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ПАТРИОТИЧЕСКИЕ ПЕСНИ АШУГА ДЖИВАНИ
Арутюнян А.Г.
Кандидат искусствоведения, доцент Центр арменоведчесских исследований Ширака НАН РА, г. Гюмри
PATRIOTIC SONGS OF ASHUG JIVANI
Harutyunyan H.
PhD in Art, Associate Professor Shirak Centre for Armenian Studies of NAS RA, Gyumri DOI: 10.5281/zenodo.7156316
АННОТАЦИЯ
Статья посвящена патриотическим песням великого армянского ашуга Дживани (Серовбе Левонян -1846-1909). В них нашли свое отражение, преобразование и развитие многие типичные элементы и принципы армянского национального музыкального мышления. Многие исследования показали, что в этом наследии развиваются важные элементы ближневосточной устной музыкально-поэтической традиции, а также проявляются глубокие элементы армянской народной песни, средневековой аллегории и духовной монодии, истоки и особенности национального самосознания. Этим обясняется высокие оценки современников и сегодняшняя большая популярность этих песен.
ABSTRACT
The article is devoted to the patriotic songs of the great Armenian ashug Jivani (Serovbe Levonyan - 18461909). They reflected, transformed and developed many typical elements and principles of the Armenian national musical thinking. Many studies have shown that important elements of the Middle Eastern oral musical and poetic tradition develop in this heritage, as well as deep elements of the Armenian folk song, medieval allegory and spiritual monody, the origins and features of national identity. This explains the high ratings of contemporaries and today's great popularity of these songs.
Ключевые слова: Александрополь, музыкальная жизнь, ашуг, жанр, традиционная музыка.
Keywords: Alexandropol, musical life, ashug, genre, traditional music.
Jivani was born in Kartsakh, near Akhalkalak, Georgia. He became an orphan when he was 8, his uncle looked after him. He learned music composition and performance on kemanche and violin with the support of master Ghara-Ghazar Siayi (Armenian: 1,wpw-1,wqwp, UJixujfr). In 1866 along with gusan Sazayi (Aghajan) Jivani moved to Tbilisi, where he continued his musical activities. The further development of Jivani's art is connected to A lexandropol (Gyumri) and its musical culture. He lived and worked there in 1868-
1895. In Alexandropol he headed a circle of fellow gusan-singers, and was awarded by the honorary title of ustabashi (leading master). Jivani had concerts all over Transcaucasia, including Batumi, Baku, Kars and Tbilisi. In 1895, he returned to Tbilisi.
Jivani was an author of more than 800 songs, written in romantic, ironical or realistic styles. He had the good knowledge of 19th century Armenian literature, and was influenced by it. He used clear forms of Armenian language, avoided of foreign transliterations. His
songs were mainly devoted to the problems of social protest, poverty and lawlessness ("The Life in the Village", "Worker", etc.). In his songs Jivani condemned oppressors, represented the struggle of Armenian people against foreign rule, sang about the brotherhood of people.[3] Many of Jivani's songs ("The Unhappy Days", "Mother", "At this night", "A good comrade", "I am an apricot tree", "Look at them") became popular.
The first compilation of Jivani's poems was published in 1885. His music was performed or used by Kristapor Kara-Murza, Komitas Vardapet, Aram Kha-chaturian, and many others, Maxim Gorky and Valery Bryusov were interested in his poetry. He is recognized as the "greatest Armenian ashugh of the 19th century". [1]
In his forty-year creative life, Ashugh Jivani has had many tours, performed with his group. He often made notes about the composition and place of his songs. Based on the preserved data, he performed in Yerevan, Shushi, Gandzak, Baku, Kars, Erzurum, Salmast, Derbent, Batum, Poti, Sukhum, Novorossiysk, Crimean cities, Kharkiv, Rostov, Yekaterinodar, Armavir. During the journey, Jivani met Armenians in every city, especially Mshetsi immigrants, and expressed his pain and sympathy regarding their condition, homeless life. The tours of the Armenian city of Armavir in the North Caucasus were especially successful.
Jivani is a classic character of Ashugh. He served his people for more than 40 years, became the translation of their aspirations and dreams. Jivani's patriotic songs occupy a unique place in the history of Armenian pastoral poetry.
Patriotism is the most resonant string of the Jivani's lyre. He is a patriot of fiery temperament, who found the meaning of his existence only in serving the oppressed and enslaved homeland, alleviating the plight of the people, and being useful to it.
The times Jivani lived were hard and cruel, that's why in his works you can feel the wounds of the wounded and painful heart of our people, his rebellion for his life, his culture, his bright future.
The most perfect, noblest and sublime of all human feelings in Jivani's essence and soul is the feeling of bottomless love for the motherland. The idea of self-sacrifice for the sake of the people, for the sake of the motherland is special to both their mind and soul are consumed by the same grief, both hearts are set on fire by the fire of love for the motherland trampled by of the enemy, and they are alike in the depiction of the feelings expressing all that self-sacrificing love, though unequal.
If the problem of literature was and remains the truthful depiction of modern life, the reflection of the issues and problems that concern the people, the people of the given period, then this demand was fully realized by Jivani. Their works, some of them excellently in prose and some in verse, reflect the spirit of the age, its breath, and as such, they live with the generations.
If the problem of literature was and remains the truthful depiction of modern life, the reflection of the issues and problems that concern the people, the people of the given period, then this demand was fully realized by Jivani. Their works, some of them excellently in
prose and some in verse, reflect the spirit of the age, its breath, and as such, they live with the generations.
Jivani's patriotic poetry was filled with the "sorrow of heavy, unsolvable issues" of the Armenian people and reflected on all the transitions that make up the main essence and core of our history in the middle of the 19th century and the beginning of the 20th century.
In Jivani's songs dedicated to the homeland and the people, an important issue that concerns everyone for that period is expressed: the issue of the existence of the Armenian people, of being saved from its physical destruction, and of living an independent national life.
In evaluating the issue of national liberation and an independent homeland, Jivani stood on the point of view of the progressive-democratic classes of the time. The spirit and spirit of our national awakening can be seen in his questioning. The example of the Bulgarians and Serbs, who gained freedom by revolting against the bloody Turkish tyranny, contributed to the general enthusiasm.
According to the poet, the Armenians can achieve the freedom they have dreamed of for centuries only as a result of the victory of Russian weapons, but together with the "brave eagle chicks", the Armenians themselves must participate in the cause of their liberation with weapons in their hands, otherwise there will be no reliable result with appeals, pleas and gut-wrenching cries and tears. to reach.
Although the eastern war ended with the victory of the Russian army - in which the Armenians also had little participation, but as a result of the insidious policy of the imperialist predators England, Germany and France, the hopes and dreams of our people were dashed. From the decision of the infamous Berlin Assembly, the Armenian people understood that they were badly deceived by the powerful European states. This greatest disappointment found a deep echo in a number of Jivani's poems, which justly lash the "Christian" and "philanthropic" leaders and diplomats of England and Germany, exposing their exploits.
The folk singer soon tasted the fruit of the European states' custom Phariseeism, as a result of which the efforts and blood of thousands of innocent martyrs went in vain. The author, moved by his bitter life experience, who, like many of his contemporaries, was not free from illusions related to England's liberating role, simply warns not to believe that deceitful "friend" of Armenians anymore.
Turning to the bright pages of our nation's history, the singer inspires contemporaries with glorious examples of heroic struggle against foreign conquerors, strives to educate the generations in the spirit of national self-awareness. For him, not only foreign enslavers are hated, but also those who tolerate the yoke of the enemy. Their partners are traitors, traitors, ambitious fur worshipers.He believes and assures that the cruel days of Armenian siege have come and will go.
It is known that in many of Jivani's patriotic poems, he reflected on the bitter situation of the people riding under the yoke of Ottoman tyranny. But in the matter of his attitude towards foreigners and foreigners, Jivani, as a poet of the people, stood on the point of
view of popular understanding, the idea of nationalism is completely alien to the working people. By creating in the darkest moments of our people, Jivani managed to keep his harp away from stoking the flames of national hatred. Although it must be said that some songs speak angrily about those who trample our motherland.
The great patriot and nationalist poet was also a great humanist, for whom all nations were equal and suitable for each other. He is strongly against the idea of turning nations against each other and sowing enmity among them on religious-denominational grounds. He demands not only not to be intolerant, but to respect other people's religion.
He was extremely satisfied that, contrary to the famous tsarist conspiracies, Armenians and Turks are finally living together in the Caucasus in peaceful love. In these poems, the author crosses national borders and rises to the highest idea of universal brotherhood and solidarity.
The author, a supporter of the idea of people living in a peaceful and happy state, is an enemy of all kinds of inter-ethnic wars. He examines the causes of these wars and comes to the conclusion that the peoples are not to blame for the peoples and nations going against each other and destroying each other, but the ruling and exploiting classes are the powerful people of the world, regardless of their nationality.
For Jivani, both external and internal enemies of the people are equally hated. He stood against the national and social pressure of all kinds of oppressors of the Armenian people. He fought for the liberation and independence of the people, their happy future, as such he could not be in any way a party to the pressure of other nations and would not condemn the national pressure in general and would not defend the idea of equality and brotherhood of nations.
In the last years of his life, Jivani warmly welcomed the first Russian revolution of 1905-1907, thanks to whose benevolent influence, he experienced a breakthrough in some issues, especially in the old ideas of the liberation of the people and the homeland and national independence.
In the years of the descent of the revolution, Jivani did not lose his hopes for the best future of his people related to the revolution, he did not fall into the swamp of pessimism and despair, in which many intellectuals, discouraged by the failures of the revolution, sought their rest. Until the end, Jivani remained of the view that the revolutionizing people would be able to put an end to political, national, and social injustice and create a labor rule free from exploitation and national discrimination.
During the Russian-Turkish war, Jivani connected the liberation of Armenia and the salvation of the Armenian people with the Russian people. He defended the ruling opinion at that time that the day of liberation of Western Armenia has arrived and that with the help of the Russians and Russia, the Armenian people can
finally be saved from the danger of physical annihilation and become the owners of a free life and homeland.
Jivani also wrote love songs full of warm feelings. Personal love is often associated with patriotism, the power of love with the idea of hope, optimism. He combined the feelings of personal love with socio-political and patriotism ideas. Although Jivani was separated from his mother from his early childhood, deprived of maternal care and caress, he always remembered his mother with warm and affectionate love throughout his life and spoke of his mother with deep gratitude.
Jivani also participated in the liberation struggle of the Armenian people. He had friendly relations with the members of the "Barenpatak" patriotic society organized in Alexandropol. After the end of the Russo-Turkish war in 1877-1878, the field of volunteer movement in Armenia included the Armenian-rich Alexandrapol on the Russo-Turkish border. A committee consisting of five people is elected in the city in order to organize the volunteer groups and direct their activities. Jivani is elected as a member of that committee.
Now let's look at some musical features of Jivani's patriotic songs. It is well-known that the Asugha song and music carried both characteristics of the national identity and characteristic many elements the culture of the Middle Eastern region. Being one of the classic manifestations of the epic song art of the Middle East, the Ashug romance can be examined as a rich repository of Armenian-Eastern musical relations, which summarizes artistic phenomena formed in related cultures including religio-aesthetic and folk beliefs.
Referring to the genre features of these songs, of course, one should take into account the preferences of the writer and the artistic merits that were highlighted by him in many sughal songs. It is known that especially the urban marching song stood out for its genre diversity with various subgenres. Patriotic songs predominate here. It was certainly due to the spirit of national liberation characteristic of the given period with high demands and imperative.
The genre diversity of the songs is matched by poetry the wealth of orthographic forms of speech. As it was customary in the sugah art, the genre content of the song largely determined the metrical form of the given verse.
Many typical elements and principles of Armenian national musical thinking have been reflected, transformed and developed in their own way. Our observations showed that the standards of the Middle Eastern tradition In that heritage created in the context, the profound elements of Armenian folk song, medieval allegory, and spiritual monody become evident the origins and characteristics of national identity. Today's great popularity of those songs is not accidentalhigh ratings of contemporaries.
Let us present the most typical examples of Ashugh Jivani's patriotic songs.
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