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In the early nineteenth century Serb scholar Vuk Karadzic collected and published now classic transcriptions of Balkan oral poetry. This edition, by taking great care to preserve the unique meter and rhythm at the heart of Serbian oral poetry as well as the idiom of the original singers, offers the most complete and authoritative translations ever assembled in English.
This scholarly study explores the moral and religious philosophy of Serbian folk poetry and makes its literary treasures available to English speakers. This thorough and well-documented study examines the theology and anthropology of the Serbian folk epic. The book opens a new field in Slavic folklore and offers scholars material previously unavailable in English. The work also sheds light on the soul of Serbian national culture. A scholar of Eastern European culture and history, Krstivoj Kotur investigates a number of fascinating topics, including conceptions of God; man’s relationship to culture and civilization; the transcendentalism of Serbian folk poets; the deep ontological, cosmic, and theurgic character of the heroes of the Serbian folk epic; and many others.
An excerpt from the beginning of the Historical Preface (published 1920): IT is now about a hundred years since the Serbian philologist, Vuk Karadjich, published his first collection of Serbian folk-songs, revealing their originality and beauty to literary Europe. The charm of these simple and powerful poems was so great that in the very beginning they aroused genuine enthusiasm wherever they penetrated. Poets, folklorists, savants — all found reasons enough to study and enjoy them. One of their greatest admirers, Jacob Grimm, asserted that "since the days of Homer, one could say, in the whole of Europe there was not a single phenomenon which would make us understand the essence, as well as the genesis, of epics, to such an extent as they (i.e., the Serbian folk-songs) do." Goethe himself wrote on several occasions about the character of these poems (in his Kunst and Altertum), and, during a conversation with Eckermann, he once ventured to compare the beauty of some examples to that of the Song of Songs. With the vogue of Romanticism the interest for Serbian folk-epics grew all over Europe; translations, imitations, mystifications (for instance, La Gouzla, by Prosper Mérimée), as well as paraphrases, appeared almost in all European languages, gaining more and more admiration for the poetical genius of the Serbian peasantry. The high appreciation of this utterly fresh and naive genius may be sufficiently illustrated by quoting some passages of the well-known German translator of the Serbian songs, Miss Talvj (Therese von Jacob, later Mrs. Robinson). In her English work, Historical View of the Languages and Literature of the Slavonic Nations (New York, MDCCCL), she writes: "All that the other Slav nations, or the Germans, the Scotch, and the Spaniards possess of popular poetry, can at the utmost be compared with the lyrical part of the Serbian songs, called by them female songs, because they are sung only by females and youths; but the long epic extemporised compositions, by which a peasant bard, sitting in a large circle of other peasants, in Unpremeditated but perfectly regular and harmonious verse, celebrates the heroic deeds of their ancestors or contemporaries, has no parallel in the whole of history since the days of Homer." And, again, "Indeed, what epic popular poetry is, how it is produced and propagated, what powers of invention it naturally exhibits,—powers which no art can command, — we may learn from this multitude of simple legends and fables. The Serbians stand in this respect quite isolated; there is no modern nation that can be compared to them in epic productiveness; and a new light seems to be thrown over the grand compositions of the ancients. Thus, without presumption, we may pronounce the publication of these poems one of the most remarkable literary events in modern times...." It would lead too far to quote the opinions on this subject of other important authorities, such as the great Polish poet Adam Mickiewicz, the Russian scholar Pypin, the Italian writer, poet, and savant Nicolo Tomaseo, etc. But common to all of them is the fact that they give to the Serbian folk-poetry one of the foremost places among the poetry of all nations.
A collection of Serbian folk tales preceded by background to the history and cultural traditions of the Slavic people, including short essays on good and evil spirits, vampires, superstition, Christmas Eve, wedding rites, etc.
A vibrant collection of traditional Serbian folk songs and ballads, translated into English with remarkable skill and flair by George Rapall Noyes. Featuring stories of war, love, and heroism, these powerful and evocative poems offer a glimpse into the rich cultural heritage of Serbia and the Balkans. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.