Renaissance of van vasburagan

FINE ARTS

ART, MUSIC, PAINTING, SCULPTURE, AND OTHER FINE ARTS IN

WHICH PEOPLE OF VASBURAGAN BECAME FAMOUS
In 1865 Dikran Amirjanian of Constantinople was authoring a play, the tragedy “Vartanants.” The play was being staged in Van before the sixties by Der Mesrop Papazian and teacher Sarkis Knuni. Amirjanian came to Van in 1867 and staged the tragedies of Drtad and of Vartanants, then later Arshag II, and finally the comedy “Six Disagreeing Brothers” [Vets Anhamatzayn Yeghpayrner].

After the nineties and continuing on to 1915 the following plays were staged from time to time: “The Merchant of Venice” (Shakespeare), “Medzabadiv Muratsganner” [The Honorable Beggars] (Baronian), and other plays. The people attended these performances enthusiastically and applauded the players. A new period of theater started after 1900 by a company of teachers from the Arark school, offering plays by Shirvanzade, Amirjanian, and Baronian. Shirvanzade’s “Badvi Hamar” [For the Sake of Honor], Khoren Narbey’s “Arshag II,” and other plays were being well received by the audiences.

Helmets, bows, lances, and other items were being borrowed from the armory as props in the plays, and even the government musical band was being used. Ardashes Solakian’s theatrical work “Toros Agha,” based on family life and school experiences, was being offered. Staging was being done mainly by teacher Mardiros Nalpantian. The Zarifian theatrical group arrived in Van in 1911, and using local talent staged “Artsunki Hovid” [Valley of Tears] in the Central school, with stage props supplied by jeweler Kevork Kuyumji Bashian (who in later years lived in the city of Providence.) The period of missionary activity also had a period of theater with an offering of plays.

But, alas, the events of 1915 brought an end to the rise of theater in Vasburagan, which had begun to show a promising future.
VAHRAM PAPAZIAN

Actor and Great Armenian Comedian
A son of Van, one of the well-known Papazian brothers, spent much of his life in the Caucasus and in Europe. After receiving education in Europe he returned to the Caucasus, and to Moscow where he received a warm reception, and honors.

Khoren Ajemian telegraphed the “Baikar” paper from Moscow that the Moscow club had held a special evening to honor the great Armenian tragedian, actor Vahram Papazian, and that literary Moscow had come to hear the actor from Armenia and Georgia. He was known also for his significant book “Pareru Tadronner” [Theaters of Words]. in which the actor, using a witty tongue, describes his difficult path toward fame, and his researches in the field of fine arts.

Ajemian described the moment when Papazian came before the audience, which greeted him with thunderous applause. Papazian appeared old and frail, and one thought that he would no longer be able to play Don Juan. But there would be comfort in knowing that his repertory has been enriched with new roles. What a fabulous King Lear would he now be!

Papazian made his recitations in a concert style, without props or make-up. His talent was immediately evident. He made recitations in Russian, Italian, and Armenian. There were two monologues from Hamlet, two pieces out of scenes from Othello, and after King Lear a soliloquy from Macbeth, all of which were thunderously applauded. After the performance Ajemian had a conversation with Papazian who mentioned that he had recently been in Yerevan and that arrangements were being made for him to settle there. He had said, “I am preparing to play Oedipus Rex in Yerevan, and the occasion will coincide with the celebration of “3000 Years of Armenian Theater.” He had mentioned that the tragedy of Sophocles was played during the time of Tigranes the Great, as well as Oedipus Rex and the plays of King Artavasd, in Dikranagerd and in Artashat. Papazian was planning that, after making a round of visits throughout Soviet Armenia, he would settle in Yerevan, in his fatherland, where numerous lovers of the theater are impatiently waiting to see one of the best articulators of the classical tradition of the Armenian Theater, an exponent of the Bedros Atamian and Hovhannes Apelian schools.
GHEVONT MELOIAN

Playwright
He was born in Van, and received his primary education locally. He later went to the Caucasus and graduated from the Kevorkian Seminary. We do not have details of his life story to permit giving a biography, but we know that he had an adventurous life as a revolutionary. He left Echmiadzin for Constantinople, and then to Paris where he continued in producing literary and theatrical works.

Here is a partial list of his published works that show his prolific activity.

Yergunki Oreren, Anhavade, Armenush (in two volumes), Tziuni Vra, Sphinx, Anhune, Aysbes E Vor Genen Sude, Inke Yev Ir Khighje, Antuntin Mechen, Brismagner, Mayre, Anarag Vortin, Tavajanutiun, Kedni Dagen, Hariurabede yev Haytukn yev Gine.

He has also published a few volumes in French. French and Swiss newspapers have praised his works. Here we give an article entitled “Khghjaharutiun kraganutian mech” [Remorse in Literature] by Mgrdich Barsamian in 1948 in the paper “Arevmudk” of Paris, praising a presentation of the author’s drama “Armenush.”

“The works Meloian has given us in his forty years of writing remain hidden because of his modesty, though he is a worthy craftsman in literature. Meloian has made social, moral, and intellectual issues a subject of his literary examination for decades past. He wrote “Armenush” thirty years ago, an examination of man’s remorsefulness ... it concerns the unforeseen and unprecedented tragedy perpetrated against the destiny of Armenians.

“Mankind ignored that tragedy so that 25 years later other crimes might be ignored. And it is here that Meloian, anticipating the times, has succeeded in picturing, symbolically, the bloody tragedy of a people. In this work Armenush is a displaced Armenian woman before whose very eyes a German officer, with indifference, slays her child and forces her to drink its blood.

“ Armenush, in being passed from hand to hand, ends up in Germany and placed in a home. The German officer, remorseful, seeks out Armenush and takes her into his home. But the officer, confronted by Armenush’s will, commits suicide. For a time Armenush becomes mentally unbalanced, but she keeps her sense of judgment and her voice of conscience, which is the voice of base contempt. It would seem that the well known events of the recent past were prophesied by the author in “Armenush,” anticipating the times in his thoughts.

“Here then is the secret and the satisfaction of the true artist.”

Hrach Sarkisian and other writers in various newspapers and journals weave praises concerning this worthy son of Van.
MUSIC
This branch of fine arts has its roots deeply imbedded throughout early Armenia, and certainly in Vasburagan. Starting in the earliest monasteries and churches, going on to schools, voice training was given [to many], with the exception of our poet and minstrel Nahabed Kuchag about whose life we have only little knowledge.

We are not naming the hundreds who have trained themselves in music on their own, by singing their songs to themselves. Of course, there was no scoring of music of the sort played on their flutes and sung by shepherds to their flocks. Such music should have been collected and saved. However, our church fathers have fortunately given us musical notation for the music in the church.

Some of our churchmen were endowed with beautiful voices, enabling them to awaken spiritual fulfillment in the people, as with prayer.

European musical notation was first brought to Van by Khosrof Pachanian, one of the seminary pupils of the lamented Komitas Vartabed; Pachanian had studied in the Leningrad school of music. He had formed choral groups in the Yeramian, Central, Santekhdian, and other schools, giving concerts with the support of the Russian ambassador Olferiev. Also, Khachadur Bujikanian of Harput gave voice and violin lessons in the reopened United school, as well as a “Fanfas,” or orchestra. The orchestra would, in the 1915 period, provide music to raise the spirits of the Armenian fighters and people, and at the same time irritate the Turkish soldiers and people.

Apart from that, musical groups, consisting of men and women, existed in American circles. Thus, the three sisters, theater, music, and art, as well as poetry and other fine arts joined together, would have made Van the “Athens of Armenia,” if it were not for the outbreak of the World War and for the savagery of the Turks in destroying all.
SINGERS OF VASBURAGAN
In Van, we had ten or so of male and female singers. Although they were not familiar with European musical notation, their sweet voices still sound in our ears. Among them was Movses Bartian, Van’s Shah-Muradian, but without formal training in music.

In Van we had Sherents Kevork, who had formal training in European musical notation. There were also a number of teachers of singing. We would recall Vrtanes Papazian, and Safar Pehrizian in 1880.

We now have in America, descendants of Van families, Mrs. Hayganush Der Margosian of Providence, who received her training in the American Conservatory, and who sings at Armenian gatherings from time to time, for us to savor the beauty of her singing.

Mrs. Nvart Shaghoian, Jivelegian, studied in the Lausanne Conservatory. She has already established herself in the Armenian-American community with her beautiful articulation and emotion. At present she lives in San Francisco.

* * *

There is also Ashod Ardzruni, who received his training in the Caucasus, and elsewhere. Last year he gave concerts in New York and Boston. Later he moved to the western states, to California, where he gave concerts. He has developed a new method in training singers, and he has succeeded in showing suppleness in the music for song and dance.

* * *

We also have a fine singer, Ara Hiusian, who came to California from South America and Mexico, and shows great capability as a singer. Although he is occupied with other work, he promotes Armenian music for the Armenian public.

* * *

Dikran Nalpantian, of the Caucasus, has become famous for his rendition of the song “Grung” He has enjoyed the highest praise from such as the great Komitas Vartabed and Shah-Muradian, as well as from listeners in Echmiadzin and Tiflis. During the days of the World War [WW I], he died and joined his brother Vahan in his pre-mature death.

* * *

Among the early singers is Safar Pehrizian, quite well educated in Constantinople in native and European notation (in the style of Dndesian and Tashjian). Having returned to Van she taught music, and was music director in the St. James church, introducing a number of improvements.

We must not forget Priest Der Khoren Mamigonian, now in America. He was once a revolutionary of Mush, who came to Van and taught music in the school of the non-Apostolics. He had not forgotten his beloved Van, and he sometime had articles in “Baikar” on life in Van.
HAIG PATIGIAN

One of the Workers in Free-Style Fine Arts
He was born in Van of January 22, 1876. His father was Avedis, and his mother, “Queen” Marine. They were an ideal family, whose hospitality we used to enjoy. I remember well when Haig, as a little boy, came to America in 1900, and entered school, where his schoolwork was unsatisfactory except for drawing, in which he was adept. During recess periods he would seek paper and pencil and draw, standing in front of the teachers.

He would say, concerning those early school days, “I’m drawing a head, an eye, a nose, a mouth, a hand, ...” and even as he was saying that he would in fact have them drawn on the paper to the astonishment of all. When I was hearing those words I was saying that that boy will be first rate in his field.

Let us now examine his works and the fame he has earned from them. If I am not mistaken, he was the son of a family from Baghesh [Bitlis], and his father was a pharmacist in Van. They came to America as a family in 1891 [earlier stated ‘in 1900’] and settled in California. He received his early education there and then studied drawing and sculpturing. To further his skill he went to Paris in 1906 where he studied sculpturing with Alex Marquet. He then returned to California and set up his own shop where he started producing works until he attained great fame in America.

Many papers and journals in America give him high praise, bringing honor to the Armenian people.

His works have been generally massive, and they have been placed in the principal museums in America. Some of his works, as memorials, have been set up in public squares, and in universities. The more important ones are to be found in the states of California, Washington, and New York. The statue of President McKinley in Arcadia California, is famous. Following are the names of some of his statues: Hnakuyn Badmutiun [Ancient History], Garden of Angels, Vanity, Governor Eschelman, Friendship, President Hoover, Heroic Group of Firefighters. Heroic Statue of General Pershing, and many more.

He continues producing ever more, of many genres, having received a variety of medals. He has made a number of statues for California’s Golden Gate exhibition.

Haig Patigian married in 1908, and he has two children, Halis and Haig. We wish him continued success that will raise the admiration of the Armenian people in the eyes of the people of the great country of America.

It is worth telling a vignette here that reveals how much he is appreciated in American circles. It is told that in San Francisco, a man and a woman are divorcing, but the problem concerns their son, which each of them wants to keep. The woman in sworn testimony in the courtroom avers that the husband should not have the son because he was not from him, but

from another man. The judge, in a quandary, called on Mr. Patigian to examine the skulls of the husband and the boy. Patigian, after a careful examination over a week, wrote his report to the judge, that the son was legitimately the husband’s, and that the wife had lied. Then the child belonged to the father, the judge said.

Patigian is a member of the international society of sculptors, the National Society of California Sculptors, the French society of artists, and many other societies.
PANOS TERLEMEZIAN

National Painter in Oils
He was born in Van in 1866. He received his primary education in the parish school of the non-Apostolic community. Even in his early youth he identified himself with the revolutionary movement. He had a role in the killing of the policeman Nuri. He performed other heroic acts, which fall outside the scope of this telling. Eventually there was prison, and then freedom in Van and in Tiflis. Then one day he decided to become an artist. Thanks to Catholicos Khrimian, he was able to go to Moscow, and to Europe. Under the tutelage of master painters, he too became a master painter.

His paintings have been on exhibit in Constantinople, Venice, Paris, and later in America in 1922. Armenia and Moscow have been the centers where he worked, organizing exhibits in Yerevan and Moscow. Until his death in 1941 Terlemezian enjoyed the support of the government of Armenia. In Yerevan, where he worked during his final years, he brought his artistic talent to the renaissance of the culture of his fatherland.

A number of Terlemezian’s works were shown last year in New York at the Women’s International Exhibition (supported by H. Hazarabedian). On exhibit were works concerning the mother see of Holy Echmiadzin, Pilgrims to Lake Sevan, Ararat mountain, and others.
VRTANES AKHIGIAN
He was born in Van, in the parish of the non-Apostolics. It was there that he received his primary education . He first showed talent in drawing, and then turned to water colors. Having shown skill there he was encouraged, and went to the Caucasus to become trained in oils.

Details of his life are known to us only that he went to Constantinople in 1890. Also, we know that he joined Khrimian in his exile to Jerusalem.

In Van, he attended and completed drawing classes at the Santukhdian school, and others. After perfecting his skill in painting in Moscow he returned to Armenia where he dedicated his services to the benefit of the nation.
LOVE SONG
Your look enchanted me, one day, all at once,

How long will I be able to bear it?

Deeply buried in my just soul is the inextinguishable fire of love.

Open the flame of your love.
I felt it, that day, the mite gnawing at my heart,

Without care, sucking, wearing away the soul,

Burrowing in the marrow of my bones, snaring my eyes.

O my soul, will I save my neck, or will your love scorch my heart?
In turn for your stubborn look, I too was obstinate,

Your terrifying look did not arrest the beat of my heart.

How did a budding heart fearfully seek a kind look,

It was I, censing* your love.

V. Akhigian

[*perfuming with incense]
ARISDAGES AKHIGIAN
The older brother of Vrtanes was a kind person, and an intelligent and sincere patriot. For many years he taught Armenian language and culture to Armenian children. He had joined the Avedisian group, and after participating in a series of events, he was killed in the 1896 episode.
BARONIG BARONIGIAN
He was born in Van in 1906, in the Baronig sphere of the city. As a small child he attended the American missionary kindergarten, and then later the primary school. He remembers how he and others of his age wandered fearlessly through the streets of Van during the battle of defense of 1915. They gathered unexploded Turkish ammunition that had fallen to the ground. He retreated with his parents, under very distressful circumstances. His kind father and his older brother were killed near the Bendemahi bridge, falling victim to a Kurdish horde when the fleeing people of Vasburagan, without leadership and without defense, were passing through the valley of death.

He took refuge in Yerevan with his mother and little sister. (The sister, now a famous actress in Soviet Armenia, is married to the Soviet-wide recognized sculptor-painter Stepan Tarian. They have two lovely sons. She has frequent contact with Baronig, and she helps with the sale and distribution of his paintings.)

The mother died from the hardships of travel and the pain of the loss of husband and son. Inamea Baronig and her sister Mayranush, found refuge, Inamea in the American orphanage in Yerevan, and the sister in the local British orphanage.

Baronig graduated from the eight-year school and was immediately accepted in the diocesan school as a reward for his competence and his alertness.

He graduated from the diocesan school and in November 1920, he, eager for knowledge and learning, came to America and entered the Cooper Union College.

Working diligently night and day, and without seeking financial help, he graduated from Cooper Union with high honors as an electrical engineer. He immediately entered Columbia University as a post-graduate student in pure science, physics, and mathematics. He completed his studies with great success in 1934.

He worked for several years in various companies, in radio engineering, but his longing to see his sister, and driven by the desire to see his fatherland, he went to Soviet Armenia where he was placed as an associate instructor in science and engineering. He taught for a time, and then returned to America.

He worked for a time in upstate New York in a mechanical engineering company as a director, and later as owner. For a time he worked in real estate, buying and selling properties, and as a result of his skill he became the owner of ten buildings.

At the present tim, he is president and owner of the Broad-Top coal company in Pennsylvania, which has hundreds of families in its work force. He looks after the people without discrimination, treating them as brothers and sisters. His workers look upon him as a caring father or older brother, and they go to him to share their pains.

Baronig takes care of a number of rural schools of the area, and he is involved in other charitable projects. He is also helpful to his fatherland in various ways, and he helps his compatriots in every way. Baronig is a thoughtful person with a pure character. He is married and has two children. His home is in New York.
NAHABED KUCHAG

Minstrel of the Middle Ages
The actual date of birth of Kuchag is not known. It is believed to be in the 16th century. His birthplace is stated by some to be in Agn, while some say it is in the Kharaganis village of Van. Nor do we have a biography of him, except for an article by Mr. Arshag Chobanian in one of the issues of the “Artzakank” paper in 1891, in which vague information is given about his death.

Khrimian Hairig has said that Kuchag, but by the name of “Chichag,” is known by the people of the village of Kharaganis of Van. There is a tradition there, maintained by the people, about his death. The tradition is that one day Kuchag climbed on to the roof of the St. Toros church on he top of a hill in the village, and asked the people who had followed him there that when he threw himself off the roof, the people should dig just where had fallen, and that would be his grave. And in fact, that was what occurred and the spot is recognized as a shrine.

This tradition is just as typical, or characteristic of him, as are his works. This profound scholar-writer, Mr. Arshag Chobanian, in 1902, rather than to excavate at his grave, ‘excavated’

Kuchag out of the darkness that veiled him and wrote the Kuchag “Tivan,” continuing to write about Nahabed Kuchag in the journal “Anahid” as well, telling of the result of further analyses.

Paleontologist Mr. Kiurdian has a manuscript of lines of Kuchag copied in Constantinople in 1681 by Writer Hovhannes. Mr. Devejian has a notebook, also copied, with a text a little different from that of Kiurdian’s.

It remained for Chobanian to work on putting these texts in order, to analyze them, and to explain them, with his findings reported in “Anahid.” He translated some of them into French, and thus Kuchag became an international poet, with foreign language journals taking interest in his poems. Mr. Chobanian has studied these poems and has high praises for the sensitivity of this minstrel poet’s songs.

For a better understanding of Kuchag’s works, those interested should refer to the 1930-31 issues of “Anahid,” and other issues.
UNPUBLISHED ODES BY KUCHAG
My loved one, I want not to hurt you; why are you troubled by me?

Such false wrath never comes out of the heart of man.

Should the sun rise from its source, I would wish for help.

Your love at the nipples has scattered the bones.

Who removed the oil from the bones that have rotted,

Rotted and tumbled? The longing remains in the heart
QUATRAINS
As long as your little voice comes to me in this temporal life

I should not like that font of your birth, when I feel hate for you.

I should die and leave this life, and if possible, take you there.

And yield to this personal fire, and free myself of you.
As long as you go with love, one day you will fall into my hands,

And when you have fallen into my hands, I would have you confess.

I would go to yon bridge, where you pass by scorpions.

I would take those you have passed, and those you will pass.
Go, do not look back at me with those pale eyes you have.

You looked at me in the day, and I became sick, your slave.

You have of my conscience and my blood. Do not arise and come to me.

Place you face against mine. What would you need to be influenced?
Lad with a green cassock, how pretty you look.

Turn and look at me, with your rumpled hair.

If you are human, and have love, die as a servant.

For the sake of the Creator of my servant, may he give me his hair.
O light, I envy you. You give light to my loved one.

Your face shines brightly. You look over her face.

O light, you need ears, to hear my desires

To go and tell to my loved one, to drop her displeasure, and be reconciled.
O light, I envy you. Look at me for a moment.

Sun, look at my slave, who passed the wick over my wound.

I said to her to remove it. It gives pain to my heart.

.........................................................................[meaning uncertain]
All these know that I, a lad, have loved you.

I have taken hold of your heart’s ear, and placed my hand there.

Your love is the milk of my mother’s teats, and becoming marrow, has entered my bones

There is no way to escape. Do not think of it.
I am young, and you are young. It is now time to love.

Your waist is like a bow. As I pull, it comes.

Your teats are like grapes that you have taken on your breasts.

Your bosom, like the morn, as I open it up, it brightens.
Come, let me give you a pomegranate. Cut it open, and see how many seeds you have.

For each seed, give me a kiss. Let the excess be unclean.

“Go away, foolish boy. I thought you were smart.

“Give you a kiss for each seed? How could that be?”
In this temporal life I want two things, I beg of you.

One is to be master of love, and the other, to be taken away by the grim reaper.

There are no tears against death, which has its own wounds.

Come, pitied one, see, neither living nor dead.
Last night I went out. There were darkish clouds. It was pleasant.

I saw my loved one lying down, under a green coverlet.

I walked to her, to enter into her bosom.

Her hat was raised, over her dark eyes. It said to go.

“There is a black snake at my bosom. If it rises it may strike me.
Your face is much pictured. There is none like it.

It is a beautiful picture, that is said to be of Mussr [Egypt].

Your brows are arched like those of a church.

Your eyes are as the lanterns that hang from those arches.
As the reeds sway, that is as you are.

Your waist is slender, and your tallness is of grace.

They say the water of life flows from your breasts.

I wish only that I might put my mouth there and drink.
They took away my loved one. I wilted like the petals of a rose.

They took her to another land. My heart did not leap.

I must go and plead with God to give me the wings of a dove,

To fly up high and go to the eaves of where my love is.

There to weep tears, or like the rain

Go down and steel a kiss on her chin, and above.
I am not against the cursed father of mother of Judas,

For I have been beautifully nursed.

I have many cares of my own Either love me, or let me go.

Free me out of your mind, or remember the days of Lent,

For me to come and stand before you, or cry before you.
Love is not lacking, nor longing for your love.

My little black heart wanted you, but I felt no need for a beautiful love.
Who has taken the loved one that I had taken?
I spent years, and passed high mountains, and cried much.

I said to the mountains, and advised the valleys,

Wherever you go, farewell, I will not spend my life in tears.
O, you mortal youth, you have come from our spring.

The moon has brought forth water from the spring.

I envy him who spent the night in your bosom,

And embraced your waist and kissed you all over your mouth.
Gozal, I have a word to say to you.

Speak without fear. Many worthy ones have suffered.

He has slept with innumerable daughters of the wealthy, and made them ssuffer.
O prophet David, my hope, I have many sins to be forgiven.

I have a dainty love with two lights.

If the lovely one comes to you, let her.

Recite the Psalms during the day. By night, take her into your bosom.
[Translator’s note: All of Kuchag’s works are written in a very early and local dialect, and are exceedingly difficult to translate.]
How deeply was poet Kuchag fired with love! If he was indeed the hero of the virulent poems sampled above, then he is truly the hero of that tradition that tells about his throwing himself from the roof of the Van Khoraganis church of St. Toros, and, as was his request, asking to be buried at the spot where he fell, to this day a popular shrine.



VRTANES PAPAZIAN
He was born in Van in 1866, in the St. Hagop parish, the son of the priest Der Mesrop, one of the principal teachers in the St. Luke School. The priest was called “shushdag” when the priest’s wife died and he became a vartabed. Vrtanes was the older brother of Mashdots vartabed and of “Goms,” Vahan Papazian.

Vrtanes was a teacher, a principal, a linguist, an editor, and a talented fiction writer. Taught by his father and in the parish school, he first taught in the Yeramian school as a song teacher, at the same time being a correspondent with newspapers of Constantinople. In 1882-3, he went to the Caucasus, and Echmiadzin to enter the Kevorkian academy, from which he graduated. He then went to the university in Geneva, graduating from the discipline of Social Science. He began in 1883 enthusiastically to write short stories. He introduced a small revolution in the ideals of Armenian literature. He dreamt of instilling discontent in people with the old, decrepit, slavish philosophy, as noted by Father Simon Yeramian.

He took on teaching positions first in Armenian schools in Rumania, then in the boys’ school, in Tiflis. In 1914, he was designated principal of the academy in Dilijan, and then in 1919 of the academy in Vagharshabad.

In 1913, he had gone to Constantinople to write a series of articles for the Azadamard paper. He submitted a textbook to the Yeprad Press, and a National History to the Araks Press, and then to the Caucasus for the positions as principal, stated above. On April 11, 1920, he organized a requiem service for Armenian intellectuals, in which he lamented the martyrdom of his brother writers.

In that same year, he withdrew to isolation in Echmiadzin, and on April 20 he went to Yerevan on some business, where he died. He was buried with great pomp in the new cemetery in Yerevan.

We do not know when it was that he went to Tehran, to edit the “Shavigh” newspaper. He wrote “Hay Poshaner” [Armenian Gypsies], a genealogical study which led to his being made a member of the Genealogical Society of Moscow. He wrote more than 220 fictional and more than 70 popular articles, and more than 150 books. Found in his room after his death were 22 completed and partial manuscripts.

Here are titles of some of his works. Guyrer, Anhake, Enicheri, Dnage, Gaydzag, Gdage, Zhayr, Anna, Lalo, Kheran, Danto, Emma, Ahazank, Ludzum, Medz Pagank, Emposdi Erker, Khelok Akaghaghner, Hoghi Ashkhadoghner, Badgerner Kiughits, and Badmutiun Hay Kraganutian.

1. 
   1See Theodik, “Amenun Daretsuyts” [Yearbook for All], 1913
   

2. 
   2”Zemp zemp, Mheri Tur [Mher’s Door] is found at a distance on a mountain range extending westward from the fortress toward Maghara. Numerous legends have evolved among the people concerning it. Some day that door will be opened, and Sasma Mher [Mher of Sasoun], mounted on his mighty horse Kurig Jalali, carrying his Tur-Gedzagin [Lightning Sword], and carrying the Victorious Cross, will come out and rescue the Armenian nations from its autocratic despot. When the door opens on the eve of the Feast of Ascension, those who are resourceful will be able to enter and come out with treasures.
   
3. 
   
   

4. 
   3See Tovma Ardzruni. Also Archbishop M. Ormanian’s “Azkabadum,” vol. I. Raffi’s “Gaydzer.” But it appears that the stable catholicosate starts from the 12th century, in 1113, when Tavit V Tornig established a catholicosate that lasted until our times [1895].
   

5. 
   4When Menuas built a mansion he also planted a garden for his queen. It is not possible to think that he did not also build a shrine dedicated to the great god Khald, and a temple for his lovely queen. And the island of Aghtamar would have been a most appropriate. The king and queen would go from time to time by boat from Van to Aghtamar on a pilgrimage to worship their god Khald.
   

6. 
   5According to some, the word Ardzrunik is a deviation of the word Urardu. The coat of arms of the Ardzrunik, which employs an eagle, was kept at Aghtamar until World War I.
   

7. 
   6Kakig also built the beautiful temple in the region of the Rushdunis.
   

8. 
   7Ashod built the Church of “Forty Altars.”
   

9. 
   8A number of princes of the Ardzruni clan fought in the Vartanants War and fell for their faith and nation.
   
10. 
    -- One prince of the Ardzruni clan, as well as one bishop and one priest, refusing to disavow their faith, became victims of the Baghdad Amir’s tortures.
    

-- For details of the history of the Ardzrunis, see Tovma Ardzruni’s book.

11. 
    9His son, Vart Badrig Giuraghabad, was a prince in Vasburagan, and it is thought that the Giulbenkian family of Caesarea is descended from him.
    

12. 
    10Abeghian believes it should the 11th century, rather than middle of the 10th.
    

13. 
    11 See Tovma Ardzruni, History of the Ardzruni Clan, Constantinople, Srabian Press, 1852.
    

14. 
    12 One of the teachers of the St. Hagop school of Van, and priest in the church, whose biography will appear later.
    

15. 
    13 This writer [Kazanjian], as witness, has written details in a series of articles in “Antser yev Antsker” [Persons and Events] in papers “Baikar” and “Nor Or.” I see no need to elaborate here.
    

16. 
    14 After the burial it was decided to establish a fund in Hairig’s memory. Armenians in America (Vanetsis) participated and raised $15,000, which was sent to Armenia in two Payments. It was to establish a Khrimian Chair at Yerevan University.
    

17. 
    15 We have learned that he had letters from Tabriz, though we did not know to whom. Mr. Haig Ajemian says that he has a number of letters.
    

18. 
    16 Hayasdanyayts Yegeghetsi, February 1947
    

19. 
    17 We found this Gospel in the Boston Public Library and copied out the important parts. L.K.
    

20. 
    18 Information is lacking concerning this Bishop Hagop Dinoian. There was a well-to-do family named Dinoian in the St. Hagop parish. A member of the family is now living in Belmont, MA, with a son who is a physician, and his sister a nurse.
    

21. 
    19 “Sev Khach” meant to place a “black cross” over a comrade to accuse him of being a traitor.