Literary, Methodological Paradigms: the Theme of Artsakh in the Works by Raffi and Muratsan

Zinaida BALAYAN

DOI: 10.24234/wisdom.v18i2.522 Zinaida BALAYAN

LITERARY, METHODOLOGICAL PARADIGMS: THE THEME OF ARTSAKH IN THE WORKS BY RAFFI AND MURATSAN

Abstract

The works “Khamsa Melikdoms” by Raffi and “Baghtasar Metropolitan Hasan-Jalaliants Brief Biog- raphy”, “Ruzan or the Patriotic Girl” by Muratsan and their comprehensive research and re-evaluation are the chapters of “Artsakh in the Armenian Literature of the XIX century” research and the primary data for the article given. In the research, the subject of Artsakh is presented within the general framework of Armenian literature of the XIX century as a literary phenomenon viewed separately. It has its traditional layers and unique documents of secular culture and art, literary, political, philosophical thought.

Keywords: Artsakh history, mentioning, Jalal Ishkhan, Varanda, sublime mountains, monastery.

Introduction tury” and the works by Raffi and Muratsan being a part of it is the history of the literature created The past literary traditions continued with the about Artsakh. spirit of restoration in the XIX century, opening the arena for the new literary names emphasizing Topicality the national ideology, such as M. Taghiadyan, S. Archbishop Jalaliants, Gh. Alishan, A. Kos- In general, the research of the works “Kham- tandyan, Raffi, Muratsan, Leo, Haykuni, M. Bar- sa Melikdoms” by Raffi and “Baghtasar Metro- khudaryan. politan Hasan-Jalaliants Brief Biography”, “Ru- zan or the Patriotic Girl” by Muratsan is the first General Characteristics literary and methodological attempt of identify- of the Work ing, interpreting and evaluating against the general background of the Armenian literature of the The works “Khamsa melikdoms” by Raffi XIX century one of the central themes – the and “Baghtasar Metropolitan Hasan-Jalaliants theme of Artsakh of the XVII-XIX centuries in Brief Biography”, “Ruzan or the Patriotic Girl” the general context of the book events, which, by Muratsan with their literary and methodologi- according to the sharpness of the political issues cal fundamental research and re-evaluation are presented by it in the modern era, answers the the main chapters of research under the title fabrications of would-be scientists who distort “Artsakh in the Armenian Literature of the XIX the history of Artsakh. It acquires an actual so- Century”, partial reference to which is the analy- und with exceptional political, ideological, philo- sis of the works by Raffi and Muratsan presented sophical, methodological, aesthetic, moral and in the given scientific article. psychological problems. Collectively, the subject of research in “Art- The scope of the topic is quite broad, so we sakh in the Armenian Literature of the XIX Cen- preferred those key monuments that artistically

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DOI: 10.24234/wisdom.v18i2.522 and typically represent the literature and history tural, re-evaluation, metrological methods. Zinaida BALAYAN of Artsakh, the natural and geographical picture. Research LITERARY, METHODOLOGICAL PARADIGMS: Subject, Purpose and Task THE THEME OF ARTSAKH IN THE WORKS BY RAFFI AND MURATSAN of the Research The method has a double meaning in terms of aesthetics: scientific, literary and artistic. In this Abstract The primary purpose and task of the scientific case, the creative literary method is identified research is the characterization and evaluation, with the romanticism, realism, symbolism, futur- The works “Khamsa Melikdoms” by Raffi and “Baghtasar Metropolitan Hasan-Jalaliants Brief Biog- re-evaluation of the literature of Artsakh in the ism of literary directions, currents. At the same raphy”, “Ruzan or the Patriotic Girl” by Muratsan and their comprehensive research and re-evaluation are thematic, ideological and stylistic, literary, meth- time, the method outlines directions in literature - the chapters of “Artsakh in the Armenian Literature of the XIX century” research and the primary data for odological space, the works of Raffi and Mu- historical, biographical, cultural-historical, etc. ratsan in particular. Historicity became the revelation of time. the article given. th In the research, the subject of Artsakh is presented within the general framework of Armenian literature The typological features indicating the au- “The 19 century was a century of history - gen- of the XIX century as a literary phenomenon viewed separately. thors‟ – Raffi (“Khamsa Melikdoms”) and Mu- eral (civil) history, literature art history, language It has its traditional layers and unique documents of secular culture and art, literary, political, philo- ratsan (“Baghtasar Metropolitan Hasan-Jalaliants history of mythology, philosophy of science and Brief Biography”, “Ruzan or the Patriot Girl”) – history of religion, history of economics, history sophical thought. unifies the thread that generalizes the theme of of state and legal laws” (Gaydenko, 2000, p. Artsakh, which reveals the spirals, patterns, orig- 385). Keywords: Artsakh history, mentioning, Jalal Ishkhan, Varanda, sublime mountains, monastery. th inal and fruitful manifestations of the develop- The 19 century marked a new step in the de- ment of the history of this Armenian region, lay- velopment of literary methods. Introduction tury” and the works by Raffi and Muratsan being ers of re-evaluation. The independent path in life is chosen by a part of it is the history of the literature created original literary methods, such as biographical, The past literary traditions continued with the about Artsakh. Research and Scientific historical, mythological. spirit of restoration in the XIX century, opening Novelty of the Topic The biographical method is recognized as the the arena for the new literary names emphasizing Topicality first method of literary studies. The method‟s the national ideology, such as M. Taghiadyan, It is true that both in the study “Artsakh in the founder is the French literary critic Charles Au- S. Archbishop Jalaliants, Gh. Alishan, A. Kos- In general, the research of the works “Kham- Armenian literature of the XIX century” and in guste de Saint-Beauvoir, who is best known for tandyan, Raffi, Muratsan, Leo, Haykuni, M. Bar- sa Melikdoms” by Raffi and “Baghtasar Metro- the article presented for analysis and re-evalu- his two-volume work “Portraits” (1836-1839). khudaryan. politan Hasan-Jalaliants Brief Biography”, “Ru- ation, the works of Raffi and Muratsan were sub- The descendants of Saint-Beauvoir were zan or the Patriotic Girl” by Muratsan is the first jected to a certain consideration by literary critics George Brandes, Hip. Ten etc. General Characteristics literary and methodological attempt of identify- (Leo, A. Terteryan, S. Sarinyan and others), but The biographical method has become domi- did not receive a fundamental theoretical assess- nant in Armenian literature since the 70s of the of the Work ing, interpreting and evaluating against the gen- th eral background of the Armenian literature of the ment and, in certain cases, in epic and genre, me- 19 century, the examples of which are Mu- The works “Khamsa melikdoms” by Raffi XIX century one of the central themes – the thodological issues. The scientific innovation of ratsan (Grigor Ter-Hovhannisyan), “Baghtasar and “Baghtasar Metropolitan Hasan-Jalaliants theme of Artsakh of the XVII-XIX centuries in the work is that attempts are made to subject the Metropolitan Hasan-Jalaliants Brief Biography”, Brief Biography”, “Ruzan or the Patriotic Girl” the general context of the book events, which, works of Raffi (“Khamsa Melikdoms”) and Mu- Shahnazaryan “The case of Khachatur Abov- by Muratsan with their literary and methodologi- according to the sharpness of the political issues ratsan (“Baghtasar Metropolitan Hasan-Jalaliants yan‟s literature”, N. Ter-Karapetyan “Khachatur cal fundamental research and re-evaluation are presented by it in the modern era, answers the Brief Biography”, “Ruzan or the Patriot Girl”) to Abovyan”, E. Shahaziz “Mikayel Ghazaryan- the main chapters of research under the title fabrications of would-be scientists who distort literary and methodological research and re-eva- Nalbandyants”, A. Yeritsyan “Grigor Artsruni”, “Artsakh in the Armenian Literature of the XIX the history of Artsakh. It acquires an actual so- luation, what the given work is aimed at. I. Harutyunyan “Stepanos Palasanyan”, A. Cho- Century”, partial reference to which is the analy- und with exceptional political, ideological, philo- panyan “Petros Duryan‟s biographical, critical sis of the works by Raffi and Muratsan presented sophical, methodological, aesthetic, moral and Methodology study” works, etc. in the given scientific article. psychological problems. The methodological analysis of Muratsan‟s Collectively, the subject of research in “Art- The scope of the topic is quite broad, so we When writing the article, we used compara- (Grigor Ter-Hovhannisyan) “Baghtasar Metro- sakh in the Armenian Literature of the XIX Cen- preferred those key monuments that artistically tive, contrasting, source studies, analytical, struc- politan Hasan-Jalaliants Brief Biography” is the

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first part of the third chapter of the general scien- quainted with the native memories. Muratsan tific study “Artsakh in the 19th-century Armenian mentions the following about this in his “Auto- literature”. biography”. “I spent most of 1877 touring differ- The work was written on the principles of the ent parts of my native country, studying the ruins biographical method, which was the first method of Artsakh, Syunik and old monuments. After re- in European literature (the method was founded turning from this tour, at the end of 1877, I wrote by the French literary critic Auguste de Saint- my first very small and very large piece in (Shu- Beauvois in his “Portraits” (1836-39). The bio- shi), which was the brief genealogy of the Ha- graphical method lasted until the late 19th and san-Jalalyan family, the biography of that family, early 20th centuries). the last heir of the Catholicosate from Aghvan, The short biography “Baghtasar Metropolitan Metropolitan Hasan-Jalalyan (Muratsan, 1963, p. Hasan-Jalaleants Biography” by the great Arme- 136). nian classic Muratsan (Grigor Ter-Hovhan- The author concluded that Artsakh was more nisyan, 1854-1908) is historicity mixed with fic- subject to the barbarities of the enemies than Ar- tion, revolved around a Supreme Pontific of menia. from here: Artsakh Metropolitan Hasan-Jalaleants. He lived b. “Many Artsakh monasteries, impregnable and served as the pastor of earthly “multifarious” castles, hard-to-reach people, after all, every (Muratsan) life in 1775. January 12, till 1854 mountain and field, forest and gorge have July, 27. He was honoured by his compatriots memorable holes worth capturing”. and even enemies during his lifetime on July 27, c. “But a lot will be lost if our compatriots are 1918, and was considered a saint. still careless in researching all this, let them The biography, signed by Grigor Ter Hov- disappear under the fast current of time”. hannisyants, was written by Muratsan in 1877. Muratsan highly appreciates those who bra- The author originally published it in 1880. In the vely fought against the enemy for centuries. 5th issue of “Pordz” magazine, which was sum- d. “These were the offspring of the great dynas- marized on pages 132-164. It consists of a small ties that arose from the remnants of the old entrance and A-E parts. knightdoms, which lasted until the beginning By its nature and methodology, however, this of the century” (Pordz, 1880, p. 131). biography of Muratsan is not limited to the fami- In the foreword to his essay, the author em- ly of Metropolitan Hasan-Jalalyants, Baghdasar phasizes the “original purpose” of the article, and his biographical information. which is that after briefly tracing the origins of The image of the spiritual leader the author the Hassan-Jalalian dynasty, which is famous in summarized in parallel with the revealing of the the Artsakh clans, let us turn to the biography of historical and political image of the Artsakh the worthy Baghdasar Metropolitan descended world and its heavy but heroic and full of strug- from this dynasty, by which we will partially gle fate. repay the gratitude of Shushi inhabitants, who Grigor Ter-Hovhannisyan, using his idea, was greatly benefited from this worthy person highlights the questions that bother him. (Pordz, 1880, p. 132). a. “Artsakh, which is equal to the other states of In Part A of the historical review, Muratsan Armenia, has sometimes suffered more from considers the Jalalyan ruling dynasty to be the the devastation of the enemy beasts and so far oldest dynasty in Artsakh and Syunik, coming to has received very little attention from our ar- modern times, with a chronology of more than a chaeologists.” thousand years. Its origin is connected with the Muratsan toured the historical territories of knight-royal dynasty of the Bagratuni, “…the Artsakh and Syunik with the aim of getting ac- son of Smbat the Confessor and Prince Sahl,

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first part of the third chapter of the general scien- quainted with the native memories. Muratsan brother of Ashot I” (Pordz, 1880, p. 132). Gandzasar was a place of the enjoyable bap- tific study “Artsakh in the 19th-century Armenian mentions the following about this in his “Auto- Noting the glorious activities of the prince tistery, intellectual, thoughtful courage at the literature”. biography”. “I spent most of 1877 touring differ- and the description of branches of their dynas- same time for Baghdasar. His teacher was his The work was written on the principles of the ent parts of my native country, studying the ruins ties, he highlights the history of the foundation of uncle Archbishop Sargis. biographical method, which was the first method of Artsakh, Syunik and old monuments. After re- the Hasan-Jalalyan dynasty. Muratsan lists the atrocities of Ibrahim, the in European literature (the method was founded turning from this tour, at the end of 1877, I wrote …Born by the prince Vakhtang B and so-called khan of Karabakh, against the spiritual- by the French literary critic Auguste de Saint- my first very small and very large piece in (Shu- lady Khorishah, the Great Hasan-Jalal-To- ity, meliks of Artsakh and the people, who could Beauvois in his “Portraits” (1836-39). The bio- shi), which was the brief genealogy of the Ha- lai after whom his descendants were na- not escape the latter‟s illegalities anymore and graphical method lasted until the late 19th and san-Jalalyan family, the biography of that family, med Hasan-Jalalian, Zakaria, Ivaneh, Dol- wrote a petition to Empress Catherine to support early 20th centuries). the last heir of the Catholicosate from Aghvan, ly, their sister Mariam. them in 1785. The short biography “Baghtasar Metropolitan Metropolitan Hasan-Jalalyan (Muratsan, 1963, p. Hasan-Jalal was educated under the tu- Along with the political description of Art- Hasan-Jalaleants Biography” by the great Arme- 136). telage of his pious parents, growing up and sakh, Muratsan also comments on the details of nian classic Muratsan (Grigor Ter-Hovhan- The author concluded that Artsakh was more taking over his power after his father‟s Baghdasar‟s future, Ibrahim‟s assassination, and nisyan, 1854-1908) is historicity mixed with fic- subject to the barbarities of the enemies than Ar- death (Pordz, 1880, p. 138). the migrants‟ petitions to return to Karabakh. tion, revolved around a Supreme Pontific of menia. from here: The ending of Part A has the following mes- Part C of the biography presents the improve- Artsakh Metropolitan Hasan-Jalaleants. He lived b. “Many Artsakh monasteries, impregnable sage, which represents the core of the material. ments of the returnees, especially Baghdasar, in and served as the pastor of earthly “multifarious” castles, hard-to-reach people, after all, every “The Jalalian dynasty, in addition to prominent order to eliminate Gandzasar‟s pure condition (Muratsan) life in 1775. January 12, till 1854 mountain and field, forest and gorge have princes, granted the nation Catholicos, who oust- and restore it to its former glory. July, 27. He was honoured by his compatriots memorable holes worth capturing”. ed the Catholicosate from Aghvan for a long In the biography, Muratsan mentions the end and even enemies during his lifetime on July 27, c. “But a lot will be lost if our compatriots are time, especially when the seat was moved to of the Catholicosate from Aghvan in 1815, 1918, and was considered a saint. still careless in researching all this, let them Gandzasar. Among those Catholicos were Hov- which lasted 1736 years and ended with the The biography, signed by Grigor Ter Hov- disappear under the fast current of time”. hannes A., Matthevos, Simeon, Aristakes, Sarkis Jalalyan dynasty. hannisyants, was written by Muratsan in 1877. Muratsan highly appreciates those who bra- A., Grigor, Jeremiah, and Isaiah (the Catholicos Archbishop Sarkis, with the intention to make The author originally published it in 1880. In the vely fought against the enemy for centuries. of Isaiah, who died in 1728, wrote a brief history Baghdasar the receiver after himself, sent him to 5th issue of “Pordz” magazine, which was sum- d. “These were the offspring of the great dynas- of his modern-day Georgian journey from Agh- Etchmiadzin, where at the age of 45, on Septem- marized on pages 132-164. It consists of a small ties that arose from the remnants of the old van, 1839, published by the Metropolitan Bagh- ber 18, 1820, he was ordained a bishop by Ca- entrance and A-E parts. knightdoms, which lasted until the beginning dasar in Shushi), Hovhannes B., Sarkis B., dur- tholicos Ephrem. By its nature and methodology, however, this of the century” (Pordz, 1880, p. 131). ing which the Catholicosate was taken from In Part D of the historical review, Muratsan biography of Muratsan is not limited to the fami- In the foreword to his essay, the author em- Aghvan. presents Baghdasar as a selfless and devoted ex- ly of Metropolitan Hasan-Jalalyants, Baghdasar phasizes the “original purpose” of the article, From this dynasty came many priests, varda- ample of a spiritual leader who has endured ma- and his biographical information. which is that after briefly tracing the origins of pets and bishops, among whom Metropolitan ny troubles but with courage. On September 18, The image of the spiritual leader the author the Hassan-Jalalian dynasty, which is famous in Baghdasar Hasan-Jalaliants, the first diocesan 1830, at the request of the people of Artsakh‟s summarized in parallel with the revealing of the the Artsakh clans, let us turn to the biography of leader of Shushi, was blessed for his national meliks, Baghdasar was sent to Etchmiadzin and historical and political image of the Artsakh the worthy Baghdasar Metropolitan descended deeds and whose brief biography we present to ordained by Catholicos Yeprem as a Metropoli- world and its heavy but heroic and full of strug- from this dynasty, by which we will partially the reader (Pordz, 1880, p. 142). tan from Aghvan. gle fate. repay the gratitude of Shushi inhabitants, who Baghdasar Metropolitan was one of the two At the end of part D, Muratsan lists the daring Grigor Ter-Hovhannisyan, using his idea, was greatly benefited from this worthy person sons of Prince Daniel and lady Hripsimeh. Prince and courageous undertakings of Metropolitan highlights the questions that bother him. (Pordz, 1880, p. 132). Daniel was one of eight sons of Prince Melik Baghdasar in 4 years, which aroused everyone‟s a. “Artsakh, which is equal to the other states of In Part A of the historical review, Muratsan Bey, who was the eldest of the Jalalian dynasty admiration and surprise. For the benefit of these Armenia, has sometimes suffered more from considers the Jalalyan ruling dynasty to be the in Artsakh in the 1700s. “Baghdasar was born in services, through the mediation of the Catholi- the devastation of the enemy beasts and so far oldest dynasty in Artsakh and Syunik, coming to Gandzasar, Khacheno, on January 12, 1775. He cos, he was awarded by Emperor Nicholas I the has received very little attention from our ar- modern times, with a chronology of more than a was baptized in the magnificent monastery of Order of St. Anne of the First Degree. chaeologists.” thousand years. Its origin is connected with the Gandzasar by the hand of Bishop Athanas of To- In 1836 with the confirmation of the consisto- Muratsan toured the historical territories of knight-royal dynasty of the Bagratuni, “…the peants, and had a godfather, Bishop Hagop”. ries, Catholicos Hovhannes Karbetsi appointed Artsakh and Syunik with the aim of getting ac- son of Smbat the Confessor and Prince Sahl,

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Metropolitan Baghdasar as the state leader of the The behaviour of Metropolitan Baghdasar re- state of Artsakh. minds M. Mashtots‟ multifaceted activities led in In 1838 the diocesan school of Shushi opened favour of national ideology. with 20 students in the first year. The school Hagiography as a genre found its formation gained a ticket to long social life with its educa- and spread after the victory of Christianity in tional, methodological, cultural and public life Byzantium in the IV century. It became wide- through its further activities, being guided with spread in the Armenian Middle Ages. the school principles of Hovsep Artsakhetsi. In Armenian behaviour, as a methodological 1936 6 dioceses were established in the Russian- specificity, is characterized by historicity. They Armenian region with the adoption of “Polozhe- were written about spiritual and worldly persons ni” on March 11, 2006. The Karabakh Diocese canonized by the Christian Church. included the provinces of Karabakh, Shaki and Historical nature as a methodological feature Talish. Shushi was considered the cultural and is typical for Armenian Hagiography. They are enlightening centre of the Karabakh Diocese. written about spiritual people who are considered Metropolitan Baghdasar conducted trials saints by the Christian Church and secular per- against Mehti Khan‟s still-powerful daughter sons. Natavan other beys and gained them, “gaining The historical method is considered one of the the vast lands that occupy as much space as Art- leaders in the analytical methods of modern Ar- sakh” (Pordz, 1880, p. 159). menian literature. Muratsan also enumerates the services of a The emergence of the historical method (orig- high-ranking spiritual figure in the field of edu- inated in the early 19th century) is marked by the cation. fact that history breaks away from the theologi- This huge activity brought the multi-de- cal mould and acquires cultural, civilized, social served, multi-talented figure closer to his earthly content. The statements of Schelling, Buckley, end on June 27, 1854. Herder, etc., transform the perceptions the ideas For eight days, there were disputes over about history. History acquires a methodological where to bury his body, in Shushi, where his cof- principle for the sciences. fin was passed through all the churches, or in According to the historical method, literature Gandzasar. Finally, according to the will accept- is considered as history. It becomes applicable in ed by the pope, his body was taken to Gandzasar the historiography of literature. with a big ceremony and buried in the magnifi- The formula of the historical method is abso- cent vestibule of his cousin‟s Jalalyants govern- lutely true. “As the history of a nation is, so is its ment cemetery, in the magnificent vestibule of literature”. Gandzasar monastery, next to the tombs of his The representatives of the historical method uncles, Catholicos Hovhannes, Metropolitan in Armenian literature were Stepanos Nazaryan, Sargis. Garegin Zarbhanalanyan, Hovsep Gatrchyan. B. Ulubabyan mentions the patriot‟s funeral: Impressionism (French - impression) origina- “The funeral turned into a pan-Artsakh mourning ted in France (late 19th century - early 20th centu- ceremony. It is said that one end of the mourning ry). It found its expression in Art and Painting. procession was in Shushi, the centre of his grate- Impressionism is a trend in world literature and ful activity, and the other end was in Gandzasar, art. the last resting place of himself and the glorious The expression of Impressionism is a subjec- elders of his family” (Ulubabyan, 1994, p. 189). tive perception of the objective image.

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Metropolitan Baghdasar as the state leader of the The behaviour of Metropolitan Baghdasar re- The features of impressionism found their ex- Belgium. “Princess Malen” brought him great state of Artsakh. minds M. Mashtots‟ multifaceted activities led in pression in the poetics of naturalism (E. Zola), success, putting his name on a par with Shake- In 1838 the diocesan school of Shushi opened favour of national ideology. symbolism (Verlaine, M. Maeterlinck). speare. with 20 students in the first year. The school Hagiography as a genre found its formation The methodological and aesthetic analysis of Maeterlinck‟s plays “The Uninvited” and gained a ticket to long social life with its educa- and spread after the victory of Christianity in the drama “Ruzan or the Patriot Girl” by Mu- “The Blind” were recognized by theorists as tional, methodological, cultural and public life Byzantium in the IV century. It became wide- ratsan is the second part of the third chapter of classic examples of the “theatre of grief and ex- through its further activities, being guided with spread in the Armenian Middle Ages. the general scientific study “Artsakh in the Ar- pectation”. the school principles of Hovsep Artsakhetsi. In Armenian behaviour, as a methodological menian literature of the 19th century”, which re- “In order to convey something to each other, 1936 6 dioceses were established in the Russian- specificity, is characterized by historicity. They quires a complete re-evaluation of the methodol- it is necessary to be silent” - this advice is the Armenian region with the adoption of “Polozhe- were written about spiritual and worldly persons ogy and literary trends (Symbolism, Classicism, essence of Maeterlinck‟s aesthetics. It undoubt- ni” on March 11, 2006. The Karabakh Diocese canonized by the Christian Church. Romanticism), which is what the work is dedi- edly delivers something on the example of included the provinces of Karabakh, Shaki and Historical nature as a methodological feature cated to. “Monna Vanna”, between which and “Ruzan”, Talish. Shushi was considered the cultural and is typical for Armenian Hagiography. They are The founder of the psychological school in A. Terteryan outlined the edges of comparison to enlightening centre of the Karabakh Diocese. written about spiritual people who are considered the history of Armenian literary studies, the great the detriment of the latter. Why ... But what simi- Metropolitan Baghdasar conducted trials saints by the Christian Church and secular per- literary critic A. Terteryan, wrote a literary and larity there is between Monna Vanna and Ruzan against Mehti Khan‟s still-powerful daughter sons. methodological study of the historical and patri- in terms of artistic elaboration and psychological Natavan other beys and gained them, “gaining The historical method is considered one of the otic drama “Ruzan or the patriot Girl” by Mu- truth. Monna Vanna is the perfect woman, and the vast lands that occupy as much space as Art- leaders in the analytical methods of modern Ar- ratsan, which the literary critic published in a her femininity is not natural only but also neces- sakh” (Pordz, 1880, p. 159). menian literature. general study entitled “Muratsan as a thinker and sary. When Monna Vanna first hears the ene- Muratsan also enumerates the services of a The emergence of the historical method (orig- aesthetician” in 1913. The material of the drama my‟s offer to go to his tent one night, provided high-ranking spiritual figure in the field of edu- inated in the early 19th century) is marked by the is taken from the Mongol-Tatar invasions (13th the siege is lifted, she says nothing, silent and cation. fact that history breaks away from the theologi- century, the original source of K. G. Gandzaketsi complaining...” She didn‟t answer. She complai- This huge activity brought the multi-de- cal mould and acquires cultural, civilized, social - “History of Armenia”). ned and left without saying a word (Terteryan, served, multi-talented figure closer to his earthly content. The statements of Schelling, Buckley, Ruzan‟s father Hassan Jalal is the great patriot 1913, p. 13). end on June 27, 1854. Herder, etc., transform the perceptions the ideas of Khachen, who, after the Mongol-Tatar inva- Ruzan: “I... that spent sleepless nights at the For eight days, there were disputes over about history. History acquires a methodological sions of 1238-1239, began the construction of beds of the sick ... today I must be the cause of where to bury his body, in Shushi, where his cof- principle for the sciences. the miracle of medieval art of Artsakh - Gan- blood and curses ...Oh, no...” if a sacrifice is fin was passed through all the churches, or in According to the historical method, literature dzasar and completed it; he also carried out its needed, then let them sacrifice me, let them send Gandzasar. Finally, according to the will accept- is considered as history. It becomes applicable in opening with the participation of spiritual lead- me to the enemy, let them betray me to the Ta- ed by the pope, his body was taken to Gandzasar the historiography of literature. ers. tar ... if only the pain would disappear from the with a big ceremony and buried in the magnifi- The formula of the historical method is abso- The bearer of the rich traditions of the prin- people.... (v. II, p. 81) Why should two heroines cent vestibule of his cousin‟s Jalalyants govern- lutely true. “As the history of a nation is, so is its cely house of Asan-Jalalyan Khachen is also Ru- act in the same way in the same circumstances: ment cemetery, in the magnificent vestibule of literature”. zan, who sacrifices her personal happiness for this is ridiculous. And then, the circumstances in Gandzasar monastery, next to the tombs of his The representatives of the historical method the sake of saving the Motherland. which the heroines act, and the reasons, and their uncles, Catholicos Hovhannes, Metropolitan in Armenian literature were Stepanos Nazaryan, The founder of the psychological school in proposals, conditions, historical, political, epic Sargis. Garegin Zarbhanalanyan, Hovsep Gatrchyan. Armenian literary studies compares Muratsan‟s forms of the enemy are completely different ... B. Ulubabyan mentions the patriot‟s funeral: Impressionism (French - impression) origina- drama “Ruzan” with “Monna Vanna”, the work the propensity and credo of the writers who ro- “The funeral turned into a pan-Artsakh mourning ted in France (late 19th century - early 20th centu- of one of the greatest figures of Belgian literature manize them are different as well, from the point ceremony. It is said that one end of the mourning ry). It found its expression in Art and Painting. of the late 19th and early 20th centuries, play- of view of belonging to one or another literary procession was in Shushi, the centre of his grate- Impressionism is a trend in world literature and wright, poet, theorist of the literary school of school. ful activity, and the other end was in Gandzasar, art. symbolism, mystic Maurice Maeterlinck (1862- A. Terteryan‟s conclusions are unconvincing. the last resting place of himself and the glorious The expression of Impressionism is a subjec- 1949). The drama was published in 1902. After a short speech, Monna Vanna leaves, and elders of his family” (Ulubabyan, 1994, p. 189). tive perception of the objective image. The latter, overcoming the impulses of the lit- the reader or viewer experiences her inner suffer- erary direction of symbolism, contributes to the ing alone. She‟s not happy, which means she‟s foundation of romantic and realistic drama in upset. So, if the heroine is silent, then she is natu-

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ral, and ... Ruzan is not like that. She cannot ex- (Terteryan, 1913, p. 138). cite the viewer. This is the wrong method of ne- From the point of view of the literary direc- gation. “We do not believe the verbosity of Mu- tion of symbolism, Terteryan (2009) evaluates ratsan and his heroine because they both solve “Ruzan”, which bears abundant elements of clas- the issue easily, without any tragedy. For the first sicism and romanticism, creating a contrast with time, Ruzan comes to us with her ready-made “Monna Vanna”, which has elements of symbol- solution, but we believe that this decision is not ism. so easy to make...” (Terteryan, 1913, p. 136). Undoubtedly, we believe that the dramas By the way, we note that the symbolists be- “Monna Vanna” and “Ruzan” belonging to dif- lieved that the artistic picture should only be ferent literary methods and directions should not guessed and not understood and talked about a have been compared. lot. Nor does the circumstance of Monna Van- The secret of longevity is in the revelation na‟s silence proceed from this ... after all, Mae- and manifestation of “Ruzan‟s” great advice, the terlinck was also considered a theorist of sym- idea of self-sacrifice for the sake of patriotism, bolism ... and sometimes the one who accept its the burnt offering of the rich spiritual charges principles and follow them. and powerful heroine Ruzan. For Terteryan, the quarrel between Vanna and “Thus, it should be logically stated that these her husband - to go to the enemy army - is more shortcomings were the reason for the longevity convincing than the quarrel between Ruzan and of “Ruzan”. her father - not to give in to the enemy. “Maeter- “If this is true, Muratsan continues, then, in- linck has created a beautiful determination with- deed, an amazing people are the Armenians, who out justification or excuse. Muratsan had a bor- live in themselves only bad writings for a long ing argument between father and daughter. And time. Based on this, the rest of our historical we feel more for Mona than for Ruzan, who plays also had to live for a long time, but why makes very clever judgments. And another layer did they die?” (Muratsan, 1954, pp. 377-378). of conclusion that is unfair. “This”, Terteryan Let‟s assume that Muratsan‟s words also refer to continues, “leaves a repulsive impression after A. Terteryan‟s comments and methodological meaningful speeches. Monna‟s husband ap- questions. proaches and demands an explanation, but she Turning to “Monna Vanna”, we note that the refuses: “No..., No”, Monna avoids, “I can‟t... If significance of the issue of saving Monna Van- I say a word, all my strength will perish ... I love na was social, and Ruzan - political, liberal. you, but I still have to go...” (Terteryan, 1913, p. When asked by the enemy commander what 136). had forced Monna to surrender to him, she re- No, it is by no means possible to compare two plied briefly and sharply: “That people are dying heroines in such literary forms. of hunger...” (Terteryan, 1913, p. 36). Hence their originality, a characteristic feature Small Belgium had great calamities and ene- of temperament is. mies as well, but the Armenian country had more The literary critic, speaking about the last epi- and more of them: however, Ruzan and her ideo- sode of Monna‟s performance and what prompt- logical tirade were different, especially on the ed her to take this step, quotes her as saying: stage. Furthermore, today, as a whole nation, we “That people are dying of hunger...” (Terteryan, listen to the great advice of “Ruzan”, and to the 1913, p. 138). annual Muratsan Art Days, which became per- In relation to “Ruzan”, Terteryan states his manent in Shushi before the war, when Ruzan last, undoubtedly unconvincing word. “In gen- honoured the living, and ... her march, indeed, eral, “Ruzan” as a drama is a very weak work” has continued and will continue for centuries,

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ral, and ... Ruzan is not like that. She cannot ex- (Terteryan, 1913, p. 138). like heroic Artsakh itself. Raffi, calling “Khamsa Melikdoms” a histori- cite the viewer. This is the wrong method of ne- From the point of view of the literary direc- Indeed, neither Leon, nor A. Terteryan, nor cal study, still considers it a value of literature. gation. “We do not believe the verbosity of Mu- tion of symbolism, Terteryan (2009) evaluates others, based on the principles and methods put Let‟s try to reveal the trend with the author‟s un- ratsan and his heroine because they both solve “Ruzan”, which bears abundant elements of clas- forward by them, correctly evaluated “Ruzan” derscores. the issue easily, without any tragedy. For the first sicism and romanticism, creating a contrast with both in terms of genre and gender, methodology, Using the symbolic method, we also explored time, Ruzan comes to us with her ready-made “Monna Vanna”, which has elements of symbol- and related literary direction, and in terms of in- the “Khamsa Melikdoms” in the literary field. solution, but we believe that this decision is not ism. terpretation of the criteria for the examination of In the article “Novel-writing of Russian Ar- so easy to make...” (Terteryan, 1913, p. 136). Undoubtedly, we believe that the dramas this time period. menians”, published after the writer‟s death, Raf- By the way, we note that the symbolists be- “Monna Vanna” and “Ruzan” belonging to dif- Based on all this, we prove that the drama fi, expressing dissatisfaction with the society‟s lieved that the artistic picture should only be ferent literary methods and directions should not “Ruzan” requires a new methodology, a re-eva- untruthful assessment, notes: “...In our literary guessed and not understood and talked about a have been compared. luation with the definition of criteria for literary sphere, we acted both as a publicist and as a lot. Nor does the circumstance of Monna Van- The secret of longevity is in the revelation values, which became the object of our research. writer... We will present a small score only in our na‟s silence proceed from this ... after all, Mae- and manifestation of “Ruzan‟s” great advice, the Semiological method. Semiology (semiotics) - epic (italics by Z. B.) achievements” (Raffi, terlinck was also considered a theorist of sym- idea of self-sacrifice for the sake of patriotism, a method based on structural positions. 1959b, p. 160). bolism ... and sometimes the one who accept its the burnt offering of the rich spiritual charges Semantics (Greek. Semeion-sign) studies sign Raffi highlights his method and states that no principles and follow them. and powerful heroine Ruzan. systems, their properties, signs, their nature and writer before him paid attention to the past. In- For Terteryan, the quarrel between Vanna and “Thus, it should be logically stated that these types. deed, he was one of the first to enter the depths her husband - to go to the enemy army - is more shortcomings were the reason for the longevity The founders of semiotics are French linguist of history and bring to light the heroes of ancient convincing than the quarrel between Ruzan and of “Ruzan”. F. Saussure (1857-1913) and Sh. S. Pierce (USA, Armenian times, writing the novels “Davit Bek”, her father - not to give in to the enemy. “Maeter- “If this is true, Muratsan continues, then, in- 1839-1914). “Paruyr Haykazn”, “Samvel”, then translated the linck has created a beautiful determination with- deed, an amazing people are the Armenians, who In the Course of General Linguistics, Saus- novella “The Karabakh astrophysicist” by Pl. out justification or excuse. Muratsan had a bor- live in themselves only bad writings for a long sure notes that the most important of all systems Zubov, emphasizing the importance of the role ing argument between father and daughter. And time. Based on this, the rest of our historical is the sign system. The critic discovers that of literature among modern art forms. we feel more for Mona than for Ruzan, who plays also had to live for a long time, but why among the “other systems” of the language sys- The author writes about this, including makes very clever judgments. And another layer did they die?” (Muratsan, 1954, pp. 377-378). tem, there are generalizing terms that can be used “Khamsa Melikdoms” in his epic work. “Before of conclusion that is unfair. “This”, Terteryan Let‟s assume that Muratsan‟s words also refer to to characterize other sign systems in the langu- us, the history of Armenia began with Hayk” and continues, “leaves a repulsive impression after A. Terteryan‟s comments and methodological age. ended with Leon Z. We were the first to find the meaningful speeches. Monna‟s husband ap- questions. The study of Raffi‟s novel “Khamsa Me- lost Armenian power in obscurity when we proaches and demands an explanation, but she Turning to “Monna Vanna”, we note that the likdoms” is the second part of the first chapter of wrote “Khamsa Melikdoms” (Raffi, 1959a, refuses: “No..., No”, Monna avoids, “I can‟t... If significance of the issue of saving Monna Van- the general scientific study “Artsakh in the Ar- p. 161). I say a word, all my strength will perish ... I love na was social, and Ruzan - political, liberal. menian literature of the 19th century”, which pos- Raffi emphasizes that he did not have a pre- you, but I still have to go...” (Terteryan, 1913, p. When asked by the enemy commander what sesses methodically theoretical components both decessor; he was followed by new Armenian 136). had forced Monna to surrender to him, she re- of historical, and symbolic methods. writers. He was the first who dared to turn the No, it is by no means possible to compare two plied briefly and sharply: “That people are dying Genres in their concrete manifestations repre- still raw, poor literary language of Armenia into heroines in such literary forms. of hunger...” (Terteryan, 1913, p. 36). sent the unity of traditional and modern. This the novel‟s language, preserving his independ- Hence their originality, a characteristic feature Small Belgium had great calamities and ene- phenomenon is best characterized by Bakhtin ence in his works. of temperament is. mies as well, but the Armenian country had more (1963): “...The antiquity that persists in the genre The author presents himself as the ideological The literary critic, speaking about the last epi- and more of them: however, Ruzan and her ideo- is not dead, but the eternal living, that is, the an- mastermind of a new literary direction (italics by sode of Monna‟s performance and what prompt- logical tirade were different, especially on the tiquity that is capable of renewal. The genre lives Z. B.). ed her to take this step, quotes her as saying: stage. Furthermore, today, as a whole nation, we in the present but always remembers its past and Considering “Khamsa Melikdoms” the “That people are dying of hunger...” (Terteryan, listen to the great advice of “Ruzan”, and to the beginning. Genre is a representative of creative “crowning glory” of his work, presenting it as a 1913, p. 138). annual Muratsan Art Days, which became per- memory in the process of literary development. “historical study”, the aesthetician at the end of In relation to “Ruzan”, Terteryan states his manent in Shushi before the war, when Ruzan That is why the genre is able to ensure the unity the book, speaking about the principle of divi- last, undoubtedly unconvincing word. “In gen- honoured the living, and ... her march, indeed, and continuity of this development” (pp. 141- sion of labour, methodological questioning, at eral, “Ruzan” as a drama is a very weak work” has continued and will continue for centuries, 142). the same time mentions an important circum-

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stance that orients the genre. “I would consider denote the scope of the method of semiology. We myself happy if I could do a small service to our believe that Raffi in his book was guided (con- literature in this endeavour (italics by Z. B.) sciously or not consciously) by the semiotic me- (Raffi, 1959a, p. 395). thod - presenting himself as the founder of a new Thus, writing “Khamsa Melikdoms”, Raffi direction (italics by Z. B.), and we, in the analy- considers his mission not in historiography but sis of the “Khamsa Melikdoms” and general re- in literature. We can show this trend in other search. examples (italics by Z. B.). In the article “History is the Mother of Writer Raffi brings the story of a lost, forgot- Truth”, the famous Russian scientist D. J. Likha- ten power from the dark to light, spending his chev (1981) makes an important logical conclu- heaviest material resources. And so that there is sion: regarding the style of a work of art, he con- no reason to doubt that the “Khamsa Melik- siders meaningless those parts of the studied doms” is a product of the author‟s imagination works that are “not covered by a deep histori- (italics by Z. B.), for this purpose, in the conclu- cism”, (pp. 209-210) which, in turn, makes it sion of our book (pp. 369-414), we have printed possible to stay away from “extreme subjectiv- one by one the names of all the sources, up to ism” and not to abandon the possible “impres- their content, which we used in compiling our sionistic” (impressionable) - (italics by Z. B.) li- history” (Raffi, 1959a, p. 148). terary studies”. Based on these concerns, the author consid- Speaking about the criteria for evaluating a ered the work created for literature as a histori- literary work, the author concludes his article as cal study, especially since at that time in literary follows, highly appreciating the role of the his- studies, in cultural life, the historical method, torical approach: “The historical approach with which began in the 19th century, became domi- all its provisions - from the history of the text, the nant (italics by Z. B.). history of life, the history of literature and gen- “Khamsa Melikdoms” (khamsa - Arabic eral history to the history of the question - is the word, means five, Melik - king, that is, the coun- nerve of our science...” (Likhachev, 1981, p. try of five melikdoms; we are talking about the 214). five princes of Artsakh, who became famous for In accordance with the principle of effective their activities in time), along with the historical scientific work, in the respective comparative material, also possesses artistic features, meth- perception and observation, Yu. Lotman (1967) odological elements, typical, vivid characteris- raises the question of a new type of literary critic, tics of images, rich chivalrous features, empha- noting: “A new type of literary critic is a resear- sized by the characteristic features of fine art, cher who must combine independently acquired which give the book subtle psychological transi- empirical material with deductive thinking de- tions, philosophical ideas, an abundance of lit- veloped by the exact sciences” (p. 100). erary genres that shine in their qualities (italics According to the content structure, Raffi cre- by Z. B.) ated the “Khamsa Melikdoms” with two parallel Raffi, following his great predecessors, tried methodologies and programming based on writ- both to create a bicentennial epic image of the ten sources and traditions. Many of the discov- Khamsa Melikdom and to save the history of the ered written sources, being historical facts, also Artsakh melikdoms from oblivion. generalize epic fragments in their depth. In this case, the material should be studied by Raffi sought to present a historical fact that is the method of semiotics as a semiotic literary also epic as a perfect reality, to try to define it, to critic and as a semiotic historian (italics by find its “fulfilling role” (italics by Z. B.). Z. B.). This method and methodology of analysis The author created a gallery of artistic and

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stance that orients the genre. “I would consider denote the scope of the method of semiology. We historical mythical images, methodically bring- Since in such literature the behaviour of the myself happy if I could do a small service to our believe that Raffi in his book was guided (con- ing it to a typed system in which typical charac- characters who have sought, but have not found, literature in this endeavour (italics by Z. B.) sciously or not consciously) by the semiotic me- ters are presented in typical circumstances and not only the romantic, but also the real world and (Raffi, 1959a, p. 395). thod - presenting himself as the founder of a new typical features. its imaginative thinking, the demand for the ar- Thus, writing “Khamsa Melikdoms”, Raffi direction (italics by Z. B.), and we, in the analy- Coordinating the images of the “Khamsa Me- tistic reference to the lessons of abandoned histo- considers his mission not in historiography but sis of the “Khamsa Melikdoms” and general re- likdoms” according to the content structure, we ry, which oblige to be both a historical and an in literature. We can show this trend in other search. can distinguish three directions: the first - natu- artistic nation, and since human virtues and examples (italics by Z. B.). In the article “History is the Mother of ral-geographical, ethnic, related to the identifi- emotional qualities are manifested in art, the de- Writer Raffi brings the story of a lost, forgot- Truth”, the famous Russian scientist D. J. Likha- cation of the concept of Armenian studies, the scription of the determinants fixed in the spirit of ten power from the dark to light, spending his chev (1981) makes an important logical conclu- cognitive orientation of the native country, the national and national, social existence, becomes heaviest material resources. And so that there is sion: regarding the style of a work of art, he con- second - the study of the social structure, the mandatory. “It seems to me”, writes Raffi, “this no reason to doubt that the “Khamsa Melik- siders meaningless those parts of the studied third - the identification of the historical and his- is the supreme controlling spirit, which itself ex- doms” is a product of the author‟s imagination works that are “not covered by a deep histori- toriographical description of the Khamsa me- ists in the unknown, which keeps it inaccessible, (italics by Z. B.), for this purpose, in the conclu- cism”, (pp. 209-210) which, in turn, makes it likdoms. and with its powerful, invisible hand controls the sion of our book (pp. 369-414), we have printed possible to stay away from “extreme subjectiv- The two-month journey of the writer from hearts of people, the thoughts of people and di- one by one the names of all the sources, up to ism” and not to abandon the possible “impres- Agwan around the world has borne fruit. Raffi rects them” (Raffi, 1959b, p. 18). their content, which we used in compiling our sionistic” (impressionable) - (italics by Z. B.) li- recognized his native country, the melikdoms of Trying to show the appeals of the national history” (Raffi, 1959a, p. 148). terary studies”. Artsakh, with their centres, ruins and fortresses, ideology in the “Khamsa Melikdoms”, Raffi de- Based on these concerns, the author consid- Speaking about the criteria for evaluating a and spiritual complexes. The chronicler, collect- notes the system that creates the image; in the ered the work created for literature as a histori- literary work, the author concludes his article as ing materials from the memories of the ancient images of the Meliks he shows the national spirit cal study, especially since at that time in literary follows, highly appreciating the role of the his- Melik palaces, from the Armenian temples, cre- and then the manifestations of their confusion studies, in cultural life, the historical method, torical approach: “The historical approach with ated the history of the Meliks of Khamsa. around the national ideology. Speaking about the which began in the 19th century, became domi- all its provisions - from the history of the text, the Raffi also stated the virtue of the Artsakh peo- concept of “national ideology”, academician S. nant (italics by Z. B.). history of life, the history of literature and gen- ple and the Meliks, tribal psychology, their con- Sarinyan emphasizes the phenomenological fea- “Khamsa Melikdoms” (khamsa - Arabic eral history to the history of the question - is the frontation to internal and external forces, truth- ture of the idea, the manifestation of the spirit in word, means five, Melik - king, that is, the coun- nerve of our science...” (Likhachev, 1981, p. fully presented Armenian-Russian, Armenian- aesthetics. “The national ideology is correlated try of five melikdoms; we are talking about the 214). Georgian, Armenian-Persian relationships, and with the national spirit” (Sarinyan, 2005, p. 4). five princes of Artsakh, who became famous for In accordance with the principle of effective full of danger Armenian-European relations. From this point of view, Raffi indeed represents their activities in time), along with the historical scientific work, in the respective comparative Fascinated by this preoccupation with the the philosophy of the Armenian people, the na- material, also possesses artistic features, meth- perception and observation, Yu. Lotman (1967) mission of collecting possible information about tional spirit, the history and the literature of the odological elements, typical, vivid characteris- raises the question of a new type of literary critic, the melikdoms and turning it into history, Raffi Artsakh Armenians. tics of images, rich chivalrous features, empha- noting: “A new type of literary critic is a resear- writes a valuable book, “Khamsa Melikdoms”, “The thinker and aesthetician Raffi”, writes S. sized by the characteristic features of fine art, cher who must combine independently acquired considering it a unit of Armenian literature (ital- Sarinyan (2005), “took the Armenian liberation which give the book subtle psychological transi- empirical material with deductive thinking de- ics by Z. B.). ideology to a new level, created its science, con- tions, philosophical ideas, an abundance of lit- veloped by the exact sciences” (p. 100). A representative of the late literary romanti- sidering it not as a political worldview, but as erary genres that shine in their qualities (italics According to the content structure, Raffi cre- cism, Raffi, writing “Khamsa Melikdoms”, also nature, history, mythology, and biology ... the by Z. B.) ated the “Khamsa Melikdoms” with two parallel tried to reveal issues related to the social, moral, supreme creation” (p. 53). Raffi, following his great predecessors, tried methodologies and programming based on writ- psychological, political, the national ideology of Raffi is not just a statement of the truth. He both to create a bicentennial epic image of the ten sources and traditions. Many of the discov- the Armenians of Artsakh and melikdoms, vari- understands the lessons of history, the philoso- Khamsa Melikdom and to save the history of the ered written sources, being historical facts, also ous issues related to the fate of the melikdoms in phy of history well, but at the same time seeks to Artsakh melikdoms from oblivion. generalize epic fragments in their depth. the region, expanding the ideas of the Meliks, present historical facts from the perspective of In this case, the material should be studied by Raffi sought to present a historical fact that is bearing the progressive ideas of the era, about the educational and artistic methodology and col- the method of semiotics as a semiotic literary also epic as a perfect reality, to try to define it, to high strata of thought of the Artsakh Armenians, ourful layers; to represent the characters, to give critic and as a semiotic historian (italics by find its “fulfilling role” (italics by Z. B.). about the political potential and sovereignty, the them an inner psychological tension, deep sensu- Z. B.). This method and methodology of analysis The author created a gallery of artistic and preservation of statehood. ality, lyrical movement. In the foreground, the

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author is the “natural” evidence of historical real- literature is put forward for examination and eva- ity, in the second case, the discoverer of the spir- luation, which, in our opinion, will become one it. of the achievements of modern Armenian liter- From this point of view, it is necessary to ary studies. draw lessons both from the history and public The XIX century in the history of the world life of Artsakh during the melikdoms, and from philosophical, methodological, literary thought, the present. The past and the present emphasize the promotion of new methods can be called a different pages of literature, public life, and the revolutionary century. history of Artsakh, and are instructive for future It also led to a whole system of peculiar mani- generations, which is one of the important issues festations of the study of a literary work, associ- of the study (italics by Z. B.). ated with the identification of a re-evaluation Hence the conclusion that the writer, repre- based on the internal features of new philosophi- senting the history of the Meliks of Artsakh of cal and literary methods. the XVIII-XIX centuries with its social, cultural, Our goal, which follows from the main provi- political, and social axes, notes very instructive sions of the work, was to show (which, in our aspects, shows the genetic qualities of the ances- opinion, we succeeded in) the importance of the tral psychology of Artsakh and the people of object under study, identifying in comparative Artsakh, freedom-loving spirit, military genius, and contrasted studies the methodology proposed and purposefulness. by the researchers, their best practices, the novel- An interesting epic passage is the military ty brought by literary methods, directions, de- program put forward by Gayane, the daughter of monstrating the visibility of those negative phe- the heroic radius of the Melik-Shahnazaryan nomena (based on the wrong choice of methods family in Varand, Melik Huseyin, who crowned when considering literary works, fixing the facts exceptional virtue, and all this connected with of devaluation of authors and their works) that each other by the Artsakh throne, the secret pop- caused the denial of literary works. ular uprising organized by Ishkhan Melik Avan- Methodological research references to some Yegan (1733) against Sara Mustafa Pasha. This of the works of Raffi and Muratsan, which are was undoubtedly the revolt of the unity and the part of the study “Artsakh in the Armenian litera- victory of the Meliks of Artsakh (italics by Z. B.). ture of the XIX century”, were made against the The motherland here is absolute, indivisible, background of the correct interpretation of the and it is the supreme organ and idea, which sho- world philosophical and literary methods of the uld be accepted as the only and highest contribu- XIX century presented in the article, reaching the tion made by the fathers, as a biological spiritual idea of their re-evaluation. gift: a spiritual council, a physical, historical, mythical, real and legal invincible, recognizable References object (italics by Z. B.). Bakhtin, M. (1963). Problemy poetiki Dostoev- Conclusion skogo (Problems of Dostoevsky‟s poetics, in Russian). Moscow: Soviet Writ- In parallel with the interpretation of Armenian er. and world philosophy, methodology, literary Gaydenko, P. (2000). Istoriya novoevropeyskoi thought, poetics, methods of the XIX century, for philosophii v eyo svyazi s naukoy (His- the first time in the monograph “Artsakh in the tory of New-European Philosophy in its Armenian literature of the XIX century”, the top- Connection with Science, in Russian). ic of Artsakh in the general context of Armenian Moscow: Per Sei.

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author is the “natural” evidence of historical real- literature is put forward for examination and eva- Likhachev, D. (1981). Istoriya - mat‟ istiny (His- Haypethrat. ity, in the second case, the discoverer of the spir- luation, which, in our opinion, will become one tory - the mother of truth, in Russian). Sarinyan, S. (2005). Hay azgayin gaghaparaba- it. of the achievements of modern Armenian liter- Leningrad: Soviet Writer. nut‟yun (Armenian national ideology, From this point of view, it is necessary to ary studies. Lotman, Yu. (1967). Literaturovedenie dolzhno in Armenian). Yerevan: Zangak-97. draw lessons both from the history and public The XIX century in the history of the world byt‟ naukoi, Voprosy literatury (Liter- Terteryan, A. (1913). Muratsany vorpes mtatso- life of Artsakh during the melikdoms, and from philosophical, methodological, literary thought, ary criticism should be a science, in gh ev geghaget (Muratsan as a thinker the present. The past and the present emphasize the promotion of new methods can be called a Russian). Voprosy literatury (Questions and aesthetician, in Armenian). Sho- different pages of literature, public life, and the revolutionary century. of Literature, in Russian), 1, 90-100. gher taregirq (“Sunrays” yearbook, in history of Artsakh, and are instructive for future It also led to a whole system of peculiar mani- Retrieved from https://voplit.ru/article/- Armenian). Saint-Petersburg. generations, which is one of the important issues festations of the study of a literary work, associ- literaturovedenie-dolzhno-byt-naukoj/. Terteryan, A. (2009). Muratsany vorpes mta- of the study (italics by Z. B.). ated with the identification of a re-evaluation Muratsan (1963). Erkeri zhoghovatsu 7 hatorov tsogh ev geghaget (Muratsan as a thin- Hence the conclusion that the writer, repre- based on the internal features of new philosophi- (Collection of works in 7 vols., in Ar- ker and aesthetician, in Armenian). In senting the history of the Meliks of Artsakh of cal and literary methods. menian). Yerevan: Haypethrat. D. Mikayelya (Ed.), Qarozelov miaba- the XVIII-XIX centuries with its social, cultural, Our goal, which follows from the main provi- Muratsan, (1954). Ruzany ev nra qnnadatogh- nut‟yun ev mardasirut‟yun (Arvesti political, and social axes, notes very instructive sions of the work, was to show (which, in our nery (“Ruzan” and its critics, in Arme- Muratsanyan orery‟ Arcaxum) (Pro- aspects, shows the genetic qualities of the ances- opinion, we succeeded in) the importance of the nian). Collection of Works in 5 vols. moting Unity and Humanism (The tral psychology of Artsakh and the people of object under study, identifying in comparative Yerevan: Haypethrat. days of Muratsans‟ art in Artsakh), in Artsakh, freedom-loving spirit, military genius, and contrasted studies the methodology proposed Pordz (Arm.: “Tentative”). (1880). №5. Armenian) (pp. 59-142). The Artsakh and purposefulness. by the researchers, their best practices, the novel- Raffi (1959a). Khamsai Melikutyunnery (Kham- Writers‟ Union. Stepanakert: An interesting epic passage is the military ty brought by literary methods, directions, de- sa Melikdoms, in Armenian) Collection “VACHAGAN BAREPASHT” pub- program put forward by Gayane, the daughter of monstrating the visibility of those negative phe- of works in ten volumes. (Vol. 10). Ye- lishing house. the heroic radius of the Melik-Shahnazaryan nomena (based on the wrong choice of methods revan: Haypethrat. Ulubabyan, B. (1994). Artsakhi patmut‟yuny‟ family in Varand, Melik Huseyin, who crowned when considering literary works, fixing the facts Raffi (1959b). Vipagrut‟yuny‟ rusahayeri mej skzbic minchev mer orery‟ (The history exceptional virtue, and all this connected with of devaluation of authors and their works) that (The novel-writing of Russian Armeni- of Artsakh from the beginning till now- each other by the Artsakh throne, the secret pop- caused the denial of literary works. ans, in Armenian). Collection of works adays, in Armenian). Yerevan: M. Va- ular uprising organized by Ishkhan Melik Avan- Methodological research references to some in ten volumes. (Vol. 10). Yerevan: randean publishing house. Yegan (1733) against Sara Mustafa Pasha. This of the works of Raffi and Muratsan, which are was undoubtedly the revolt of the unity and the part of the study “Artsakh in the Armenian litera- victory of the Meliks of Artsakh (italics by Z. B.). ture of the XIX century”, were made against the The motherland here is absolute, indivisible, background of the correct interpretation of the and it is the supreme organ and idea, which sho- world philosophical and literary methods of the uld be accepted as the only and highest contribu- XIX century presented in the article, reaching the tion made by the fathers, as a biological spiritual idea of their re-evaluation. gift: a spiritual council, a physical, historical, mythical, real and legal invincible, recognizable References object (italics by Z. B.). Bakhtin, M. (1963). Problemy poetiki Dostoev- Conclusion skogo (Problems of Dostoevsky‟s poetics, in Russian). Moscow: Soviet Writ- In parallel with the interpretation of Armenian er. and world philosophy, methodology, literary Gaydenko, P. (2000). Istoriya novoevropeyskoi thought, poetics, methods of the XIX century, for philosophii v eyo svyazi s naukoy (His- the first time in the monograph “Artsakh in the tory of New-European Philosophy in its Armenian literature of the XIX century”, the top- Connection with Science, in Russian). ic of Artsakh in the general context of Armenian Moscow: Per Sei.

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