The genre frame of Hrachya Hovhannisyan's poetry


  • Tatevik Poghosyan ASPU


a poem, a ballad, a sonnet, a nonet, a verse novel, a structure


As a result of the study of the  theme , our conclusions are as follows:

  1. Continuing and combining the traditions of medieval Armenian, modern Armenian and world literatures Hrachya Hovhannisyan widened the boundaries of genre inclusion, enriched it with new approaches in new structural ways. The equability of details in the structure, the associations of the rhythmic units stand out with unexpected resolutions in his works written in different genres.
  2. Apart from the traditional forms of poetry there are also some genres in his collections that are absolutely new. E.g.  the nonet, which is one of the  less spread genres in music and has not been widely spread in the literature, either. As a result of the study we have found out that it was performed by nine musicians and during the performance the musicians leave the stage one by one. The poetic structure of nonet also consists of nine lines, the first line has nine legs, the second one has eight legs, and the third line has seven lines and so on till the last line. As the genre is one of the types of music, one must naturally conclude, that it must have an appropriate musical sonority and appropriate rhythms.
  3. Hrachya Hovhannisyan's nonets approximately have such structures and sonorities, the  musicality of which are obviously provided in an artificial way. All nine nonets written by Hrachya Hovhannisyan have the same rhyming, that are quite poor. It can be said that they are artificial rhymes. Our conclusion on Hr. Hovhannisyan’s nonets is that they were written in the manner of nonets printed in Parisian newspapers, as experiments, and that is the reason why the poet did not refer to that genre later.         Sonnets occupy a significant place in  Hrachya Hovhannisyan’s  works.
  4. Hr. Hovhannisyan uses different forms of structure not only in nonets but also in his sonnets. Sonnets generally have fixed forms of structure. Hr. Hovhannisyan prefers the 4+3+3+3 structure of the sonnet. However, while in this version of the structure the main point or "key of the sonnet" is revealed in the last two lines, in Hr. Hovhannisyan's sonnets, the last lines do not differ from the previous ones and do not act as "sonnet keys".
  5. Our general conclusion is as follows: at all the stages of his creative journey being on the way of research Hr. Hovhannisyan truly tried different structures of poems, but he never got caught up in the urge to look fashionable: He always remained faithful to the classical traditions of our poetry and  created his unique poetic structure on their solid pedestal.


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Հովհաննիսյան Հր; Ընտիր երկեր 2 հատորով, հ. 2, Եր; «Խորհրդային գրող»,1990, 436 էջ:

Մահարի Գ., Պոեզիան և քննադատությունը, «Գրական թերթ», 1964, N 37:

Մեժելայտիս Էդ., Իմ կրկնակի Արարատը, Եր., «Գասպրինտ» հրատ., 2013, 276 էջ: