National Serbian Literature

Serbian oral literature was created, along with the legacy it had to bring from the old Slovenian position, on the borders of eastern and western civilization, in conjunction with the established tradition on the new ground, in direct contact with the legacy of antiquity, and later, in a kind of defense against oriental influences and in permeation with them.From the time up to the 15th century, we have the meanings and writings of both prose and verse forms that function within the framework of the poetics of written literature, sometimes they emerge as an independent whole, testifying to the formation of one's own, oral art system.The fifteenth century already brings a wealth of data on the existence of almost all oral works and types, as well as their estimates. From the end of the 15th to the 19th centuries, songs, stories and other contemporaries appeared which in some of their cases reach the peaks of artistic perfection. The entire collection of records shows a great metric and thematic dilemma of oral poetry, as well as the variety of prose forms. In poetry, singing songs are singled out in a long verse, from fifteen to sixteen syllables, so-called bugaracters, singing with or without instrumental escorts, sometimes in a circle. They are mostly epic themes, and among them is the oldest recorded epic song found at the end of the 15th century. Vitalan and effective all the way to our time, living and tithing verse, composed of ten syllables, the most widespread - epic, with a sequester after the fourth style, and a lyrical, symmetrical ten with a caesura after the fifth style. The epic epic poem is singing most often with the gusles; it can be said, while the lyric poem is always firmly tied to the melody.From the manuscripts from the second half of the 17th and the beginning of the 18th century, the famous Serbian legal historian Valtazar Bogišić published a collection under the title Papers from the Elderly, the Most Coastal Records (Bugarštica), 1878.

The first major collection of folk dessert songs, again largely epic, was written by our singer, an unknown Austrian officer at the beginning of the 18th century, in the areas of the Military Border, then under the Austrian administration. He published it in 1925. under the title Erlangen Manuscript, German Slavicist Gerhard Gezeman.In the early and mid 19th century, the first systematically published collections of Serbian folk songs, stories, puzzles and proverbs appeared, which Vuk Stefanovic Karadzic collected "from the warm lips of the people". Small voluptuous Slavic-serbian songwriter, 1814; (I-IV), Leipzig edition, 1823-1833; I-IV, Vienna edition, 1841-1862); Serbian folk tales (1821, with 166 puzzles, and 1853); Serbian folk proverbs and other different ones in the customary words, 1834. The following is the book "Women's Song" from Herzegovina (1866), which was collected by Karadzic's collaborator and assistant Vuk Vrcevic, and Vuk Karadzic prepared them for the press before his death.Appearing in Europe, during the full bloom of romanticism, Serbian folk poetry experienced an extraordinary reception. Announced in anthological examples of the Vuk collection replied to the "round of anticipation" of the European cultural public, becoming a living confirmation of the first Herders, and then of Grim's ideas of oral poetry. Jakob Grim began to learn the Serbian language so that the poems could be read in the original, accompanied by everyday collection of Serbian folk songs with thorough poetic analyzes. He put them in front of the Song over the songs, so Gete would do the same. The grave merit, as well as the initiative of the educated and wise Slovenian Jernej Kopitar, the censor of Slovenian books, the Vuk's advisor and patron, Serbian folk literature enabled entry into the great world.Serbian folk songs (and narratives) were translated into German almost in line with their publication, sometimes even before, directly from Vukov's manuscripts or sayings. Kopitar translated the whole of the first Pohorje to Grimm, followed by a series of poems in his depiction of the Leipzig collection. Grim himself appeared as an interpreter. Theresa Albertina Luisa von Jakob-Talfi has translated two hundred and fifty lyric and epic poems already in 1825. In her comparative study on the Wook Book of 1833, she assessed the appearance of collections of Serbian folk poetry as "one of the most significant literary events of modern times".

Based on its translations, translations are made to other languages. To mention only some of the earliest, English (John Bauring), in French (E. Bojar), in Swedish (Finn Johan Runeberg), in Russian (Pushkin). The songs are otherwise translated into all Slovenian languages. The famous mystification of the Serbian folk songs P. Merimea - Gusle (1827) has far-reaching influence in European literature. At Sorbonne Claude Foriel (1831/32), and on the Coliseum of France, Adam Mickevich (1841) hold a special course on Serbian folk poetry. In America, husband T. A. L. Jack Jakob-Talfi, Edward Robinson, a renowned professor of theology, holds lectures on Serbian folk songs in New York.The fresh and audible ten, dubbed "Serbian Troche", has become not only a subject of study but also a pattern of singing. Gete "singing his own love songs in trophies". Thus, the Trocha "became a significant poetic form in German literature", and not only in it.With Vukovo's time, the period of "classical" folk poetry ended, when it reached a high level of reach.The artistic range of Serbian folk poetry was not only contributed by those phenomena that preceded Vukovo's time, but also the existence of a very developed oral gramopathic grammar originated in centuries-old processes of shaping and carving an oral artistic expression and its transfer from creator to creator, from generation to generation.This is confirmed by the first known epic poem, dating from 1497, hidden among the verses of the Italian poet Balcino, which the author spelled rođjero de pačijenca spontaneously, but with virtually folkloric precision and interest in the historical and social context he recorded listening to newly-formed members of the Slovenian colony in around Naples, and recently Miroslav Panić identified himself as a bugger.A perfectly erased model of the slave to a poor man who asks for his companions and mediators from the depths of his dungeon, otherwise frequent in the epic, is shown the actual confinement of Sibinjanin Janko (erdeljski vojvoda Janoša Hunjadi) in Smederevo fortress, where the Serbian despot Đurađ Branković closed him to pay him the war damage done by Serbian countries Janko's army returning from the battle in Kosovo in 1448. In the fine symbiosis of traditional and Christian, the Eagle-Homer's bird is the messenger, "in which the greatest power" is, as the transmitter of the message.This long-verse song - bugarštica - was created, by its very nature, according to the legality of shaping the historical epoch, immediately after the event and in its immediate vicinity, in the northern Serbian regions, it was transferred to the migration wave of the Serbian population that reached Naples and what archival confirmations and historical explanations are given by Italian Slavic and historian Francesco Saverio Perilo.

The Hungarian writer Shebeszan Tinodi in his Chronicle 1554 ("There is a lot of gusvers here in Hungary, but from Dimitri Karaman there is no better, in the rack of a lot"), that the Bulgarians, as the "Serbian way" songs were performed in Erdelj and later, ), and their widespread territorial distribution will also be reported from the west, from the island of Hvar. The Renaissance poet and learned nobleman Petar Hektorović recorded in 1555. six folk songs of remarkable beauty during a three-day excursion by the sea and published them in his travelogue Ribanje and fishing accusations (Venice, 1568). His rowers, the fishermen turned out to be singing singers, and in the absence of "during the minute" he told the bugs: "...in the Sarbish way..." and according to the explanation given by the fisherman Nikola Zet - "How among the family we did you ", in a way that is more common for public performance.What distinguishes all these meanings of folk literature and texts in the fifteenth and sixteenth centuries is the richness of the form and variety of the motif.At the same time, there is a unique epic topic about an event related to the Battle of Kosovo in 1389, around which the "small themes" are concentrated and the motifs of the motif in correlation with it, but also in a mutual, reciprocal relationship. Two rulers, Serbian and Turkish (Prince Lazar Hrebeljanovic and Sultan Murat) were killed in the battle, and one of the crown princes (Jakub, the son of Sultan), and the Ottoman invasion of Christian countries was stopped, though temporarily, thanks to the Serbian army.From a literary point of view, from the perspective of Hegel's theory of the epic, the battle represented the ideal subject for epic design - "... extensively spread an event related to the whole life of one nation and one epoch." For Serbs this was the most important, central event of their history, the transition from the epoch of the existence of free and independent Serb states in the era of slavery under the Turks, a crucial moment from which the different calculation of time begins - to that before and after the battle.The Kosovo epic occurs at a time when consciousness about the state, belonging to that state, and the awareness of the knightly duty towards it exists in every individual, and when the epic represents the historical memory of the people in the proportions of heroic idealization. Although there are no direct records of poems from the time immediately after the Battle of Kosovo, but only epic stylized topic fragments in written sources, they show that the historical facts were transposed into poetry through motive and language-style patterns, which was also helped by the universality of the theme itself.

The assassination of the Turkish sultan Murat, committed by the Serbian knight Miloš Obilić, is a historical act, but it is as much a poetic fact. This act was caused by Miloš's inner need to sacrifice himself for his people and is included in the motive scheme of the knight's epoch by the causal and consequential connection between the defamation and the urgent need of the faithful knight to take it off and prove his loyalty to his ruler. The Klevetnik (Vuk Branković, the historical and epic Prince Lazar), according to the same principles of the epic scheme, will become a traitor, as the last link in the chain, in order to justify the inevitable, tragic consequences of the battle on the psychological and historical level.From the dramatic Kosovo dinner, made as much as the model of Christ's evening, so much by the reputation of the customary ritual of the celebration, in the Serbian people dedicated to the family patron saint, to the quest for dead heroes in the field of Kosovo - all the styling events are in correlation between the emotional-personal and the heroic - epskog. In bugarcs, the feudal atmosphere is emphasized more strongly. The dessert poetry of the Vuk collection moves in the area of ​​personal, family, and society, and in a harmonious symphony with festive tones, it establishes a kind of singer's presence in the noble and reverent characters, national heroes. Objective historical events are perceived as personal, own fate, in order to simultaneously impart each character, each individual, to the demands of a higher, ethical order.The notion of the empire of the heavens, for which the Serbian prince is defined, is the conceptual basis of the overall poetry. It is the thought of the gospel, but also the basic idea of ​​every heroic epiphony, in which death on the battlefield is the only way to provide the warrior with an eternal stay on the other side of life, and eternal memorial and glory in the world of earthly man. Lazarus's commitment is the determination for the moral survival of the nation and the duration in the epic world of impermanence. This choice in full freedom of personal will gets the ultimate achievement in the undertaking of Miloš Obilić, in the execution of the covenant he gave to his prince.Two songs in the Vuk's collection "Death of the mother Jugović" and "Kosovka devojka" were dedicated to the trainers immediately after the end of the battle. Both represent epilogues of total events, a kind of transposition of the general to the individual, fatherland to family, epic to lyrical observation of events. This has made many, especially foreign researchers, watching them as ballads, many of which undoubtedly carry them. On the other hand, many thematic areas of the European ballad epic form an extremely strong epic of Serbian poetry.


The song about Mother of Jugović's is a heroic tragedy of a mother who courageously tolerates the death of her husband and all her sons until the moment when the mental pain moves into the physical, when suffering passes all the limits of endurance, and when the aggrieved, repressed woe expels her whole being. By the tanan staging, the singer connects that moment with the appearance of black ravenes that throw the hero's right in the skirt. The singer first let the young woman know immediately in her, by the burma, by the hand of the grown man, Damjan, her husband, in order to leave his mother's long, disturbing moments of revenge (Turned up, rolled with her, / Pak pranked her hand: / "My hand, green apple! / Where did you grow, where you were shot?). It is about to return to the past, to see the little hand of the child's childhood and to overwhelm happy memories and tragic reality: "And you grew up on my crusade, / Killed in Kosovo straight!"Oral tradition of the post-war period shows the deepening penetration of the Turks into the interior of the country as a historical inevitability to which the Serbian despots and the Duke resist the force of their tragic lives by preserving the Kosovo covenant.With the collapse of Serbian medieval states, historical tradition and epic poetry became the only integrative factor in the Serbian people, the most important members in the system of cultural communication, a way of spiritual survival and resistance to assimilation. Artistic organization in verbal metric patterns or colorful images - motives ensured durability to collective memory. Different foreign travel writers who pass through South Slavic countries, mostly from Vienna to Constantinople, in their precious records about the life and habits of the population, are just retaining themselves on this phenomenon. Benedikt Kuripečić, a Slovene originator, traveling between 1530. and 1531. as an interpreter of the Austrian mission, recounts part of the Kosovo legend in his Travelogue, mentions epic singing about Miloš Obilić in the distant parts of Bosnia and Croatia, and the production of new songs. At a time when the Turks occupied all the major cities of the Serbian country, Kuripečić actually leaves a document on poetry and tradition as a defense against the pressure of the Ottoman force.Epitaph of the tombstone, the stećak duke of Radosav Pavlović in Rogatica, carved in "Serbian scripts and in Serbian language", whether Kuripečić copied it himself, or even more, to record it according to the interpretation of his Bosnian interpreters and their epic idealization, is a kind of confession, but also an oral, epic way of thinking or a glimpse of the world: "I am the Duke of Pavlović of Radosala, the lord and prince of this country, I am lying here in this grave: while the Turkish people could not give me life, no gifts, not great force with m I did not think that I would give up my faith... "
The entire period from the 15th to the beginning of the 19th century is filled with the constant renewal of the epic memory of the existence of once famous and powerful Serbian Serb medieval states, as well as the continuous actions for liberation within the framework of the possibilities. The guerrilla struggle against the Turks leads the hay to the entire area inhabited by the Serb population, in two forms: the hajduk, within the occupied land, and in the Uskoplje, in its border areas, along the whole landscape, from Varaždin and Karlovac in the north, and through Senj, Udbina, Kotar , Makarska and Gabele in the south, to Boka Kotorska and Montenegro. Later, by suppressing the Turks, the Military Krajina spreads along Sava, Tisza and Morisa, all the way to northern Banat, and a special border army is organized.This hairstyle and Uskok hero of everyday life does not differ in its essence, but it has different forms of action, as is evident in the songs.Leaving completely completely to themselves in the depths of the enslaved country, after the Turkish occupation of Serbia and Bosnia and Herzegovina, the hajduci organize troops of ten to forty guerrillas. They stay in the mountains from spring to autumn ("They went about the Đurđevo dank, / They stayed up to the Mitrov dank, / The leaf goes down, and the snow falls"). They attack Turkish caravans, take away treasure; from time to time appear in their neighborhood or village. In their protection against persecutions, the whole population is engaged, from the hostages - the host who receives them to the conclusion to the nuns in the hans, where the roads are crossed and exchanges notifications. Maintaining a tight group conspiracy is also a major factor in their survival.However, for the narrow, however, some kind of flock are represented by foreign Christian states, Venetians and Austria, within which, on the territory of the Krajina, they live as a professional army. Their duty is to guard the borders of the Turks' penetration, as well as to organize larger rallies against them. Unceasingly ready for war, luring their lives for the "common Christian thing", they simultaneously see the escalating struggle against the Turks as an opportunity for the liberation of their own people.Archival material provides information about their difficulties, their disobedience and their independence, their families' troubles, the efforts of the Catholic clergy to translate them into Catholicism, the dependence of their position on the political relations of the great powers, the communication of the most famous Kotar junction of Stojan Janković with patriarch Arseny Čarnojević.In countless megdanes between famous Christian heroes and celebrities of the Muslim peoples, praise goes to both of them, but the epic victory depends on what song it is. (In time, musical epic poems, getting into the hands of professional singers, will get special compositional shapes and become much longer.)Rape and abduction, dressings and bets, stammering and dungeon liberation are the basic corporeal fund of Jockey songs, which relies heavily on international motives, but with very pronounced local and national coloring. Thus, the song of the Slavs Janković Stojan, stimulated by a real historical event, is included in the international form of the return of a long-absent husband to his house on the day his wife rebels (a form that received his most famous accomplishment in Homer's Odyssey). "Knight Janko, famous all over the world for his famous works in Dalmatia", characterized by a contemporary German historian, was really in the prison of Constantinople, and, having escaped by escape, he returned to his tower in Ravni kotari.The song from the Vuk collection is a vivid, synthetic picture of the environment in which the singer creates, transmits and preserves the entire social and moral system of Serbian civilization. A series of brilliant metaphorical scenes, in which triumphs the perfect idyllic harmony of the patriarchal family, was crowned with an open, initial satisfaction of the ethical codex - Stoyan's offering to the sisters of the damaged male. Thus, opposite Odyssey, there is no killing of the friars.Hajdučka, which existed both in our time and in the Slavic times in the Balkans, as well as in many countries and historical epochs, existed as a deviation from the law, became a common phenomenon in the 16th century after the Turkish conquest of Serbia and Bosnia and Herzegovina. One of the best, most convincing and accurate explanations of both the social and the historical and political phenomenon of Hajduk, is through the poem the most famous brigand leader - the epic figure Starina Novak. He regrets the killing and "ransom" ("I was a man poor") and in deep simplicity reveals the brigand's family as coercion ("it was for me angry anger") and as a self-defense against the lure of Turkish masters. From the peasants it becomes a brigand, from the hosts - the protector of the people, from the homeless homeless man, to whom "a sword and a rifle and father and mother, two small cousins ​​and a second, / a fierce heart of love, / hard-faced soft head, ulster house to century ". From the oppressed man, a hero emerges "when he arrives and lies in a terrible place to exist".When the Turkish vigilance is described in detail, it is in direct function of glorifying the heroism and honesty of the brigand, as it is in the poem about the Old Man Vujadin, who endures the most difficult troubles, and not only does not give up his comrades but also encourages his sons to be courageous.


In the famous song from the Vuk's collection of revenge on Bećir-ag and the agitator, he calls himself an introductory scene of the torture of a young fairy-tale Little Radojica, whom the Turks are putting fire on their chests, they are bringing in a donkey's ass, and they kick the kids under their nails. The value of the poem is as much in praise of his courageous endurance as his deep human masculine weakness towards female beauty. She can not resist before her. When the "Hajkuna đevojka" appears, he stops and is dead, he forgets the only possibility of his rescue - that the "dead", brought out of the prison, can escape. Humor is relieving the scene. Brigand "watches with his left eye, and he / she starts to smile with a smile", the girl covers him with a handkerchief and instructs his parents to throw him into the sea. And while for the first time in nine years Bećir-aga with a wife a peaceful dinner and a rasping about the joyous knowledge that he finally got rid of a brigand who so touched him, a young warrior eavesdropping a conversation under the window, falling into the room and bloody shining, then from the prison he released his comrades and married a beautiful girl.National epic poems have seen in the brigand's the protectors of the national rights, the avengers who brought disrepute to the Turks, the apostates of the law, but the alien, the occupying one.The most popular Serbian hero Kraljević Marko, whose fame spread in all the South Slavic nations, also took the form. Living his epic life for more than three hundred years, mostly under Turkish rule, precisely at the time of the Brigand's work, he inevitably gets in the epic poetry of a hajduk characteristic trait ("All the Turks' Marko added"). In history, he was the son of the most powerful Serbian landowner and ruler of the emperor Uros Nemanjić - king Vukašin Mrnjavčević, Marko became a Turkish vassal after the victory of the Ottomans on Marica in 1371 and as a vassal died in the Battle of Rovinj in 1394 fighting the Christian, the Vlach Duke of Mirce. That the way the Serbian royalist performed his vassal duty could help shape his epic figure as a national protector show two facts. The first one is archive. The Markov region was protected from the fall of the Turkish naval cavalry. The other is literary-historiographical. A well-informed writer, Constantine Filozof, showed him in the beginning of the 15th century as an unwilling vassal who, before his death, said: "I ... I ask the Lord to be an assistant to the Christians, and let me be the first among the dead in this war."Hence motives in the poems that Marko abolished the tax imposed by the Turks on the marriage of a Serbian girlfriend, could be the reason for the hanging of the oppressors of the people of Đeme Brđanin. That is why Marko plows the imperial roads and thus prevents the Turks from moving through the Serbian country, and therefore violates the regulations of the Turkish sultan and at the time of Ramadan does everything that is the opposite, and then the imperial emperor is justified: "If I drink along the rammed wine, , / faith brings me. " Therefore, in the bugarštica, while remaining faithful to its religion, Macro, by the mother council, goes first to the married idols ("He goes to Kraljević to these churches of St. Petka"), and only then responds to the Sultan's call for war against the Arabs, perfectly aware that Emperor, as a vassal, is necessary.This great, lively loner connects various periods of Serbian history with his character.

 In the non-Roman period, Marko appears as a protector of the legitimacy of the imperial line and the guardian of the "poor Uroš", the son of Emperor Dušan. In the famous poem about Uroš and Mrnjavčević, he opposes the birth father and uncle who are trampling on the other's empire, and he hears his mother Jevrosim, whose honorable councils are given an exemplary function ("Do not, son, speak wrong, (Not by babe, nor by uncle , / Already by the justice of God the true! / Do not, son, lose souls: / it is better for you to lose your head, / Throw your soul over! ")The macro in folk tradition is different with all the more important epic heroes of different times or opposes them and, by their presence, becomes a measure of the importance of these heroes and these events, until the liberation wars. It appears in all kinds of folk oral creations, lyric poems and ballads, epics and mythical and historical works, proverbs and proverbs. Mark's poetic biography becomes a kind of frame of psychological traits of the whole nation, the synthesis of the usmenopoietic experience of myth, history and everyday reality and, finally, a magnetic field for international motives, on which such biography is built.The epic rebellion - preceded by poems about freedom fights in Montenegro and which speaks of the Serbian liberation uprising against the Turks in the early 19th century - is an undeniable continuation of the epic of the Haydn, but its basic ideological support for poetry about the Kosovo color. Mahom was shaped by one of the most famous folk singers of Vukovo's time, the witness of the guslar Filip Višnjić. Epising the real heroes of his time, he brought them into immortality, succeeding at the same time to realize a life-long poetry about the peasants and princes of peasants who feel invited to finally release Serbia from the Turks to establish a new state that will, after more than four centuries, represent an extension of the old . Not by accident, because, as one great Serbian anthropogeographer, Jovan Cvijić noted, once every Serbian peasant felt the descendants of that nobility who died in Kosovo. This closeness to the Kosovo epic has been consistently carried out in stylistic and expressive procedures, for example, in verses about the number of Turkish armies (Kon kon toj, hero to hero, / Battle of the Canoe Mountains, / Everything is waving in the field of barrios, / kano hurts in the sky clouds). This closeness is also preserved in motive patterns, in the blessing of Milos by Pocerre, the name of the celebrated Kosovo knight Miloš Obilić ("Happy, Pocerac Miloš, / Your hand is dedicated to the hand / Who knows how to kill Meh, / To all the Turks of the brave head"). The songs are also connected in one whole, but, with the complete self-sacrifice of the hero, the epic of the uprising of the epopeus of optimism, with a vision of the final liberation of Serbian countries. Filip Višnjić will shape his great, awakened hope Hope in the inspired verses that he will put in the mouth of Karadjordje; "Drino vodo, plemenita međi, / Između Bosne i između Srbije, / Naskoro će doći vrijeme / When i will and you will cross / Honest Bosnia will go!"The direct cause for the uprising, the cutting of the princes and the discovery of the plan dahi to cut all the Serb officers, and then all the men older than fifteen years old "also bite the sword handed over", Filip Višnjić, with excellent knowledge of historical data, turned into a monumental song Beginning a Rebellion Against dahija. It provides a whole concept of the uprising, inexorably realistic, with its raw but also bright images. By achieving the hardest for epic poetry, Višnjić shaped the panorama of the event, and the overall unsustainable movement of the masses showed greatly found in the comparison of nature ("Mouth of Paradise as from the Land of Grass"). By pointing to the pregnant associations, he explained the moment of decision ("Because the blood of the earth has expired").

And the other songs that make up this whole epic make up the chronicle of the uprising. They faithfully record the topography of the battles and their course, representing a reference to Serbian warriors, but also give their convincing psychological portraits, starting from Karađorđevo to one of the noblest figures and Serbian history and Serbian epic - Prince Ive of Semberija, who buys slaves from the Turks at the price life impoverishment.Sometimes a raw picture book of bloody scenes, the ethics of buns is less a vengeance on the Serbian victory than a philosophical overtaking of events, an understanding of the sufferings of the opponents acquired by their own bitter experience. There is also the size of the song "Boj na Mišaru", in which the confession to the dead Turkish leaders is merged with compassion for Kulin's widow.

Lyrics

 

Lyrical folk poetry represents a very complex, oral art of the word. Only by carefully scattering revealing the hidden layers of very old views on the world, representing the survivals, grew into artistic design and extended to live alongside newer motifs.For Serbian oral lyric poetry it is characteristic to express feelings through external events, mostly indirectly, in the earliest times, expressing the wishes, pleasures, joys and sorrows of the collective, and later individual emotions. Always in conjunction with some other art - music, play, movement, mimics, but with all these arts together, folk lyrical song is part of everyday life.It was created in the function of cattle and agrarian magic, connecting with the world of stihija and deity, was a clash with ancestors; it is also an emotional expression of the life flow of each individual, from birth to death, the testimony of erotic and love yearning, and therefore appears in so many different forms: ritual and family, mythological and Christian, poetic and love.The rituals, which today are mostly dead, follow the agricultural calendar, according to the time of sowing and harvesting of the fruits, follow the natural cycle and bind to the position of the Sun, its birth, strengthening and dying.Family rituals according to the contemporary division, for their part, follow the same, now the human life cycle - births (lullabies), maturation (wedding songs) and death (lawsuit), and within that the circle of various events that were touched in everyday condition conditioned and historical and social events.The classic Serbian folk lyricism, in the form in which it came to us, is primarily a lyrical village, first of all, an expression of the various forms of patriarchal culture that has existed for centuries in our subjection.The patriarchal cooperative, in which the contents of most of the lyric songs are in existence, limits the possibilities of the woman's affection. "Women's Songs" show in the proverbial conciseness of the demands placed before it. These demands, however, are always purely ethical, never material. The bride is supposed to bring every good thing to the groom's house "and the most herbs from the umbrella / that is the quiet house they will be in." "Be, my daughter-in-law, good ones, these are gifts", the request is which the groom's family repeats in the wedding songs, and he, on the other hand, harmonizes with the belief of the poor bride: "if they are the genus of the gospel / they will receive a flower for gifts" .Although some of the poems speak of poverty, sometimes with grief, sometimes with spiritual sarcasm, there is no trace of it in the classical, classical subjugation, of dependence on the master. Even forcible, painstaking collective work, about which he has data in Serbian medieval monuments, did not find a place in folk lyrical poetry. He is noteworthy as difficult only in terms of forced labor under Turkish masters. Social problems are fully covered by national ones.The songwritings are kept on socializing, on the mob as co-operative, voluntary help for everyone, and collective work turns into a wily competition, in the spanking of a boy and a girl, in praise of loyalty and endurance (Nadžneva's boyfriend and girlfriend, / guy on the eve of the twenties three beams, a girl twenty and four / In the morning, it was daydreamed, / the boy is lying, his head is not rising, and the girl is a tiny link of the connection!).The indirect, distant way of expressing the Serbian lyric poem, as it has been noted many times, has appeared in complete permeation and unity of content and form. The event, which in lyrical poetry was only a means of shaping emotions, required searches for the singers with the most suitable comparative story or description that would express that emotion.In the poem from the manuscript of the unknown Peraštanin, "Đevočica pelen reads ... passes a tiny rose" and a double symbolic - acts and meanings - reveals his mental state. Losing in the war of an elder is forced to marry the innocent.

Even a monologue, which should be the most suitable form for the direct expression of feelings, in the folk lyrical poem very often represents only the manifestation of an imaginary event in which the feelings are objectified ("I like to go by the mountains to go, / toss the tooth, / cold stone under the head to throw, / neg 's inexperienced walking yard, / sugar to eat, in silk sleep ").In the abundance of the motif of the Serbian folk lyric, one should emphasize the often repeated motive of the infinite love of the sister towards the brother, the tender relation of the daughter-in-law and the lady, the rise of the girl's honor, which illuminates the bright side of the patriarchal culture.Although the poetry of the set is predominant, there are also songs about a lively passionate passion, a spiritual rush and a defiant challenge of a boy and a girl, a rebellion against conventions. In many songs, the joyful feeling of life prevails. The songs depend not only on time but also on the place where they were created (they are more sensual in southern and eastern Serbia, bold words in cities).The great versatility of verse, from four to six, the Serbian lyric has three basic structural types: monologic, dialectical and narrative-descriptive, which are replaced or completed, and it depends on whether the lyric poem will be one-member, two-member or three-piece compositions. A special kind of lyric poems, the so-called beacons, consisting of only two ten-cent lines of a bright, cramped and embarrassing tone ("Goes dude  and raise your head / shut your nose on a long branch").Indivisible of the nature and climate, but also of the culture, religion and history of the Serbian people, surviving on the border of various civilizations, Serbian lyrical poems, as Grim observes, "unite the benefits of Oriental and Western lyricism." "It's their being," says Grim, "completely European, and only by the tone and richness of thought ties ... they resemble an oriente, but do not stun them. They have the smell of roses, and certainly not of oily oil." 


Prose forms

 

With its basic characteristics, the prose oral tradition fits into the international system of genres and can be divided into two basic categories - the category of stories (stories about animals and fables, fairy tales, religious stories, novels, humorous stories and anecdotes) and the category of surrender (mythological, etiological, historical and cultural-historical and legends - parts of folklorised, apocryphal and canonical biographies of saints). To this, a rich repertoire of the forms accepted in the recent science of folklore should be added, which, to a great extent, putting only the narrative process into the foreground, accepted in its cover and all those achievements that move within the frames of reproducible syntax and composition structures.A rather close concept of the genre as the "ideal" model of the species, precisely because they formed centuries within the framework of the only continuous literary-poetic system, the oral forms of this model followed, but also changed, interpenetrated, acting as a dynamic construction. The characteristic of almost all kinds of stories is a tendency toward realism and towards historicism, even in those forms that tend to artistic fictionalism, such as fairy tales.Thus, for example, in a fairy tale about Cinderella, a meeting with a caretaker occurs in the village church during the "summer party". The typical structure of the fairy tale about the departure of the main character in the faraway space, where he needs to perform "unresponsive" tasks, is objectively narrowed down to the Serbian border, which, in order to free the eternal guard at the border between Austria and Turkey, Christianity and Islam, devious hair ".Going into the world of adventure in a well-known international type of story of an animal fleeing from a cruel master, and joined by other battered animals, was speculated in the Serbian version by dumping animals in the hajduks as the only possibility of defending themselves against evil.A higher power, which in religious narratives checks the behavior of people, encounters with them in this world and rewards or punishes them according to the Christian and national codex, often appears as a national saint, for example, St. Sava. For Serbian oral literature, it is characteristic that many typical prose types are expressed in epic verse, and that the heroic-ethical component gets its concentrated, sometimes family expression in a warrior-patriarchal anecdote. Witty verbal rallies, insults, wise answers to the questions asked, which often lead the action in a novel, in a funny story are the basic motive tissue.The humorous story appears in a series of flexible forms, from humorous play to words to a staging in which the humor of the situation, nature and characters is expressed. As representatives of national psychology, but also the bearers of only one universal trait, this was wisdom, stupidity, corruption ... typical characters appear in potent situations, in which these qualities will come to the best expression. The most famous is the national character of the character Era, a farmer who wins over an opponent (most often Turk, but also various representatives of the authorities) gets his mind and tough persistence.
Realistic, and a kind of "surrealistic" humorous corpus includes a large number of different forms of stories that are still being created (anecdotes, jokes, life stories).
The lectures represent a special oral history of the human and national spirit. They clarify and interpret everything that has arisen and survive both on the spiritual and the material plane, and striving for conviction, ties to places and invite witnesses and eyewitnesses to confirm the truthfulness of the narrative. The starting assumption on which the traditions are based - that neither narrator nor listeners should doubt their credibility - demanded a special form of artistic design.
By communicating through the drastic patterns, emotionally colored images - motifs, adopted in the tradition, which expresses a national opinion on a historical event or character, the historical tradition presents it as an authentic, cultural-historical fact. By gaining its figurative character, national thinking as such is sustained and transferred from generation to generation by identifying with the pattern that is being expressed. Always under a certain emotional charge, often with the elements of mythic, the historical tradition connects listening to the ancestors. In Serbian tradition, highly developed, historical traditions play an important role in preserving national identity and self-awareness. Such are the teachings of Marko Kraljević, his supernormal power, the acquisition of power, the selection of horses, and his traces throughout the country, which "prove" the truthfulness of the narrative about him or the holy Sava and the Holy Simeon, who, like ancient gods or Christian angels, appear in battles in front of the regiments, protect the warriors of their people and enable them to win. On the other hand, such are the lessons of negative heroes. The once-introduced painting of the treachery or the usurpation of a throne, murderer or traitor applied to a certain person is so firmly maintained in the tradition that it is difficult to suppress the naked historical facts. Thus, Vukašin Mrnjavčević remains the killer of the "poor Uroš", the son of Emperor Dušan and the Crown Prince of the Serbian Empire, and Vuk Branković - the term traitor.
Demonological lectures by short staging dramatize beliefs in supernatural beings (from an international or national catalog), giving their portrait and behavior in meeting people; Within the framework of international schemes these lectures concretize the ambience. In the interweaving of historical and cultural-historical traditions and epic poetry, demonological traditions contribute to the remitologization of the heroic world, which is historically predominant in Serbian tradition.
A very widespread etiological tradition, to which the interpretation of the origin of phenomena and "things" in nature and society is a basic function, whereby the mere existence of a phenomenon serves as proof of the "truthfulness" of the narrative, and also relies on historical works on one's own part. Thus, according to a number of varieties, the cow birds became the sisters of Prince Lazar, who after the Kosovo killing were muttering for him.
 
It is worth mentioning that the lectures, which the Grimm brothers pointed out from the narrative category, emphasizing that the Marchen stories were poetic and the saga (sagen) was more historical, only in the middle of this century entered the focus of interest in European and American science, and for them only In 1963, an international division was adopted. Vuk Karadžić, however, anticipated this classification for more than a century ago. In his unpublished work for life - Life and customs of the Serbian people, a chapter under the title Belief in things that does not correspond to the demonological traditions of the European classification, the chapter on Becoming a Lady of things coincides with a group of etiological traditions, while the chapter under the title Heroes and Horses includes historical and cultural-historical lessons. Vuk Karadžić, an outstanding expert in oral writing, with a sense of its shape and function, presented the descriptive terminology of the essence of these categories, pre-advocated an international scientific team for the whole century.
The Vuk considers folk prose, as well as other oral creations, as an expression of the national spirit, but he also cares for the language in which this spirit is expressed and forming the forms. His life goal to set the national language at the base of the literary greatly dictated his attitudes towards the types of oral literature. Already in Vocabulary in 1818, Vuk has published more than twenty funny tales and lessons about the function of explaining certain words, in order to say, "He showed people what the word he is talking about and tells about." In the preface, the collection of stories from 1821, published in Vienna, in the suburbs of the first Serbian literary newspapers, will expand its minds: "Songs, puzzles and narratives (proverbs) are almost a national library that needs nothing more than it is faithful, and to collect it, but in the writing of the stories, one must think and set words (but not by their own tastes, but by virtue of the Serbian language ...). In this sense, Karadžić and the stylization of the story. How difficult it was, he complained further in the Dictionary.

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