Armenian Legends and Poems

by Unknown

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.”