6 replies to this topic

[Arpa]

Some time ago it was said that textbooks in Erevan gave much space to Western Armenian writers/poets. It is only natural, just as western textbooks featured writers and poets of the Erevan Province. One is incomplete without the other.
As a testament the following is proof positive.
Written in 1962 by Paruyr Sevak.
Obviously it is about the genius of Petros Dourian.

In addition he has reviews about ì³ñáõųÝ, êdzٳÝÃá, î»ñ»³Ý, ê³Û³Â Üáí³ and others.

Ø»ñ øݳñ»ñ·áõÃÛ³Ý ì³Ñ³·ÝÁ, The Vahakn of Our Lyricism
(Translations are welcome)

Î³Ý µ³Ý³ëï»ÕÍÝ»ñ, áñáÝù ÙÇ ³ÙµáÕç ³ß˳ñÑ »Ý í»ñ³µ³ïÏ»ñáõÙ£ Ø»Í »Ý ÏáãíáõÙ Ýñ³Ýù£ ºõ Çëϳp»ë ¿É Ù»Í »Ý£ ´³Ûó ¹Åµ³Ëï³µ³ñ, ßáõï »Ý ÑݳÝáõÙ, áñáíÑ»ï»õ, µ³ñ»µ³Ëï³µ³ñ, Ýáñ³Ýáõm ¿ ³ß˳ñÑÁ£
Î³Ý µ³Ý³ëï»ÕÍÝ»ñ ¿É, áñáÝù ÙÇ Ýáñ ³ß˳ñÑ »Ý ëï»ÕÍáõÙ£ ºõ ÝÛáõÃÝ ¿ Çñ»ÝóÁ, »õ ëï»ÕÍáÕÝ »Ý Çñ»Ýù£ ²Ûå»ë° µ³ñÇ »õ ٻݳë»ñ ë³ñ¹Ý ¿ ·áñÍáõÙ Çñ áëï³ÛÝÁ, »õ anٳϹÇñ Ù»ÕáõÝ Çñ ÙáÙÝ áõ ³ÏݳÙáÙÁ£ лïÙ³Ñáõ ¹Åµ³ËïÝ»ñ »Ý ³Û¹ ϳñ·Ç µ³Ý³ëï»ÕÍÝ»ñÁ, áãÙdzÛÝ ÑݳÝáõÙ »Ý, ³ÛÉ»õ Ñ»ïÁ½Ñ»ï» Ùáé³óíáõÙ, áñáíÑ»ï»õ ÑÇßáÕÝ»ñÁ å³ñï³íáñ ã»Ý ³åñ»É ÙÇ ³ß˳ñÑáõÙ , áñ ³ÝÇñ³Ï³Ý ¿ »õ ϳ٠ûï³ñ£
Î³Ý µ³Ý³ëï»ÕÍÝ»ñ ¿É, áñáÝù áã ³ß˳ñÑ »Ý å³ïÏ»ñáõÙ, áã ¿É ³ß˳ñÑ ëï»ÕÍáõÙ£ Üñ³Ýù µ³óáõÙ »Ý Çñ»Ýó ³ß˳ñÑÁ£ ºõ Ýñ³Ýù ã»Ý Ùáé³óíáõÙ, áñáíÑï»õ ã»Ý ÑݳÝáõÙ£ ÆëÏ »Ã¿ ÑݳÝáõÙ ¿ ݳ»õ ³é³íáïÁ£ êñ³Ýù ã»Ý ÑݳÝáõÙ, áñáíÑ»ï»õ Ýáñ³óáÕ ÏÛ³ÝùÁ Ýáñ³óÝáõÙ ¿ ݳ»õ ëñ³Ýó, ÇÝãå¿ë áñ Ýáñ³ÝáõÙ »Ý ³é³íáïÝ»ñÁ£

ä»ïñáë ¸áõñÛ³Ý...!!!
ê³ ³ß˳ñÑ ãå³ïÏ»ñ»ó£ ºõ ³ß˳ñÑ ãëï»ÕÍ»ó ë³£
ê³ µ³ó»ó Çñ ³ß˳ñÑÁ, áñ Çñ»ÝÇó Ñ»ïá Ïáãí»ó áõ Ïáãí»Éáõ ¿ Çñ ÇëÏ ³ÝáõÝáí- ¸áõñ۳ݳϳݣ
²Û¹ ³ß˳ñÑÁ±
þ´áõÛÉ ÙÁ ݳÛí³óù, ÷áõÝç ÙÁ ÅåÇï°, ° ºÃ»ñ ÙÁ ïñá÷°, »¹»Ù ÙÁ ßáõÝç°- ³Ñ³ ³Û¹ ³ß˳ñÑÁ£
°¶Çß»ñ ÙÁ ëáõ·°, °³Ý¹áõݹ ٰѳé³ã°, °¹ÅáËù Ù°³Ý»Íù°- ³Ñ³ ³Á¹ ³ß˳ñÑÁ£
ÖÇß¹ ¿, áñ Ñ³×³Ë °ËáëùÝ Ù»ñ Ñá·íáó ³ÝÑáõÝáõÃÛáõÝÁ ÏåÕÍ¿°£ ´³Ûó ¹áõñÛ³Ý³Ï³Ý Ïáãí³Í ³ß˳ñÑÇ ï»ñÁ áã ͳÝñ³Ý³É»½áõ ¿ñ Øáíë»ëÇ å¿ë, áã ¿É å³ïñ³ëïÇ å³ïíÇñ³ÝÝ»ñ ÏñÏÝáÕ ²Ñ³ñáÝÇ Ýٳݣ ¸áõñÛ³ÝÇ Ñ³Ù³ñ °ËáëÇÉ Ñ³ïÝÇÉ ¿ ÉáÏ° £ ²ñ¹ñ³ñ»õ Ýñ³ ÏÛ³ÝùÝ ³ÛÉ µ³Ý ã¿ñ, »Ã¿ áã Ëáë»Éáí ѳïÝ»É »õ Ëáë»É »õ ѳïÝ»Éáí Ëáë»É£ àõëïÇ áõ °ùáõñ³ ÙÁ Ëáëù° ¿ñ ³Û¹ ³ß˳ñÑÁ, °ùáõñ³ ÙÁ Ëáëù° áñ ¹Ûáõûó Ù»ñ ëñï»ñÁ, ¹³ñÓ³í Ù»ñ ËáëùÁ, áõëïÇ »õ ³Û¹ ³ß˳ñÑÝ ¿É ÷á˳ñÏí»ó Ù»ñ ³ß˳ñÑÇ£
ÈáõëÇÝ Ï³ñ ³Û¹ ³ß˳ñÑáõÙ, ÉáõëÇÝ áñ ¸áõñÛ³ÝÇ Å³Ù³Ý³ÏÝ»ñáõÙ ÃÕÃÇó ¿ñ ë³ñùí³Í£ ÜáõÛÝÇëÏ Ù»Í ä»ßÇÏóßÉÛ³ÝÁ ã½áñ»ó ³½³ïí»É ³Û¹ ÃÕóϻñï ÉáõëÝÇó£ äÇïÇ ·³ñ ¸áõñÛ³ÝÁ° ÉáõëÝÇÝ ã·áÕ³ñÏ»Éáõ °Ýáõñµ ³ÙåÇÏáí°£ ²Û¹ å³ñï³Ï³ÝáõÃÛáõÝÁ ѳ×áõÛùáí ϳï³ñáõÙ ¿ÇÝ ß³ï»ñÁ, µ³Ûó... °Ýáõñµ ³ÙåÇÏ°-Ý»ñÝ ¿É ÃÕÃÇó ¿ÇÝ£ äÇïÇ ·³ñ ¸ùõñÛ³ÝÁ, áñ ÉáõëÇÝ ùáÕ³ñÏ³Í °Ýáõñµ ³ÙåÇÏ°-Çó Ñ»ï»íóÝ»ñ, ÿ ¹ñ³ÝÇó£

°àõë³Ý ÃñùáõÑÇù
̳ÍÏ»É Çñ»Ýó ¹»ÙùÝ Ñ³ç³Õáí Ýñµ³Ã»É
²Ýáñ ÝÙ³Ý ¹Å·áõÛÝ ÁÉÉ³É áõ ¹Ûáõûɰ£

²Û¹ ûñí³ÝÇó í»ñç³ó³í ÃÕÿ ÉáõëÝÇ Ã³·³íáñáõÃÛáõÝÁ ÃÕÃÇ íñ³£
²Ûëå¿ë ¿É ¸áõñÛ³ÝÁ ÏÛ³Ýù í»ñ³¹ñ»ó ·ñù³ÛÇÝ ³ëïÕ»ñÇÝ, áñ ÝáõÛÝå»á ýû åÉåÉáõÙ áõÝ¿ÇÝ£

Ò»éù í»ñóáõóÇÝù ³ëïÕ»ñáõÝ,
ê»ñ áõËï»óÇÝù Çñ³ñáõ,
¸áÕ¹áÕ³óÇÝ ³ëïÕ»ñÝ ³É
Ø»ñ »ñ¹áõÙ»Ý ³Ñ³ñÏáõ£

øÇã ¿° ³ë»É, û ³ëïÕ»ñÝ ³Ûëï»Õ ϻݹ³ÝÇ »Ý ³ñ¹»Ý. ³ëïÕ»ñÇÝ ÏñÏݳÏÇ ÏÛ³Ýù ¿ å³ñ·»í³Í ³Ûëï»Õ£
ºí ÙdzÛÝ ³Ûëï»Õ±£
Þ³ï ãµ³ó³½³ïí»Éáõ ѳٳñ ·áѳݳÝù í»ñÑÇß»Éáí »õë ÙÇ ïáÕ. þºÉÝ»É ³ëïÕ»ñáõ ë³Ý¹áõÕù ³Ý³ÉÇ°£
ÂÕóϻñï ÉáõëÇÝÝ»ñÇ »õ ÃÕó÷³ÛÉ ³ëïÕ»ñÇ Å³Ù³Ý³Ï³ßñç³Ýáõ٠ѳÝ׳ñÁ ÙdzÛÝ Ï³ñáÕ ¿ñ û·ïí»É å³ïÏ»ñ³íáñ Ùï³ÍáÕáõÃÛ³Ý ³ÛëåÇëÇ »Õ³Ý³ÏÇó£ þºÉÝ»É ³ëïÕ»ñáõ ë³Ý¹áõÕù ³Ý³ÉÇ° (³ÛëÇÝùÝ ³ÉÇùÝ»ñÇó ½áõñÏ- ³ëïÇ×³Ý ãáõÝ»óáÕ), ë³ ³ÛÝ °»Ã»ñ ÙÁ ïñá÷Ý° ¿, áñáí ¸áõñÛ³ÝÁ ϳÝË»ó Ýñ³Ýó, áíù»ñ åÇïÇ ·³ÛÇÝ ³éÝí³½Ý Ï»ë ¹³ñ Ñ»ïá£
¶³ÉÇù ë»ñáõݹݻñÇó ѳ÷ßï³Ïí³Í ÙÇ ïáÕ ¿ ë³, »õ ï³ñûñÇÝ³Ï áãÇÝã ãϳ, áñ ¸áõñÛ³ÝÇ Å³Ù³Ý³Ï³ÏÇóÝ»ñÁ ÝáõÛÝÇëÏ ÁÝÏ³É»É ãϳñáÕ³ó³Ý ³Ûë å³ïÏ»ñÁ° ϳñÍ»Éáí, ÿ°³Ý³ÉÇÝ° íñÇå³Ï ¿£ àõ ßïÏ»óÇÝ ¿É ³Û¹ °íñÇå³ÏÁ°. »ñϳñ ï³ñÇÝ»ñ °³Ý³ÉÇ°Ý ¹³ñÓ³Í ¿ñ °³Ñ³ÉÇ°...
ØÇÝã»í ã³ÝóÝ»ñ Ï»ë ¹³ñ, áõ ã·³ñ Ù»ÍÝ ì³ñáõųÝÁ, áí± åÇïÇ Ï³ñáճݳñ ·ñ»É.

ܳ Çñ ßÝçáíÝ ÇëÏ ½Çë ·áÑ ÁÝ»É ÏÁ ϳñÍ»ñ,
´³Ûó Ï°³ñͳñÍ»ñ, áÑ ÇÙ ëÇñáõÛë µÛáõñ ϳÛÍ»ñ£

ºõ áí åÇïÇ °ë³ ͳÕÇÏÝ»ñÁ Ñáõë³ßáÕ° ѳٻٳï»ñ ³ÛÝ °ëáõï ͳÕÇÏÝ»ñ°-ÇÝ, áñáÝù ͳÍÏáõÙ »Ý °ëáëÏ ëñïÇ ³Ý¹áõݹÁ°£
ØÇÝç»õ ã³ÝóÝ»ñ ³ÙµáÕç Ï»ë ¹³ñ, áõ ã·³ÛÇÝ Ø»Í³ñ»ÝóÝ áõ î»ñÛ³ÝÁ, áí± åÇïÇ Ï³ñáճݳñ ëÇñ³ÍÇÝ ·ñ»ÉÇë ½·³É, û þûõ»ñáõë Ù»ç ÉáõÛë ÙÁ, Ñáí ÙÁ Ù³ñ»ó³í° ϳ٠þá·Ç Ù°³Ýó³í ëñï»ë, ÃáÕáõó ÑáÝ ëïí»ñþ£
λݹ³ÝÇ Ù³ñÙÝÇ ÁÝϳÉáõÙÁ ǵñ»õ ÉáõÛë áõ Ñáí, ³ÝÇñ³Ï³Ý á·áõ Ù³ñÙݳíáñáõÙÝ áõ ½·³óáõÙÁ ³ÛÝå»ë , áñ ëïí»ñ ÃáÕÝÇ ³Û¹ Ñá·ÇÝ, - ³Ñ³ ³ÛÝ ÑÛáõë³Ñ³Û³ó áõ ѳñ³í³Ñ³Û³ó ¹³ñå³ëÝ»ñÁ, áñ Ùáõïù»ñÝ »Ý ¹áõñÛ³Ý³Ï³Ý Ïáãí³Í ³ß˳ñÑÇ£
»õ ³ñÅ»± ³Ûëï»Õ, áñ ÝÙ³Ý ³ß˳ñÑÇ ï»ñÁ ã»ñ ϳñáÕ ·áÑ³Ý³É ÙdzÛÝ ÉáõëÝÇ »õ ³ëïÕ»ñÇ Ï»Ý¹³Ý³ó³áõÙáí£ ¸áõñÛ³Ý³Ï³Ý ³ß˳ñÑáõÙ, ³ã³çÇÝ ³Ý·³Ù Ù»ñ Ýáñ ùݳñ»ñ·áõÃÛ³Ý Ù»ã, ϻݹ³Ý³ó³Ý ϳÛͳÏÝ áõ ³ñóáõÝùÁ, óíáõïÝ áõ ³éí³ÏÁ, þ³éïí³Ý ß³ÕÝþ áõ °ÇñÇÏí³Ý µ³ÉÁþ, ÷ÃÇÃÝ áõ Ñá·ÇÝ... ÇëÏ Ï³ñÙÇñ í³ñ¹Ý± áõ ϳåáõÛï Ù³Ýáõß³ÏÁ±£
Øáï³íáñ³å»ë ѳñÛáõñ ï³ñí³ Ñ»é³íáñáõÃÛáõÝÇó ëÛëûñ ¿É ¸áõñÛ³ÝÁ ¹ÇÙáõÙ ¿ Ù»½ ÙÇ Ñ³ñóáí£

ì³ñ¹Á ·³ñݳÛÝÇ
¿ ÏáõëÇÝ ïÇå³ñ
²Ûï»ñáõÝ ãÁÉɳñ
àí ѳñ·»ñ ½³ÝDZ£

¿ ãÁ Ýٳݻñ
γåáõÛïÝ »Ã»ñ³ó
ÎáõÛëÇÝ ³ã»ñ³ó,
ºñÏÇÝù áí ݳۻñ±

гñóÝáõÙ ¿ Ù»½ ¸áõñÛ³ÝÁ, »õ Ù»Ýù ѳñÛáõñ ï³ñÇ Ñ»ïá ¿É, å³ï³ë˳ݻÉÇù µ³Ý ãáõÝ»Ýù, áñáíÑ»ï»õ Ù»½ÝÇó ß³ï»ñÝ ³Ûëûñ ¿É í³×³é³Ï³ÝáõÃÛáõÝ »Ý ³ÝáõÙ ÃÕû í³ñ¹»ñáí, Ù³Ýáõß³ÏÝ»ñáí, »ÕÝÇÏÝ»ñáí »õ...
¸áõñÛ³ÝÇ ³ß˳ñÑáõÙ É×³Ï Ï³, »õ ÇÝã É׳ϱ£ ºÃ¿ ÙÇ ã³ñ Ññ³ßùáí ·áÉáñßÇ³Ý³Ý ³Í˳ñÑÇ µáÉáñ É׳ÏÝ»ñÁ° ¸áõñÛ³ÝÇ þÈ׳Ïþ-áí ϳñ»ÉÇ ¿ í»ñ³ëï»ÕÍ»É ¹ñ³Ýù£
ܳ Ù»½, Çñ ûñÇݳÏáí, Ùï»ñÙ³óñ»ó ³Û¹ þٻɳٳÕóáï É׳ÏÇþ-ÇÝ, ÇÝãå»ë ݳ»õ ëáíáñ»óñ»ó °·ñ³íÇÉ, Éé»É áõ ËáϳÉþ£ ¸³ñÓÛ³É Ýñ³ÝÇó ëáíáñ»óÇÝù° ËáϳÉ, ëáõ½ÇÉ, ½Ù³ÛÉÇÉ ëáõïþ£ ÎñÏÇÝ Ýñ³ Ëáëù»ñáí Ù»½ þ÷áõÝç ÙÁ µáóþ, ÷ë÷ë³ó. þΰáõ½»ë å³ßï»É Ñá·Ç Ù°³ÙµÇÍþ£ Üñ³ Ñ»ï Ù»Ïï»Õ ï³é³å»óÇÝù þºñÏÝùÇ Ñí³Ý¹áõÃÛ³Ùµþ, Ýñ³ Ñ»ï Ù»Ïï»Õ Ïáã»óÇÝù, þàÑ, ϳÛÍ ïí»ù ÇÝÓ, ϳÛÍ ïí»ù ³åñÇÙþ£ Üñ³ Ñ»ï Ù»Ïï»Õ ¹³ñÓ³Í þß³Ýà ¹³Éϳѳñþ£, í»× ÙÕ»óÇÝù þàË»ñÇÙ ³ëïÍáþ ¹»Ù »õ Ñáõë³Ñ³ï ÙÇ å³ÑÇ Ï³ñÍ»óÇÝù, ÿ þ²ëïáõÍá ͳÕñÝ ¿ ³ß˳ñÑ ³É ³ñ¹»Ýþ£

øë³Ý ï³ñ»Ï³Ý ãϳñ ݳ, »ñµ ³ëïÕÇ å»ë ·Ý³ó þѳí»ÉáõÉ »ñÏÝÇóþ£
àõñÇßÝ»ñÁ Ýñ³ ï³ñÇùáõÙ ÝÙ³ÝáÕ³Ï³Ý áï³Ý³íáñÝ»ñ »Ý ·ñáõ٠ѳ½í³¹»å å³Ñå³Ý»Éáí ã³÷-ÏßñáõÛÃÇ »õ ѳݷ áõªí³ÝÏÇ ï³ññ³Ï³Ý ϳÝáÝÝ»ñÁ£ Üñ³ ï³ñÇùáõÙ É³í³·áõÛÝÝ»ñÁ ËáëïáõÙ »Ý ï³ÉÇë, µ³Ûó áã ·áñÍ£ Üñ³ ï³ñÇùáõÙ ëÏëáõÙ »Ý ׳ݳã»É ³ß˳ñÑÁ, µ³Ûó ã»Ý áõÝ»ÝáõÙ ÙÇ ³ß˳ñÑ, áñÇ Ù³ëÇÝ ³ëí»ñ.

Ðá¹ ³ëïÕ»ñÁ ã»Ý Ù»éÝÇñ,
̳ÕÇÏÝ»ñÝ Ñá¹ ã»Ý ÃáéÙÇñ,
²Ùå»ñÁ ã»Ý Ãñç»ñ ÑáÕ...

ØÇ ³ß˳ñÑ, áñÇ ëå³éÇã ë³ÑÙ³ÝáõÙÁ ϳñáÕ ¿ñ ï³É »õ ïí»É ¿ ³Û¹ ³ß˳ñÑÇ ï»ñÝ ÇÝùÁ.

ÐáÝ Ññ¹»Ñ ϳ áã Ù³ïÛ³Ý...

гÙß˳ñѳÛÇÝ ¹³ñ³íáñ ·ñ³Ï³ÝáõÃÛ³Ý å³ïÙáõÃÛáõÝÁ ·Çï» ß³ï ùÇã ³ÝáõÝÝ»ñ, áñáÝù ϳñáÕ »Ý ¹ñí»É ¸áõñÛ³ÝÇ ÏáÕùÇÝ° Ýñ³ å»ë ÙñÙÝç³Éáí, þÆÙ ëÏÇëµë, í³Ë ÇÝÓ, í³Ë׳Ýë »Õ³íþ£ ²åñ»Éáí Áݹ³Ù»ÝÁ »ñÏáõ ï³ëÝÛ³Ï, ëï»Õͳ·áñÍ»Éáí Áݹ³Ù»ÝÁ Ù»Ï-»ñÏáõ ï³ñÇ (1869-1871), ·Çï³Ïó³Ï³Ý áÕç ÏÛ³Ýùáõ٠ٳѳٻñÓ, ¸áõñÛ³ÝÁ Çñ þ÷áõÝç ÙÁ ÅåÇïáíþ áõ þ³Ý¹áõݹ ÙÁ ѳé³ãáíþ ¹³ñÓ³í Ù»ÏÝ ³ÛÝ »ñç³ÝÇÏÝ»ñÇó, áñáÝóáí ѳٳÛÝ Ù³ñ¹ÏáõÃÛáõÝÁ áã ÿ ÑÇßáõÙ , ³ÛÉ ³Ù»Ý ³Ý·³Ù í»ñ³åñáõÙ ¿ Çñ »ñÇï³ë³ñ¹áõÃÛáõÝÁ£
¸áõñÛ³ÝÇ Ï³ñ׳ï»í ÏÛ³ÝùÁ ÙÇ ³Ý¹³¹ñáõÙ Ù³Ñ ¿ñ£ ºõ ³ß˳ñÑáõÙ ß³ï ùã»ñÇÝ ¿ µ³Ëï íÇ׳Ïí»É Çñ»Ýó Ù³ÑÁ ¹³ñÓÝ»É ³ÝÙ³ÑáõÃ۳ݣ
²Û¹ ùã»ñÇó Ù»ÏÁ ¸áõñÛ³ÝÝ ¿£
Ø»ñ ÅáÕáíñ¹Ç ï³ñ³µ³Ëï å³ïÙáõÃÛ³Ý Ù»ç ¿É »Õ»É »Ý µ³ñ»µ³ËïáõÃÛáõÝÝ»ñ£ Ø»ñ ³½·³ÛÇÝ µ³ñ»µ³ËïáõÃÛáõÝÝ»ñÇó Ù»ÏÝ ¿É ¸áõñÛ³ÝÝ¿, Ù»ñ °³½ÝíáõÃÛ³Ý íϳ۳ϳÝÁþ ³ß˳ñÑÇ ³é³ç£
Üñ³ ·³ÉáõëïÁ Ññ³ßùÇ å»ë ÙÇ µ³Ý ¿ñ, ٳݳí³Ý¹ »Ã¿ Ç ÙÇï µ»ñ»Ýù Ù»ñ Ýáñ µ³Ý³ëï»ÕÍáõÃÛ³Ý íÇ׳ÏÁ° ØËÇóñÛ³ÝÝ»ñÇ ·ñãÇ ï³Ï »õþÐÛáõëÇë³÷³ÛÉþ-Ç ¿ç»ñáõÙ£ ºÏ³í á·»í³ñáÕ å³ï³ÝÇÝ, »õ Ù»ñ µ³Ý³ëï»ÕÍ³Ï³Ý ÙÇïùÁ Ù»Ï ¹³ñáí Ïïñ»ó Çñ ݳËáñ¹Ý»ñÇó áõ ÃáÕ»ó ÙÇ áñ³Ï, áñ ã¿ÇÝ Ï³ñáճݳÉáõ å³Ñå³Ý»É Ýñ³ÝÇó Ï»ë ¹³ñ Ñ»ïá »Ï³Í Ù»ñ ß³ï µ³Ý³ëï»ÕÍÝ»ñÝ ¿É (»õ áã ÙdzÛÝ ï³Õ³ã³÷-áï³Ý³íáñÝ»ñÁ)£
ܳ »Ï³í ¹³éݳÉáõ ³ÛÝ Ï³Ùñç³ëÛáõÝÁ, áñÇ íñ³ ÑëÏ³Û³Ï³Ý ³Õ»Õ ·Í»Éáí, ѳϳé³Ï ÏáÕÙ»ñÇó åÇïÇ ÙdzݳÛÇÝ Ñ³Ûñ»ÝÝ»ñÝ áõ ì³ñáõųÝÁ, ê³Û³Ã Üáí³Ý áõ î»ñÛ³ÝÁ£
ܳ Ù»ñ Ýáñ ùݳñ»ñ·áõÃÛ³Ý ³é³çÇÝ Ù»ÍÁ »õ ÙÇßï ¿É ÏÙݳ í»ñçÇÝÁ ÏáÕùÇÝ, áñáíÑ»ï»í ݳ ãÇ ÑݳÝáõÙ, ÇÝãå»ë ã»Ý ÑݳÝáõÙ ÅåÇïÝ áõ ѳé³ãÁ, ÍÇͳÕÝ áõ Ñ»ÍÏÉïáóÁ£
ÐݳÝáõÙ »Ý å³ïÏ»ñÝ»ñÁ, ѳٻٳïáõÃÛáõÝÝ»ñÁ, ٳϹÇñÝ»ñÁ, ÷á˳µ»ñáõÃÛáõÝÝ»ñÁ, ³ÛëÇÝùÝ µ³Ý³ëï»ÕÍ³Ï³Ý þ÷ñ÷áõñÁþ£ ´³Ûó 㿱 áñ ÇÝùÁ ¸áõñÛ³ÝÝ ¿ Ïáã»É. þàÑ, ѳï³ÏÝ »Ý ÇÙ ÷ñ÷áõñÝ»ñþ£ ²Ñ³ ÿ ÇÝãáõ ÉÇÝ»Éáí Ù»ñ Ýáñ»ñÇ Ù»ç ³é³çÇÝ Ù»ÍÁ, ÙÇßï ¿É Ý³ ÏϳݷÝÇ í»ñçÇÝÇ ÏáÕùÇÝ...
Æñ ݳٳÏÝ»ñÇó Ù»ÏáõÙ ¸áõñÛÛ³ÝÁ µ³ó³Ï³Ýã»É ¿. þØÇÿ ϳñ»ÉÇ ¿ úíë³Ýݳ ÙÁ Ñ»ÍÏÉï³Éþ±
ÐÇñ³íÇ ³Ýϳñ»ÉÇ ÙÇ µ³Ý£
´³Ûó ѳÝ׳ñ»ÕáõÃÛáõÝÝ ¿É Ñ»Ýó ³ÛÝï»Õ ¿ ëÏëáõÙ, áñï»Õ í»ñç³ÝáõÙ ¿ ϳñÍ»óÛ³É Ï³ñ»ÉÇáõÃÛáõÝÁ£ ºõ ¸áõñÛ³ÝÁ, ³ñ¹³ñ»õ, ³Ýϳñ»ÉÇÝ Ï³ñ»ÉÇ ¹³ñÓñ»ó£ Üñ³ ùݳñ»ñ·áõÃÛáõÝÁ Ñ»ÍÏÉïáó ɻݻÉáí, ÙÇ³Å³Ù³Ý³Ï ÙÇ úíë³Ýݳ ¿, Ù³Ñí³Ý ïí³Ûï³Ýù »õ ÏÛ³ÝùÇ ÷³é³µ³ÝáõÙ, ÏëÏÍÇ ÙññÏáõÙ »õ ëÇñá ѳ÷ñ³Ýù£
ºõ ¸áõñÛ³ÝÝ ÇÝù ¿É ·Çï»ñ, »õ ÇÝùÝ ¿É ¿ ß»ßï»É ³Û¹. þºë ïËáõñ-½í³ñà ٰ»Ù, ¹áÕ¹áç »ñç³ÝÇÏ Ù°»Ùþ£

´³Ýëï»ÕÍáõÃÛ³Ý Ù»ç ù³Õí³Íù µ»ñ»ÉÁ ³ñï³éáó µ³Ý ¿ »õ, Áëï ³Ù»Ý³ÛÝÇ, ³ÝÝ»ñ»ÉÇ µ³Ý£ ´³Ûó ѳϳé³Ï ³Ûë ûñ»ÝùÇ, Çñ ÇëÏ ¸áõñÛ³ÝÇ »õ ѳٳß˳ñѳÛÇÝ ùݳñ»ñ·áõÃÛ³Ý ·ÉáõË·áñÍ»óÝ»ñÇó ¿ þÂñùáõÑÇÝþ£
ºõ ³Ûë ùñ»Ãí³ÍÁ ÙdzÛÝ ÃñùáõÑáõ Ù³ëÇÝ ã¿£
ºÃ¿ ¹áõñÛ³Ý³Ï³Ý þÝ¿þ-Ý÷á˳ñÇÝ»Ýù ëáíáñ³Ï³Ý þݳþ-áí áõ ÷áË»Ýù Áݹ³Ù»ÝÁ áñÏáõ-»ñ»ù µ³é ³Ûë µ³Ý³ï»ÕÍáõÃÛáõÝÁ Ϲ³éݳ Ñ»ÕÇݳ³ÏÇÝ ÙÇ ÑáÛ³Ï³å ¹ÇÙ³Ýϳñ£ ²Û¹ ÇÝùÁ ¸áõñÛ³ÝÝ¿, áñ þ»Ã¿ ݳÛÇ ÏÁë»ëþ.- þÐÇÙ³ ÏÙ³ñÇþ... þºÃ¿ ÅåïÇ ÏÁ»ë»ë....þàÑ ÑÇÙ³ ÏÁ ϳÝóÝÇþ.. »Ã¿ ß³ñÅÇ ÏÁë»ë. °ÐÇÙ³ ÏÁ ÃéãÇþ.. »Ã¿ ßÇÏÝÇ, ÏÁë»ë,- þÐÇÙ³ ÏÁ µéÝÏÇþ, »Ã¿ ËáëÇ ÏÁë»ë.- þÐÇÙ³ ÏÁ ѳïÝÇþ£
ºõ ³Ûë µáÉáñ þ»Ã¿þ-Ý»ñÁ Ù»ñ ³ãùÇ ³é³ç, ϳï³ñíáõÙ »Ý ¸áõñÛ³ÝÇ Ñ»ï »õ ³Ûë µáÉáñ Ï»ñå³ñ³Ý³÷áËáõÃÛáõÝÝ»ñÁ ï»ÕÇ »Ý áõÝ»ÝáõÙ Ýñ³ ùݳñ»ñ·áõÃÛ³Ý Ù»ç£
ܳ Çëϳå»ë ¿É

ÎÁ í³éÇ, ÙÇßï ÏÁ í³éÇ, ãÇ Ñ³ïÝÇñ
îݳÝÏ ÏÝáç ï³×³ñÝ í³é³Í ×ñ³·ÇÝ å¿ë...
ÆëÏ »Ã¿ Ù»éÝÇ, ÏÁë»ë.- þÐÇÙ³ ÏÁ ÍÝÇþ£

þîݳÝÏ ÏÝáç ï³×³ñÝ í³é³Í ×ñ³·ÇÝ å»ëþ, ³Ûá, í³éíáõÙ ¿, í³éíáõÙ áõ ãÇ Ñ³ïÝáõ٠ݳ£ ºõ ³Û¹ þïݳÝÏ ÏÇÝÁþ ϳñáÕ ¿ ÉÇÝ»É ¸áõñÛ³ÝÇ Éáõë³Ñá·Ç Ù³ÛñÁ£ ²Û¹ þïݳÝÏ ÏÇÝÁþ ϳñáÕ ¿ ÉÇÝ»É ÙÇ³Ý Ø³Ûñ г۳ëï³ÝÁ£ ØdzÛÝ Ýñ³ í³é³Í ×ñ³·Á ϳñáÕ ¿ ãѳïݻɣ ØdzÛÝ Ý³ ϳñáÕ ¿ñ ÍÝ»É ÙÇ ³ÛÝåÇëÇ ½³í³Ï, áñåÇëÇÝ ¿ ä»ïñáë ¸áõñÛ³ÝÁ£
ä»ïñáë ¸áõñÛ³Ý...
Üñ³ ÍÝݹÇó ³Ýó»É ¿ Áݹ³Ù»ÝÁ 110 ï³ñÇ, µ³Ûó ³ñ¹»Ý ³Ýѳí³ï³ÉÇ, ÿ ݳ »ñµ»õ» ³åñ»É ¿, áõñ»ÙÝ »õ ÍÝí»É£
ÆëÏ »Ã¿ »ñµ»õ» ÍÝí»É ¿ ݳ, ³å³ ÍÝí»É ¿ »ñµ

ºñÏÝ»ñ »ñÏÇÝ, »ñÏÝ»ñ »ñÏÇñ,
ºñÏÝ»ñ »õ Íáí ÍÇñ³ÝÇ,
ºñÏÝ Ç ÍáíáõÝ áõÝ»ñ »õ ½Ï³ñÙñÇÏÝ »Õ»·ÝÇÏ...

ܳ ã³åñ»ó ·áÝ» ³ÛÝù³Ý, áñ ϳñáճݳñ Ùáñáõë ³×»óÝ»É, áõ »Ã¿ ë»í³Ñ»ñ ¿ñ áõ ë»í³ÏÝ ÙÇ»õÝáõÛÝÝ¿.

ܳ Ñáõñ Ñ»ñ áõÝ»ñ,
´áó áõÝ»ñ Ùûñáõë,
ºõ ³ãÏáõÝùÝ ¿ÇÝ ³ñ»·³ÏáõÝù£

²ÛëåÇëÇÝ ¿ ݳ Ù»ñ å³ïÏ»ñ³óٳٵ, áñáíÑ»ïõ Ù»ñ ùݳñ»ñ·áõÃÛ³Ý ì³Ñ³·Ý ¿ ³ÛÝ þ˳ñïÛ³ß å³ï³Ý»ÏÇÏþ-Á, áñ Çñ ßáõñç ë÷éáõÙ ¿ Ù˳Ýù-ÍáõËÁ þ»Õ»·³Ý ÷áÕþ-Ç ³ÛÝ µáóÁ, áñ Ùßï³Ï³Ý Ý»ñϳÛáõÃÛáõÝ ¿° þùáõñ³ ÙÁ Ëáëùþ, µ³Ûó ݳ»õ þ³Ùåñáå ÙÁ ë³ëïþ£
²Ùåñáå ÙÁ ë³ëïþ, áñå»ë½Ç ϳñáճݳÝù ³ñųÝÇ ¹³éÝ³É Ýñ³ Ñ»ï»íáñ¹Á Ïáãí»Éáõ ³é³Ýó þºñÏÝùÇ ÑÇí³Ý¹áõÃÛ³Ýþ Ññ¹»Ñ»Éáõ Ù»ñ ÏÛ³ÝùÁ ³ñí»ëïÇ Ù»ç »õ í³½»Éáõ þÙÇ µáóáõÛÝþ£


[ February 18, 2002: Message edited by: Garo ]

[Harut]

and why can't i read this?
i don't see the Armenian letters in this topic.

[Garo]

Arpa you can use [ FONT=Arial AM ] before the text and [ /FONT ] after it to make the text appear in armenian.
Please note that there's no space after [ and before ].

[Arpa]

Harut, it is written in Armenian NLS. I will try and experiment Garo's system even though I don't quite understand it. i.e is it just typing those words or would we also place them in brackets. I have had those fonts for sometime. Maybe Garo can show us the exact configuration.They don't appear in the transmitted text, so if Garo would use "dummies" ( characters that will nor hide but rather appear to show exactly how to execute I'll have to experiment. Something like [XXXXXX=xxxXXX] and [XXXX]?? In the meantime I find it much simpler to use the NLS system. Who else can/cannot see the Armenian text?
Here is wher you will find the NLS. http://www.freenet.am/armnls/

[Johannes]

Edited by Johannes, 26 July 2007 - 11:33 AM.

[Arpa]

BETTER LATE THAN NEVER?

Իսկ աննըշան եթե մընա
Երկրի մեկ խորշն հողակոյտն իմ,
Եվ հիշատակս ալ թառամի,
Ահ, այն ատեն ես կը մեռնիմ...
(Պետրոս Դուրեան)

In May 20, or June 12012 it will be the 160th anniversary of his birth.

http://hetq.am/eng/news/850/

Tourian died at 20 without ever being photographed

It is the belief of Henrik Bakhchinyan that Catholicos Vazgen I transferred the skull of Tourian to the museum so that the poet’s actual face features could be restored scientifically. The issue of what to do with the remains would be decided later.
Academician Andranik Tchagharyan, an anthropologist and skull expert, got to work and successfully compiled a true image of Tourian’s face. A sculpture was also crafted. Tchagharyan then dismantled the skull and returned the bones to the museum.

The Skull of Bedros Tourian Remains Unburied for 42 Years

14:02, 2 May, 2011
National fiasco on the eve of the poet’s 160th anniversary?
For the past 18 years, Henrik Bakhchinyan has been waging a relentless battle with Armenian officials to have a few skull bones of 19th century poet and playwright Bedros Tourian interred in Yerevan’s Pantheon Cemetery.
Mr. Bakhchinyan is Director of the Charents Museum of Literature and Art where the famous western Armenian writer’s remains are kept in a locked box. The bone fragments have remained in storage, seemingly forgotten, for years.
During their tenures, Director Bakhchinyan had petitioned the previous two mayors of Yerevan to resolve the embarrassing matter, but to no avail.
He has written letters all seven RA Minist16er of Culture since the country’s independence twenty years ago. This list includes the current Minister of Culture, Hasmik Poghosyan.
None of these officials have taken any practical steps.
Henrik Bakhchinyan says he prefers not to write to current Yerevan Mayor Karen Karapetyan, not that he has anything against the man, but based on 18 years of bitter experience dealing with government officialdom.
Officials just can’t appreciate Tourian’s work
“I’ve grown tired of being rejected. To be honest, I’m totally disillusioned. I’ll be leaving this position soon and I really don’t see this issue being resolved in any way,” says the museum director, adding that he and others are simply carrying out their sacred obligation regarding one of the nation’s greatest poets.
Mr. Bakhchinyan says that the problem isn’t the lack of money but due to a lack of sensitivity regarding the significance of Armenian literature in general and the art of Bedros Tourian in particular. In short, it’s due to the fact that most cannot, or do not, appreciate Tourian’s art.
Over the years, there have been individuals who have come forward ready to cover the costs of a burial. The expense would be minimal in any event – just a small plot in the Pantheon and a bust of the poet.
“Some of our most famous intellectuals have been involved in this matter and all have declared that the remains of Bedros Tourian must be buried in the Komitas Pantheon and nowhere else. Recently, MP Viktor Dallakyan, a respectable individual, has taken up the cause. He made me some promises but, to date, nothing has resulted,” Bakhchinyan notes.
Tourian died at 20 without ever being photographed
Bedros Tourian died in 1872, at the age of twenty, from consumption. He was buried in the Armenian Cemetery of Skudar in Istanbul.
In the late 1960s, the Istanbul Municipality decided to build a road right through then cemetery and the problem of relocating the burial sites cam up. The Armenian Patriarch of Istanbul Archbishop Shnork Kalustian took the bold step to secretly remove the poet’s skull. Hiding it under a cassock, Patriarch Kalustian brought the bones to Etchmiadzin, presenting them to Catholicos Vazgen I. In 1969, Catholicos Vazgen handed them over to the museum for safekeeping. They’ve been there ever since.
During his short and tempest-tossed life, Bedros Tourian was never photographed. The famous image we see today of Tourian was drawn based on the facial features of the poet’s mother and sister and recollections of friends.
It is the belief of Henrik Bakhchinyan that Catholicos Vazgen I transferred the skull of Tourian to the museum so that the poet’s actual face features could be restored scientifically. The issue of what to do with the remains would be decided later.
Academician Andranik Tchagharyan, an anthropologist and skull expert, got to work and successfully compiled a true image of Tourian’s face. A sculpture was also crafted. Tchagharyan then dismantled the skull and returned the bones to the museum.
“We have a debt to pay to Tourian. The bones have been kept here for 40 years now. They aren’t an object for display but sacred remains. As such, they deserve a proper resting place in the homeland,” argues Bakhchinyan.
Melinya Yeghiazaryan, Director of the Memoirs Division at the Museum’s Literature Department, shares this view. She’s been working at the Museum for 34 years, over which time 6 directors have come and gone.
Mrs. Yeghiazaryan told me that all of them left no stone unturned to have the poet’s bones interred at the Pantheon. Once a week she burns incense in the museum; a gesture of respect not only for Tourian but for the personal effects of other noted individuals.
“I perform this small ritual here, but this is not the way it should be done. You can’t tell me there’s no one tiny patch of earth on this planet to bury Tourian’s bones. So that school teachers can bring their pupils to the memorial gravesite to light candles and incense, to lay flowers and to be told who is buried below.”
Henrik Bakhchinyan last visited the grave of Bedros Tourian in Istanbul aback in 1993. The cemetery was in good condition and had just been relocated a few meters off to one side. Others who visited the young poet’s grave afterwards also reported that the site looked fine.
The museum director hopes that after Tourian’s bones are interred at the Pantheon, Andranik Tchagharyan’s bust, or a copy, will grace the poet’s grave.
Museum Director and Deputy Director at odds
This reporter contacted Gayaneh Dourgaryan, who heads the Press Service at the Ministry of Culture, to see if they were planning to resolve this matter once and for all.
Dourgaryan advised me to get in touch with Karo Vardanyan. She said that Vardanyan would answer on behalf of the Ministry. Now here’s where it gets a bit muddled.
Karo Vardanyan is the Deputy Director of the Charents Museum and works for Henrik Bakhchinyan; at least on paper. But Vardanyan’s views regarding the Tourian “fiasco” differ from that of his boss.
Pantheon burial to only cost $1,000
Vardanyan told me that the Culture Ministry had been ready to have Tourian’s remains interred at the Pantheon. Two years ago, at the behest of the Minister of Culture, a preliminary budget had been drawn up as to the expenses of a Pantheon burial. The expenditure report even included the cost of an urn for the remains to be buried in and that of a moveable stage for the envisaged literary memorial event afterwards.
According to the estimate, the entire interment would cost around 350,000 – 400,000 AMD (about $1,000).
A roundtable discussion took place at the Charents Museum in 2009 regarding the issue. Invitees included members of the Writers Union of Armenia, staff of the Yerevan State University’s Faculty of Philology, representatives from the Pedagogical Institute, and the media.
Karo Vardanyan says that if the attendees had come to a consensus regarding the burial at the Pantheon, it would have happened. They would have given their consent to the project and a petition would have then been sent to the prime minister for his approval. Let’s remember that burial sites at the Pantheon are allocated by the government.
“However, since that assembly failed to reach a consensus on the matter, the petition to the government remained on paper only. Imagine this, only two people at that conclave were in favor of reburial. One was Khachik Stambultsyan and the other was our museum director Henrik Bakhchinyan. You understand the problem, right? We couldn’t have submitted that petition to the government with just two signatures.” says Karo Vardanyan.
Intellectual community can’t agree on what to do
According to Vardanyan, the others at the Tourian conclave also viewed the skull remains were also of medical interest and nit just a human object to be buries. He says many wanted to see if Tourian’s image could be restored from the skull, not realizing that such an experiment had been successfully concluded years ago.
When I told Karo Vardanyan about this fact he replied, “Sure it happened, but from what?”
He went on tell me that one participant even suggested that a memorial be erected in the Tourian neighborhood located in the town of Avan and that the skull be buried at its foot.
Vardanyan concluded by saying that since a majority consensus wasn’t reached it has been decided to form a government committee at a future jubilee celebration for Tourian. This body will review the matter and decide what to do.
Should Tourian have two gravesites?
Given that 2012 will mark Tourian’s 160th birthday anniversary, Vardanyan says he will remind the ministry to request that the government form such a committee.
“This is a matter for just one person to decide, to say ‘let’s take the remains to the Pantheon’. Let’s not forget that Tourian’s grave remains till today at the Armenian cemetery in Istanbul. And it’s a special grave. For decades, lovers have met at the grave,” notes Vardanyan.
He also doesn’t rule out that the skull should be returned to Istanbul in the same impulsive way it was brought to Yerevan decades ago.
“Why should Tourian’s earthly remains be divided, especially when the grave of the poet is in the Istanbul Armenian cemetery? I wouldn’t like to see Tourian or anyone else have more than one grave. Why is it that we are removing all our traces from the world by constantly relocating them here?” Vardanyan asks, listing the names of other noted Armenians whose remains have been so “repatriated”.
When asked if he wasn’t concerned that the Turks might destroy Tourian’s grave if the skull is returned, in the same manner that scores of churches and cemeteries have been obliterate in western Armenia, Vardanyan replied that such matters were out of our hands even though the Istanbul Armenian community keeps watch over and cares for the Skudar Cemetery.
“Is it so wrong to preserve the remains in the museum? We will present the matter, in all its details, to the government committee formed at the poet’s jubilee in order for a correct decision to be made. The question remains – to bury or not to bury?” notes Vardanyan.
The Charents Museum Deputy Director adds that if the government committee decides in favor of burying the skull bones, it must take place at the Komitas Pantheon.
There can be no other place of reverence to honor the poet, Vardanyan adds, since Bedros Tourian is one of our nation’s greatest luminaries.

Edited by Arpa, 03 May 2011 - 01:32 PM.

[Arpa]

http://news.am/eng/news/91738.html

February 02, 2012 | 21:38
YEREVAN. - A ceremony dedicated to the memory of beloved Armenian poet Petros Duryan took place in Yerevan’s Komitas Pantheon on Thursday.
During the Ceremony Armenia’s parliament speaker Samvel Nikoyan conceals the remains of Durian’s skull, which had been brought from Istanbul, in a wall
---
Փետրվար 02, 2012 | 21:38
Երեւանի Կոմիտասի անվան պանթեոնում, այսօր` փետրվարի 2-ին, տեղի է ունեցել արեւմտահայ վաղամեռիկ բանաստեղծ Պետրոս Դուրյանի հիշատակի հավերժացման արարողությունը:
Այստեղ ամփոփվել է Պոլսի Սկյուտարի հայոց գերեզմանատնից` բանաստեղծի շիրմից բերված հողի հետ խառնված, բանաստեղծի մասունքը (գանգի բեկորները). այն հուշապատի մեջ է տեղադրել Ազգային ժողովի նախագահ Սամվել Նիկոյանը: Այնուհետեւ տեղի ունեցավ հոգեհանգստի արարողություն:
ԱԺ մամուլի ծառայությունից NEWS.am-ին հայտնում են, որ անցյալ տարի Ազգային ժողովի նախագահի հովանու ներքո անցկացված ասմունքի հանրապետական մանկապատանեկան 4-րդ մրցույթ-փառատոնի (որը նվիրված էր արեւմտահայ պոեզիայի չորս գագաթների, այդ թվում` Պետրոս Դուրյանին) մասնակիցներն ու ժյուրիի անդամ- դերասանները ասմունքել են նրա ստեղծագործություններից:
Պետրոս Դուրյանի հիշատակի արարողությունն ավարտվել է խնկարկումով