<p class="par"><span class="sc">Bedros Tourian</span>, -1852–1872—<br> -<a href="#v15">The Little Lake</a>, 18<br> -<a href="#v36">My Death</a>, 50<br> -<a href="#v54">Complaints</a>, 82<br> -<a href="#v55">A Day after</a>, 84<br> -<a href="#v72">Love One Another</a>, 121</p> -<p class="par"><span class="sc">William Watson</span>, <i>b.</i> -1858—<br> -<a href="#v2">A Trial of Orthodoxy</a>, xvi</p> -<p class="par"><span class="sc">Hovhannes Hovhannessian</span>, -<i>b.</i> 1869—<br> -<a href="#v16">Spring</a>, 20<br> -<a href="#v41">The Rock</a>, 60<br> -<a href="#v50">Araxes came devouringly</a>, 77</p> -<p class="par"><span class="sc">Hovhannes Toumanian</span>, <i>b.</i> -1869—<br> -<a href="#v42">The Crane</a>, 62<br> -<a href="#v52">Earth and Sky</a>, 79</p> -<p class="par"><span class="sc">Alexander Dzadourian</span>, <i>b.</i> -1870—<br> -<a href="#v31">The Armenian Poet’s Prayer</a>, 43</p> -<p class="par"><span class="sc">Arschag Tchobanian</span>, <i>b.</i> -1872—<br> -<a href="#v70">Happiness</a>, 118</p> -<p class="par"><span class="sc">Avetis Isahakian</span>, <i>b.</i> -1875—<br> -<a href="#v7">Black Eyes</a>, 6<br> -<a href="#v10">Huntsman, that on the Hills above</a>, 11<br> -<a href="#v21">Ye Mountain Bluebells</a>, 29<br> -<a href="#v22">The Sun went down</a>, 30<br> -<a href="#v30">The Wind is howling through the Winter Night</a>, 42</p> -<p class="par"><span class="sc">Shushanik Gourghinian</span>, <i>b.</i> -1876—<br> -<a href="#v37">The Eagle’s Love</a>, 51</p> -<p class="par"><span class="sc">Zabelle Essayan</span>, <i>b.</i> -1878—<br> -<a href="#v14">Incense</a>, 17</p> -<p class="par"><span class="sc">C. A. Dodochian</span>—<br> -<a href="#v67">The Wandering Armenian to the Swallow</a>, 111</p> -<p class="par"><span class="sc">Hovhannes Costaniantz</span>—<br> -<a href="#v64">No Bird can reach the Mountain’s Crest</a>, -106</p> -<p class="par"><span class="sc">Derenik Demirjian</span>—<br> -<a href="#v47">The Eve of Ascension Day</a>, 73</p> -<p class="par"><span class="sc">Haroutune Toumanian</span>—<br> -<a href="#v24">Morning</a>, 32</p> -<p class="par"><span class="sc">Vittoria Aganoor Pompilj</span>, -<i>d.</i> 1910—<br> -<a href="#v73">Pasqua Armena</a>, 122<br> -<a href="#v74">“Io Vidi”</a>, 123 <span class= -"pagenum">[<a id="xd24e10252" href="#xd24e10252" name= -"xd24e10252">233</a>]</span></p> -</div> -</div> -<div id="ixfirstlines" class="div1 index"><span class= -"pagenum">[<a href="#xd24e1025">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">INDEX TO FIRST LINES</h2> -</div> -<div class="divBody"> -<div class="par first"> -<div class="table"> -<table class="xd24e10258"> -<thead> -<tr class="label"> -<td class="cellHeadLeft cellHeadTop cellHeadBottom"></td> -<td class="cellHeadTop cellHeadBottom"><i>Author.</i></td> -<td class="cellHeadTop cellHeadBottom"><i>Translated by</i></td> -<td class="xd24e10262 cellHeadRight cellHeadTop cellHeadBottom"> -PAGE</td> -</tr> -</thead> -<tbody> -<tr> -<td class="cellLeft"><a href="#v41">Above the waters, like a hoary -giant</a></td> -<td><span class="sc">Hovhannes Hovhannessian</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">60</td> -</tr> -<tr> -<td lang="it" class="cellLeft"><a href="#v74">Accostarsi -all’oscuro</a></td> -<td><span class="sc">Vittoria Aganoor Pompilj</span></td> -<td></td> -<td class="xd24e10262 cellRight">123</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v61">A great black bird like to a great -black cloud</a></td> -<td><span class="sc">Elia Demirjibashian</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">98</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v37">An eagle sat upon the fell</a></td> -<td><span class="sc">Shushanik Gourghinian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">51</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v50">Araxes came devouringly</a></td> -<td><span class="sc">Hovhannes Hovhannessian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">77</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v28">Armenian maidens, come and -view</a></td> -<td><span class="sc">Leo Alishan</span></td> -<td><span class="sc">Alice Stone Blackwell</span></td> -<td class="xd24e10262 cellRight">37</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v3">Belovèd one, for thy sweet -sake</a></td> -<td><span class="sc">Folk Song</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">1</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v63">Dark forests clothe the -mountain-side</a></td> -<td><span class="sc">Raffi</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">103</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v24">Day dawned. Bright tongues of -scarlet flame</a></td> -<td><span class="sc">Haroutune Toumanian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">32</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v7">Do not trust black eyes, but fear -them</a></td> -<td><span class="sc">Avetis Isahakian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">6</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v54">Farewell, thou Sun, and Thou, O -Power Divine</a></td> -<td><span class="sc">Bedros Tourian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">82</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v32">Have you ever seen that wondrous -building</a></td> -<td><span class="sc">T. Terzyan</span></td> -<td><span class="sc">Alice Stone Blackwell</span></td> -<td class="xd24e10262 cellRight">44</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v10">Huntsman, that on the hills -above</a></td> -<td><span class="sc">Avetis Isahakian</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">11</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v12">I beheld my love this -morning</a></td> -<td><span class="sc">Sayat Nova</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">14</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v19">If Goghtan’s bards no longer -crown</a></td> -<td><span class="sc">Karekin Srvanstian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">25</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v26">I have a word I fain would -say</a></td> -<td><span class="sc">Sayat Nova</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">35</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v62">I have loved your winsome -face</a></td> -<td><span class="sc">Folk Song</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">101</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v34">In many a distant, unknown -land</a></td> -<td></td> -<td></td> -<td class="xd24e10262 cellRight">47</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v46">I walk by Mother Arax</a></td> -<td><span class="sc">Raphael Patkanian</span></td> -<td><span class="sc">Alice Stone Blackwell</span></td> -<td class="xd24e10262 cellRight">69</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v40">Like an ocean is this -world</a></td> -<td><span class="sc">Hovhannes Erzingatzi</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">59</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v5">My heart is turned into a wailing -child</a></td> -<td><span class="sc">Nahabed Kouchak</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">4</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v29">Nightingale, oh, leave our -garden</a></td> -<td><span class="sc">Raphael Patkanian</span></td> -<td><span class="sc">Alice Stone Blackwell</span></td> -<td class="xd24e10262 cellRight">41</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v47">Night with her ebon hair and starry -crown</a></td> -<td><span class="sc">Derenik Demirjian</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">73</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v64">No bird can reach the -mountain’s crest</a></td> -<td><span class="sc">H. Costaniantz</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">106</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v16">None await thy smiling -rays</a></td> -<td><span class="sc">Hovhannes Hovhannessian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">20</td> -</tr> -<tr> -<td lang="it" class="cellLeft"><a href="#v73">Non fu di fiele -abbeverato? Il petto</a></td> -<td><span class="sc">Vittoria Aganoor Pompilj</span></td> -<td></td> -<td class="xd24e10262 cellRight">122</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v53">O’er the mountains high he -went</a></td> -<td><span class="sc">Folk Song</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">81</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v71">O evil man, with passions -fraught</a></td> -<td><span class="sc">Hovhannes Tulkourantzi</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">119</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v60">Of Armenye, I rede thus</a></td> -<td><span class="sc">John Gower</span></td> -<td></td> -<td class="xd24e10262 cellRight">91</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v1">O God of righteousness and -truth</a></td> -<td>“<span class="sc">Frik</span>”</td> -<td></td> -<td class="xd24e10262 cellRight">xv</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v31">O God, ’tis not for laurel -wreaths I pray</a></td> -<td><span class="sc">Alexander Dzadourian</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">43</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v58">O little breeze, how fresh and -sweet</a></td> -<td><span class="sc">Muggurdich Beshigtashlian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">89</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v39">Once more God hither moves their -course</a></td> -<td><span class="sc">Saint Nerses Shnorhali</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">58</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v6">O Night, be long—long as an -endless year</a></td> -<td><span class="sc">Nahabed Kouchak</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">5</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v23">On the morning of thy -birth</a></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Nahabed</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Kouchak</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">31</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v67">O swallow, gentle swallow</a></td> -<td><span class="sc">C. A. Dodochian</span></td> -<td><span class="sc">Alice Stone Blackwell</span></td> -<td class="xd24e10262 cellRight">111</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v55">Slumbering darkly -yesterday</a></td> -<td><span class="sc">Bedros Tourian</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">84</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v33">Soft and low a voice breathed -o’er me</a></td> -<td><span class="sc">S. Shahaziz</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">46</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v20">Stork, I welcome thy -return</a></td> -<td><span class="sc">Folk Song</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">27</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v17">Sweet slumber now creeps o’er -thee slow</a></td> -<td><span class="sc">Raphael Patkanian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">21 <span class="pagenum">[<a id= -"xd24e10891" href="#xd24e10891" name="xd24e10891">234</a>]</span></td> -</tr> -<tr> -<td class="cellLeft"><a href="#v2">The clinging children at their -mother’s knee</a></td> -<td><span class="sc">William Watson</span></td> -<td></td> -<td class="xd24e10262 cellRight">xvi</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v42">The Crane has lost his way across -the heaven</a></td> -<td><span class="sc">Hovhannes Toumanian</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">62</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v4">The door of Heaven open -seemed</a></td> -<td><span class="sc">Folk Song</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">3</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v59">The fox ran up into the -mill</a></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Folk</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Song</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">90</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v43">The Hawk said to the Dove, -“My dear”</a></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Folk</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Song</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">63</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v14">The incense at the altar slowly -burns</a></td> -<td><span class="sc">Zabelle Essayan</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">17</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v68">The lips of the Christ-child are -like to twin leaves</a></td> -<td><span class="sc">Saint Gregory of Narek</span></td> -<td><span class="sc">Alice Stone Blackwell</span></td> -<td class="xd24e10262 cellRight">113</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v13">The little fox, the wolf and bear -made peace</a></td> -<td><span class="sc">Folk Song</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">15</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v38">The Rose was gone. When to the -empty tent</a></td> -<td><span class="sc">Grigoris of Aghtamar</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">52</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v52">The Sky bent down his piercing gaze -one day</a></td> -<td><span class="sc">Hovhannes Toumanian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">79</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v27">The sun has touched the -mountain’s crest</a></td> -<td><span class="sc">Folk Song</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">36</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v22">The sun went down behind the -hill</a></td> -<td><span class="sc">Avetis Isahakian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">30</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v30">The wind is howling through the -winter night</a></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Avetis</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Isahakian</span></span><span class= -"d"><span class="i">,,</span></span></span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">42</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v66">Thou art so sweet thou wilt not -pain</a></td> -<td><span class="sc">Sayat Nova</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">110</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v48">Thy voice is soft, thy speech all -sweetness flows</a></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Sayat</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Nova</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">74</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v72">Undying Love, Whose beams forever -glow</a></td> -<td><span class="sc">Bedros Tourian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">121</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v57">Unutterable silence here is -spread</a></td> -<td><span class="sc">Raffi</span></td> -<td><span class="sc">George M. Green</span></td> -<td class="xd24e10262 cellRight">86</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v70">Weary of vainly seeking -Happiness</a></td> -<td><span class="sc">Arschag Tchobanian</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">118</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v65">Whence comest thou, my moon, gentle -and still</a></td> -<td><span class="sc">Leo Alishan</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">108</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v36">When Death’s pale angel comes -to me</a></td> -<td><span class="sc">Bedros Tourian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">50</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v11">When the God of Liberty</a></td> -<td><span class="sc">Mikael Nalbandian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">12</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v15">Why dost thou lie in hushed -surprise</a></td> -<td><span class="sc">Bedros Tourian</span></td> -<td><span class="sc">Alice Stone Blackwell</span></td> -<td class="xd24e10262 cellRight">18</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v51">With nuts and sweets and dainty -fare</a></td> -<td><span class="sc">Raffi</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">78</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v56">Without thee what are song and -dance to me?</a></td> -<td><span class="sc">Sayat Nova</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">85</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v21">Ye mountain bluebells, weep with -me</a></td> -<td><span class="sc">Avetis Isahakian</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">29</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v8">Yesternight I walked abroad</a></td> -<td><span class="sc">Author Unknown</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">7</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v45">Charm Verses</a></td> -<td><span class="sc">Folk Songs</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">67</td> -</tr> -<tr> -<td class="cellLeft">PROSE LEGENDS</td> -<td></td> -<td></td> -<td class="xd24e10262 cellRight"></td> -</tr> -<tr> -<td class="cellLeft"><a href="#v18">Ara and Semiramis</a></td> -<td><span class="sc">Moses of Khorene</span></td> -<td><span class="sc">Z. C. Boyajian</span></td> -<td class="xd24e10262 cellRight">23</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v35">Artashes and Satenik</a></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Moses</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">of</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Khorene</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">48</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v44">Artavasd</a></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Moses</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">of</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Khorene</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">65</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v49">Christ and Abgarus</a></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Moses</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">of</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Khorene</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">75</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v69">The Castle of Anoush</a></td> -<td><span class="sc">Raffi</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">114</td> -</tr> -<tr> -<td class="cellLeft"><a href="#v25">The Founding of Van</a></td> -<td><span class="sc">Moses of Khorene</span></td> -<td><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight">33</td> -</tr> -<tr> -<td class="cellLeft cellBottom"><a href="#v9">Vahagn, King of -Armenia</a></td> -<td class="cellBottom"><span class="ditto"><span class="s"><span class= -"sc">Moses</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">of</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Khorene</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="cellBottom"><span class="ditto"><span class="s"><span class= -"sc">Z.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">C.</span></span><span class="d"><span class= -"i">,,</span></span></span><span class="ditto"><span class= -"s"><span class="sc">Boyajian</span></span><span class="d"><span class= -"i">,,</span></span></span></td> -<td class="xd24e10262 cellRight cellBottom">10</td> -</tr> -</tbody> -</table> -</div> -</div> -<p class="par"></p> -<div class="figure xd24e11447width"><img src="images/imprint.png" alt= -"The Temple Press" width="218" height="33"> -<p class="figureHead"><span class="sc">The Temple Press</span></p> -<p class="par first">Letchworth England</p> -</div> -<p class="par"></p> -</div> -</div> -<div class="transcribernote"> -<h2 class="main">Colophon</h2> -<h3 class="main">Availability</h3> -<p class="par first">This eBook is for the use of anyone anywhere at no -cost and with almost no restrictions whatsoever. You may copy it, give -it away or re-use it under the terms of the <a class="seclink xd24e228" -title="External link" href="https://www.gutenberg.org/license" rel= -"license">Project Gutenberg License</a> included with this eBook or -online at <a class="seclink xd24e228" title="External link" href= -"https://www.gutenberg.org/" rel="home">www.gutenberg.org</a>.</p> -<p class="par">This eBook is produced by the Online Distributed -Proofreading Team at <a class="exlink xd24e228" title="External link" -href="http://www.pgdp.net/">www.pgdp.net</a>.</p> -<h3 class="main">Metadata</h3> -<table class="colophonMetadata"> -<tr> -<td><b>Title:</b></td> -<td>Armenian Legends and Poems</td> -<td></td> -</tr> -<tr> -<td><b>Editor:</b></td> -<td>Zabelle C. Boyajian (1873–1957)</td> -<td><a href="https://viaf.org/viaf/41733729/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Vittoria Aganoor Pompilj (1855–1910)</td> -<td><a href="https://viaf.org/viaf/37058307/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Leo Alishan (1820–1901)</td> -<td><a href="https://viaf.org/viaf/71774383/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Muggurdich Beshigtashlian (1829–1868)</td> -<td></td> -</tr> -<tr> -<td><b>Translator:</b></td> -<td>Alice Stone Blackwell (1857–1950)</td> -<td><a href="https://viaf.org/viaf/37058307/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Author of introduction:</b></td> -<td>James Bryce (1838–1922)</td> -<td><a href="https://viaf.org/viaf/41900989/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Hovhannes Costaniantz</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Derenik Demirjian (1877–1956)</td> -<td><a href="https://viaf.org/viaf/49549145/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>C. A. Dodochian</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Alexander Dzadourian (1865–1917)</td> -<td><a href="https://viaf.org/viaf/15104946/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Hovhannes Erzingatzi (1260–)</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Zabelle Essayan (1878–1943)</td> -<td><a href="https://viaf.org/viaf/2565721/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>“Frik” (1330–)</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Shushanik Gourghinian (1876–)</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>John Gower (ca. 1325–1408)</td> -<td><a href="https://viaf.org/viaf/120695167/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Translator:</b></td> -<td>George M. Green</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Saint Gregory of Narek (951–1003)</td> -<td><a href="https://viaf.org/viaf/19678304/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Grigoris of Aghtamar (–1545)</td> -<td><a href="https://viaf.org/viaf/312832924/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Hovhannes Hovhannessian (1864–1929)</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Avetis Isahakian (1875–1957)</td> -<td><a href="https://viaf.org/viaf/24738496/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Moses of Khorene (ca. 410–ca. 490)</td> -<td><a href="https://viaf.org/viaf/282536491/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Nahabed Kouchak (16th cent.)</td> -<td><a href="https://viaf.org/viaf/305238094/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Mikael Nalbandian (1829–1866)</td> -<td><a href="https://viaf.org/viaf/24914625/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Saint Nerses Shnorhali (1102–1173)</td> -<td><a href="https://viaf.org/viaf/59428346/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Raphael Patkanian (1830–1892)</td> -<td><a href="https://viaf.org/viaf/22468746/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Raffi (1835–1888)</td> -<td><a href="https://viaf.org/viaf/2509578/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Sayat Nova (1712–1795)</td> -<td><a href="https://viaf.org/viaf/77715540/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Smpad Shahaziz (1840–1897)</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Karekin Srvanstian (1840–1892)</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Arschag Tchobanian (1870–)</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Elia Demirjibashian (1851–1908)</td> -<td><a href="https://viaf.org/viaf/49340468/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Thomas Terzyan (1842–1909)</td> -<td><a href="https://viaf.org/viaf/52014314/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Haroutune Toumanian</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Hovhannes Toumanian (1869–1923)</td> -<td><a href="https://viaf.org/viaf/95210694/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Bedros Tourian (1852–1872)</td> -<td><a href="https://viaf.org/viaf/15096512/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>Hovhannes Tulkourantzi (1450–1525)</td> -<td></td> -</tr> -<tr> -<td><b>Contributor:</b></td> -<td>William Watson (1858–1935)</td> -<td><a href="https://viaf.org/viaf/36926713/" class= -"seclink">Info</a></td> -</tr> -<tr> -<td><b>Language:</b></td> -<td>English</td> -<td></td> -</tr> -<tr> -<td><b>Original publication date:</b></td> -<td>[1916]</td> -<td></td> -</tr> -</table> -<h3>Catalog entries</h3> -<table class="catalogEntries"> -<tr> -<td>Related Library of Congress catalog page:</td> -<td><a href="https://lccn.loc.gov/a17001081" class= -"seclink">a17001081</a></td> -</tr> -<tr> -<td>Related WorldCat catalog page:</td> -<td><a href="https://www.worldcat.org/oclc/314718112" class= -"seclink">314718112</a></td> -</tr> -<tr> -<td>Related Open Library catalog page (for source):</td> -<td><a href="https://openlibrary.org/books/OL13994934M" class= -"seclink">OL13994934M</a></td> -</tr> -<tr> -<td>Related Open Library catalog page (for work):</td> -<td><a href="https://openlibrary.org/works/OL169438W" class= -"seclink">OL169438W</a></td> -</tr> -</table> -<h3 class="main">Encoding</h3> -<p class="par first"></p> -<h3 class="main">Revision History</h3> -<ul> -<li>2016-12-31 Started.</li> -</ul> -<h3 class="main">External References</h3> -<p>This Project Gutenberg eBook contains external references. These -links may not work for you.</p> -<h3 class="main">Corrections</h3> -<p>The following corrections have been applied to the text:</p> -<table class="correctiontable" summary= -"Overview of corrections applied to the text."> -<tr> -<th>Page</th> -<th>Source</th> -<th>Correction</th> -</tr> -<tr> -<td class="width20"><a class="pageref" href="#xd24e4760">99</a></td> -<td class="width40 bottom">,</td> -<td class="width40 bottom">.</td> -</tr> -<tr> -<td class="width20"><a class="pageref" href="#xd24e9876">231</a>, -<a class="pageref" href="#xd24e10057">232</a></td> -<td class="width40 bottom">[<i>Not in source</i>]</td> -<td class="width40 bottom">,</td> -</tr> -</table> -</div> -</div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Armenian Legends and Poems, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK ARMENIAN LEGENDS AND POEMS *** - -***** This file should be named 54036-h.htm or 54036-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/4/0/3/54036/ - -Produced by Jeroen Hellingman and the Online Distributed -Proofreading Team at http://www.pgdp.net/ for Project -Gutenberg (This file was produced from images generously -made available by The Internet Archive/American Libraries.) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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