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."
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.
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.
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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