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Title: An Anthology of Jugoslav Poetry; Serbian Lyrics
Editor: Beatrice L. Stevenson
Translator: John Bowring
Earl of Edward Robert Bulwer Lytton Lytton
James William Wiles
Release date: May 13, 2011 [eBook #36091]
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*** START OF THE PROJECT GUTENBERG EBOOK AN ANTHOLOGY
OF JUGOSLAV POETRY; SERBIAN LYRICS ***
AN ANTHOLOGY OF
JUGOSLAV POETRY
SERBIAN LYRICS
EDITED BY
Dr. B. STEVENSON STANOYEVICH
BOSTON
RICHARD G. BADGER
THE GORHAM PRESS
Copyright, 1920, By Richard G. Badger
All Rights Reserved
Made in the United States of America
The Gorham Press, Boston, U. S. A.
TRANSLITERATION OF UNUSUAL JUGOSLAV SCRIPT:
a = a in father, garden
e = e in men, envoy
i = i in tin, ill
o = o in son, note
u = u in rule, rumor
j = y in yoke, yes
c = ts in cats, lots
lj = ly in William, million
dj = dy in endure, verdure
gj = gy in George
nj = ny in Kenyon, opinion
č = tch in watch, catch
ć = ch in culture, literature
š = sh in ship, shade
ž = zh in azure, seizure
dž = dzh in Badger, or j in James
The rest of the letters correspond to the English sounds.
PREFACE
"Give me the making of a nation's songs, and let who will make their
laws," was the maxim of a Scottish patriot. We would prefer to
modify this rule, and say, "Give us the poems which the people make
for themselves, and then we shall obtain a clear insight into the
national character and learn what customs and laws they are likely
to accept or reject." Folk-songs are the intimate expressions of the
ideas of the people. What the comic drama is to the cultured, and
the music-hall to the ill-educated portions of urban population, the
popular song has been, and in some countries still is, to the rural
peasantry, a true exponent of their sentiments, though too
frequently inaccurate in statements of facts. Critics, as is well known,
have censured Lord Macaulay for his indiscriminate adoption of the
vulgar and often malignant rhapsodies sung in the streets of
London. But the Russian bylina, collected by Danilov, Rybnikov,
Sreznevsky and others, may be taken as furnishing unimpeachable
evidence of the state of Russia during the invasions of the Mongols
and Turks. The Jacobite poems give us the real feelings of the
people of Scotland for nearly an entire century. The popular and
rustic strains which are handed down from the reign of Henry III
have rehabilitated the memory of Simon de Montfort. Moore's Irish
melodies, originally composed for the delectation of English
aristocrats, have been so generally admired in his native land that
they exhibit pretty clear indications of what the Irish patriots would
like to do if they had the power. And the battle-hymn by Rouget de
Lisle is not only popular in France, but has recently been sung by the
Russian bolsheviki when marching to occupy Tsarskoe Selo and
other imperial lands.
The songs to which the English form has been given in the following
volume have been taken mostly from Vuk Karadžić's invaluable
collection: Srpske Narodne Pjesme (Serbian National Songs).
Karadžić, of whom the literary world has heard so much, is the
father of modern Serbian literature. He spent many years among the
peasants in collecting the national treasures: ballads, tales, proverbs,
anecdotes and other folklore. Before his time the songs had never
been reduced to written form, and were kept out of reach of the
public ear. He was only able to hear them partly because of a ruse
and partly in secret, when he listened with inexhaustible patience to
the girls spinning, or the guslars (bards) trolling in taverns and at
fairs, or the reapers chanting at their work. In the preface of his first
book of Srpske Narodne Pjesme Karadžić tells us that in Serbia two
sorts of popular poetry exist—the historical ballads, and popular
songs of a character which caused them to be described as ženske
pjesme (women's songs) chanted by country folk, both men and
women and mostly in duet. It is the latter, ženske pjesme, which
having been translated into English are gathered together in the
following anthology, Serbian Lyrics.
Sir John Bowring, who unveiled to his countrymen the rich treasures
of Slavic popular songs in general, is also distinguished by being the
pioneer to point out the Serbian in particular. But the claims, which
we, at the present day, feel ourselves entitled to make on a
translator, are very different from those current in Bowring's time.
Correctness and fidelity are now considered necessary requisites in a
good translation, just as antiquarian exactness is expected in the
publication of an old manuscript.
Jugoslav lyric poetry is divided into several groups, as, for instance,
one grouping contains poems concerning marriage. These songs tell
of the beauty of the bride, of her joy and sorrow before departure
from the home of her parents, as well as her feelings upon other
occasions during wedlock. There are poems belonging to the group
of bacchanalian songs, pronounced during the toast, and resounding
with many refrains. Then there are lamentations (tužbalice) which
are mostly provincial, from Montenegro and Dalmatia. They are also
accompanied by refrains, expressing sorrow after the death of some
loved one, and extolling the virtues of the deceased, or the great
misfortune felt by those left behind. All this emotion is described
very fitly and in a touching manner. Further, there are poems
commemorating the holy seasons and "red-letter days," as svečarske
pjesme sung on the Slava celebration of some svetac (saint). To the
same grouping belong Christmas poems hailing the glory of the
Christ, and depicting the customs of that season (koledo). Saints,
such as Sts. John, George, Peter, and others, have their own
eulogies. There are besides poems exalting the Holy Ghost (kraljičke
pjesme). Dodole, which originated from old customs of heathenism,
are sung during the summer droughts. Others are reapers' songs,
mostly sung at prelo time (social gatherings). There are poems that
are connected neither with marriage, nor death, nor harvests, but
which treat of mythological or religious subjects; they are called
pobožne, describing the spiritual virtues of the Virgin, or the Christ,
or the apostles. Here are also to be found humoristic and satirical
compositions, directed against women, or especially against monks,
widows, and old bachelors. They are as a rule sprightly songs and
piquant, pleasant and witty.
Critics who have written of the Serbian national songs declare that
they are characterized by extreme delicacy both of feeling and
workmanship, and that they are noble in their childlike purity, simple
treatment of, and sympathy with, every phase of natural human
experience. But these Serbian songs have quite a peculiar character
of their own. They are directly, passionately, fiercely human, and rich
with poetic sympathy. Love, glory, sorrow, death—are the themes
constantly handled in a thousand weird and poetic phrases. There is
a strong Indian flavor of the joy of rest in Mother Earth; and again, a
keen thirst for the fight which smacks of the men who lived with
Moslems around them. Although these chants occasionally recall
something of the martial lilt of old Spanish ballads, they have an
individual original turn which cannot be compared with any extant
popular poetry. They have the uncanny mystery of the Celtic tales of
love in death, which is very rare.
The love songs of the Jugoslav lands have a dreamy, calm and
exalted sweetness that reminds us of the Alps and the Cevennes.
Among these the Bosnian sevdalinke (love songs of Bosnia) are
especially worthy of remark, for they are full of emotion, yearning
and tender passion. The greater warmth of the songs of Herzegovina
and Montenegro is owing more to the sonorous language than to
any superiority in melody. Here are mostly to be found tužbalice. As
to Dalmatia, Croatia and Slovenia, their melodies are chiefly marked
by simplicity and a feeling for the domestic side of life. Bačka and
Banat, blessed with much open air and sunshine, possess no love-
songs in the strict sense of the term; but they have serenade and
poskočice, although for these there is little or no original melody. To
the light-minded and bright-witted singers of these provinces
imagination is easier than memory.
A country very rich in melody is Serbia. Here one may find a truer
and more intense musical feeling, a stronger love of the soil, and
more sincere devotion to the beauty of nature, especially of spring
and summer, than in any other part of Jugoslavia. The love songs of
Serbia seem to have a special inspiration of their own. We may hear
the shepherds singing in green pastures and among the fir-woods,
or in the silence of the mountains. From the vineyards, from the fair
and dances, and from the daily round of work the strains arise.
Everywhere that youth is seen a poem is heard, and every
occupation is accompanied by a song.
We cannot, however, leave this part of our subject without
mentioning some of the burlesque poems, which the Jugoslavs
possess in great number, partly narrative and partly lyric. The
Americans are accustomed to think of the Jugoslavs and their
kinsmen as grave and sombre, or, when their passions are excited,
prone to deeds of tragic violence. Those who are better acquainted
with them know full well that they are as loquacious and
sarcastically sportive in their social gatherings as any nation, and
many of their verses are redolent of these qualities. They display all
the gradations of the comic, from the diverting simplicity of the
innocent confession of an enamoured girl, together with the
ludicrous situation and disappointed vanity of her cheated lover, up
to a strain of bitter satire and merciless irony. Poems marked by that
simplicity which borders between the touching and the humorous
are also represented in this volume. Such is the song, "Trouble with
the Husband":
I married last year,
This year I repent.
Bad husband have I,
With temper like nettle:
My lot I resent.
The frost kills the nettle,
But this husband of mine,
He thinks the frost fine:
By the stove all day long
He does nothing but sit,
And says that the frost
He minds not one bit!
In Celovec 'tis market-day,
'Tis market-day to-morrow;
I will take my husband there,
And will either there him change,
Or else will sell him at the fair.
Not too cheap I'll let him go,
Because he was so hard to get;
Rather than too cheaply sell him,
Back home again I'll take the man,
And love him—howsomuch I can!
The western world has already heard of the rich mine of Jugoslav
folk-literature. Nevertheless, comparatively speaking, only a very
small number have been translated into English. The extreme
simplicity of these verses, the peculiar character of the Serbian
language, with its melodiously protracted words, its pompously
sonorous sounds, and its harmonious diffuseness, all render it
exceedingly difficult to translate Serbian lyrics without encountering
the danger of making constant additions; especially when rendering
it into a language with so many monosyllabic words, and so
philosophically condensed, as the English.
Milivoy Stanoyevich.
New York, 1920.
TABLE OF CONTENTS
poems translated by
SIR JOHN BOWRING
chapter page
I.The Curse 21
II. Farewell 23
III.The Violet 24
IV. Smilia 24
V. Harvest Song 25
VI. Maiden's Prayer 25
VII. Kisses 26
VIII. Harvest Song 27
IX. Curse 27
X. Salutation of the Morning Star 28
XI. The Knitter 29
XII. Royal Converse 30
XIII. Rosa 31
XIV. The Maiden and the Sun 31
XV. The Maiden's Wish 32
XVI. The Falcon 33
XVII. Deer and Vila 34
XVIII. Virgin and Widow 35
XIX. Nightingales 36
XX. The Ring 37
XXI. Fratricide 38
XXII. Love 40
XXIII. Maple Tree 40
XXIV. Semendrian Beauty 41
XXV.Self-Admiration 42
XXVI.Assignation 42
XXVII. Foolish Vow 43
XXVIII.Vilas 43
XXIX. Lepota 44
XXX. Imprecations 45
XXXI. Secrets Divulged 46
XXXII. Wishes 47
XXXIII. Lover Asleep 47
XXXIV. Early Sorrows 48
XXXV. The Young Shepherds 49
XXXVI. Thoughts of a Mother 51
XXXVII. Counsel 52
XXXVIII. Desolation 52
XXXIX. Apprehension 53
XL. Milica 54
XLI.The Choice 55
XLII. For Whom? 55
XLIII.Liberty 56
XLIV. The Dance 57
XLV. Elegy 58
XLVI. Inquiry 59
XLVII. Doubt 60
XLVIII. The Sultaness 61
XLIX. Betrothing 61
L. Cautions 62
LI. Maiden's Cares 63
LII. Mohammedan Song 65
LIII. Mine Everywhere 65
LIV. Maid Awaking 67
LV. Mother's Love 67
LVI. The Greybeard 68
LVII. Mohammedan Tale 69
LVIII. Love's Difficulties 71
LIX.Witches 72
LX. Pledges 72
LXI.Complaint 73
LXII. Song 74
LXIII.Mohammedan Song 74
LXIV. Brotherless Sisters 75
LXV. Misfortunes 76
LXVI. Timidity 77
LXVII. Youth Enamoured 78
LXVIII. Black Eyes and Blue 79
LXIX. The Widow 80
LXX. Alarms 80
LXXI. Fond Wife 81
LXXII. Unhappy Bride 81
LXXIII. Last Petition 82
LXXIV. Love for a Brother 83
LXXV. Rebuke 84
LXXVI. Man's Faith 85
LXXVII. Maiden's Affection 85
LXXVIII. Marriage Songs 86
LXXIX. Heroes Served 89
LXXX. Youth and Age 89
LXXXI. Choice 90
LXXXII. Anxiety 91
LXXXIII. Inquiry 91
LXXXIV. Frozen Heart 92
LXXXV.Union in Death 92
poems translated by
EARL OF LYTTON (OWEN MEREDITH)
LXXXVI.Love and Sleep 93
LXXXVII. Love Confers Nobility 95
LXXXVIII.A Soul's Sweetnes 95
LXXXIX. Reminiscences 96
XC. Sleep and Death 97
XCI. Imperfection 98
XCII. Emancipation 99
XCIII. Plucking a Flower 100
XCIV. A Wish 102
XCV. A Serbian Beauty 102
XCVI. Sleeplessness 103
XCVII. A Message 104
XCVIII. Transplanting a Flower 104
XCIX. Isolation 105
C. Fatima and Mehmed 106
poems translated by
J. W. WILES, M.A.
CI. Morava Horses 107
CII. The Girl and the Grass 108
CIII. The Sun and the Girl 108
CIV.Curse and Blessing 109
CV. The Nicest Flower in the World 110
CVI. The Pretty Tomb 111
CVII.Toda and Her Fate 112
CVIII. The Vila 113
CIX. Three Roses 113
CX. Her Dream 114
CXI. Trouble with the Husband 115
CXII. The Peacock and the Nightingale 116
CXIII. The First Toast 116
CXIV. The Hodža 117
CXV. Woes 118
CXVI. Hard to Believe 119
CXVII. The Conditions 119
CXVIII. Prayer Before Going to Bed 120
CXIX.Vision Before Sleep 120
CXX. Prayer in the Field 121
CXXI.A Child in Heaven 121
CXXII. Christmas 122
CXXIII.Christ Thinks of His Mother 123
CXXIV. The Blessed Mary and John the Baptist 124
CXXV. The Holy Mother 125
CXXVI. Dream of the Holy Virgin 126
CXXVII. Mother at the Tomb of Her Son 127
CXXVIII. Mother Over Her Dead Son 128
CXXIX. Mother's Lament for Her Son 129
CXXX. Greatest Grief for a Brother 130
CXXXI. The Death Chamber of Her Father-in-Law 131
CXXXII. Koledo 132
CXXXIII. A Horse's Complaint 133
CXXXIV. A Dance at Vidin 134
CXXXV. The Price 135
CXXXVI. Preferences 135
CXXXVII. A Bride's Devotion 136
CXXXVIII. Fidelity 136
CXXXIX. A Sister's Lament 137
poems translated by
BEATRICE STEVENSON STANOYEVICH, Ph.D.
CXL. The Prayer of Karageorge's Lady 138
CXLI. Thou Art Ever, Ever Mine 139
CXLII. Sea Merchant 139
CXLIII. Angela as Watchman 140
CXLIV.A Lad and His Betrothed 140
CXLV. Direful Sickness 141
CXLVI. All as it Should Be 141
CXLVII.Beauty Preens Herself 141
CXLVIII. Harvest Song 142
CXLIX. Long Nights 142
CL. Eyebrow Lure 143
CLI. Girlhood 143
CLII. Youth with Youth 144
CLIII. Come my Lover, to Me 144
CLIV. Sighs 145
CLV. A Bouquet of Little Roses 145
CLVI. Dream Interpretation 146
CLVII. With Sweetheart Nights are Shortest 146
CLVIII. Dawn Awakened Lazar 148
CLIX. A Devilish Young Matron 148
CLX. Girl is Eternal Possession 149
CLXI. Jovo and Maria 150
CLXII. Rose Tree 150
CLXIII. Darling's Wrath 151
CLXIV.Lad Pierced with Arrow 151
CLXV. Nought but Kisses 152
CLXVI. United 152
CLXVII.Girl Pleads with Jeweller 152
CLXVIII. Wife Dearer than Sister 153
CLXIX. Greatest Sorrow 154
CLXX. Youth and Girl 154
[1]
THE CURSE
I heard a sprightly swallow say
To a gray cuckoo t'other day,—
"Thou art a happy bird indeed;
Thou dost not in the chimney breed,
Thou dost not hear the eternal jarring,
Of sisters and step-sisters warring;
Their woes and grievances rehearsing,
Cursing themselves, and others cursing."
A young step-sister once I saw,
Foul language at the elder throw;
"Perdition's daughter! hence depart;
Thou hast no fruit beneath thy heart."
And thus the elder one replied:
"Curse thy perverseness and thy pride!
Mihailo is a son of thine;
Now thou shalt bring forth daughters nine,
And madness shall their portion be.
Thy son shall cross the parting sea;
He never shall return to thee,
But, bathed in blood and wounded, pine!"
[2]
And thus she cursed;—the curse was true;
Her sister's nine fair daughters grew;
And madness seized them,—seized them all:
Mihailo,—far away, and wounded,
By solitude and woe surrounded,
I heard him on his mother call:
"O mother! mother! send me now
A bandage of that snowy linen
Which you so thoughtlessly were spinning,
When curses wander'd to and fro.
In your rage you wove it,—now remove it;
Tear it for bandages, as you tore
Love and affection all asunder.
Where it was bleach'd thy son lies under;
With it cover his hot wounds o'er.
Rend it, mother; and send it, mother!
May it thy suffering son restore!"
S. J. B.
II
[3]
FAREWELL
Against white Buda's walls, a vine
Doth its white branches fondly twine;
O, no! it was no vine-tree there;
It was a fond, a faithful pair,
Bound each to each in earliest vow—
And, O! they must be severed now!
And these their farewell words:—"We part—
Break from my bosom—break—my heart!
Go to a garden—go, and see,
Some rose-branch blushing on the tree;
And from that branch of rose-flower tear,
Then place it on thy bosom bare;
And as its leaflets fade and pine,
So fades my sinking heart in thine."
And thus the other spoke: "My love!
A few short paces backward move,
And to the verdant forest go;
There's a fresh water-fount below;
And in the fount a marble stone,
Which a gold cup reposes on;
And in the cup a ball of snow—
Love! take that ball of snow to rest
Upon thine heart within thy breast.
And as it melts unnoticed there,
So melts my heart in thine, my dear!"
S. J. B.
III
[4]
THE VIOLET
How captivating is to me,
Sweet flower! thine own young modesty!
