In 17-18 centuries the dominant literary genre in Armenian literature remained lyricism, which developed mainly in 3 directions-a religious patriotic poem, secular canto and folk-gusan song. These directions, along with their characteristic lines, are not strictly separated from each other and are sometimes presented as interactions as a result of the artistic thinking of the same era.
A religious patriot poem copied and continued the traditions of medieval spiritual and historical-political poetry in its own way.Language was grabar (partly middle Armenian), the main topic was Biblical and Armenian history’s episodes, religious and patriotic ideas. That poem had mainly educational and moral purpose and was intended primarily for an audience whose listeners would become spiritual leaders, teachers and preachers of the people. People needed to be educated in a patriotic and Christian spirit, and reminded of heroic holes in their native history and Christian traditions.
In religious patriotic poem can be distinguished just religious, national-ecclesiastical and historical-political works. Just religious works don’t have the artistic value of similar medieval works and couldn’t have because times have been changed and religious ideal conceded to the secular spirit. The rise of the religious theme by the new authors was generally not accompanied by deep feelings, emotional saturation or tragic breath, but rather had for centuries the Christian ideas revived, and thus for the purpose of educating, discipling, and other religious denominations for generations to fight. Therefore, the essence of religious poetry is significantly changed. Called to teach and educate generations with Christian-humanitarian ideasand religious poetry in national awakening literature received great public importance.
In 18th century became more important national-ecclesiastical poet, where Bible, theological themes are accompanied with patriotic motives, issues of enlightenment, glorification of the sanctities of the national church, etc. Historical-political poetry also developed, had an important role, which reflected the military-political holes of the Armenian people’s past and present, national liberation and libertarian aspirations.
The second direction of lyricism stems from medieval secular lyricism, deeply influenced by contemporary folk-gusanlyricism. This poem also isn’t the copy of the previous one, itpresents the development with a new quality, which is the product of a new era of art, thought and taste. Secular lyricism was aimed at the broad masses of people, and lyricism writers themselves were mainly born of the lower classes of society.Their language is middle Armenian (partly simple grabar and dialects), and the theme is love, nature, revelry, personal feelings and social life. In the songs of lyricism writers, love for woman is largely devoid of allegory, is obvious and at ease. The ideas of sin and terrible judgment no longer impede the expression of feeling of a love. The possessor is already a specular spirit, and the praising woman is an earthly creature, a source of worldly enjoyment and inspiration. The beauty of a woman is perceived as a creation of nature, a continuation of nature, thus the images of nature occupy a great place in love songs. Separate cantos are created, where a beauty of nature is singed, especially spring.
Homesick songs of wanderer lyricism writers are getting new accents. The main genre of this poem also is canto, which has been largerly adapted to folk melodies.
Poems written on satirical and social motives have also become very popular.
The third direction of lyricism of 17th-18th centuries is folk-gusan song, which is penetrated by 3 layers-folk, national-gusan and ashugh.
In the present period the folf songs, that were previously created, were viable, and as a result of which new songs were woven into the demands of the new era. Gusan songs are expressed in national and eastern-ashugh way, mainly inArmenian. Ashugh songs performed in the Middle ages transformed according to the basis of Armenian folklore and literature, as a new type of gusan art. Armenian ashughs their complex and varied songs have created in dialects, played them with string instruments by fictional or popular way. They came out among the people, individually or in groups, competed with each other, participated in the commencements, spread the traditions of the native and neighboring people, sang about woman and wine, preached morality and piety.
In 17-18 centuries Armenian ashugh developed due to Sayat-Nova. With the power of his talent and acclaimed personality, rousing songs and high humanitarian ideas, Sayat-Nova goes out of the realm of Ashugh poetry and stands alongside the greatest medieval poets.
In 17th century another memoir genre was formed- diarywritting.Translation art is also gaining momentum. A variety of stories have been translated, transposed and nationalized from foreign sources. Turkish literature written in Armenian was getting popular,adressing to the masses of Turkish-speaking Armenians and having national-Armenian content and spirit, itwas a unique and inseparable part of Armenian literature. Some dramatic songs have been preserved in the manuscripts of this period.