Sose B. Poghosyan

Key words – The School of Ashugh’s (troubadours) of Nor Jugha; ashugh(troubadour); theimage pattern cliché; love songs; blazon songs; medieval poem; ode; medley poem.

The aim of this article is to study the forms of manifestation of the theme of love in the Iranian- Armenian school of ashughs (troubadours) of Nor Jugha. As troubadours’ literature assumes, the literary conception of love here is quite crucial. Ashughs’ characters and functions come to confirm the real perception of ‘Ashugh” term, which is amorous singer. The latter is determined as a multilateral artist, who is both the author and the performer of his songs. Woman is worshiped as the object of love. The act of loving was in itself ennobling and refining one, the means to the fullest expression of whichwere potentially fine and elevated in human nature. Woman gradually gets revived and by gaining voice and character, becomes the part in that love game.

A special notice has been paid to the “Ashugh” word etymology. Its manifestations and functional meaning in different in nations’ languages that had examined Ashughs’ heritage. The theoretical part is based on the carols of famous troubadours such as GhulEgazi, BagherOghli, Amir Oghli, GhulHovhannessi, QeshishOghli and HartunOghli. The author has observed the expression of the classic contributions and image patterns in the love poems of ashughs, has emphasized the presence of the original manifestations, through which the role of the first Armenian school of ashugh’s in Nor Jugha in the context of the literary- cultural life of the 17- 18th centuries has been valued.

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