The Armenian epic Daredevils of Sassoun is so deeply engraved in the Armenian soul and identity that it is sometimes perceived as a historical event rather than a work of fiction. Born in the mountains and shaped by the voices of common people, this oral tradition evolved over generations, carrying with it the dreams, values, and struggles of the Armenian spirit.
Unlike many classic epics such as Homer’s Iliad and Odyssey, which center on themes of love and betrayal, this Armenian epic stands apart in its focus on freedom from tyranny—a theme that has resonated with Armenians through centuries of adversity. For each of the four generations of heroes—Sanasar and Baghdasar, Great Mher, Davit of Sassoun, and Little Mher—the story symbolizes a struggle to defend their homeland, Sassoun. Yet, the most popular and beloved hero of all is Davit of Sassoun, who became the condensed embodiment of Armenian spirit. Continuing the lineage of great heroes, Davit saves Sassoun from Msra Melik’s endless oppression.
Right: Fighting the Lion,” an illustration by Yervand Kochar from the Book “Davit of Sassoun.”
Its use of pure, simple Armenian language and its focus on values like family, fairness, humanism, and hard work reveal its creation by the people rather than the elite, setting it apart from medieval heroic tales typically commissioned by royals. This unique perspective led English scholar Maurice Bowra to describe the epic as “the work of men who had little first-hand knowledge of heroic life.”
Daredevils of Sassoun combines mythical and historical threads, reflecting pre-Christian myths, as seen in the first generation when Sanasar and Baghdasar found the city fortress of Sassoun, and the historical realities of Arab invasions in the 9th–10th centuries, as depicted in the Davit of Sassoun tale. Additionally, Great and Little Mhers, Davit’s father and son respectively, are associated with Mihr–pagan Armenian deity of the light of heaven and the god of Sun.
Belonging to the ranks of world epics, it also includes universal traits, such as heroes growing up minute by minute and receiving their strength from natural elements—particularly water. As noted by Armenian scholar and orientalist Hovsep Orbeli, who had an immense input in its study and publications, such symbolism often reflects what a nation lacks. In Western Armenia’s case, the scarcity of water elevated its significance in the epic, contrasting with Greece, where heroes like Antaeus derived power from the earth.
Visiting Sassoun even once is enough to understand why it became the focal location of the epic. You realize an epic and the heroes could have been born there.
In the 19th century, the epic transitioned from an oral tradition to written form. The first ever written version was documented by Armenian philologist, folklorist, ethnographer, and ecclesiastic Karekin Srvandztiants, who transcribed it from Darontsi Grbo (Grpo from Daron) and published in 1874, marking the beginning of its scholarly exploration. In 1939, based on the previously collected versions, a single complete manuscript of the epic was created titled “Davit of Sassoun.”
As Epic Scholar Dr. Hayk Hambard-zumyan points out, the practice of collecting national stories and transforming them into a national epic emerged from German Romanticism, a period when nations sought to define themselves collectively and needed a narrative to encompass their heroic pasts. “What Srvandztiants did for the Armenian nation was invaluable,” he notes. “He bridged the gap between Armenia’s glorious royal past and its impoverished peasants, helping them understand that, despite their current hardships, they are descendants of great heroes.”
Sassoun and Sassountsies
Given Sassoun’s mountainous geography, which remains difficult to travel even today, Dr. Hambardzumyan notes that it is unclear whether the epic originated from the people of Sassoun themselves or was created by those in the Valley of Mush about Sassountsies.
By all means, Sassoun holds a central place in the narrative. Most versions feature three typological group of variants—all tied to the fortress city—the founding of Sassoun, Davit’s battle with Msra Melik to free it from taxes, and Davit’s restoration of St. Asdvadzadzin Church on Mount Maruta, one of Sassoun’s highest peaks.
The founding of Sassoun is particularly symbolic. When twin brothers Sanasar and Baghdasar search for a location to establish their city, they encounter a narrow river stream colliding with a broader, more powerful river but not blending with it. Tracing the stream to its source, they establish Sassoun and construct its fortress. Dr. Hambardzumyan draws a parallel between this scene and the Armenian nation, which, despite enduring invasions and domination by powerful states, has steadfastly preserved its identity.
The epic tales gathered from Sassoun storytellers in the local dialect are more concise compared to those from Mush and Moks. Dr. Hambardzumyan explains that this disparity might stem from the fact that Sassoun’s versions were transcribed outside their homeland, in Eastern Armenia, following the Genocide.
Unlike many classic epics such as Homer’s Iliad and Odyssey, which center on themes of love and betrayal, this Armenian epic stands apart in its focus on freedom from tyranny.
Nonetheless, the Sassoun versions emphasize details related to the region’s mountains and landmarks. “The reverence for Mount Maruta and St. Asdvadzadzin remains alive to this day. According to the epic, Great Mher builds it and Davit rebuilds it and is anointed king. Even now, a small number of Armenians and Kurds living there and even Turks visit the site, offer madagh [slaughter as thanksgiving to God], and share various stories about the church and the mountain, the stones, and traces of the heroes’ deeds from the epic.”
Its storytellers also held a unique perception of the epic. For instance, Tamo Davtyan, who provided one of the most remarkable renditions in the Sassoun dialect, shared his family tradition which assumed that they are the descendents of Davit, partly also because of their surname. According to him their millstone was brought by Davit himself and the name of their village, Chakhrkan, was named by him.
Having made a pilgrimage to Mount Maruta in 2024, Dr. Hambardzumyan reflects, “Visiting Sassoun even once is enough to understand why it became the focal location of the epic. You realize an epic and the heroes could have been born there.”
Beyond the Borders
In 1939, the millennium of the Daredevils of Sassoun was celebrated, largely due to the tireless efforts of Hovsep Orbeli. In general, the popular themes of the epic were particularly appealing to Soviet authorities, with Little Mher often being likened to the revolutionary spirit of the Soviets.
As part of the festivities, the Soviet government commissioned the translation of the epic into all the languages of the “brother nations.” Over the years, it was also translated into Persian, Greek, German, English, Turkish, among other languages. The French version was introduced in 1964 as part of UNESCO’s initiative to showcase significant national narratives.
These translations also spurred the creation of epic illustrations by Armenian and international artists, including Yervand Kochar and Hakob Kojoyan.
Reflecting on his work, Kochar wrote: “I created the illustrations for the epic Davit of Sassoun at the request of Hovsep Orbeli, who was the director of the Hermitage at the time. I was deeply concerned about how to best convey the essence of this great epic in a way that truly deserved to be called illustrations. After much reflection, I concluded that the most advanced and defining branch of Armenian culture is architecture—stone culture. That’s why these illustrations evoke the feeling of stone rather than mere drawings.”
In 1939, Kochar also undertook the task of sculpting the Davit of Sassoun statue, completing it in just 18 days. It was erected in front of what is now the Sassountsi Davit metro station in Yerevan. However, Kochar was soon imprisoned by the Soviets, partly due to accusations that Davit’s sword was directed toward “brother Turkey.” The original statue was demolished, and the current version, also sculpted by Kochar, was erected in 1959.
Right: The Davit of Sassoun statue in Yerevan was sculpted by Yervand Kochar and erected in 1959. This is the second version of Kochar’s work.
Interest in the epic extended beyond the Soviet era. After Armenia’s independence, the epic was translated into additional languages continuing to foster cultural connections as translators and literary critics have visited Armenia to conduct research before completing their translations.
Born from the people, the epic has remained deeply relevant across generations, inspiring Armenians to fight for national causes and welfare. This inspiration has surfaced in pivotal moments of history, such as the creation of the “Sassountsi Davit” tank column during the Second World War and the formation of volunteer groups like “Sasna Tsrer” and “Sassountsi Davit” during the Artsakh war. At times, this influence has taken detrimental forms, such as the 2016 “Sasna Tsrer” armed group, which applied extreme violence to gain political demands. Yet, its lines continue to encapsulate the collective values and aspirations of our nation, evolving with each generation to reflect new meanings and deeper understanding.
