Armenian Legends and Poems

by Unknown

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.[18] 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.