The epistemology of most fragments from Faustus of Byzantium's History of Armenia, particularly such difficult passages as chapter LIV of the fourth book, is possible only through exegesis of hidden, sacred meanings. The key to decoding the images, events, and phenomena described in this fragment of Faustus's "History" can be found in theatrical mysteries. It is known that any ancient theatrical action is based on agon, so analysis of dramatic texts is preferably conducted using the method of binary opposition. The agon between Armenian king Arsakes and Sassanid Sapor unfolds in the Persian king's tent, representing the proskeny of ancient theater. In this case, Arsakes acts as protagonist while Sapor plays the role of antagonist. In Faustus's mystery there is also a tritagonist – Sparapet Vasak, who plays a special role in the tragedy. This article represents an attempt to read through the lens of ancient drama a small fragment of an Armenian literary monument from the Early Middle Ages, revealing the dramatic technologies embedded within historical narrative.
Margaryan Ervand (Fri,) studied this question.