Literature.
“Servian popular Poetry, translated by John Bowring,” 1827.
It is an item of “Foreign Occurrences,” in the “Gentleman’s Magazine,” July, 1807, that a firman of the grand signior sentenced the whole Servian nation to extermination, without distinction of age or sex; if any escaped the sword, they were to be reduced to slavery. Every plain matter-of-fact man knew from his Gazetteer that Servia was a province of Turkey in Europe, bounded on the north by the Danube and Save, which separate it from Hungary, on the east by Bulgaria, on the west by Bosnia, and on the south by Albania and Macedonia; of course, he presumed that fire and sword had passed upon the country within these boundaries, and that the remaining natives had been deported; and consequently, to render the map of Turkey in Europe perfectly correct, he took his pen, and blotted out “Servia.” It appears, however, that by one of those accidents, which defeat certain purposes of state policy, and which are quite as common to inhuman affairs, in “sublime” as in Christian cabinets, there was a change of heads in the Turkish administration. The Janizaries becoming displeased with their new uniforms, and with the ministers of Selim, the best of grand signiors, his sublime majesty was graciously pleased to mistake the objects of their displeasure, and send them the heads of Mahmud Effendi, and a few ex-ministers, who were obnoxious to himself, instead of the heads of Achmet Effendi, and others of his household; the discontented therefore immediately decapitated the latter themselves; and, further, presumed to depose Selim, and elevate Mustapha to the Turkish throne. According to an ancient custom, the deposed despot threw himself at the feet of his successor, kissed the border of his garment, retired to that department of the seraglio occupied by the princes of the blood who cease to reign, and Mustapha, girded with the sword of the prophet, was the best of grand signiors in his stead. This state of affairs at the court of Constantinople rendered it inconvenient to divert the energies of the faithful to so inconsiderable an object as the extinction of the Servian nation; and thus Servia owes its existence to the Janizaries’ dislike of innovation on their dress; and we are consequently indebted to that respectable prejudice for the volume of “Servian popular Poetry,” published by Mr. Bowring. We might otherwise have read, as a dry matter of history, that the Servian people were exterminated A. D. 1807, and have passed to our graves without suspecting that they had songs and bards, and were quite as respectable as their ferocious and powerful destroyers.
Mr. Bowring’s “Introduction” to his specimens of “Servian popular Poetry,” is a rapid sketch of the political and literary history of Servia.
“The Servians must be reckoned among those races who vibrated between the north and the east; possessing to-day, dispossessed to-morrow; now fixed, and now wandering: having their head-quarters in Sarmatia for many generations, in Macedonia for following ones, and settling in Servia at last. But to trace their history, as to trace their course, is impossible. At last the eye fixes them between the Sava and the Danube, and Belgrade grows up as the central point round which the power of Servia gathers itself together, and stretches itself along the right bank of the former river, southwards to the range of mountains which spread to the Adriatic and to the verge of Montengro. Looking yet closer, we observe the influence of the Venetians and the Hungarians on the character and the literature of the Servians. We track their connection now as allies, and now as masters; once the receivers of tribute from, and anon as tributaries to, the Grecian empire; and in more modern times the slaves of the Turkish yoke. Every species of vicissitude marks the Servian annals—annals represented only by those poetical productions of which these are specimens. The question of their veracity is a far more interesting one than that of their antiquity. Few of them narrate events previous to the invasion of Europe by the Turks in 1355, but some refer to facts coeval with the Mussulman empire in Adrianople. More numerous are the records of the struggle between the Moslem and the Christian parties at a later period; and last of all, they represent the quiet and friendly intercourse between the two religions, if not blended in social affections, at least associated in constant communion.”
Respecting the subject more immediately interesting, Mr. Bowring says—
“The earliest poetry of the Servians has a heathenish character; that which follows is leagued with Christian legends. But holy deeds are always made the condition of salvation. The whole nation, to use the idea of Göthe, is imaged in poetical superstition. Events are brought about by the agency of angels, but the footsteps of Satan can be nowhere traced; the dead are often summoned from their tombs; awful warnings, prophecies, and birds of evil omen, bear terror to the minds of the most courageous.
“Over all is spread the influence of a remarkable, and, no doubt, antique mythology. An omnipresent spirit—airy and fanciful—making its dwelling in solitudes—and ruling over mountains and forests—a being called the Vila, is heard to issue its irresistible mandates, and pour forth its prophetic inspiration: sometimes in a form of female beauty—sometimes a wilder Diana—now a goddess, gathering or dispersing the clouds—and now an owl, among ruins and ivy. The Vila, always capricious, and frequently malevolent, is a most important actor in all the popular poetry of Servia. The Trica Polonica is sacred to her. She is equally renowned for the beauty of her person and the swiftness of her step:—‘Fair as the mountain Vila,’ is the highest compliment to a Servian lady—‘Swift as the Vila,’ is the most eloquent eulogium on a Servian steed.
“Of the amatory poems of the Servians, Göthe justly remarks, that, when viewed all together, they cannot but be deemed of singular beauty; they exhibit the expressions of passionate, overflowing, and contented affection; they are full of shrewdness and spirit; delight and surprise are admirably portrayed; and there is, in all, a marvellous sagacity in subduing difficulties, and in obtaining an end; a natural, but at the same time vigorous and energetic tone; sympathies and sensibilities, without wordy exaggeration, but which, notwithstanding, are decorated with poetical imagery and imaginative beauty; a correct picture of Servian life and manners—every thing, in short, which gives to passion the force of truth, and to external scenery the character of reality.
“The poetry of Servia was wholly traditional, until within a very few years. It had never found a pen to record it, but has been preserved by the people, and principally by those of the lower classes, who had been accustomed to listen and to sing these interesting compositions to the sound of a simple three-stringed instrument, called a Gusle; and it is mentioned by Göthe, that when some Servians who had visited Vienna were requested to write down the songs they had sung, they expressed the greatest surprise that such simple poetry and music as theirs should possess any interest for intelligent and cultivated minds. They apprehended, they said, that the artless compositions of their country would be the subject of scorn or ridicule to those whose poetry was so polished and so sublime. And this feeling must have been ministered to by the employment, even in Servia, of a language no longer spoken; for the productions of literature, though it is certain the natural affections, the every-day thoughts and associations could not find fit expression in the old church dialect:—
“The talk
Man holds with week-day man in the hourly walk
Of the mind’s business, is the undoubted stalk
‘True song’ doth grow on.”
“The collection of popular songs, Narodne srpske pjesme, from which most of those which occupy this volume are taken, was made by Vuk, and committed to paper either from early recollections, or from the repetition of Servian minstrels. These, he informs us, and his statement is corroborated by every intelligent traveller, form a very small portion of the treasure of song which exists unrecorded among the peasantry. How so much of beautiful anonymous poetry should have been created in so perfect a form, is a subject well worthy of inquiry. Among a people who look to music and song as a source of enjoyment, the habit of improvisation grows up imperceptibly, and engages all the fertilities of imagination in its exercise. The thought which first finds vent in a poetical form, if worth preservation, is polished and perfected as it passes from lip to lip, till it receives the stamp of popular approval, and becomes as it were a national possession. There is no text-book, no authentic record, to which it can be referred, whose authority should interfere with its improvement. The poetry of a people is a common inheritance, which one generation transfers sanctioned and amended to another. Political adversity, too, strengthens the attachment of a nation to the records of its ancient prosperous days. The harps may be hung on the willows for a while, during the storm and the struggle, but when the tumult is over, they will be strung again to repeat the old songs, and recall the time gone by.
“The historical ballads, which are in lines composed of five trochaics, are always sung with the accompaniment of the Gusle. At the end of every verse, the singer drops his voice, and mutters a short cadence. The emphatic passages are chanted in a louder tone. ‘I cannot describe,’ says Wessely, ‘the pathos with which these songs are sometimes sung. I have witnessed crowds surrounding a blind old singer, and every cheek was wet with tears—it was not the music, it was the words which affected them.’ As this simple instrument, the Gusle, is never used but to accompany the poetry of the Servians, and as it is difficult to find a Servian who does not play upon it, the universality of their popular ballads may be well imagined.”
While Mr. Bowring pays cheerful homage to a rhyme translation of a Servian ballad, in the Quarterly Review, No. LXIX. p. 71, he adds, that it is greatly embellished, and offers a version, in blank verse, more faithful to the original, and therefore more interesting to the critical inquirer. The following specimen of Mr. Bowring’s translation may be compared with the corresponding passage in the Review.
She was lovely—nothing e’er was lovelier;
She was tall and slender as the pine tree;
White her cheeks, but tinged with rosy blushes,
As if morning’s beam had shone
Till that beam had reach’d its high meridian;
And her eyes, they were two precious jewels;
And her eyebrows, leeches from the ocean;
And her eyelids, they were wings of swallows;
Silken tufts the maiden’s flaxen ringlets;
And her sweet mouth was a sugar casket;
And her teeth were pearls array’d in order;
White her bosom, like two snowy dovelets;
And her voice was like the dovelet’s cooing;
And her smiles were like the glowing sunshine.
On the eyebrows of the bride, described as “leeches from the ocean,” it is observable that, with the word leech in Servian poetry, there is no disagreeable association. “It is the name usually employed to describe the beauty of the eyebrows, as swallows’ wings are the simile used for eyelashes.” A lover inquires
“Hast thou wandered near the ocean?
Has thou seen the pijavitza?[139]
Like it are the maiden’s eyebrows.”
There is a stronger illustration of the simile in
The Brotherless Sisters.
Two solitary sisters, who
A brother’s fondness never knew.
Agreed, poor girls, with one another.
That they would make themselves a brother.
They cut them silk, as snow-drops white;
And silk, as richest rubies bright;
They carved his body from a bough
Of box-tree from the mountain’s brow;
Two jewels dark for eyes they gave;
For eyebrows, from the ocean’s wave
They took two leeches; and for teeth
Fix’d pearls above, and pearls beneath;
For food they gave him honey sweet.
And said, “Now live, and speak, and eat.”
The tenderness of Servian poetry is prettily exemplified in another of Mr. Bowring’s translations.
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 a rose-flower tear,
Then place it on thy bosom bare;
And as its leavelets 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!”
One other poem may suffice for a specimen of the delicacy of feeling in a Servian bosom, influenced by the master-passion.
The Young Shepherds.
The sheep, beneath old Buda’s wall,
Their wonted quiet rest enjoy;
But ah! rude stony fragments fall.
And many a silk-wool’d sheep destroy;
Two youthful shepherds perish there,
The golden George, and Mark the fair.
For Mark, O many a friend grew sad,
And father, mother wept for him:
George—father, friend, nor mother had,
For him no tender eye grew dim:
Save one—a maiden far away,
She wept—and thus I heard her say:
“My golden George—and shall a song,
A song of grief be sung for thee—
’Twould go from lip to lip—ere long
By careless lips profaned to be;
Unhallow’d thoughts might soon defame
The purity of woman’s name.
“Or shall I take thy picture fair,
And fix that picture in my sleeve?
Ah! time will soon the vestment tear.
And not a shade, nor fragment leave:
I’ll not give him I love so well
To what is so corruptible.
“I’ll write thy name within a book;
That book will pass from hand to hand.
And many an eager eye will look,
But ah! how few will understand!—
And who their holiest thoughts can shroud
From the cold insults of the crowd?”
[139] The leech.