Բառի մը պատմութիւնը

Վահէ Յ, Աբէլեան

Պարզապէս բառի մը մասին է գրերլիքս։ Բառ մը որ հանիպած էի աւելի քան վեց տասնամեակներ առաջ։ Քանի որ օր առաջ կրկին անգամ հանդիպեցայ նոյն այդ բառին։ Այս անքամ ալ քաղաքական ակնարկով մը գործածուած էր։ Բայց իմ պատմելիքս պարզապէս այդ բառին իմ պատմութիւնս է, ուրիշ ոչ մէկ բան։

Քանի մը օր առաջ Արմէն Մխիթարեանը (Armen Mkhitaryan), ֆէյսպուքի իր էջին վրայ զետեղած էր լուսանկամր մը հետեւեալ նկատողութեամբ ՝«Արմաշկաներ, այս նկարին շատ լավ նայե՛ք»։ Զանծ կ՚առնեմ զետեղել այդ լուսանկարը պարազապէս որպէսզի այս գրութիւնը «Արմաշկան» բառին իմ պատմութիւնս ըլլայ եւ ուրիշ ոչ մէկ բան։

«Արմաշկան» բառը զիս ետ տարաւ աւելի քան վեց տասնամեակներ, պատանեկութեանս օրերուն, երբ կարդացի Մալխասին քառահատոր «Զարթօնք» վէպը, Պէյրութի մէջ։ Այդ ընթերցումէս ետք, այդ բառին անգամ մըն ալ չի հանդիպացայ մինչեւ որ կրկին անգամ կարդացի Արմէն մխիթարեանին տեղադրութեանը մէջ։

Վէպին մէջ, «Արմաշկան» բառին գործածութիւնն ալ որոշ յստակւութեամբ կը յիշեմ։ Եթէ այս գրութիւնը ընթերցողներուն մէջ կան ոմանք որոնք կարդացած են Մալխասին «Զարթօնք» վէպը եւ կը յիշեն պատահարը, կրնան մանրամասնել եւ կամ սրբագրել զիս եթէ յիշուղութիւնս զիս կը դաւաճանէ։

Վէպին հերոսուհի Սօնեային պատահարի մը հետ առընջուած մնացած է այդ բառը յիշողութեանս մէջ։ Մեծահարուսս հօր շփացած աղջիկը արդէն իր ընկերային կապերը կը պահէր Ռուս ընտրանի դասին հետ եւ Ռուս սպայի մը ընկերակացութեամբ կը մասնակցէր պարահանդէսի մը կամ նման ձեռնարկի մը, շքեղօրէն հագուած։ Բայց հայ ցուցարարներ շրջապատած էին պարահանդէսի վայրը։ Այդ ցոյցի ընթացքին Սօնեային շքեզ հագուստը աղտօտեցաւ։ Ահաւասիկ այդ պատարհին էր որ Ռուս սպան՝ ակնարկելով Հայ ցուցարարանեւոն, զանոնք «Արմաշկաներ» կոչեց։

Ռուս սպասյին այդ արտայատութիւնը Սօնեային ինքնասիրութիւնը վիրաւորեց հակառակ որ Սօնեան բացառձակապէս հեռու էր Հայ քաղաքական հեռանկարներէն որքան որ յարազատ կը զգար իր հօրը ամենամօտ բարեկամ ընտանիքին հետ՝ յաստապէս այդ ընտանիքին զաւակին՝ Վարդանին եւ անոր քրոչը հետ։ Գիրքը ընթերցողները գիտեն որ Վարդանը պիտի դառնար գիրքին հերոսը որպէս Լեւոն։ Անուն մը որ Վարդան որդեգրեց  պայդւումի մը հտեւանքով մահէն  փրկուելէն ետք։ Բէեւ ողջ մնացած էր, բայց երեսը այլանդակուած էր, երբեմնի գեղադէմ Վարդանին հետքը իսկ մնացած չէր։։

Պատկերացուցած էի որ «Արմաշկան» բառը Ռուսերէնով ՝ «սրիկայ» կը նշանակէ։ Բայց այդպէս չէ եղեր։

Արմէն Մխիթարեանին տեղադրութիւնէն ետք համառոտ ձեւով նշեցի իրեն այն ինչ որ գրած եմ նախորդող պարբերութեան մէջ, աւելցնելով  որ «մինչեւ հիմայ չեմ հասկցած թէ ի՞նչ կը նշանակէ «Արմաշկան» բառը։ Ի՞նչ կը նշանակէ։»

Արմէն Մխիթարեանին պատասխանը եղաւ հետւեալը՝

«Հարգելի Vahe H. Apelian

Մեծն Ռաֆայել Պատկանեանը տվել է այդ ԲԱՌի հստակ բացատրութիւնը։

Ռաֆայել Պատկանեանին հարցնում են՝ Ո՞վ էր իրական հայը՝

Նա պատսխանում է, որ նա է ՀԱՅԸ, որ միշտապէս կպայքարի Հայաստանի Ազատութեան եւ Անկախութեան համար։

Իսկ ովքե՞ր են իրենց հայ հորջորջող մյուսները։

Ռ. Պատկանեանը պատասխանում է՝ մնացեալը հայուկներ են, որոնց եւ Ռուսական տարբերունը արմաշկան է։»

Այպէս, Աօնեային ընկերացող Ռուս զինուորականը՝ ցուցարար հայերուն «արմաշկաններ» որակելով զանոնք ներկայացուցած եղած է, Ռուսական մեծամտութիւնէ տարուած, հայեր որոնք ոչինչ են - “no-bodies”, Անգլերէնով։

The Girl From the Red Market - ԿԱՐՄԻՐ ՇՈՒԿԱՅԻ ԱՂՋԻԿԸ

By Hagop Tcholakian    Translated by: Vahe H. Apelian

Hagop Tcholakian posted this heart-warming story on his Facebook page

THE GIRL FROM THE RED MARKET - ԿԱՐՄԻՐ ՇՈՒԿԱՅԻ ԱՂՋԻԿԸ

" A lot happens at times. Of course, I meant to say in a classroom. What can I say? For a teacher there is not much of novelty outside a classroom. But, during my conversations with students, I rarely pay attention who is wearing what, or how does a student’s dress differ from another’s. Nothing out of the ordinary catches my attention simply because all of them are properly attired.

But it was different this time around when I gazed my sight on the students before posing a question to the class. A student caught my attention because she was wearing a hat. She was the only student in the classroom who wore a hat. I would not have noticed her wearing a hat, had it not been for the kind of the hat she was wearing. The hat was the kind the political figures of the Soviet era, during the fifties and sixties of the last century, wore. I was familiar with sight of that kind of hat having seen them from pictures reporters posted.

Before asking my question, I felt the need to make a pleasant conversation to refresh the atmosphere.

“That hat suits you very well.” I said.

There came a smile on her face,

“ It’s my grandfather’s hat”, she answered. 

Her answer was equally surprising to me. It is not far fetched that a girl tries her mother’s or grandmother’s hat, or the dress or the shoes and checks herself in front of a mirror wearing them. But for a girl to wear her father’s or grandfather’s hat in her university classroom is an altogether different matter. It aroused my curiosity. 

“Raya (Ռայա), where are you from?” I asked.

“From Artsakh’s Martouni region, Red Market (Կարմիր Շուկայ) village.”

“What about the hat you are wearing?”

“Oh yes, it is my grandfather’s hat,” she said, “Ishkhan Bedrossian;’s hat from the Red Market (Կարմիր Շուկայէն) village․․․”

She pronounced the names of her grandfather and the village he came from so emphatically that momentarily I forgot the hat. There was such an emphasis in her pronunciation of the two names, that it sent shivers in me. I realized that this girl has no desire to show off the old as a new fashion, something that we so routinely encounter. I sensed an element of dignity here; a statement of respect,  of love, and of faith that renews itself, never tarnishes, does not get old, and remains current. 

This hat is a sacrament for Raya that sits like a hallow over her head.  I visualized, next to Stepanakert, towards the statue of Tatik-Papik; instead of the grandfather, it is her granddaughter who ascends, much like a pilgrim Raya is; the girl from the Artsakh’s Martouni Region’s Red Market village."

                                                    *****

Ինչե՜ր կը պատահին երբեմն։ Անշուշտ դասարանին մէջ, որովհետեւ, ինչ մեղքս պահեմ, ուսուցիչին համար դասարանէն դուրս նորութիւն չկայ։ Ուսանողներուն հետ զրոյցի ժամանակ ոչ իսկ միտքէդ կ՛անցնի, թէ այս կամ այն ուսանողը իր հագուստ-կապուստով ինչո՛վ կը տարբերի միւսերէն․ արտառոց, արտասովոր բան աչքի չի զարներ, որովհետեւ ամեն ինչ պարկեշտութեան սահմաններուն մէջ է։

Ու հարցում մը ուղղելու համար՝ նայուածքս կը պտտցնեմ դասարանին մէջ, կը բռնեմ այս մէկը, որ գլխարկ ունի․ միայն ինք։ Եւ գլխարկն ալ  պիտի չնկատէի հաւանաբար, եթէ ան ինծի չյիշեցնէր անցեալ դարու յիսուն-վաթսունական թուականներու խորհրդային քաղաքական դէմքերու գործածած գլխարկը, որ ինծի ծանօթ էր այդ տարիներու լրագիրներէն։

Հարցումս ուղղելէ առաջ պէտք կը զգամ փոքրիկ հաճոյախօսութեամբ մը տրամադրութիւնները թարմացնել։

- Այդ գլխարկը  քեզի շատ վայելած է,- կ’ըսեմ։

Ժպիտ մը ու

- Մեծ հօրս հօր գլխարկն է,- կը պատասխանէ աղջիկը։

Պատասխանը նոյնքան անակնկալ է։ Հաւանաբար տրամաբանական ըլլար, որ տնային պայմաններու մէջ աղջիկ մը, մօր կամ մեծ մօր գլխարկը, հագուստն ու կօշիկը հագած, հայելիին առջեւ անոնց տուած շնորհքը փնտռէր իր վրայ, բայց աղջիկ մը, մեծ հօրը հօր գլխարկը գլխուն զետեղած համալսարան գա՞ր․․․

-Ռայա, դուն ո՞րտեղացի ես,- հարցուցի։

-Արցախէն, Մարտունիի շրջանի Կարմիր Շուկայ գիւղէն,- պատասխանեց Ռայա։

- Իսկ այս գլխա՞րկը…

-Այո՛, այո՛, մեծ հօրս հօր գլխարկն է,- ըսաւ,- Իշխան Պետրոսեանի գլխարկը, Կարմիր Շուկայէն․․․

Այդ անձնանունն ու տեղանունը այնպէս արտասանեց, որ ես պահ մը մոռցայ գլխարկը։ Ի՞նչ շեշտ կար այդ երկու անուններու արտասանութեան մէջ, որ փշաքաղում մը պատճառեց ինծի։ Ես զգացի, թէ  այստեղ հինը նորաձեւութեան վերածելու խնդիր չունի այս աղջիկը, բան մը, որ այնքան շատ կը տեսնենք փողոցը։ Այստեղ արժանապատուութեան խնդիր մը կը նկատեմ, հինի հանդէպ յարգանքի, սիրոյ եւ հաւատքի խնդիր մը, որ միշտ կը նորոգուի, չի խամրիր, չի հիննար, շարքէ դուրս չի գար․․․

Այս գլխարկը Ռայային համար ունի խորհուրդ մը, որ լուսապսակի պէս կը բոլորուի անոր գլխուն շուրջ։

Ու ես պատկերացուցի, որ Ստեփանակերտի կից, դէպի Պապիկի եւ Մամիկի յուշարձան բարձրացող մեծ հօրը հօր փոխարէն հիմա այս ուխտակիր ծոռնուհին կը բարձրանայ՝ Ռայան, Արցախի Մարտունիի շրջանի Կարմիր Շուկայ գիւղէն։

Արժանապա՛տուօրէն։

Ashugh Jivani and Two of His Songs

Vahe H. Apelian

Ashugh means troubadour, a folk poet composing and singing with the local vernacular, that is to say in a language or dialect spoken by the ordinary people of his region. The songs have sentimental themes such as virtue, love of a person or a country and so forth. Ashugh Jivani  is one the best-known Armenian ashughs. Some of his songs resonate to this day. Those interested to know more about him may search the Internet.

Recently I became aware of the anecdote that went along with one of his song. The anecdote, whether true or not, made me reflective because it supplemented the image I had carved in my mind about him, as someone who is oblivious of his God given talent and remained humble, unassuming, mild mannered, sentimental engrossed in this thoughts and in harmony with the themes he sang.

The name of the song is “Kankaravor Unger – Քանքարավոր Ընկեր». I will have to admit that I had not heard the term “kankaravor” before. Consequently I consulted my all knowing online companion Nayiri Armenian Dictionary and Spellchecker. According to her, kankaravor means someone who is “ingenious, clever, having talents.” Obviously then, I thought, Ashugh Jivani must have dedicated this song to someone who is ingenious, clever, and has talents meriting Ashugh Jivani’s appreciation. 

But, it is not quite like that, according to the anectode associated with the song. 

The anectode pertains to Avedik Isahakyan (October 30, 1875 – October 17, 1957). According to the Wikipedia Isahakyan went abroad, attending Literature and History of Philosophy classes in the University of Zurich. He returned to his homeland in 1902. Upon returning from abroad, he found out that his beloved girl, Shushanik Matakyan, was marrying someone whom Avedik, resentful, claimed was not worthy of her. Ashugh Jivani and his group were invited to that wedding. Naturally Ashugh Jivani during the wedding festivity sang songs whose themes were love, frienship, and so forth celebrating their marriage. Isahakyan got very angry with Jivani for having praised the couple and belittled him at every occasion he could get for having sang in their wedding.  In one such occasion, where the intellectual elite had gathered for an event, Avedik Isahakyan saw Jivani attending it as well and is claimed to have said “what is this commoner (ramik – ռամիկ) doing here?”.

Insulted by the comment, it is said that Jivani wrote the song "Kankaravor Friend" (Talented Friend). In the song Jivani sings that his talented friend need not envy him because his presence is not threat to him. Jivani goes further saying that he is a villager, but his friend is urban; that Jivani sits on straw, while his friend on exquisite carpet. He continues on saying that he mounts oxen while his friend the finest horses, and finally   notes that Ashugh Jivani honors his friend and concludes saying Jivani’s hilltop is no match to his friend’s summit.

I have attached the link to the song and its lyrics.

Քանքարավոր ընկեր, ինձ մի նախանձիլ,

Գոյությունըս գաղափարիդ վնաս չէ,

Դու քաղաքացի ես, ես գյուղական ծիլ,

Ւմ բանջարս քու հանճարիդ վնաս չէ։

Ես խըսիր եմ գործում, դու ընտիր գորգեր,

Իզուր ես նեղանում ինձնից, մարդ-ընկեր

Ես եզներ եմ լծել, դու նժույգ ձիեր,

Սայլապանս կառավարիդ վնաս չէ։ 

Քեզ սրտով հարգում ե, պատվում ՋԻՎԱՆԻՆ,

Դու միամիտ եղիր, գնա քու բանին,

Նա չի կարող հասնել այն աստիճանին,

Խեղճ բլուրս բարձր սարիդ վնաս չէ։

xxxxx

Ashugh Jivani is also known for his song titled “ Pari (kind), Keghetzig (beautiful), Arakini (virtuoso), Ungereh Martoun (man's friend).” 

The song is often sung in appreciating a commrade of a common cause. The Armenian language is gender neutral. Consequently the song can be sung on such occasions. But it is claimed that Jivani dedicated his song to his wife. The lyrics give credence to the claim. Jivani lived from1846–1909. It is not likely that in the patriarchal Armenian culture, especially among the ordinary people Jivani came from, would have used attributes he used as kind (pari), beautiful (keghetzig), virtuous (Arakini), ungereh Martou (friend of the man) in reference to a male friend. Although the word “man” is used in its genderless sense in the West as well, such as mankind, although purists nowadays resort to using humankind instead. Jivani’s attribute of a "friend to man" - "ungereh martoun", I believe, refers to  a male's female friend, rather than a male friend.

In the first two sentences of the song Jivani says, “the kind, beautiful, virtous friend of man, brightens his image like a sun”. He ends the song addressing himself and notes, “Ashugh Jivani, whoever has such a bosom friend, not a single strand of his hair will whiten”, and in middle he claims "if you devote your life to the good friend, still is  not enough."  The song remains popular.

I have linked to the song and attached the lyrics.

Բարի, գեղեցիկ, առաքինի ընկերը՝ մարդուն,

Փայլեցնում է արևի պես պատկերը մարդուն,

Ինչ մարդ ունենա յուր մոտը հավատարիմ ընկեր

Ցերեկի նման անցնում է մութ գիշերը մարդուն։

Կյանքդ նվիրես ընկերի լավին, քիչ է դարձյալ,

Այնպես է հոգեկան լուսատու լապտերը մարդուն,

Ընկեր եմ ասում, հաստատակամ, ճշմարիտ ընկեր,

Որ բարձրացնե աստիճանը միշտ վերը մարդուն։

Թշնամիները յուր վերա գալած ժամանակը,

Կտրիճ, հարազատ ընկերն է սուսերը մարդուն.

Ով որ ունենա մտերիմ ընկեր, Ջիվան աշըգ,

Չի՛ սպիտակեր ամենևին մեկ հերը մարդուն։

***

Ashugh Jivani's stature in Javakhk at Turkey and Georgia border.
Jivani was born in Kartsakhi, near Akhalkalaki, Georgia.

 

 

“All You Taught Us is False” - "բոլոր մեզի սորուեցուցածներդ "ՍՈՒՏ" ԵՆ"

 

Vahe H. Apelian: 

Recently a friend, reacting to the post war bitterly divisive situation in Armenia that has trickled onto Diaspora as well, emailed writing that it  makes him wonder if he should scrap another visit to Armenia later on this year. He went on saying that it looks like Google is reading his  mind and appears encouraging him to stay on the course and visit the “Places to visit in Armenia” and do the “Best things to do in Yerevan”, he has been receiving in his email.

Time will tell if will scrap visiting Armenia or stay the course as planned presumably taking along with him his grandchildren and their families.

Most of us relate to my friend's vacilation. By now we know that two post 44-day Artsakh war camps are bitterly feuding on the Armenia political landscape and overpouring their divisiveness onto the Diaspora. To simplify the warring factions, I will characterize the two camps as follows:

"Pashinyan lost the War “ Camp. The proponents of this camp argue that  the PM Nikol Pashinyan lost the war and hence has to be removed at all costs to rebuild the nation. The advocates of this  camp go even further and call  the PM TAVAJAN (traitor) or on a more mellowed characterization call him HOGHADOU (relinquisher of land).

The other is “Armenia  lost the war under Pashinyan watch” camp. The proponents of this camp argue that Nikol Pashinyan did not lose the war but Armenia did, under his watch. Consequently they  advocate rebuilding the nation transcends Pashinyan the person and the PM’s fate is for the people of Armenia to make in a free democratic election.  I am adherent of this camp.

These two polar opposite mindsets are not new, although the expressions are. There was a time when a segment, of the post First Republic of Armenia diaspora, labeled ARF leaders, who signed the treaties that dismembered emerging Armenia to the verge of decapitating it, using similar arguments and terms. Not only did they held these Armenian leaders of First Republic, who were mostly ARFers, in contempt; they also did not teach about them in the Armenian history they taught, did not observe May 28, did not sing “Mer Hayrenik”, did not display the tricolor in their schools and in their community centers. 

The other segment of the diaspora at the time, in which I was brought up, considered these ARF-ers as nationalist heroes, had their pictures hanging on the walls of their community centers, upheld tricolor, and the emblem of the first republic, sang “ Mer Hyrenik”, closed the schools on May 28 in celebration. For them these Armenian leaders did all they could to salvage the rest,  had to  keep diplomatic ties with Turkey, and sought ties with the Turkish officials, had an embassy or consulate in Constantinople that continued to function for a year or two even after the fall of the First Republic. Paradoxically, ARF nowadays, appears to have turn the table around and resorted towards the PM, what it was subjected to at one time.

I became more reflective of the  ramification of this bitter divisiveness’ in the diaspora when I read the following on my mother’s Facebook page that disturbed me greatly.

Let me just say that Mrs. Zvart Apelian was a beloved teacher of Armenian language, history for some five decades. The accolades her former students bestowed upon her through the years and even after her death have humbled me. But there was a disturbing posting on her Facebook page on January 31, 2022, five years after her death on the same day, January 31, 2017. A student of hers had posted a comment, presumably marking the occasion and had written, more with profound disappointment in the prevailing situation in the Armenian world his education had portrayed for him, rather than in rebutting her for her teaching. 

He commented saying:

“ Alas…to all your efforts. The Armenia of today proved that all you taught us is “FALSE”. It is the Armenian who massacred the Armenian and NOT THE TURK !!!!”

“Մեղք..... Բոլոր ճիքերուդ, այսօրվա "հայ" ը բաստեց որ բոլոր մեզի սորուեցուցածներդ "ՍՈՒՏ" ԵՆ, հայը Հայուն չարդեց, ՈՉ ԹԷ ԹՈՒՐՔ ը!!!!!”

The baby boomers, my generation, can better deal with the current polarization. But for the generation that followed them, it may turn out to be intolerable. Let us be mindful that the later Diaspora born Armenian generation were brought up by their parents who had carved a comfortable living for their families and wanted to pass on to them, the best of their Armenian culture. The emerging reality since Armenia declared independence on September 21, 1991, is not  what it was portrayed to them in their formative years, be it as students in Armenian schools or not. They also have grown up more in tune with the culture of their host countries due to the unavoidable acculturation  mixed marriages, day to day interactions at work. Also, the ever-increasing cost of the living, demands  of modern life have necessitated the newer generation to make  a determined effort to choose as to how much and to what extent they should devote to their Armenian heritage and deal with the  Armenian political divisiveness.

Armenia may be immune from such concerns. The political process in Armenia may not need to take into consideration the ramification of their divisive politics on the young and upcoming. Although there, leaving the country for good looms large, if not the acculturation to a host country. But they have a political recourse, they vote or can vote. But in the diaspora it is altogether different. Diaspora Armenians do not vote. They are not citizens of Armenia. They simply internalize the Armenia divisive politics brought onto their lives in the Diaspora, leading to their alienation or distancing from Armenia and what is Armenian. At best this divisiveness leads to their polarization and hence fractionalization or fragmentation of the Diaspora social structures to the detriment of the Hay Tahd  (The Armenian Cause), and to the detriment of the comfort of the young and upcoming to socialize in Armenian Diaspora institutions and in doing so support Armenia and perpetuate the Armenian history and culture in the Diaspora.

 

 

21st Century Armenian Literary Voices

Vahe H. Apelian

Today I received from Dr. Herand Markarian the first volume of a sequel that aims to capture within the covers of its volumes the 21st century Armenian literary voice.

The project is the brainchild of the NY Hamazkayin Chapter and is spearheaded by Herand Markarian. The book I received is titled “Artsakh Voice” (Tsayn Artsakhian) and is the first volume of the intended sequel.

The objective of the sequel is to have a collection of writings from the “four corners” of the world that is Armenian in the 21st century. The deadline is to have the submissions collected on time so that the sequels is published by 2025. The submitted literary pieces must not be published anywhere else before. The submissions for inclusion in the sequel need to be a creative literary work and should not entail translation, political analysis, historical review, and be analytical or a memorial and in  a distinct dialect.  

The sequel is intended to consist of 9 volumes, as follows:

Volume 1: Artsakh; Tsayn Artsakhian, the volume I received.

Volume 2: Abkhazia, where there is an Armenian Writers Unions', Belarus, Ukraine, Russia and Georgia. The so-called “the inner Diaspora”.

Volume 3: Armenia – poetry 

Volume 4: Armenia –prose

Volume 5: Armenia -theater 

Note: The submissions from Armenia are meant to  be by emerging writers, between the ages of 18 to 40.

Volume 6: The American Continent, Australia, New Zeeland

Volume 7: Turkey

Volume 8: Middle East

Volume 9: Europe 

The first volume I received is in hard cover. Seven hundred copies of which were printed in Yerevan in 2021, in a very good quality print. The Association of Artsakh Writers has collaborated to bring this volume to fruition. It is 481 pages long. Forty-eight writers from Artsakh have pieces of their literary works, either in prose or in poetry, including the literary works from 8 deceased Artsakh writers. Along with the pen, these writers have  also resorted to the rifle for reasons we know all too well.  It was fitting that their literary works marshal the 21st century Armenian literary voice.

To convey the authenticity of the Armenian literary voice, Dr. Herand Markarian has ruled that the submissions will be not reviewed by literary critics to render a judgement on the literary merit of a submission. The submissions will be published as is to the capture and preserve the authenticity of  the Armenian literary voice in the mosaic that is the Armenian world in the first quarter of the 21st century. Herand’s ruling reminded of my translation of one of Serop Yeretsian’s postings on his Facebook page, titling it “What is Literature?” Serop Yeretzian, was a writer in his own right and an insatiable lover of Armenian literature. He passed away a few months after that posting, on July 10,  2016. (http://vhapelian.blogspot.com/2020/02/what-is-literature.html)

The second volume of the sequel is in preparation. It  is called “Northern Voice” (Tsayn Husisyan). The editor of the volume is Armen Avanesyan, a doctoral candidate in literature and the director of the Diaspora Department of the National Academy of Sciences of Armenia.

 It would not surprise me that as the project unfolds and is realized, a sequel of Diaspora Armenian literature in Latin, Arabic and in Cyrillic script may follow. 

Although the project was initiated by the NY Hamazkayin Chapter, but it is driven through individual initiative and support. Donations are received under four categories. The sponsors (Հովաւանաւորող) are donors of $5000. The name of the sponsor, along with the honoree, will appear on the first page of the volume. In case of Tsayn Husisyan, the sponsor has preferred to remain anonymous and has requested his donation in anonymity be noted in the end of the book.

The second category is as benefactor (Բարերար) for donors of $1000. The name of the benefactor along with the honoree will be acknowledged on the second page of the volume. 

Donors of $500 are acknowledged as Maecenas (Մեկենաս), and their names, and their honorees, are listed in the back of the book along with all those who in appreciation and in support of the project make lesser donations. Their names are acknowledged in the end of the volume. 

It should be noted that the committee Herand Markarian heads, has transmitted , through the Artsakh Writers' Union, an honorarium to each of the Artsakh writers who had  a piece of their literary works submitted for publication in the first -  “Artsakh Voice” (Tsayn Artsakhian) - volume

Dr. Herand Markarian has undertaken coordinating a monumental task. He may be reached by calling him at 845-300-8445 or emailing at hmarkarian@yahoo.com, for submitting articles and for financial assistance to help bring the project to fruition. 

February 10, 2022 

Understanding the Badarak

Vahe H. Apelian

Recently I read the following book, having ordered it from Eastern Armenian Prelacy bookstore in New York City: “Frequently Asked QUESTIONS  on the Badarak. The Divine Liturgy of the Armenian Church.” The book is authored by Michael Daniel Findikyan, as noted on the cover page. The book was printed in 2013 by St. Vartan Press of the Diocese of the Armenian Church of America (Eastern).

I always felt that I do not know Badarak well enough to understand the substance and the pageantry on the alter during the divine liturgy of the Armenian Apostolic Church. That is why I ordered a copy of the book.

Regarding my Armenian Divine Liturgy education, I would like to tell the following. I met Archbishop Terterian  of blessed memory for the first and only time on April 2004 in my parent’s house in Reseda, CA. He was in Los Angeles at the invitation of the Kessab Educational Association (K.E.A), to officiate the inauguration of the late Catholicos Karekin I Sarkissian Library in the K.E.A Center in Reseda, CA, as well, a short walking distance from my late parent's house. In conversation with him, I told him that in hindsight, I fault the Church for not having clergy accompanying us to mass when we were students in the Cilician Catholicosate affiliated Armenian school in Beirut, and explain to us the Badarak, even though our teachers of religion were the young monks  who later became prominent in their own right. 

I hoped that this book will help me fill the void and it did. It consisted of seven chapters, as follows:

Preface

Chapter I: Questions of History: How the Badarak came to be. (page 5)

Chapter II: Questions of Theology: What Does the Badarak Mean? (page 11)

Chapter III: Questions of Faith: The Badarak & Me (page 17)

Chapter IV: Questions About Rituals, Traditions & Practices (page 21)

Chapter V: Questions About Sacret Objects, Vessels & Symbols (page 45)

Chapter VI: Questions About Liturgical Reform & Other Christian Churches (page 51)

Chapter VII: How Can I Learn More About the Badarak? (page 61)

Index (page 67)

I indicated the page numbers purposely to shed light on the brevity of the reading. In 65 pages many questions are asked and answered to help the reader better understand the Armenian Apostolic Divine Liturgy, the Badarak.

The reader may have guessed by now that the author is the Primate of the Eastern Diocese, Father Daniel Findikyan, who made history when in 2018 he was elected as the Diocesan Primate as the first Armenian Church Primate to have been born and raised in the United States. Apparently he chose to forgo his clerical title as the author of the book to send a message that the book is for the everyday laity to have a better understanding of the Badarak and is not meant to be a theological treatment of the Badarak.

On a personal note, I would like to reflect on the spiritual brotherhood of the Archbishop Ardavazt Terterian and the Catholicos of All Armenians Karekin I Sarkissian. Both hailed from Kessab and left together as young teenagers and came to Beirut and enrolled in the Catholicosate of Cilicia seminary. Both embraced celibate priesthood upon completion of their studies. Both elevated to the ranks at the same time and were ordained to their ranks together. Catholicos Karekin I Sargissian had an outgoing personality and was gregarious who would travel the world and assume administrative positions in different  parts of the world and eventually would occupy the Catholicosate Seat in Etchmiadzin and enter his eternal rest there.

Archbishop Ardavazt Terterian, on the other hand, was a homebody, rarely leaving the confines of the Catholicosate. He is remembered as an exemplary clergyman, a faithful and humble servant who devotedly served the Holy See of Cilicia for over sixty years. He served as Dean of the Seminary, Catholicossal General Vicar, and Locum Tenens. He was “a scholar and distinguished educator who  instructed and prepared countless Brotherhood members and community servants at the Seminary of the Holy See of Cilicia. “

The late Archbishop Mesrob Ashjian remembered that he comforted Catholicos Karekin I Sarkissian on his death bed by letting him know that Archbishop Ardavazt is regularly calling and inquiring about him.

In 2014, in order to honor the memory of his spiritual brother who was known for his love of book, Archbishop Ardavazt Terterian undertook that rare travel from Beirut to Los Angeles to officiate the naming of the library in the Kessab Educational Association center in memory of his spiritual brother Catholicos Karekin I Sarkissian. 

 

 

 

 

Celebrate U.S. 20th Century in Philately: 1920's (No. 3

 1920's: The Roaring Twenties 

 Two Constitutional Amendments went into effect in 1920s, turning the nation upside down. The 18^th Amendment prohibited the manufacture and sale of alcoholic beverages, and the 19^th Amendment, the right to vote. Prohibition backfired, leading to widespread disrespect for the law. A federal highway system was organized and the number of automobiles nearly triple. Spreading electrification spawned the golden era of radio.

The roaring twenties, as the decade came to be known, was an age of thrill seekers. In 1926 Gertrude Ederle swan the English Channel faster than any man had. The following year Charles Lindbergh flew nonstop across the Atlantic alone and Babe Ruth hit 60 home runs. 

The first feature-length film with talking parts, The Jazz Singer appeared in 1927 and the first Academy Awards were presente din 1929. 

The prosperous times ended with the stock market crush of Thursday October 24, 1929.

New words: motel, robot, fan mail, teenage.

The 15 stamps depicting the era are:

The 19^th Amendment: in the U.S. Constitution was ratified on August 26, 1920. The fight for the women’s suffrage had been won, ending a struggle that began in the mid-nineteen century.

Electric Toy Trains: Children played with colorful and elaborate electric toy trains, complete with stations, houses, accessories, track and transformers. The most  popular sets were produced by Lionel.

The 18^th Amendment: Prohibited the manufacture and sale of alcoholic beverages. The detail from Ten Shahn painting from the Museum of the City of New York shows federal agents disposing of wine.

The Great Gastby: F. Sott Fitzgeral exposed the lavish and insensitive lifestyle of the rich and glamorous in his classic 1925 novel. 

Babe Ruth: hit 54 home runs in 1929. He went on to hit 59 homers in 1921 and 60 in 1927. Twice he hit 3 home runs in a single game of a World Series.  One of his nicknames was the Sultan of Swat.

The Art Deco: style in architecture and the decorative arts combines sleek elegance, geometric shapes, and varied materials. One of the finest examples of the style, the Chrysler Building in New York reflects America’s exuberance in the 1920s.

The Radio: By the ed of 1920’s, radio became a national obsession. Families crowded around their sets to listen to newscasts, comedy, and children’s shows, variety hours, and presidential speeches.

Flappers:  Caricaturist John Held Jr. portrayed the fun-loving escapist lifestyle of the Roaring Twenties. His drawings of young women called flappers symbolized the decade.

Anthropoligist Margaret Mead: explored the effect of culture on the behavior and personalitie of children and adults, as well as the differences between men and women.

Emil Post: In the era of social mobility, Emil Post defined modern good manners, and conduct. Her books, radio programs, and syndicated newspaper columns set the standard for etiquette throughout the twentieth century.

Charles Lindbergh: On May 20-21, 1927, Charles Lindbergh completed the first nonstop solo Trans-Atlantic flight. He left from Long Island and flew 3,600 miles to Paris in 33 and a half hours. 

Notre Dame’s Four Horsemen:  In the 1920’s, College Football’s most famous backfield was Notre Dame’s Four Horsemen: Don Miller, Elmer Layden, Jim Cowley, and Harry Stuhldreher. None of them weighed more than 170 pounds. 

Jazz: Created in the United States, jazz was spread by radio and recordings in the 1920s. Among the leading performers were Louise Armstrong, Jelly Roll Morton, Joe “King” Oliver, Fletcher Henderson, and Bix Beiderbecke.

American Realist: Painter Edward Hopper (1882-1967) is possibly the most important American realist of the period. . The detail from the Automat, at the Des Moines Art Center, typifies his attention to the human feelings of alienation and instrospection.

Stock Market: Prices plummeted on Black Thursday 24, 1929, and collapsed on October 29. Banks and Businesses closed and the Great Depression soon followed.

Vahe H. Apelian