V.H. Apelian's Blog

V.H. Apelian's Blog

Saturday, March 9, 2019

Heavenly Kessab


A chapter from Zaven Khanjian’s book titled “Aleppo First Station – Հալէպ Աօաջին Կայարան»

Abridged and translated by Vahe H. Apelian


While our homes and schools in Haleb were each a small spiritual Armenia, Kessab, on the other hand, was for us the only tangible, tasteful, huggable, historic and ancestral Armenian soil. Let Kessabtsis remain assured that we lay no territorial claim when we state that Kessab was our Armenia as well. This Armenian speaking, breathing and heart-beating northeastern Syrian corner was the magnet for our summer vacation; a most beautiful mountainous resort comprised of its namesake main village, Kessab, and surrounded by the Armenian inhabited, Armenian speaking but Turkish named villages.
In those days the inhabitants of Kessab were few. They thus became the close acquaintances of those who visited Kessab, especially when visiting the same village summer after summer and especially when both the visitors and the locals were members of the same denomination. Keurkune first, followed by Ekiz-Olough and then Kessab became the summer long camping centers for the youth of the Armenian Evangelical Christian Endeavor -Chanits.  
Resting at the foot of a hill, the center for our summer vacation in Keurkune was a stone walled one storied building whose doors and windows remained without panels. It was not only the mountain winds that breezed through it, but also our childhood curiosity that took wing and fired our imagination as to what possibly could lay behind that hill. In time we discovered, to our disappointment, that what lay behind the hill was the dirt road that snaked through keurkune and Ekiz-Olough.We then wondered what lay further away?
In time we grew taller and with the passing years we climbed to the highest peak of Kessab, that of Mount Silderan. Many a time we passed by the icy waters of Chalma’s spring and its majestic chestnut tree and gazed with wander the vast expanse of the blue water of the Mediterranean Sea. It was way too early for us then to ponder what lay beyond the blue waters and be drawn by the deceptive allure of the Western Civilization.
My contemporaries and I owe a lot to Kessab. In that mountainous and borderless environment, one attempts to soar with eagles. The pine trees there proudly stand tall, sky high. The apples, the figs, the wild berries you come across at every pace taste heavenly in Kessab. It is there when you experience freedom and feel closer to the Heavenly Father and come to worship both the Creator and the Creation and exalt God in the highest with an unyielding earnest to live free.
Kessabtis are a happy bunch, even though Kessab was not spared from the destructive and annihilating policies of the Young Turks. The surviving Kessabtis returned to their homes and stayed there. Where else west of Mount Massis1 has an Armenian enclave continued to embrace the descendants of the House of Torkom2 for longer? Aside west of Massis, which another Armenian enclave has had the good fortune to continue living on its ancestral soil for longer Kessabtsis were salvaged because somewhere, somehow, someone - a blessed creature - whether an official of the Ottoman Empire or of the Colonial French mistakenly drew the line that left Kessab inside Syria. The latter in turn embraced it with a sincere welcome and assured its safety.
Nowadays Kessabtsis are more of immigrants than native, more of them live outside than inside Kessab. They are more scattered worldwide than congregated in their native enclave. However, all these changes have come about out of free will choices and not due to any persecution, threat, or forced displacement. There was a time when the Kessabtsis toiled the land and were more of villagers. They left their pickaxes, shovels and scoops in favor of tilling medical, academic and spiritual fields. These days the Kessabtsis are more of medical practitioners, educators, and spiritual shepherds.
We loved Kessab and Kessab, in turn, loved us. Our summer long sojourn there inevitably lead to that mutual bond. The summer long church related meetings concluded with the traditional bonfire when the whole village would congregate around the vacationing young men and women to attend the comedy presentations the young vacationers prepared for the villagers as a gesture of good will.
Nature had endowed Ekiz-Olough with an open-air theater in the center of the village where we fashioned the stage with sheets, ropes and wooden poles. Armenag was the brainchild behind the improvised theatrical stage, while Raffi Charkhudian, Azad Mesrobian, Zadour Khatchadourian and I attempted to remain true to the characters of the plays we portrayed whether it was in “կիկո “ (Gego), “Շողոքորթը“ (The Flatterer), “Քաղաքավարութեան Վնասները“ (The Perils of Politeness). With rare exceptions, all the villagers attended and enjoyed the zenith of our summer long cultural endeavor. The younger vacationers, in turn remained captivated by the performance of their elder campers.
We, in turn, loved the Kessabtsi. We loved the Kessabtis for their unassuming and modest characters worthy to those brought up in nature, for their pure hearts akin to the clean waters of their springs, for their steel like character much like the boulders of their rocky terrain, for their perennial quest much like their ever green pine trees. We loved the Kesssabtsis for the labor they bore much like their fruit bearing trees, for their resiliency worthy to those who are brave, for their quest to reach the sky much like their mountains. How could we have not loved? Still, Kessab became the impetus that gave maturity to our maturing young bodies.
It is there, in Kessab that
We experienced nature at its virgin best for the very first time.
We visited Armenia for the very first time.
We met our Creator for the very first time.
We experienced village for the very first time.
And for the very first time during these meetings, I met a vivacious, vivacious, a beautiful girl full of life and zest who would give meaning to my life and one day be the mother of my children.
How could I not love Kessab?

 

The Real Cold-Press Olive Oil of Keurkune

Vahe H. Apelian 

An overview of Keurkune, Kessab in 1950's
The shelves of the grocery stores are full of “virgin” or “extra virgin” olive oil. Most, if not all of these bottles claim that their content is the result of olives subjected to “cold press” and are bottled after collecting the oil from its “first pass”. I have bought and tasted many in colored fancy bottles. Transparent bottles alter its taste due to oxidation. However, I have yet to come across to one that tasted nearly like the olive oil I tasted in my childhood that came from Nofer Apelian's mangana, in our ancestral Keurkune, Kessab, in Syria. The olive oil was stored then in tin cans that were also the standard containers for storing molasses and for fetching water from the village’s spring on the back of the family’s donkey. I am not sure if mangana is a Turkish word. It may be. However, much like many other Turkish words, it has become part and parcel of Kesbenok the mostly Armenian derived dialect of Kessab. Nofer’s Mangana remains a cherished legacy of a long bygone way of life in Keurkune.
Nofer Apelian established in Keurkune the first and only olive oil press in greater Kessab at a time when sheer human muscle drove the industry. The cold press consisted of a long and large wooden column that rotated on its longitudinal axis, one end of which was at ground level and the other at the ceiling of the two-story building. Nofer, in fact, had removed the ceiling of a room in their house and converted it into the two-story high olive oil press. Their house and consequently the press stood in the center of the village, right across my maternal grandmother’s ancestral house.
If I remember correctly the number, there were three wooden handles that were fastened into this wooden column. Able-bodied young men pressed the wooden handles against their chests, grabbed the handles from underneath with their arms and pushed the column rotating it on its long axis. As the column rotated a thick rope started coiling on it as it lifted a horizontal wooden platform against the stationary one. In between the two platforms, minced olives were layered between burlap bags. The harder the men pushed the more oil oozed out of the minced olives. The whole process was a test of strength under the critical eyes of us kids watching the whole process and shouting out loud who among the men was the strongest and pushed the hardest! I admit though at times our nagging outspokenness raised the rage among some of the men who were pushing and who would not have hesitated to teach us a lesson or two had they been able to catch us fleeing their chase. After the last drop of oil was squeezed the men would alert each other to simultaneously let loose of the central column that now swirled back fast on its axis to release the tension it was subjected to.
That was the second and the last phase of the process. The harvested olives were first washed and then crushed outside in a flat stone mortar upon which a huge round shaped stone wheel was placed. A hole was dug through this large stone along its horizontal axis. Do not ask me how and what kind of tools the villagers used to manually carve such a smooth hole through the middle of this large stone. Through this hole a long wooden handle was placed that had a hole at its far end that went over the central wooden axis in the middle of the mortar. The indispensable and man's most obedient servant ever, the donkey, did the job. Ropes from the wooden handle were attached to the donkey and the donkey thus pooled the stone wheel over the olives to mince it. 
This is how the olive was first crushed
Along with the oil, the process resulted in another bi-product, the remains of the minced olives that Kessabtsis used to prepare one of their tastiest bread ever, Djeftuon Heots, i.e. Djeftuon Bread. As to the word Djeftuon, it is an authentic Kesbenok word whose origin seems to have lost in obscurity.
My mother, many a time, told me the story of one of the Pastors of Keurkune who, to his wonderment and puzzlement, came across a large family sitting cross-legged on the floor around a table. Each member of the family held a loaf of bread under their arm, repeatedly cut morsels out of it and dipped it into a single bowl placed in the center of the ground table and savored it with a mouthwatering voraciousness. It turns out that the family had placed pomegranate molasses in olive oil in the bowl and dipping into it. For those who have tasted the pomegranate molasses made in Kessab can only appreciate the exquisite taste of these two in a bowl when tasted with freshly prepared bread in the family oven.
Those who saw Godfather III may remember the scene when an aging Mafiosi meets a professional assassin to have Don Corleone done with. Before going into the details of the macabre plan, he dips into olive oil and tastes it and utters-“only in Sicily!”. As far as I am concerned, it was only the olive oil from the mangana Nofer Apelian set up in Keurkune in an era long bygone now from our midst. Keurkune has also changed to have any resemblance of the way it was then. Not only my taste buds, but my whole being longs for that real cold press olive oil taste and the way of life that went along with it in the tranquility of the once exclusively Armenian enclave called Keurkune.
*****

P.S.

This story was first published in Keghartdotcom.

The following comments we made:

 

May 12, 2011 at 1:44 am

Mangana

 

You’ve done it again Vahe. Congratulations! What a superb way of describing Keurkune’s long gone olive oil industry and thus preserving it in our archives, not to mention your refreshment of our memories of the delicious taste of freshly baked bread (toniri hats) dipped in freshly squeezed olive oil (dsennoon).

 

Thank you.

Kourken Bedirian.

***

May 12, 2011 at 5:26 am

Hello Vahé, this is an interesting reading

 

Hello Vahé, this is an interesting reading indeed, describing how the world was much closer to nature, the fields, the soil, the community, life.

 

Yes, you’re definitely right in saying that the olive oils today are not what they used to be. Most are now mixed with vegetable oil and contain coloring chemicals too.

 

As for the word Mangana, I’m not sure if it’s Turkish, but they use the word mengene 

 

By the way, do you remember the name of the pastor, whom your mother told you about?

***

May 13, 2011 at 5:15 pm

The Pastor’s Name

 

My mother has lost the mental alertness she had once; she does not remember the name of the pastor mentioned in the article.

However, the name of Rev. Garabed Tilkian was often mentioned in our extended family. The good reverend arranged for my maternal uncle, Antranig Chalabian, and her sister, Zvart (my mother), to continue their education in Aleppo College after graduating from the Keurkune’s school. Both, in their own ways, lived up to Rev. Tilkian’s trust in them–Antranig as a long-time trustee of Armenian Evangelical College High School in Beirut and Zvart as a teacher, for over four decades, in Armenian Evangelical Schools in Keurkune, Kessab, Bourj Hammoud and in LA.

 

It was often said in the family that Keurkune and its twin village Ekiz Olough served as stepping stones for many of the young and upcoming Armenian Evangelical pastors who then continued to carry the torch throughout their lives. It would be interesting if the present young pastor of the twin villages, Rev. Simon DerSahagian, would compile the list of the pastors who served the twin churches.

Vahe H. Apelian

***

May 14, 2011 at 3:42 pm

Olive Press

 

Vahe Apelian’s writings about Kessab evoke memories of my early life in Syria. I first visited Kessab in 1957 as a Homenetmen cub scout, attending summer camp. Later I would visit Kessab several times as did many other Armenians from Aleppo. In his own words, Vahe has created iconic images of life in his ancestral homeland.

***

May 16, 2011 at 9:32 pm

«Mangana» բառն պարսկերեն է:

 

«Mangana» բառն պարսկերեն էՊարսկերեն արտասանությունը մանգանե էորընշանակուկ է՝ մամլիչմամլակ:

 

ԱՄիրզախանյան

***

July 16, 2011 at 12:08 pm

Armenian Villages

 

Since 1915 we have not read stories which reflect life in Armenian villages. Many years ago, from the US or Canada, a Kessabtsi wrote a story about life in Kesab. The most memorable part was the story of the suffering and fury of their cow, following the death her calf.

 

Kessab and its surroundings are the only Armenian villages outside Armenia. The Kesabtsis today, with their description, bring us closer to the life of Armenian villages, as reflected by Armenian authors, who originated from Armenian villages, before 1915, in Bolis.

 

Vahé, through these stories, Kessab will never be forgotten. So, write more, whatever you remember from your Kesab life. I visited Kesab some years ago. It is great pleasure to be there.

 

We can read these stories with pleasure and interest.

Thursday, March 7, 2019

Garo Armenian reflects on Antranig Zarougian

Attached is a liberal translation of Garo Armenian's personal reflections about the young poet turned into a novelist and publicist Antranig Zarugian. Garo Armenian had posted it on his Facebook page on March 2, 2019. The original posting is attached.


ANTRANIG ZAROUGIAN  – “He was the rebellious poet from the orphans’ generation. His poetic legacy is contained into two thin books of poetry. The first one “Arakastner – Sails” (1939) and the other “Tought Ar Yerevan  - Letter to Yerevan” (1945). Both of them were published in Aleppo and both beamed with intense poetry. 
Zarougian also had poems that never saw the light of day. He had embarked on lengthy poetry dedicated to “Saint Mesrob”. Only a segment of that poem was published in “Arevelk” yearbook, ( I think in 1947).
His “Letter to Yerevan” was an unprecedented revelation in our literature. Hagop Oshagan ranked it with Shahan Shahnour’s “Nahanche Arants Yerki- Retreat Without Song” novel. Unprecedented was also Hagop Oshagan’s 120 pages long typed manuscript dedicated to the powerful literary work of this young poet. Oshagan’s manuscript is titled “Vgayoutium me – A Testimony” and was written in Jerusalem in November 1945, right after his reading of “Letter to Yerevan”. Zarougian’s poem and Oshagan’s literary commentary retain an actuality that is relevant to this day to grasp the dimension and the fate of the Diaspora Armenian literature.
By the 1950’s Antranig Zarougian was already established in Beirut and had started publishing his “Nayiri” Weekly that continued the literary legacy of the “Nayiri” monthly, which Zarougian had founded in Aleppo along with like-minded idealists. After the great war, the monthly had become a literary magnetic pole for a whole generation. The monthly’s ties with the people were more candid and immediate; where convoluted narratives of Diaspora’s entangled issues were presented with intense literary outbursts. 
“Nayiri” ’s editor’s office became a beehive for writers and lovers of the Armenian literature.  Almost always present there were Yetvart Boyadjian, Boghos Snabian, Jerair Attarian, and many others. Those ad hoc meetings in the editor’s office, around the editor’s desk, gave rise to matchless lively literary critic and debate under the unequaled “moderation” of Antranig Zarougian.
For us, as new graduates of Jemaran, attending these meetings became another schooling where we started discovering our own innate literary impulses. The witted remarks of Zarougian were both magical and educational. 
It is now that I realize that, with intense wording, a whole culture was being passed to us and entrenched in our growing consciousness. It was the Diaspora that was taking root in us exemplified by wonderful and admirable fatherhood of sort.
Garo Armenian
November 22, 2015 




ԿԱԼԻ ՏՐՏՈՒՄ ԵՐԳ
Կը հաւաքեմ հերկերուս երբ աղքատ հունձքը այսօր,
Ու կը յանձնեմ կալս խեղճ ժամանակի կամնիչին,
Գիտեմ, հովե
րն անողոք և կամ հեղեղը պղտոր,
Պիտի ձեռքե
րս պարապ թողուն և ճի՛գս ապարդիւն...
Ես, անժառանգ սերմանող, կտակեմ հունձքս որու՛ն
Եւ ա
րմատներս ինչպէ՛ս խրեմ հողին այս օտար,
Կը մե
րժէ հողն երբ յանձնել շրթներուս կուրծքն իրբեղուն,
Կ՚ըլլայ աճումըս ե
րբորանվերջ կռիւ ու պայքար...
Կրնարաւիշը տոհմիս արևներու գրգանքին
Ու հովե
րու խարշափին բանալ անտառ մը հուժկու,
Եթէ Աղէտն ահաւո
րիրթափին մէջ մոլեգին,
Իմ ա
րմատներս հողէս չնետէրա՜յն քան հեռու...
Կրնարիմ երգս ծորիլ թաւջութակի՜ պէս խորունկ,
Կի
րակնօրեայ զանգի հու՜նչ կրնարիմ երգս ըլլալ,
Ի
րթաւալքին հետ բաշխել տաճարմ՚ամբողջ բոյրու խունկ,
Ժպիտնե
րու, ծիծաղի ժայթքել աղբիւրմը զուլալ... 
Կրնարերգիս կշռոյթով շնչել երկիրմը ամբողջ,
Քալել սե
րունդմը կայտառ արևաբիբ աչքերով,
Հայ
րենական հողերուն տուած բազուկն իրամբողջ
Ապագային ի
րվստահ ու բախտին դէմ անվրդով...
Հասնէրիմ երգս գուցէ հազարներու՜ հոգիին
Ու բիւ
րերու սրտին մէջ պեղէրհանքերխնդութեան,
Եթէ բիւ
րերն իմ ցեղիս երկինքներու տակ ցրտին,
Հանապազո
րդկեանքին հետ չըմպէին թո՛յնը վաղուան...
Հայրենազու՛րկ իմ ընկեր, աքսորի խոնջ իմ եղբայր,
Այս 
դալկահարերգերուն մէջ փնտռէ ցո՛լքն օրերուդ.
Դաշունահա
րերազիդփնտռէ մարմի՛նն ոգեվար
Փնտռէ հոգի
դ՝ պայքարի մէջ իրբախտին դէմ անգութ...
Հայրենիքիդդուն փնտռէ լոկ խենթ կարօ՜տը այստեղ
Փոխան կապո՜յտ ե
րկինքին ու ջուրերուն անապակ.
Ու վե
րամբարձ ծառերուն, ծաղիկներուն տեղ շքեղ՝
Փնտռէ խաբուա՛ծ Հայ Տղուն հաւատքին բե
րդն աւերակ։
Գուցէ փնտռես իմ երգիս մէջ արդարգովքն անցեալին
Ու 
դառնութիւ՛ն գտնես հոն, գտնես թախիծ ու մորմոք.
Եւ սէ
րերուս մէջ փնտռես դեռ գուցէ սէ՜րն երկնային,
Պա
րզ ու վսեմ սէրը հին՝ ապրումներու մէջ նորոգ...
...Ու բարձրանայ մատեանէս երբ չարաշուք մերՆերկան
Ու ո
րպէս սէր՝ տողերէս խուժեն մայթե՛րը վրադ,
Յիշէ՛, պան
դուխտ իմ ընկեր, խաւարու ցու՜րտ այն ճամբան,
Ո
րուն էջքին գահավէժ մենք ուղևորն ենք դժբախտ...։
ԱՆԴՐԱՆԻԿ ԾԱՌՈՒԿԵԱՆ
«Առագաստնե
ր»
Հալէպ, 1939

Ո
րբերու սերունդին ըմբոստ բանաստե՛ղծն էրան, որուն քերթողական ողջ աւանդը այսօրկ՚ամփոփուի երկու վտիտ քերթողագրքերու մէջ. առաջինը՝ «Առագաստներ» (1939), իսկ երկրորդը՝ «Թուղթ առ Երևան» (1945)։ Երկուքն ալ լոյս տեսած՝ Հալէպի մէջ և երկուքն ալ բանաստեղծական խօսքի թէժ հուրերո՛վ ճառագայթող։ Ծառուկեան ունէրնաև շարք մը անտիպներ«Առագաստներ»էն դուրս մնացած, որոնք երբեք լոյս չտեսան, և սկսերէրգրել երկարաշունչ բանաստեղծութիւն մը՝ «Սուրբ Մեսրոպ» խորագրով, որուն մէկ հատուածը միայն հրատարակուեցաւ Հալէպի «Արևելք» տարեգրքին մէջ (կարծեմ 1947-ին)։ 
Իր«Թուղթ առ Երևան»ը աննախընթաց երևոյթ էրմերգրականութեան մէջ։ Յակոբ Օշական զայն դասեց Շահան Շահնուրի «Նահանջը Առանց Երգի» վէպին համահաւասարև -- նոյնքան աննախընթա՛ց – ան գրեց 120 օշականեան խիտ էջերու ծաւալով մենագրութիւն մը նուիրուած՝ երիտասարդբանաստեղծի այս հզօրերկին։ Օշականի այս գործը կը կրէ «Վկայութիւն Մը» խորագիրը և գրուած է Երուսաղէմի մէջ 1945-ի նոյեմբերին, «Թուղթ առ Երևան»ի ընթերցումէն անմիջապէս ետք։ Թէ՛ Ծառուկեանի երկը և թէ՛ Օշականի վերլուծականը մեծ այժմէութիւն ունին այսօրՍփիւռքի գիրն ու ճակատագիրը հասկնալու, զանոնք ճիշտ մեկնելու և մերվաղուան հրամայականները բիւրեղացնելու տեսակէտէն։ 
Յիսունական թուականներուն, Անդրանիկ Ծառուկեան արդէն հաստատուերէրՊէյրութ և սկսերէրհրատարակել «Նայիրի» շաբաթաթերթը, որկը շարունակէրգրական աւանդը «Նայիրի» ամսագրին։ Այս վերջինը ինք հիմնեց Հալէպի մէջ խումբ մը գաղափարակից ընկերներու գործակցութեամբ և յետ-պատերազմեան այդտարիներուն ան դարձաւ գրական խօսքի քաշողական բևեռը ամբողջ սերունդի մը։ Շաբաթաթերթ «Նայիրի»ն բնականաբարտարբերէրիրնախորդէն։ Անորկապը մերժողովուրդին հետ աւելի անմիջական էրև աւելի յաճախակի։ Անորէջերուն մէջ հանրագումարի կու գային մերհասարակական կեանքի կնճռոտ խնդիրները յաճախ մեծ պոռթկումներով։ 
«Նայիրի»ի խմբագրատունը մեղուաբոյնն էրգրողներու և գրասէրներու։ Հոն էին միշտ ԵդուարդՊոյաճեանը, Պօղոս Սնապեանը, ԺիրայրԱթթարեանը և շատ ուրիշներ։ Անպաշտօն այդհաւաքները բուռն քննարկումներու անզուգական պահերէին Անդրանիկ Ծառուկեանի խմբագրական գրասեղանին շուրջ և իրանկրկնելի «ատենապետութեամբ»։ Իսկ մեզի՝ դեռ ճեմարանական նորերուս համարայդհանդիպումները երկրորդդպրոց մըն էին։ Հոն մենք գիւտը կ՚ընէինք գրական բեմի գործօն բնազդներուն։ Ծառուկեանի խօսքը իրսրամիտ պատումներով համեմուած՝ միշտ մոգական էրև դաստիարակիչ։ Հիմա կ՚անդրադառնամ, որամբողջ մշակոյթ մըն էր, որապրող խօսքի ուժականութեամբ օրը-օրին կը յանձնուէրմերաճող գիտակցութեան և Սփիւռքն էր, որինքզինք կը մշտնջենաւորէրիրմանուածապատ ձևերով և հրաշալի հայրութեամբ մը։ 

Կարօ Արմենեան
Նոյեմբե
ր22, 2015
(Աւելի քան երեք տարի առաջ, այս էջին վրայ տեղադրուած Անդրանիկ Ծառուկեանի այս բանաստեղծութիւնը յարակից ճեպագրութեամբ կրկին կը յանձնեմ Դիմատետրի ընկերներուս ուշադրութեան։)

Sunday, March 3, 2019

Why I root for Mer Hayrenik ?

Why I root for Mer Hayrenik?
Vahe H. Apelian
Ever since Mer Hayrenik was re-adopted as the national anthem, albeit with slightly modified lyrics, there has been a school of thought that advocates changing it in favor of the Soviet Armenian anthem. Obviously, those who propose the change agree that the lyrics  of the Soviet Armenia anthem will have to be changed but the music should be retained because, they claim, it is a grander and a more upbeat sounding music than the My Hayrenik music and is composed by Aram Khachaturian. As the saying goes, beauty is in the eyes of the beholder or gazer, so is music is in the ears of the listeners. There cannot be an argument against it.
But the issue becomes murky when the same camp attempts to present its preference as an outcome of supposedly sound logic that change in favor of Aram Khachaturian’s music is warranted. They present an important argument for its favor but do not substantiate it. They claim that the music of Soviet Armenia anthem is based on the Armenian liturgical music but produce no evidence to substantiate it. It is highly improbable the devout communist Aram Khatchadurian was, would have composed the music of Soviet Armenia's anthem on a religious based music be it Armenian and claimed that it had done so. The Armenian version of Wikipedia claims that the Soviet Armenia anthem's music is based on the third act of Khachaturian's famed ballet Gayane'. Does not that sound more plausible? I believe it does.
Another argument the advocates for Soviet Armenia's version claim is that Mer Hayrenik is way too partisan. They claim that it favors the A.R.F. Furthermore they ascribe the A.R.F.’s stand in favor of retaining Mer Hayrenik to the party imposing its preference upon the rest of the Armenians. A cartoonist by the name Sevag posted a cartoon in Keghart.com likening an A.R.F. member to a mustachoed petty character pushing the luminaries Aram Khatchadurian, Gomidas Vartabed in favor of the low life's favored partisan Mer Hayrenik. That argument, however presented and depicted as a distasteful cartoon, cannot be historically substantiated.
A cursory search indicates that Michael Nalbandian wrote Mer Hayrenik in 1859. He passed away in 1866. It appears that it became a favored folk song for it was produced on stage in Tiflis in 1885. We all know that the Federation of the Armenian Revolutionaries was founded in 1890, thirty-one years after the publication of the Mer Hyernik. A year or two after its founding, the name of the newly formed federation evolved into the Armenian Revolutionary Federation we know today.
Some argue that there is pervasive melancholy in Mer Hyernik, both in its lyrics and its music. Again if it sounds that way for a listener, it is then what it is for them. But the lyrics seem to echo our innate sentiments so much so that we have carried Mer Hayrenik from its inception in the 19th century to the 21st century. I cannot otherwise explain the longevity of Mer Hayrenik.
To substantiate my argument about the sentiments evoked in Mer Hayrenik resonating with us, I bring to the attention of the readers another contemporary of Michael Nalbandian (1829-1866), Rafael Badganian (1830-1892). He remains more reknowned by his pen name Kamar Katiba . His poetry exudes the same overall sentiments as in Mer Hayrenik. Two of Kamar Katiba's poems are sung to this day, although to a lesser extent.  But both were more commonly heard during my younger years. One of them is called "Are we to remain silent?" and the other is titled "The Clouds Went Silent". 
In the song "Are we to remain silent" (Հիմի է՞լ Լռենք – Hemi El Lrenk), the author poignantly laments that our cries are not being heard and that the enemy has pointed his deadly sword at our chest, then asks, "are we to remain silent, brothers?" I quote a segment of the poetry and translate it for explanatory purposes and not in an attempt also to retain its elegance as a poem. The song can be heard on Youtube.
Հիմի է՞լ լռենք, եղբարք, հիմի է՞լ, (Are we to remain silent anew, brothers?)
Երբ մեր թշնամին իր սուրն է դրել, (When the enemy has put its sword)
Իր օրհասական սուրը մեր կրծքին, (His deadly sword on our chest)
Ականջ չի դնում մեր լաց ու կոծին: (He does not heed to our cries and laments)
Ասացէ՛ք, եղբարք, հայեր, ի՞նչ անենք, (Tell me brothers, what should we do?)
Հիմի է՞լ լռենք: (Should we remain silent, this time too?)
His other poem, “Clouds Went Silent” (Լռեց Ամպեր – Lrets Amber), turned into a song as well, Kamar Katiba begs the moon, not the sun, to shed light on the miserable state of his nation. I quote a segment of that poem and translate it for the said purpose. The song can be heard on Youtube.
Նորա տխրամած դէմքը նայելիս` (Looking at its (moon’s) sad face)
Յիշում եմ թշուառ վիճակը ազգիս (I remember the miserable state of my race)
Ա՛խ, ցոլա՛, փայլէ՛, տխրադէմ լուսին, (ah, illuminate, shine, sad faced moon)
Գուցէ՛ քու փայլից փայլ տաս եւ Հային (Perhaps from your luminance, you may also luniate the Armenian)
Let us take a big leap forward from Kamar Katiba's two poems, along with Mer Hayrenik, a century and more ago, to the “present”. The eminent and multi-talented present architect of the city of Yerevan, Arthur Mekhsyan, wrote a song in 1965, commemorating the 50thanniversary of the Armenian Genocide, and titled it "Where were you, God?" (Ո՞ւր Էիր Աստուած-  Our Eyer Asdvants). The song became an instant hit and remains a popular song. The song echoes similar sentiments. I quote a segment of the lyrics and translate it for explanatory purposes. The song can be heard on Youtube too.
Ո՞ւր էիր, Աստված- (Where were you, God?)
Երբ ավերում էին չքնաղ մի երկիր, (When they were sacking a beautiful country)
Ո՞ւր էիր, Աստված- (Where were you, God?)
Երբ, խենթացած ցավից, աղաչում էինք - Ամեն... (When driven to madness because of the pain, we were begging - Amen)
Ո՞ւր էիր, Աստված- (Where were you, God?)….
I quote these popular songs to make a point. Like Mer Hayrenik, these songs may not sound as upbeat as the Soviet Armenia anthem but they resonate with us because they reflect our inner sentiments. I can ascribe no other explanation for their longevities.
I was born a few years after the Soviet Armenia anthem or hymn, as it is often referred to. During those past fifty to sixty years, I never heard Soviet Armenia anthem sung as a natural outburst during a get-together, but I have heard Mer Hayrenik sung. I have never encountered an Armenian family play Soviet Armenia anthem just for the pleasure of hearing it; but I have for the Mer Hayrenik and the other similar themed songs I mentioned. Why? Because I believe that Soviet Armenia anthem carries an artificial optimism that characterized the Soviet era. I do not mean to imply that the Soviet era did not bring tangible benefits. It sure did. However, that grand vision; that unprecedented social experiment failed the test of time. Consequently the anthem, both in music and in lyrics that personified the Soviet Armenian era, failed too, but Mer Hayrenik retained its popular appeal and yes, it can and is sung with gusto.  
That is why I root for Mer Hayrenik.