In Hinduism, fire is regarded as one of five sacred elements that make up all living creatures and as an eternal witness essential and sacred.

The only information about the Armenian oral tradition comes from the History of the Armenians by Moses of Khorenatsi. He mentions different forms of story telling about the ancient Armenian heroes. The oldest unwritten stories, Moses of Khorenatsi attaches a highest degree of credibility and they are called 'Zruyts'.

When Armenia converted to Christianity, religious leaders were not tolerant of stories that allowed Armenian speakers in Armenia and around the world to remember their origin, the origin of their language not even the meaning of their endonym Hay or their exonym Armenia, which goes back according to legend 2500 B.C.E.
The song/poem called 'The Birth of Vahagn' is a gem that was preserved by Moses of Khorenatsi in his book 'The History of the Armenians'.

Prof. Nagy is the only serious scholar who has read and commented on it and I quote. "this song pictures the cosmic moment when the dragon-slayer Vahagn is born from a reed that is said to be in labor as it expels first a burst of smoke, then a burst of flame, and then, out of the flame, a youth with his hair on fire and with eyes that are two suns.”

Below is my honest attempt to throw some light on the forefathers of the Armenians by deconstructing, more like taking the poem apart word by word.

Gregory Nagy believes that the narrative of the birth of Vahagn comes by way of the Iranian model, however the result of my research suggests that it could be an original.

Vahagn is an ancient Armenian male given name.

It is assumed by some scholars that Vahagn was an ancient Armenian 'god', I intend to show that Vahagn is simply what the poem suggests he is, which is a boy, a boy with a vital spark who grows up to become a dragon slayer, which is the ultimate dream of every mother who wishes to give birth to a bonny boy.

Vahagn is the animating principal of life, represented the creative vital force, life. He was revered in Armenia prior to the coming of Christianity. Vahagn was also revered as the representation of the principal. The First Principle, the inner meaning of which is clear from studying various sources. Wisdom itself that is, the pure, uncorrupted, spiritual knowledge of the one and the all is needed to transverse the pit of self-ignorance, to reach the ‘Highest Wisdom’ – the Sophia Perennis in Greek – is held to be the penultimate accessory for success in this journey to the First Principle. We are all in a way children of the sun and earth; we share a complex relationship with our celestial star of light and life in the sky. In the Daoist tradition, the sun is the True Yang or Essential Fire, as it draws from the power of the celestial realm and forms itself into a concentrated elixir of life. It lives in a harmonious relationship with the Earth: our Essential Yin and the Fuel that roots fire’s passion in life. It is the magic of proximity that creates life, the sun and earth just far enough to feed each other in essence and transformation. The nature of fire is to surge upward, to return to the celestial realm. It is a conduit lifting life up toward the heavens. But for fire to exist, it must remain connected to the essence of the earth. Fire, like our spirits in this incarnation, is rooted in the corporeal physical journey. People often think of balance as a static state, but constantly changing and adjusting is what actually keeps us from falling. Life like fire is in a constant state of change that we must navigate by our presence of mind or by being present in the moment.The “fire in our eyes” like the suns of Viking's eyes is literally the reflection of our eternal essence.

The name Vahagn is derived from a combination of two Sanskrit words – vah and agni. The former is said to mean ‘to bear’, and the latter, ‘spark/lightning/fire’. According to this interpretation, therefore, the name of this ancient deity may be translated as ‘the bearer of fire’ or the vital spark or simply life. Vahagn was never worshipped as a god of volcanoes, or a solar deity, but as a great warrior and a dragon slayer.

When comparative etymology attempts to suggest that Vahagn is the Armenian counterpart of the Zoroastrian god of victory Verethragna, whose name in the Avesta means "smiting of resistance". I find first the suggestion of God misplaced and the association a far fetched projection of a contemporary scholar who is painting ancient history without considering chronology. It is my understanding when we speak of Armenian Gods or an Armenian God, we have nothing to back up the claims until we arrive to the Armenia's adoption of Christianity, which at a guess was easy for the virgin birth of Christ runs parallel to the virgin birth of Vahagn. The Armenians seem to see creation as in an alchemical process and they don't seem to have been forced to or taken to any god of any colonizer for the elite that ruled the Armenian speaking Caucasian population never put the language into written form, thus the population was never indoctrinated. Writing and Christianity came relatively late 350 A.D.

The Rigveda opens with a hymn inviting Agni, who is then addressed later in the hymn as the guardian of Ṛta (Dharma). The Vedas describe the parents of Agni as two kindling fire sticks, whose loving action creates him. Just born, he is poetically presented as a tender baby, who needs loving attention lest he vanishes. With care, he sparks and smokes, then flames and grows stronger than his parents, finally so strong that he devours what created him.The hymns in these ancient texts refer to Agni with numerous epithets and synonyms, such as Jātavedas (he who knows all generations), Vaiśvānara (relating to all men), Tanūnapāt (son of himself, self-made), Narāsaṃsa (who embodies men's praise), Tripatsya (with three dwellings), and many others. In Vedic mythologies, Agni is also presented as one who is mysterious with a tendency to play hide and seek, not just with humans but with the gods. He hides in strange places such as waters where in one myth he imbues life force into living beings that dwell therein, and in another where the fishes report his presence to the gods. Vedic rituals involve Agni. He is a part of many Hindu rites-of-passage ceremonies such as celebrating a birth (lighting a lamp), prayers (aarti lamp), at weddings (the yajna where the bride and groom circle the fire seven times) and at death (cremation).

Agnihotra is a symbolic reminder and equivalent to the Sun, where the fire keeper is reminded of the heat that creates life, the fire in beings, the heat in the womb behind the cycle of life.
Agni variously denotes the natural element fire, the supernatural deity symbolized by fire and the inner natural will aspiring for the highest knowledge.

Heat, combustion and energy is the realm of Agni which symbolizes the transformation of the gross to the subtle; Agni is the life-giving energy. Agnibija is the consciousness of tapas (proto-cosmic energy); agni (the energizing principle); the sun, representing the Reality (Brahman) and the Truth (Satya), is Rta, the order, the organizing principle of everything that is.

The Secret for the Alchemist was Fire, and this fire represented Desire/the will, the flame was said to be at work in the laboratory of the soul.

In a Jungian Analysis,the Dragon psychologically represents the inner issues and external problems we face in our lives. How do we find the St George in ourselves. The courage and strong determination, the self that is prepared to tame the dragon within and to go out and slay the Dragon without. For example as according to popular Christian legend, St George was a Roman soldier who was born in the third century AD and was condemned to death by the Roman Emperor Diocletian for refusing to give up his Christian faith. Over the following centuries, St George became a Christian hero figure, symbolising like Vahagn courage and strength.

Vahagn must overcome many obstacles, whether they be internal, supernatural or otherwise. This is crucial, as without slaying these inner and outer evils ( Dragons) he would not be a worthy symbol of Masculinity.

Carl Gustav Jung was the founder of analytical psychology. He was also a lover of stories and mythology. Jung extended Freud’s idea of the personal unconscious to include the Collective Unconscious. This is a place deep within the human mind and psyche full of ancient wisdom.

In the legend of Saint George and the Dragon, Saint George slays the dragon averting the impending treachery allowing the grateful victims to adopt Christianity.

In the great work of alchemy, also known as the magnum opus, fire does the work, fire is the process, fire is the medium, and fire leads to power and power to 'gold,'this gold is of the soul, the hidden Self, which is what desire is ultimately looking for. Chaos has always been identified with the classical element of Water.

The term chaos has been adopted in modern comparative mythology and religious studies as referring to the primordial state before creation, strictly combining two separate notions of primordial waters or a primordial darkness from which a new order emerges and a primordial state as a merging of opposites, such as heaven and earth, which must be separated by a creator deity in an act of cosmogony

To harness the fire within and be able to direct this ‘fire’ within you requires only that you be who you truly are. The master of fire can repel twenty strong men merely with ‘chi’ or Source energy, the fire within a human being truly has infinite potential. To be in touch with the fire within, is to in touch with the dragon within. The dragon as the symbol of fire is an ancient one, it is also referred to as the divine fire and it manifests the dragon within and the dragons externally. It is a beautiful ‘form’ of touching the divine fire and Light within.

Awakening of the Fire, the Mother of Dragons and the Serpents of Wisdom. In Buddhism, Dragons are NAGA, serpentine creatures who protect the Buddha. NAGA are described in Buddhist scriptures as water spirits with human shapes wearing a crown of serpents on their heads.

Nothing happens without fire or without desire without controlled will power, Nothing melts. Nothing evaporates or circulates. Our body and perspectives remain hardened and cold.

Agni, who is addressed as Atithi ('guest'), is also called Jatavedasam (जातवेदसम्), meaning "the one who knows all things that are born, created or produced". He symbolizes will-power united with wisdom.[102]

The Kanvasatpathabrahmanam (SB.IV.i.iv.11) calls Agni "wisdom". Agni is symbolism for "the mind swiftest among (all) those that fly".
Agni is for me the essence of the knowledge of Existence. Agni destroys ignorance and all delusions. Jātaveda is the fire that carries the quid-pro-quo offerings to the gods, in which case Agni is light identified with knowledge and with Brahman. In the Jātaveda form, "He who knows all creatures", Agni acts as the divine model for the priest. He is the messenger who carries the oblation from humans to the gods, bringing the Gods to sacrifice, and intercedes between gods and humans (Rig Veda I.26.3).

Agni often appears or is described typically red or smoky-grey complexioned, standing next to or riding a ram, with a characteristic dramatic halo of flames leaping upwards from his crown. He is shown as a strong looking man, wild haired and bearded, with a large build for he devours everything in his path, with apricot, golden, orange, brown hair, eyes and mustache to match the color of fire. Often seven rays of light or flames emit from his body, "the one having seven tongues", to symbolize how rapidly he consumes sacrificial butter. Occasionally the ram is substituted by a chariot with seven red horses as his vahana, (Vahni – Carriers with wind) and the symbolic wind that makes fire move are represented by the wheels of the chariot. In the Armenian song He runs like the wind. The number seven symbolizes his reach in all seven mythical continents in ancient Hindu cosmology or colors of a rainbow is his form as the light of the sun.
Agni is identified with same characteristics, equivalent personality or stated to be identical as many major and minor gods in different layers of the Vedic literature, including Vayu, Soma, Rudra (Shiva), Varuna and Mitra.

Sanskrit अग्नि (Agni) continues one of two core terms for fire reconstructed to Proto-Indo-European, Latin ignis (the root of English ignite), Lithuanian ugnis, Old Slavonian огнь (ognĭ)] and its descendants: Russian огонь (ogon'), Serbian oganj, Polish ogień, etc., all meaning "fire".

A profile of Agni tells us that he is the Hindu god of fire, and the guardian deity of the southeast direction. In Vedic literature, Agni is a major and often invoked god along with Indra and Soma. Agni is the mouth of the gods and goddesses and the medium that conveys offerings to them in a homa (votive ritual). He exist at three levels, on earth as fire, in the atmosphere as lightning, and in the sky as the sun. This triple presence connects him as the messenger between gods and human beings.

The discovery by man that fennel stalks can combust spontaneously and be used as a means of transporting fire over time and distances without the inner fire/flame dying was very important because it was fundamental to his survival. Strictly speaking one cant speak of it as a discovery for a fennel stalk or a reed floating in the sea or on the shore still containing smoke thus fire is a given. A dry stalk is lit off the sun as it begins its journey through the sky and the dry, soft interior pitch burns slowly, keeping the flame alive for extended periods of time. According to Serv. Verg. Ecl. 6.42, Prometheus stole the fire by applying a torch to the sun's wheel. Stories of the original theft of fire are widespread among mankind. See Frazer's Appendix to Apollodorus, “Myths of the Origin of Fire.” The plant (narthêx) in which Prometheus is said to have carried the stolen fire is commonly identified with the giant fennel (Ferula communis). See L. Whibley, Companion to Greek Studies (Cambridge, 1916), p. 67.
Tournefort describes the stalk as about five feet high and three inches thick, with knots and branches at intervals of about ten inches, the whole being covered with a tolerably hard rind. “This stalk is filled with a white pith, which, being very dry, catches fire just like a wick; the fire keeps alight perfectly in the stalk and consumes the pith only gradually, without damaging the rind; hence people use this plant to carry fire from one place to another; our sailors laid in a supply of it. This custom is of great antiquity, and may serve to explain a passage in Hesiod, who, speaking of the fire which Prometheus stole from heaven, says that he carried it away in a stalk of fennel.” He tells us, further, that the Greeks still call the plant nartheca. Mr. J. T. Bent saw orange gardens divided by hedges of tall reeds, and he adds: “In Lesbos this reed is still called narthêka narthêx, a survival of the old word for the reed by which Prometheus brought down fire from heaven. One can understand the idea well: a peasant today who wishes to carry a light from one house to another will put it into one of these reeds to prevent its being blown out.”

The allegory of Vahagn of the burning reed. The English translation of this important ancient alchemical Allegory found in the Armenian. What is the role of folklore, rituals and songs in acquiring and sharing knowledge?

It is obvious that the fire in the reed from where Vahagn runs our is an allegory or it is analogous to the life spark, the smouldering fire is the essence of Vahagn and the animating force of life in general being expressed poetically. Prometheus moulded men out of water and earth and gave them also fire, which, unknown to Zeus, he had hidden in a stalk of fennel. But when Zeus learned of it, he ordered Hephaestus to nail his body to Mount Caucasus, which is a Scythian mountain. On it Prometheus was nailed and kept bound for many years. Every day an eagle swooped on him and devoured the lobes of his liver, which grew by night. That was the penalty that Prometheus paid for the theft of fire until Hercules afterwards released him.

THE ARMENIAN ARCHETYPE VAHAGN IN THE SONG REGARDING HIS BIRTH FROM FIRE DOES NOT SUGGEST THAT THE KNOWLEDGE OF FIRE IS FORBIDDEN TO MAN AS DOES THE GREEK VERSION OF ITS THEFT BY PROMETHEUS.

The story related is like an Alchemical text that uses allegories as a means of communicating a key philosophical point. This allegorical text of a figure, with which the listener/reader must identify, goes through a process offering knowledge, wisdom and understanding in a language the origin of which obviously leads to the mysteries of alchemy where a process of transformation by fire takes place. This parallels the use of illustrations in various alchemical books, where like allegories the medium for is used for transmitting ideas through emblematic symbols.

Below is the song from the History of Armenians by Մովսէս Խորենաձի (Movses Khorenatsi).

These words mean or suggest "activity involving effort or exertion," engage in laborious effort.

One speaks of creation as always in travail.

The fact that the Enûma Elish does not identify the form of Tiamat but clearly states that Tiamat gave birth to dragons, serpents, scorpion men, merfolk and other monsters, tells us that the myths of Dragon-Slayers, the Heroes came subsequent to Tiamat giving birth to them.

A dragonslayer is a person or being that slays dragons. Dragonslayers and the creatures they hunt have been popular in traditional stories from around the world: they are a type of story classified as type 300 in the Aarne–Thompson classification system. They continue to be popular in modern books, films, video games and other forms of entertainment. Dragonslayer-themed stories are also sometimes seen as having a chaoskampf theme - in which a heroic figure struggles against a monster that epitomises chaos.

The motif of Chaoskampf from the German literally translates to 'struggle against chaos' it is ubiquitous in myth and legend, depicting a battle of a culture hero with a chaos as the dragon monster. It is often - as in the case of the Armenian Hero Vahagn - in the shape of a serpent or dragon.

In Mesopotamian religion, Tiamat is a primordial goddess of the sea, mating with Abzû, the god of the groundwater, to produce younger gods. She is the symbol of the chaos Chaoskampf the monstrous embodiment of primordial chaos. Some sources identify her with images of a sea serpent or dragon and describe her as "the glistening one".

The Enûma Elish states that Tiamat gave birth to dragons, serpents, scorpion men, merfolk and other monsters, but does not identify her form. In the Babylonian epic Enuma Elish is named for its incipit: "When above" the heavens did not yet exist nor the earth below, Apsu the subterranean ocean was there, "the first, the begetter", and Tiamat, the overground sea, "she who bore them all"; they were "mixing their waters" and the explicit reads, "Slicing Tiamat in half, he made from her ribs the vault of heaven and earth. Her weeping eyes became the sources of the Tigris and the Euphrates, her tail became the Milky Way."

The incipit of a text are the first few words of the text, at the beginning which are employed as an identifying label.

The incipit of the song of Vahagn the Dragon-Slayer is cognate to the Tiamat myth which is one of the earliest recorded versions of the Chaoskampf, the battle between a culture hero and a chthonic or aquatic monster, serpent or dragon. Chaoskampf motifs in other mythologies linked directly or indirectly to the Tiamat myth include the Hittite Illuyanka myth, and in Greek tradition Apollo's killing of the Python as a necessary action to take over the Delphic Oracle.

Robert Graves adds historical reality to the Myth when he suggests Tiamat's death by Marduk as evidence for his hypothesis of an ancient shift in power from a matriarchal society to a patriarchy. The theory suggests Tiamat and other ancient monster figures were depictions of former supreme deities of peaceful, woman-centered religions that turned into monsters when violent. Their defeat at the hands of a male hero corresponded to the overthrow of these matristic religions and societies by male-dominated ones. This theory is rejected by academic authors such as Lotte Motz, Cynthia Eller and others.

Chaos (Ancient Greek: χάος, romanized: kháos) is the mythological void state preceding the creation of the universe (the cosmos) in Greek creation myths. In Christian theology, the same term is used to refer to the gap or the abyss created by the separation of heaven and earth. The word from Greek kháos (χάος) means 'emptiness, vast void, chasm, abyss',related to the verbs kháskō (χάσκω) and khaínō (χαίνω), 'gape, be wide open', from Proto-Indo-European *ǵʰeh₂n-,[4] cognate to Old English geanian, 'to gape', whence English yawn.

It may also mean space, the expanse of air, the nether abyss or infinite darkness. Pherecydes of Syros (fl. 6th century BC) interprets chaos as water, like something formless that can be differentiated.

It is a conflict of ideas as in the Egyptian duality of Maat and Isfet or the battle of Horus and Set.
There are, many motifs of the Dragon Slayer but in relation to Vahan I go along with the mythologists Joseph Campbell who first argued that the dragon-slayer myths when seen as a psychological metaphor where in order for the hero to take to himself something of the dragons power. must kill the dragon and in effect taste its blood, or touch its flame and fire, as declared in the Armenian song of nature. Vahagn transcends his humanity when he is associated with the powers of nature, in his form as Agni which is the ultimate of the powers of our life, and from which only our minds remove us. Psychologically, the dragon is one's own binding of oneself to one's own ego if you like.

The Armenian word for “The vital spark" is life, "կեանք”
I presume that essentially it refers to the concept that the thing that separates dead things from live things is this “spark of life” so to speak. That the spark is vital to life, that it is the spark that gets the whole thing, life, the body going. Sometimes poetically speaking it has to do with beginnings and sometimes for endings but always vital to life. Examples from literature are many, for example, 'the spark of life within flickered', Carol was relieved to see a spark of life back in Philip's eyes.' 'It takes a great deal of energy to initiate a new spark of life.'

'But they are both miracles - - a collection of chemicals with a mysterious spark of life.' 'producing conditions similar to those that may have provided the very first spark of life. We also have the spark to fire ,of life in literature and a great example I found speaks out loud, "Because, every word has in itself a spark of fire, of life".

Recent research on how human life begins to take shape have compelled many scientists to refer to the moment of conception as the spark of life.

The term spark of life has been used over the years to convey several meanings. In her recent book Spark of Life: Electricity in the Human Body, Frances Ashcroft notes how electricity drives all we think, feel and do by moving through the ion channels in the membranes of the cells in our body.The Spark of Life is a spectacular account of the body electric, showing how, from before conception to the last breath we draw, electrical signals in our cells are essential.

These signals are produced by some amazing proteins that sit at the forefront of current scientific research referred to as the ion channels. Ion channels are found in every cell in Earth and they govern every aspect of our lives, from consciousness to sexual attraction, fighting infection, our ability to see and hear, and the beating of our hearts. Ion channels are truly the 'spark of life'.

It appears from the poetry and legends brought forward by the Armenians that they have been invested in this idea for millennia, that life begins at with a spark at conception and that life is the vital spark.

Researchers at Northwestern University in Chicago recently have shown that a spark, a flash of light occurs when the egg and sperm unite, forming a zygote. From antiquity there has been a recognition that there is a relationship in the natural world between light and life, thus the reverence to lightning and fire.

This association is used by the poet, the author, the writer of the creation of Vahagne, pointing to the deeper and unseen reality of the relationship between the creator and his creation on earth. The apostle John wrote this about Jesus: “In him was life; and that life was the light of all mankind” (John 1:4).

The Armenian word Երկնէր Yergner translates literally to In-travail, the common synonyms of travail are rigour, grind, labor, toil, also hard at work, an ordeal, in trial. The trials in our lives test our faith, they prove the genuineness of our faith which is “more precious than gold that perishes.

վագել verb neutre To run, to precipitate, to rush forward.
The etymology of Vahagn, Vah-Agn, translates from Sanskrit to the 'bearer of fire.'If we break down Vahagn, into Vaha and Agni. Vah for bearer and Agni for lightning/spark/fire/sun. Agni is conceptualized in ancient Hindu texts to exist at three levels, on earth as fire, in the atmosphere as lightning, and in the sky as the sun. This triple presence accords him as the messenger between the deities and human beings in the Vedic scriptures.In the ancient Jainism thought, Agni (fire) contains soul and fire-bodied beings, additionally appears as Agni-kumara or "fire princes" in its theory of rebirth and a class of reincarnated beings and is discussed in its texts with the equivalent term Tejas.

In the Armenian surviving version of the ancient poem of the birth of Vahagn we gleen that as in ancient Jainism thought, Agni (fire) contains soul and fire-bodied beings. additionally appears as Agni-kumara or "fire princes".
The stalk or reed, key to the situation, is an important word in Indo-European mythology, in connection with fire in its three forms. Vahagn yes ends in -agn but cant be linked to Verethragna, for Verethr-agna is a representation of the underlying substance, of victory in the texts of the Avesta, wheres the name Vahagn signifies the bearer of vital spark and we cant manipulate the names to be cognate because they both end in -agn. Vahagn stans as etymologically defined. Verethragna is an Indo-Iranian deity. The neuter noun verethragna is related to Avestan verethra, 'obstacle' and verethragnan, 'victorious'. Verethragna, is the hypostasis of "victory", and "as a giver of victory Verethragna plainly enjoyed the greatest popularity of old." In Zoroastrian Middle Persian, Verethragna became Warahrām, from which Vahram, Vehram, Bahram, Behram and other variants derive. The Sanskrit stem, vehrah- translates to hero. Nothing resembling Armenian Vahagn, Վահագն.

The word is cognate with the Vedic Sanskrit. The Vedic god Indra may correspond to Verethragna of the Zoroastrian Avesta as the Vedic vr̥tragʰná-, which is predominantly an epithet of Indra, corresponds to the noun verethragna.

The name and, to some extent, the deity it is assumed was borrowed into Armenian as Վահագն Vahagn. Vram in Armenia is not the same as Vahagn has cognates in Manichaen Parthian wryḥrm Wahrām.

վահագն is a noun in Armenian for the Twenty seventh day of the month, referring to Hercules, Vahaken, Apollo.

վահանակ noun pawn at chess, man (at draughts).

While the figure of Verethragna is highly complex, parallels have been drawn between, Puranic Vishnu, Manichaean Adamas, Chaldean/Babylonian Nergal, Egyptian Horus, Hellenic Ares and Heracles, and I believe that Vahagn though a hero fighting dragons in recent history, is at origin the first created man, as in Adam.

According to the vedic Rigveda, the hero Mātariśvan recovered fire, which had been hidden from humanity.

In Greek mythology, according to Hesiod Theogony, and Works & Days, and Pseudo-Apollodorus the Titan Prometheus steals the heavenly fire for humanity, enabling the progress of civilization, for which he is punished by being chained to a mountain and having his liver eaten by an eagle every day.
In one of the versions of Georgian myth, Amirani stole fire from metalsmiths, who refused to share the knowledge of creating it – with other humans.

ETYMOLOGY

վա՜հ, վա՜յ, an interjection an exclamation,("an exclamation of amazement") Ah! oh! alas!

վախ, noun Precipice, an abyss, the deep, awe.

Precipitate in alchemy, precipitation is a process that involves the conversion of matter from a soluble chemical to an insoluable solid as in life from a primordial soup.THE MAGIC OF CREATION STARTS WITH MEG. In Alchemy and sacred geometry, a cosmology of primal energies, the body of creation, the Demiurge, the I Am That I Am, chemically and geometrically is for example is represented by a perfect sphere in Plato's Becoming generated by the expansion in time of the primal center point, Being, through space. The original chaos that existed was organized by the harmonic precipitating in alchemy and or forming, of the regular solids: cube, icosahedron, octahedron, tetrahedron and dodecahedron in sacred geometry. Each represented a qualitative element: earth, water, air, fire and ether and a plane of consciousness: physical, emotional, mental, spiritual and akashic.

From the Sanskrit dictionary glossary, the root Vah means to carry, bear, it also means something in Buddhism, Pali, Hinduism, from the history of ancient India, Jainism, Prakrit, Hindi.

1) To carry, lead, bear, convey, transport (oft. with two acc.); अजां ग्रामं वहति (ajāṃ grāmaṃ vahati); वहति विधिहुतं या हविः (vahati vidhihutaṃ yā haviḥ) Ś1.1; न च हव्यं वहत्यग्निः (na ca havyaṃ vahatyagniḥ) Manusmṛti 4.249.

2) To bear along, cause to move onward, waft, propel; जलानि या तीरनिखातयुपा वहत्ययोध्यामनु राजधानीम् (jalāni yā tīranikhātayupā vahatyayodhyāmanu rājadhānīm) R.13.61; त्रिस्रोतसं वहति यो गननप्रतिष्ठाम् (trisrotasaṃ vahati yo gananapratiṣṭhām) Ś.7.6; R.11.1.

3) To fetch, bring; वहति जलमियम् (vahati jalamiyam) Mu.1.4.

4) To bear, support, hold up, sustain; न गर्दभा वाजिधुरं वहन्ति (na gardabhā vājidhuraṃ vahanti) Mṛcchakaṭika 4.17; ताते चापद्वितीये वहति रणधुरां को भयस्यावकाशः (tāte cāpadvitīye vahati raṇadhurāṃ ko bhayasyāvakāśaḥ) Ve.3.5 'when my father is leading the van &c.'; वहति भुवनश्रेणीं शेषः फणाफलकस्थिताम् (vahati bhuvanaśreṇīṃ śeṣaḥ phaṇāphalakasthitām) Bhartṛhari 2.35; Ś.7.17; Meghadūta 17.

5) To carry off; take away; अद्रेः शृङ्गं वहति (adreḥ śṛṅgaṃ vahati) (v. l. for harati) पवनः किंस्विद् (pavanaḥ kiṃsvid) Meghadūta 14.

վահան, noun Shield, buckler; scutum; pavice; cover. Vahe was also a legendary king of Armenia. He was the last offspring of the progenitor of the first Armenian Patriarch, Hayk of the Haykazuni Dynasty. According to Moses of Khoren, he was an ally of Darius III, King of Persia. He revolted against Alexander the Great and fought to the bitter end and died in battle. Because of his bravery, his name Vahe, became synonymous for the Armenians as a true warrior and a true king. Many Armenians are named Vahe (or Vahé) after him, Vahe being a common given name. With his death, the Armenian Haykazuni dynasty came to an end Armenian was subjected to 10 years of Macedonian rule.

When the poet refers to the purple sea in travail, I believe he is describing a restlessness, motion, like when boiling, roiling, popping, as in an effervescent chemical reaction that is in turmoil, unrest, ferment, agitation, turbulence, tumult, bustle unstabile, unsettled.

In Alchemy Purple embodies the balance of red simulation and blue calm. This dichotomy can cause unrest or uneasiness. It is said and believed by Alchemists that to make the Philosopher's Stone one had to transform the starting materials through a particular sequence of colour changes: black, white, yellow, and finally purple or red. The recipes therefore gravitated towards compounds of lead, arsenic and antimony, which can exhibit these colours.
The Armenian dictionary offers for ծիրանի, noun, A Purple dye. In the phrases, ծիրանի գօտի where գօտի translates to belt, the meaning becomes Rainbow. Strictly translated ծիրանի is a purple - scarlet and ծիրան is the noun that defines the Apricot. Almost certainly related to Old Armenian ծիրանի (cirani, “purple”) attested since the Classical period (5th c.), although some doubt persists because the purple is not the main color of the apricot.

Even though the apricot has been considered an Armenian fruit (compare Translingual Prunus armeniaca, Latin armeniacum, Italian armellino, Ancient Greek μῆλον Ἀρμενιακόν (mêlon Armeniakón), Arabic [script needed] (tuffāḥ al-armanī, “apricot”).

The apricot has been the symbol of nationality and victory for Armenians for many centuries. In the Middle Ages, Armenian kings and knights would go to battle wearing apricot-colored ornaments called “tsirani.” One of the three colors of the tri-color Armenian flag is also the color of the apricot. In Armenia, the wood of the apricot tree is used for making wood carvings such as the duduk, which is a popular wind instrument in Armenia and is also called the apricot pipe. Several hand-made souvenirs are also made from the apricot wood.