Armenian literature
The written Armenian literature is considered to begin around 406 A.D. with the invention of the Armenian alphabet by Mesrop Mashtots. Soon after the creation of the alphabet Mesrop and his scholars began to translate the Bible, and after that other important works of the time. Soon after the first Armenian writers – historians wrote their first original works. In these first years of the fifth century were composed some of the apocryphal works like the History of Armenia said to have come from Agathangelus. This early period of Armenian literature also produced many original compositions. Eznik of Kolb wrote a "Refutation of the Sects", and Koryun the "History of the Life of St. Mesrop and of the Beginnings of Armenian Literature".
David of Sasun, known as Sasuntsi Davit', is the Armenian epos. For over a thousand years the legend of David was passed from grandfathers to their grandsons thanks to the Armenian oral tradition, and it is difficult to classify his stories as ancient or medieval. In 1873, the story was first written down by Archbishop Karekin Servantzdiants, who copied word for word the tale as told by a peasant storyteller from Moush named Grbo. Other versions of the tale from various regions of Armenia were copied down in the ensuing years, and during the early Soviet era in Armenia, the stories were collated into a "united version"; a connected narrative out of dozens isolated episodes, fragments, and near-complete though differing versions of the legend. One of the most famous treatments of the story was the verse rendition made by Hovhannes Toumanian in 1902. His poem only covers the story of David, which is actually only one of 4 parts of the story, although the central theme. Each branch of the story is named after the hero whose story is being told: Sanasar & Balthazar, Lion-Mher, David of Sassoun, and Mher the Younger. Despite the Christian flavor of the epic, numerous fantastic creatures, good and evil, influence the action.
The medieval period opens with comparative sterility. It was mostly important in the eighth century that of John Otznetzi surnamed the "Philosopher". A "Discourse against the Paulicians", a "Synodal Discourse", and a collection of the canons of the councils and the Fathers anterior to his day, is the principal works of his now extant. About the same time appeared the translations of the works of several of the Fathers, particularly of St. Gregory of Nyssa and Cyril of Alexandria, from the pen of Stephen, Bishop of Syunik. It was two centuries later that the celebrated "History of Armenia" by the Catholicos John V the Historian came forth, covering the period from the origin of the nation to the year A.D. 925. Gregory of Narek is the Armenian Pindar from whose pen came elegies, odes, panegyrics, and homilies, as well the poet Grigor Magistros are worth to mention.
The modern period of Armenian literature can well be dated from the renaissance of letters among the Armenians in the twelfth century. The Catholicos Nerses surnamed the Gracious, is the most brilliant author in the beginning of this period. Besides his poetic works, such as the "Elegy on the Taking of Edessa", there are prose works including a "Pastoral Letter", a "Synodal Discourse", and his "Letters". This age gave us also a commentary on St. Luke and one on the Catholic Epistles. Of note, too, is the Synodal Discourse of Nerses of Lambron, Archbishop of Tarsus, delivered at the Council of Hromcla in 1179, which is anti-Monophysite in tone. The thirteenth century gave birth to Vartan the Great, whose talents were those of a poet, an exegete, and a theologian, and whose "Universal History" is extensive in the field it covers. Gregory of Datev in the next century composed his "Question Book", which is a fiery polemic against the. Catholics.
During the sixteenth century Armenians in Europe established printing shops in Venice and Rome, and in the following century (the seventeenth) in Lemberg, Milan, Paris, and elsewhere. Old works were republished and new ones given forth. The Mechitarists of Venice have been the leaders in this movement; but their publications, although numerous, have been often uncritical. Their brothers, the Mechitarists of Vienna, have been likewise active in this work and it is to their society that Balgy and Catergian belong, two well-known writers on Armenian topics. Russia, Constantinople and Etchmiadzin are the other centres of Armenian literary efforts and the last-named place is especially worthy of note, imbued as it is today with German scientific methods and taste. The Armenians then developed the troubadour tradition. A troubadour, called աշուղ (ashough) in Armenian, would go from village to village, and town to town, and would recite his literature to the people. More successful ones, such as Sayat Nova, would participate in competitions in the courts of Georgian Kings or Armenian Meliks. They would often talk about their feelings for their women by using the popular language that was riddled with foreign influences, instead of Classical Armenian, which was obsolete outside churches and schools.
Among the most notable writers of the 19th and early 20th centuries are Siamanto, Hagop Baronian, Vahan Tekeyan, Levon Shant, Krikor Zohrab, Rupen Zartarian, Avetis Aharonyan, Garegin Njdeh, Atrpet, Gostan Zarian and Nigol Aghpalian.
The nineteenth century beheld a great literary movement that was to give rise to modern Armenian literature. This period of time during which Armenian culture flourished is known as the Revival period. The Revivalist authors of Constantinople and Tiflis, almost identical to the Romanticists of Europe, were interested in encouraging Armenian nationalism. Most of them adopted the newly created Eastern or Western variants of the Armenian language depending on the targeted audience, and preferred them over classical Armenian (grabar).
The veritable creator of modern Armenian literature was Khachatur Abovian (1804-1848). Abovian was the first author to abandon the classical Armenian and adopt the modern for his works, thus ensuring their diffusion. Abovian's most famed work, The Wounds of Armenia, returns to the theme of the Armenian people's suffering under foreign domination. Abovian dedicated his life to writing and educating others on the subject of Armenia and her people. Mikael Nalbandian's poem "Song of the Italian Girl" may have been the inspiration for the Armenian national anthem, Mer Hayrenik. Raffi (Hakop Melik-Hakopian) was the grand romanticist of Armenian literature. In his works, Raffi revived the grandeur of Armenia's historic past. In the story "Gaizer", the heroes fight for the liberation of their people. This theme of oppression under foreign rule is also evident in the works "Djelaledin" and "Khente".
The Revivalist period ended in 1885-1890, when the Armenian people was passing tumultuous times. Notable events were the Berlin Treaty of 1878, the independence of Balkan nations such as Bulgaria, and of course, the Hamidian massacres of 1895-1896.
Some specialists claim that the Armenian Realist authors appeared when the Arevelk (Orient) newspaper was founded (1884). Writers such as Arpiar Arpiarian, Levon Pashalian, Krikor Zohrab, Melkon Gurjian, Dikran Gamsarian, and others revolved around the said newspaper. The other important newspaper at that time was the Hayrenik (Fatherland) newspaper, which becomes very populist, encourages criticism, etc.
Despite these facts, Armenians weren't allowed to use words like Armenia, nation, fatherland, liberty, and progress in their newspapers and other written productions.
After 1885, Armenian authors were interested in depicting a realistic representation of life, along with all of its nudities. However, there are some authors that have kept some romantic influences, although most of them didn't.
The literary tradition of Khachatur Abovian, Miakel Nalbandian and Raffi was continued even as Armenia came under Communist rule. This revival of tradition was carried out by such writers and poets as Hovhannes Tumanyan, Yeghishe Charents and the like. This revival took place under the Communist system, much restricting the freedom of expression of the writers. In the late 1960s, under Brezhnev, a new generation of Armenian writers emerged. As Armenian history of the 1920s and of the Genocide came to be more openly discussed, writers like Paruyr Sevak, Gevork Emin, Silva Kaputikyan and Hovhannes Shiraz began a new era of literature.
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