V.H. Apelian's Blog

V.H. Apelian's Blog

Monday, March 30, 2020

Thank You For Making me a Triumphant Blogger

Vahe H. Apelian


Blog,Blogging and blogger.
Merriam Webster dictionary defines blog as “a regular feature appearing as part of an online publication that typically relates to a particular topic and consists of articles and personal commentary by one or more authors”. Blog is used both as a noun and as a verb. As a verb blog means,” to write a blog”. That makes “blogging” the act and the person who wrote the blog, a “blogger”. 
The word blog is a relative newcomer into the English language lexicon. According to Wikipedia the term ‘blog” was first used as a noun and  as verb on April or May 1999. I became a blogger on March 4, 2017 when I posted my first article in my personal blog site I initiated on the same date. Little did I know then that my blog site would also tell me how many read a blog I posted and from where and how many times my blogs were read in total. 
This new word as a noun or as a verb is liberating because the “blogger”, in this instance I do not need to measure my blogs by a writer’s yardstick. There is also one fundamental aspect that all publishers have aspired to it, and that is to have their own voice, unconstrained by others. In fact, in hindsight, I realize that it is what Simon Simonian and  Antranig Zarougian achieved. They were masters of the  journals they published. Simon Simonian and Antranig Zarougian were the editors and the publishers of their weekly journals. The former’s was called “Spurk” and the latter’s was called  “Nayiri”. Surely, they were at the mercy of the readers of their journals, and naturally so. Without the subscription fees, they could not continue financing their weekly journals.  Fortunately, new technology has made my blog free. The only return I draw is the satisfaction seeing my blogs are read. 
As of today, my 278 blogs have been read for a grand total of 142,701 times by readers from Armenia to America and thence to Australia and in many countries in between.  In fact, the site does not assure that the blogs are actually read. It merely notes there are so many “page-views”. I assume a reader viewing a blog implies reading the blog. 
I thank all those who have opted to read my blogs instead of doing something else at that moment. Hopefully you found something there that made the time you devoted worthwhile.
And in doing so, you made me a triumphant blogger!

Sunday, March 29, 2020

Գրիգոր Յովսէբեան`Հանգուցեալ Աներձագս

Անցեալները՝ թուղթերուս մէջ պատահմամբ հանդիպեցայ Գրիգոր Յովսէբեանին թաղման արարողութեան ընթացքին կարդացած թամբանականս, Մարտ 29, 2002-ին։ Կը կցեմ։

Գրիգորին, ինչպէս նաեւ եղբօրը Յովսէբին եւ քրոջը Մարիին, առաջին անգամ հանդիպեցայ թուականէս 35 տարիներ առաջ, 1967-ին երբ ես ու իրենց եղբայրը՝ Մովսէսը դեղագործութիւն ուսանելու առաջին տարուան ուսանողներ եղանք։ Շուտով մեր հանդիպումը վերածուեցաւ բարեկամութեան։
Գրիգորը այդ ժամանակ այն հայ տղոցմէն էր որոնք իրենց խանդավառ մասնակցութեամբ Լիբանահայ ազգային կեանքին եռանդ կուտային։  Որքան որ ան գոհացած էր իր շրջապաով բայց Լիբանանը իրեն համար պատշաճ ասպարէզի կարելիութիւն չէր ընծայեր, մանաւանդ որ Գրիգորը Սուրեացի էր հպատակութեամբ։ Այսպէս իր հեռանկարները կապելով այս Նոր Աշխարհին վրայ 1969-ին Ամերիկայ այցելութեան վիզայ ձեռք ձգեց հոն հաստատուելու հեռանկարով եւ այդպէս ալ ըրաւ։ երկու տարի ետք Ամերիկայ մնալու իրաւասութիւն ձեռք ձգեց շնորհիւ իր արհեստին՝ ոսկերչութիւն։ 1971-ին քոյրը՝ Մարին միացաւ իրեն որպէս ուսանողուհի եւ Ամերիկայի Հայ Աւետարանչական Ընկերակցութեան երաշխաւորութեան շնորհիւ, ան ալ Ամերիկա մնալու իրաւասութիւն ստացաւ։
1974-ին Լիբանան վերադարձաւ քրոջը հետ եւ ես պատեհութիւն ունեցայ երկուքին հետ ալ կրկին անգամ հանդիպելու։ Գրիգորը շատ տրամադրուած էր Ամերիկայով եւ կը սնուցանէր իր հեռանկարները։ 
Նիւ ճըրզիի մէջ Գրիգորը եւ Մարին մաս կազմած էին նորաստեղծ Հայ Մշակույթային Միւթեան որ հետաքային պիտի ըլլար Համազգայինի Նիւ Ճըրզիի մասնաճիւղը։ Երկուքն ալ մաս կազմած էին անոր երգի ու պարի պարախումբերուն ելոյթներուն։ Շնորհիւ իր ճկուն եւ կայտառ Ֆիզիքականին Գրիգորը դարձած էր պարախումբին գլխաւոր մենապարողներէն մին։ 
1975-ին եղբայրը Մովսէսը գաղթեց Ամերիկայ իր տիկնոջը հետ։ Շրջան մը միասնաբար ապրեցան նոյն տան մէջ։
1976-ին ես ալ Ամերիկայ գաղթեցի եւ կրկին անգամ հանդիպեցանք իրար Նիւ Ճըրզիի մէջ։ Նոյն տարին Մարին սիրայռժար ընդունից ամուսնութեամբ ընկերակցութեան իմ առաջարկս իրեն եւ տարի մը ետք  ամուսնացանք։ նոյն տարին՝ 1977-ին ծնողքն ալ միացաւ իրենց զաւակներուն եւ Մարիին հայրը պատեհութիւնը ունեցաւ ներկայացնել իր դուստրը ինծ, Նիւ Ճըրզիի Հայ Աւետարանական եղեցիին մէջ։
Գրիգորը եւ ծնողքը միասնաբար ապրեցան Նիւ Եորքի արուարձաններէն մէկուն միջ, ընդարձակ հողատարացք ունեցող տան մը մէջ։ Իր երազն էր ունենալ այդպիսի տուն մը  ուր պիտի կարենար ձի պահել եւ ուր պիտի կարնենար որսորդութիւն ընել, բան մը որ շատ կը սիրէր։ Շրջան մը այդպէս ալ ըրաւ։ նոյնիսկ հաւնոց մը պահեց  եւ բանջարեղէնի պարտէզ հասցուց հօրը հետ։ Մեասնաբար որսի գացինք եւ օր մըն ալ կրցաւ եղնիկ մը որսալ իր տան պատկան հողին վրայ։
Ասբարէզը կատարելագործած էր։ Արհեստէ աւելի արուեստի հասցուցած էր ոսկերչութեան իր հմտութիւնը։ Շրջան մը աշխատեցաւ աշխարհահրչակ Tiffany ոսկերչատան մէջ եւ ձեւաորեց եւ կաղապարեց աշխարհահրչակ Pablo Picasso-ին աղջկան գծած բարդ ոսկեղենները ընկերութեան համար։ Շատերը շատ հաւանաբար գոհացած պիտի ըլլային աշխատանքի նման պայմաններէն։ Բայց Գրիգորին իղձն էր ունենալ իր անձնական աշխատանոցը եւ իր անձնական հնարումները։
Ամուսնացաւ Սօնային հետ եւ ապա փոխադրուեցան Լոս Անճէլոս  ուր կ՚ապրէր Սօնային ծնողքը եւ հոն շարունակեց իր անձնական աշխատանքը։ Միասնաբար գոհացան իրենց առօրեայով բայց միշտ աշխատեցան վաղուան լաւագոյնին։
Նկարագրով խիզակ տղայ մըն էր։ Ինքնավստահ էր իր վաղուանը որքան որ համեստ ըլլար իր ներկան։ Քրիստոնավայել կենցաղ մը ունէր եթէ նկատի առնենք Տասնաբանեայ Պատուէրները որպէս հիմնաքարեր։ Ներքին թագուն ծալքեր չունէր։ Ա յն էր ինչ որ էր երեւութապէս։ Բացառիկ սէր եւ գուրգուրանք ունէր ծնողքին հանդէպ։ Հաւատարիմ ամուսին մը եղաւ Սօնային եւ հոգածու հայր մը իր զաւկին Մայքլին։ Աշխատասէր էր, հայկական ասացուածքով՝ քարէն հաց հանող մը տղայ մըն էր, ինչպէս նաեւ համեղ եւ  հոտով կերակուր պատրաստող մը։ կերակուրի դժուարահաճ քիմք մը ունէր։
Հայկական առածը կ՚ըսէ՝ «կեանքն իր ճամբով՝ մահը իր ճամբով»։ Այսկէ ետք Գրիգորին կեանքը երկնային բաներու հետ է։ Այսօր՝ Աւագ Ուրբաթ օրը կ՚ապրինք մահուան իրողութեանը հետ, այնպէս ինչպէս պիտի ապրինք Յարութեան իրողութեանը երկու օր ետք, կիրակի օր՝ Զակուան։  «Աստուած տուաւ եւ Աստուած առաւ» խօր համոզումով կը հաստատէ իր մայրը։ Այսպէս Գրիգորին ասհմանուած կեանքը այս երկրին վրայ իր լիութիւնը գտաւ։
Իսկ մենք ողճերս ենք որ պիտի ապրինք հարազատի մը բացակայութիւնը այսուհետեւ։ Եւ այդ բացակայութիւնը լրացնողը պիտի ըլլայ սէրը։ Մարին եւ ես կը միանանք ձեզի տածելով, ինչպէս անցեալին, նմանապէս գալիքին մեր սէրը եւ հոգածութիւն, եւ ազնիւ զգացումները Գրիգորին ընտանիքին ինչպէս նաեւ Գրիգորին մօրը՝ Տիկին Ալիսին։ Անցեալ երկու տարիներու ընթացքին ան կորսնցուց իր քոյրը Լիբանան, Եղբայրը Քանատա, զարմուհին Վիէննա։ Այս տխուր պարագային չի կրցաւ ապաւանիլ իր ֆիզիքական եւ զգացական տոկունութեանը եւ չկրցաւ համարձակիլ ընկերակցիլ ինծի։
Նոյն հարազատ զգացումներով կը մնանք Գրիգորին տիկնոջը Սօնային եւ իրենց զաւակին Մայքլին հետ որպէսզի այսուհետեւ մեզի սահմանուած տարիներուն ընթացքին շարունակենք հոգիով ապրիլ Ատտծոյ տուած բիւրաւոր պարգեւներէն մին որ մեզի ներկայացաւ յանձին Գրիգոր Միհրան Յովսէբեանին։

Վահէ Յ. Աբէլեան
Մարտ 29, 2002
Los Aneles


Monday, March 23, 2020

Remembering Hamasdegh’s Story In Lockdown: "Yerneg Ayn Oreroun”

Vahe H. Apelian


This lockdown is reminding me of one of Hamasdegh’s moving stories titled, “Yerneg Ayn Oreroun” (Երնէկ Այն Օրերուն). I will come to the story after a brief introduction of Hamasdegh as he remains etched in my memory.
I regard Hamasdegh as the towering storyteller of the Armenian village life. He captured the Armenian village for posterity. No other Armenian author I know came close to him in depicting the Armenia village and those admirable villagers. What also fascinates me is his imagination. Hamasdegh left his native land and came to America in 1913 when he was 18 years old and after having left their village to study in a small town for a few years. He left America only once, during 1928-30, and toured the Armenian communities. When he undertook his overseas trip, he had already published his masterpieces immortalizing the Armenian village and had secured for himself a special place in the Armenian literature and in the public’s imagination. He and the villagers he described in his two books titled “Village” and “Rain” became endearing characters. The stories he narrated and the villagers he described are figments of his literary imagination but they resonated with the readers as if they actually lived and toiled in that proverbial Armenian village only Hamasdegh  knew. 
Each of his stories uniquely describe an aspect of the village’s life. Among them  I have my favorites, although each story and each character  are unique and unforgettable. That story is titled Chalo. It is about men’s most faithful  canine, a dog name Chalo. I cannot envision that there can be a better and in more depth depiction of our faithful four-legged companion. Chalo was the village’s dog but it was a stray dog. It was wise, attentive to command and liked to keep company with the village’s elderly and hear the stories they told. Henceforth many Armenian families named and continue to name the  canine member of their family Chalo.
The title of the story that comes to my mind these days may be translated as  “Longing Those Days” or "Blissful By Gone Days" or maybe “Wishing for  Those Days”. The title in fact has become an expression in the Armenian lexicon and is often uttered whenever someone longingly reminisces of bygone days. Hamasdegh dedicated that story to Roupen Tarpinian, the longstanding eminent editor of “Hayrenik” Daily.
The story is about two elderly neighbors. Mnoush was a longtime widow who made a living by helping the villagers in their chores and lived next to Mkhsi and his wife Anneg. Their houses were next to each other. I envision that their houses shared a common wall, much like our grandparents’ house in Keurkune shared a common wall with the house next door. But their houses shared a common extended rooftop as well. A wall separated their courtyards. Mkhsi and Anneg were a happy couple. In their old age they were spared from work and watched their grandchildren grow. Unfortunately, Anneg died after a short illness. “After a month, Mkhsi forgot his wife, as all dead persons are forgotten;  but he never forgot his loneliness”, wrote Hamasdegh. 
It is then Mkhsi took a fancy of Mnoush. He went out his way to help her. He sat in his front yard waiting for Mnoush to come out of her house and do her chores. During such a moment Mkhsi approached Mnoush and remarked as how rosy her chicks looked arousing suspicion in Mnoush, and another time Mkhsi offered to give her a bag of freshly harvested wheat, without his son knowing it. The offer raised alarm bells in Mnoush and gave way to an ongoing bickering between the two over their chickens crossing into the other’s yard, or his grandchildren playing on Mnoush's roof, or whether Mnoush had the water sprout deliberately moved towards Mkhsi’s yard. When the village’s priest gave communion to Msnoush, Mkshsi ceased going to church against the priest’s pleas. No one understood the root cause of their animosity, not even Mkshi’s son but the villagers accepted it as normal course in their lives but Mkhsi knew that in his old age, over fifty, he should not have said and suggested what he did.
There came upon them the dark days and the villagers were forced out caravan after caravan. And amidst the death marches they met each other. “Mkhsi and Mnoush fell into each other’s arms crying like two little children.” Hamasdegh wrote,  “Mkshi, barely held himself, took his red handkerchief, wiped the tears from his eyes and said: “e~h Mnoush, longing for those days”.
I lived almost the first two years of the Lebanese civil war. There, we also locked ourselves in the safest corner of our houses as war raged on, bullets flew and bombs fell. But I did not feel as confined as I do now. The enemy there was in the open. To fare the ordeal, the neighbors of our 30 units building, often came together confining ourselves in a lower level corridor or in a basement room. But this lockdown is different. The deadly enemy is not seen, nor heard. It is lurking somewhere or maybe everywhere. It might even be within us waiting to ambush persons next to us so we have to keep a distance between us. A paradoxical term has come about, “Social Distancing”. How can one be social but remain apart?  This onslaught is different.
Yes, I will have to admit, I also miss the mundane life I lived a short while ago. Whether it was going to church, attending a men’s club dinner, having a coffee with a friend in Panera Bread, or  taking a weekend off somewhere. Those mundane happenings have now assumed a significance that had alluded me all along and altogether.  Surely, like anything else, this will end somehow and sometime. But when I meet my favorite cousin, not that I do not favor the others,  we will not fall in each other’s arms and give each other a bear hug and utter what Mkhsi uttered to Mnoush, that we too, in turn, long the days of our lives a short while ago. Yes, we will not bring ourselves to do that, God only knows for how long, or maybe for the rest of our lives.

Monday, March 16, 2020

The Three Armenian Caricaturists

Vahe H. Apelian

 

Were those depicted in the picture above cartoonists or caricaturists? I am not so sure what to call them. But I read that a caricature is a powerful tool for a political cartoonist. The three Armenian cartoonists surely portrayed politics. Hence, I opted to title my blog the way I did. I have met two of them, Ajemian and Araratian.  Saroukhan was widely known.

They are towering figures in the Armenian Diaspora culture. Their art represented the resilience of our culture and its acculturation with the host country’s culture. Just imagine that some three decades after the genocide, the Armenians in the Diaspora had not only overcome adversity but felt secure enough to enjoy the caricaturing not only the denizens of their community but also of the host country’s. In short, they could make light of not only the Armenian community’s but also the greater society’s shortcomings an d also of its prominent denizens. Let me point out that during the seventy years of Soviet rule in Armenia, while the Diaspora Armenian community enjoyed the caricatures, there was no caricaturist in Soviet Armenia who dared to bring forth the system’s shortcomings in a pleasant way. 

Saroukhan humoring Armenian Sayings

I claim no expertise to render an expert’s opinion of the art.  That is why I used and will be using the term caricaturist. Surely there are subtle but important distinctions between a caricaturist and a cartoonist. Saroukhan Diran Ajemian and Massis Araratian are caricaturists to me and hence it’s my layman’s observations that I convey when I note that a caricaturist is a rare combination of a person who has honed his or her innate raw talent for drawing and who possesses a powerful intellect for observing and synthesizing. Instead of words, a caricaturist resorts to drawing to present to viewers or readers events or persons in a pleasant and constructive way. Without their artful drawing capturing the essence of such acute observations, a person’s drawing would come across as a ridicule. Readers or viewers instinctively know the difference. The three Armenian caricaturists I noted enjoy the reverence of the Armenian community and of the greater society of their host countries because their art is genuine and devoid of malice but surely revealing if not daring.

The eldest among them is Alexander Saroukhan. According to the Wikipedia: “He is considered one of the best and most famous caricaturists in the Arab world.” I know of him more through his drawings caricaturing the many Armenian sayings by depicting the saying literally, such as “Khloukhs Gerav” (literally “ate my head”) or “Khloukhs Darav” (literally “took my head”).  Both used in mundane conversation in reference to continuing listening to someone out of being courtesy. And many more such expressions.

Wikipedia claims that Alexander Saroukhan was born in “Russian Empire” on October 1, 1898. In 1908 the family moved and settled in the Ottoman Empire from where he moved to Egypt in 1924 where he continued his art until his death in 1977.

Diana Ajemian 

I have known of Diran Ajemian’s art mostly through his caricatures in Tourigs’s (Mihran Tourikian) book titled “Tzizagh”, (“Laughter”). I remain under the impression that his caricatures are mostly confined to Lebanon be it depicting the Armenian community and of the greater society of Lebanon as a whole.  He has also directed plays and acted in them as well. He used to be a frequent quest of Hotel Lux in Lebanon.

Diran Ajemian was born in Aleppo on July 21, 1902 and has moved to Lebanon in 1925 where he continued his art until his death on September 10, 1981. I am not sure if his caricatures were collected in a book.

Much like the larger peak of Mount Ararat, the Great Massis (Medz Massis), Massis Araratian remains the towering figure of the Armenian caricaturing. I quote from the article I wrote in my blog: “Massis was born in Aleppo on December 29, 1929. As a young boy he found out that not only could he draw but also had an uncanny ability to observe and distill a person’s character and the essence of events and present them with his agile pen. He started drawing on the margins of his textbooks, to the chagrin of his teachers who noticed they were often the subject of his acute pencil. His well-meaning parents were no less concerned by their son’s obsession with drawing, almost to his total disinterest in learning a trade.

But Massis found encouragement too. During the Second World War, when paper was scarce, his family and relatives collected the 3 by 4-inch daily sheets of their calendars that were blank at the back and gave them to Massis to draw on. Thus, was born his habit of drawing on similar size pads, he notes, while standing, sitting and kneeling.” 

Massis Araratian moved to Beirut in 1953 and in 1976 to Los Angeles where he is been living with his family. His caricatures can be viewed on his website. The caricature below depicts Saroukhan and Diran Ajemian. Massis drew it in 1947 and placed it as his first caricature in the collection of his drawing he published in 1947 titled “The Smile is Light” (Jbede Louys Eh).














Saturday, March 7, 2020

Women are From Venus, Men Are From Mars

By Aram Haigaz
Translated by Vahe H. Apelian
Here's the witty bouquet from ARAM HAYKAZ's oeuvre about men, women, and their relationship. ARAM HAYKAZ (née Aram Chekenian), was a popular Armenian-American writer for my generation. He was born in 1900 in Shabin-Karahesar (Western Armenia) and passed away on March 10, 1986 in New York. He wrote ten books, nine of which are in Armenian.  For  me he personifies the best of the survivors of the Armenian Genocide. He became a teenage captive pair of hands among the Kurds and yet nature would have his way and he and Kurdish girl would take fancy of each other. Not only he survived but he also overcame adversity and flourished with a zest for life and living, surely because he also found a safe haven in the United States of America where he thrived. He wrote fascinating tales about his experiences among the Kurds and his escape from the mountains of Kurdistan and about his neighbors in the U.S. I view this collection of his sayings I translated as a testament of self-depreciating humor. Only a person who is not, can humor in a such way. Here's the witty bouquet from his oeuvre about men, women, and their relationship



1.      A man should love his wife and strive not to understand her but a woman should love her husband less and strive to understand him more. Մարդ մը պէտք է սիրէ իր կինե ու չաշխատի հասկնալ զայն, իսկ կին մը պէտք է քիչ սիրէ ու շատ հասկնայ իր ամուսինը որ երջանկութիւն տիրապետէ տան մէջ։
2.    If you buy something not needed by your wife, it's extravagant spending. So beware. եթէ կնոջդ պէտք չեղած բան մը գնես, շռայլութիւն է, զգուշատցիր։
3.     A lot of women like to say “no’ much like children do; many men believe in the "no" much like children do. Շատ մը կիներ երախաներու պէս «Ոչ» ըսել կը սիրեն, ու շատ մը մարդեր երախաներու պէս կը հաւատան այդ «ոչ» ին։ Շ
4.         It’s only the good women who keep a diary; the bad women have no time for such things. Օրագրութին պահողը բարի աղջիկներն են, չարերը ժամանակ չեն ունենար այն բանին համար։
5.       A woman who would not have consented marrying you for who you are, marries you for what you have.  կին մը որ հետդ պիտի չամուսնանայ ինչ ըլլալուդ համար, կ՚ամուսնանյ ինչ ունենալուդ համար։
6.      A lot of time women’s eyes and tongues convey altogether different things; one needs to have wisdom to determine which to believe. Կիներուն աչքերն ու լեզուն շատ անգամ տարբեր բաներ կ՚ըսեն, իմաստութիւն պէտք է որոշելու հար թէ ո՜ր մէկուն պէտք է հաւատալ։
7.     Women’s width change depending where they are preparing to go.  կանանց լայնքը նայած թէ ո՞ւր երթալու կը պատրաստուի կը փոխուի։
8.       A girl’s greatest wealth is not with her but is the imagination found in men’s head. Աղջկայ մը մեծագոյն հարստութիւնը իր հետ չէ այլ այրերու գլխուն մէջ գտնուող երեւակայութիւնն է։
9.      The other day a woman was telling that she is getting old because those who pursue her are in her age group. Առջի որ կիմ մը կ՚ըսէր թէ ծեռացածէ որովհետեւ զինք հալածողը այլեւս իր տարիքն է միայն։ 
10.      God created Adam before Eve so that there will not be anyone over his head advising him what to do. Աստուած Եւային առաջ ստեղծեց Ադամը որպէսզի իր գլխուն վերն կենալով խրատ տուող չըլլայ։
11.      Right after women return home from their wedding, they embark on reshaping, correcting, improving their husbands…. and after five years they weep lamenting that “the man, is not the man they married; he is changed !” կիները ամուսնանալէ ու եկեղեցիէն տուն գալէն անմիջապէս վերջ կը սկսին իրենց ամուսիները բարեկարգել, վերաշինել, սրբագրել եւ հինգ տարի վերջն ալ կուլան ըսելով, «մարդը իր առած մարդը չէ, փոխուած է։» 
12.   A man marries due to lack of judgment; divorces due to lack of patience and remarries due to memory failure. Մարդ մը կ՚ամուսնանայ դատողութեան պակասի պատճառաւ, կը բաժնուի համբերութեան պակասի պատճառաւ, կը վերամուսնանայ յիշողութեան պակասի պատճառաւ։
13.    The bachelors know more about women than the married men do; otherwise they would have been married as well. Ամուրիներ կիներու մասին շատ աւելի բան գիտնալու են քան ամուսնացածները, այլապէս իրենք ալ ամուսնացած կըլլային։
14.      The other day an acquaintance was complaining about the change in their household saying that right after he got married their dog would bark when he returned home from work and his wife would bring his slippers; nowadays the roles have changed, it’s the dog that brings the slippers. Առջի օր ծանոթ մը գանտագելով իր տան մէջ տեղի ունեցած փոփոխութեան մասին կ՚ըսէր «երբ ամուսնացայ տաուն եկած պահուս շունս կը հաչէր ու կինրս մուճակներս կը բերէր, հիմայ դերերը փոխուած են շունս է որ մուհակներս կը բերէ։
15.  Before getting married, it is imperative that a man secures the unanimous consent of two people: that of his bachelor friend and the mother of a girl anxious to see her daughter get married. Ամուսնութիւն մը կնքելու համար երկու անձի համաձայնութիւնը անհրաժեշտ է։ ամուրիի մը եւ աղջկան անհամբեր մօրը։
16.      It was not the apple in the Garden of Eden that became the cause of our misery; it was the couple underneath. Դրախտին մէչ ծառին վրայ խնձորը չէր որ մեր դժբախտութեան պատճառը եղաւ այլ անոր տակ գտնուող զոյքը։
17.     It’s always easier to beautify a wise girl who is not beautiful than to impart wisdom to a beautiful but unwise woman. Աւելի դիւրին է խելացի բայգ տգեղ աղջիկ մը գեղեցկացնել քան գեղեցիկ բայց ապուշ մէկը խելացի դարձնել։
18.  The knowledge that she is loved is the cornerstone of a woman’s happiness. Սիրուած ըլլալուգիտակցութիւնը կնոջ մը երջանկութեան հիմնաքարն է:
19.    The difference between a dying man and a dying woman is the following: death comes upon them when it’s the heart that stops in the former and the tongue in the latter. Մեռնող մարդու մը ու մեռնող կնոջ մը մէջ գտնուող տարբերութիւնը այն է որ մինչ առաջինին սիրտն է որ կը դադար է առած, միւսին մէջ դադար առնողը լեզուն է։ե
20.       Mice are afraid from men; men are afraid from women; women are afraid from mice. Մուկերը կը վախնան մարդերէնմարդերը՝ կիներէնու իրենց կարգին՝ կիները՝մուկերէն:
21.     The most difficult task for a woman is deciding the year and the date she reached adulthood. Կնոջ մը համար ամենէն դժուար բանը իր չափահասութեան տարիքին հասնելու տարին եւ թուականը որոշելն է։
22.      If a woman does not reveal the source of a secret entrusted to her, she regards having kept the secret. կին մը իրեն վստահուած գաղտնիքին որմէ լսած ըլլալը չըսէ, զայն պահած ըլլալ կը կարծէ։
23.     To enjoy chatting, women talk way too much to have time to think. կին մը խօսելու հաճոյքին համար այնքա՝ն շատ կը խօսի որ խորհելու ժամանակ չունենար։
24.      A woman is a source of flowing water where people snoop to quench their thirst. It's no wonder at that moment they only see their reflection. կին մը հոսուն ջուրի ակ մըն է որուն վրայ ամեն ոք կը հակի իր ծառաւը յագեցնելու համար եւ զարմանալի չէ որ այդ պահուն միայն իր նկարը տեսնէ անոր մէջ։

Source: Հայագիտարան Հայաստան (06.08.2014) an on-line site.





-->

Hamasdegh, the Quintessential Armenian Villager (No. 2/2)

Vahe H. Apelian

The following is pieced togethe from Hamasdegh’s autobiography and the introduction in a book published in Lebanon in 1966 comprising his books, “The Village” and “Rain”. The link for first part: http://vhapelian.blogspot.com/2020/03/hamasdegh-quintessential-armenian.html


Hamasdegh Among Kessabtis

After immigrating to the U.S. in 1913, Hamasdegh undertook a trip abroad from 1928-30  where he visited Diaspora communities (including Kessab, as attested by the embedded picture). During the trip he remained in touch with the people and the notables of the Diaspora communities. His trip left an indelible and a profound impression  on him.
From there on, he never left elsewhere and continued to live in the U.S. In fact, in a “corner” of the United States as he confided to Simon Vratsian and noted the following in a letter to him. “But I like that corner. It is warm and serene much like the nest of a bird.”  It is said that the U.S. became his residence but throughout his life, in his heart and in his soul, he remained the quintessential Armenian and the Armenian villager he masterfully depicted in his writings.
He was happy and content with his family. His lifelong partner, his wife Srpouhie, remained his staunch supporter. They raised two fine daughters. His wife’s death weighed very heavy on him. In  letter to Simon Vratsian on April 1, 1966, he wrote: “Our beloved Srpouhie’s loss was very heavy. We cannot believe that she is no more. We were happy. Srpouhie emptied both the home and me….”
In another letter to Simon Vratsian he wrote: “The days pass repetitiously; with no color and interest. It is said that sorrow seeks solitude. Our most graceful daughters attempt to fill in their mother’s void…Srpouhie raised fine daughters. Whatever we do, however, there cannot be a remedy for Srpouhie’s absence.”
Hamasdegh died not too long after, on June 4, 1966, during his jubilee celebration in Los Angeles where he passed away on the stage due to a fatal heart attack.
Hamasdegh started writing relatively early. In his autobarotropy he attributes his foray into writing partly to his proximity to “Hayerenik” where he had his first literary work published in 1917. He was 22 years old then. In his autobiography he wrote: My proximity to “Hairenik” Daily and its staff became the impetus to resume writing.” Surely, he is alluding to his early writing while in school in Kharpert where he received his teacher’s appreciation and commendation to continue writing.
 In his autobiography he noted the following: “In 1920 I stayed in New York for one year where Shirvanzate (Շիրվանզադէ lived also. I had read almost all his literary works, but I did not know him personally. We met frequently. He became the reason that I ceased hovering in the sky above and came down to earth.” He was 25 years old then and had already established a reputation as an upcoming writer. What he meant to say is that his early literary endeavors were driven by an attempt to impress with his literary prowess but were not true to his calling. He made a similar remark in 1929, in Cairo where the community gave homage to the young writer. In his speech there he said: “Excuse me when I say that there is an element of sickness among some of our intellectuals. We had a generation who filled their heads with German or French imaginaries and hoovered well over the ground. They detached themselves from our reality. They could not anchor themselves on the ground. But, there were a few who stood firm on the ground like giant pillars because they had absorbed the nation’s instincts.” 
 Surely, among those who had absorbed the nation’s instincts, is Hamasdegh himself,  as one of the giant pillars of the Armenian literature. 
The following comprise his literary output and their first publication dates.
-->
1.    “The Village”, («Գիւղը»), published in Boston in 1924.
2.   “Rain”, («Անձրեւ»), published in Paris in 1929.
3.   “Holy Comedy”, («Սրբազան Կատակերգութիւն»), (not published)
4.    “The White Horseman”, («Սպիտակ Ձիաւորը»), published in Los Angeles in 1953.
5.   “Nazar the Brave and 13 Stories”, («Քաջ Նազար եւ 13 Պատմուածքներ»),(published in Cairo in 1955.
6.   “House of Prayer”, (Աղօթարան»), published in Beirut in 1957.
7.    “Goat’s Almanac”, (Այծետոմս»), published in Cairo in 1960.
8.   “The First Love”, (Առաջին Սէրը»), published in Beirut, in 1966.
9.   In a letter of Simon Vratsian dated January 29, 1965 he noted that he has handwritten manuscripts totaling some 3000 pages and may literary works published in “Hairenik” Daily and “Punig” especially during 198-1919, his early writing years.

Note: The following comment was made by Harry Kezelian Don't forget to mention Hamasdegh lived in Boston, which was and is the home of the Armenian-American press and the political parties (Hamasdegh of course was a staunch Tashnagtsagan) and most of his writing was published in Hayrenik. It is worth of note that Hamasdegh's first book was published in 1924. After the treaty of Lausanne was signed in July 1923 we notice that the Armenian-American community turned its thoughts toward reminiscing about the Yergir, especially Kharpert, the native land of most of them, as seen in Hamasdegh's first 2 books as well as an impressive amount of Kharpertsi folk songs in both Armenian and Turkish that were recorded on 78 rpm discs in the period 1923-1925 and also afterward. The deportation of the orphanage in Kharpert in early 1923 to Ghazir, Lebanon, the signing of the treaty of Lausanne which buried all Armenian political aspirations, as well as the fact that even under the treaty of Sevres Kharpert was not to be included in united Armenia, and the fall of French Cilicia (which maybe would have eventually included Kharpert), no doubt struck a deep affect among the thousands of Kharpertsis living in America who after 5 years of waiting and wondering after the war came to an end, finally realized there would be no return..."