Serbian epic poetry
The Serbian epic poetry is a form of orally transmitted heroes seals in predominantly Serb as both Croatian populated regions of the Western Balkans, which have wrought but also greatly to Albania and Bulgaria. Stylistic devices, narrative, themes, the generic formula poetic elements, such as the Slavic antithesis of this pure folk poetry were taken over by the bards of the epics of the former feudal Bugarštice. This courtly poetry was originally distributed in the aristocratic environment of the Serbian Empire. With the emigration of the aristocracy and of the bards in the neighboring countries not conquered by the Ottomans developed in the patriarchal milieu of remaining in the influence of the Ottoman Christian Slavs and using the language of the village and the country from this ancient poetic substrate, the actual Serbian heroic epics, a lyrical extension to issues of social order in society in the patriarchal peasant society of the clans in particular learned about the so-called women's songs in the heartland of Volksepik in today's geographical area between Montenegro and the Herzegovina.
While the Serbian epic poetry is always made up of eight to ten syllables, the Langvers with 14 to 16 syllables was characteristic of the Bugarštice. Also, the addition of a line of verse of a refrain is given only for the latter. Both poetic styles are indeed related content, have a similar design and choice of language and are formed of verses without Reimung, but the folk poetry learned by their attachment to the lives and the living vernacular an artistically higher maturation and sustainable reception, the duration from 15 to peculiarly long to the first half of the 20th century vordauerte. The Serbian heroic epic, a social relevance came as an essential carrier of national identification, language and culture in which it was an important poetic medium also to historical references and in the dominated by the Ottomans formerly Christian areas kept alive the resistance against foreign rule for centuries. However, the epic songs are always avoid a black and white mask and the heroes of the songs many times as anti-hero outlines ( Prince Lazar, Vuk Brankovic, Kraljevic Marko ). Even the Ottoman adversaries in high regard is given to the true way of example in the hero song from the cycle of Kraljevic Marko Marko and Musa Kesedžija as Marko in Albanian Outlaw Mina not only an evenly matched opponent, but a greater hero than he himself.
About the cultural history not high enough to be recognized work of self-taught language reformer, philologist and folk song researcher Vuk Karadžić and the essential promoting his records and translation of the Serbo- Croatian Volksepik by a narrow circle in the literary influential circle of poets, as well as recognized Slavic philologists in the era of German Romanticism by Jernej Kopitar, Joseph Dobrovský, Jacob Grimm, Clemens Brentano, Talvj and Johann Wolfgang Goethe was lifted this genus become part of world literature and also rezipiert widely by the reading public. From the prominent German translations of these were soon translated into French, Russian, English and Polish, which enabled a wide dissemination of the European epics. With Prosper Mérimée, Alexander Pushkin, Walter Scott and Adam Mickiewicz most authoritative in their countries poet translated the Serbian folk epics.
- 3.1 corpus
Poetic elements
In the heroic tone of the epics, its diverse and often dramatic imagery of nature and Christian allegory, and an earthy narration and in mediating central historical events through the emergence of major heroic figures, there are a variety of characteristics that define the hero and Volksepik. Historical tradition is connected with them in mythical, Christian and folk elements to the story that is artistically designed with high virtuosity. So many songs are like connected by fiction and truth.
The meter of heroic songs follow the traditional trochaic Ten silver ( deseterac ), with a caesura after the fourth syllable. In keeping with the traditional manner of performance included the songs numerous anaphora; for the epic narrative is a general characteristic imagery: Among other things, the color white denotes Vila ( supernatural beings ), and the churches and houses; and characteristic phrases. One of the major poetic figures of each song is in particular the antithesis.
History and reception
Bugarštice
The earliest record of a fragment of a Bugarštice was recorded in 1497 in the Italian city Giaoia del Colle occasion of the visit of the Queen of Naples, Isabella Del Balzo on May 31, 1497 by the Italian poet laureate Rogeri di Pacienzia in the epic court poetry Lo Balzino. This was presented there by a colony of Slavic emigrants to dance and music and is in the group of so-called despots epics, a corpus of post- Kosovo - cycles, in which the historical event of the capture of Janos Hunyadi was addressed by Đurađ Brankovic classify, :
Half a century later, in 1555 the most important epic works of the genre in an inscription of a recitation by so-called " Serbian style " Fisherman Paskoje Debelja during a boat trip on the island of Hvar was made by the Croatian poet Petar Hektorović. Macro Kraljević and his brother Andrijaš is the classic tale of fratricide, which will be opened as later zehnsilbige epics with a formula -like phrase: Two poor men were good friends for a long time ( ' Dva mi sta siromaha dugo vrime drugovala '), this is expanded in other Slavic Anthitese and the
The Bugarštice ' Marko Kraljević and his brother Andrijaš ' contains some traditional formalistic expressions, some of which are equally characteristic only of Bugarštice, some for both Bugarštice how the zehsilbigen epics. In the lecture, which was recited in the standard of ijekavischen dialect, due to the origin of the seal, the use ekavischer expressions is striking. In his own prose of Hektorović contrast, no Ekavismen fall on, but he has this listed for Bugarštice. Some spoke of historic features in " Marko Kraljević and his brother Andrijaš " have not been used since the mid-15th century, so that is a creation of this seal dated to the late 14th century or early 15th century.
The hero of the novel, Marko Kraljević, dipped it in legendary form for the first time in 1427 in the historical works " Život despota Stafana Lazarevica " by Konstantin Kostenezki in the passage to the battle of Rovine on when he with the words in it: "I pray to God ... he helps Christians to himself "who quotes when I get killed first. Marko Kraljevićs dual personality is already illustrated here. On the one hand he is forced as a vassal of the Ottoman sultan to the physical support of the Ottomans, on the other hand, it remains a heroic figure, which is expressed by his spiritual independence.
Emergence of the songs
Main theme are historical events in the history of the ( large ) Serbian Empire, the battle of Kosovo Polje, the Marko - Kraljević cycle, the history of despots, Hajdú and border warriors, as well as general topics on the social order in families and clans of the Dinaric Slavs the Ottoman primacy.
Corpus
The body of the Serbian epic poetry is divided into cycles.
- The non- historical cycle: for there are songs about events, no historical evidence that they have ever taken place
- The pre- Kosovo cycle: songs about events before the Battle of Kosovo Polje
- The Kosovo cycle: songs about the Battle of Kosovo Polje
- The post- Kosovo cycle: songs about the events after the battle
- The Marko - Kraljević heroes legend of the king's son Marko
- The Hajduks cycle
- The Uskoks cycle
- Songs about the liberation of Serbia
- Songs about the liberation of Montenegro