remarkable people is still alive--are essentially of the same
character. They may be divided into two parts. One division, probably
composed during the last two centuries and down even to the present
time, is devoted to a variety of subjects, public and private. Duels,
love stories, satisfaction of blood-revenge, domestic quarrels and
reconciliation, are alternately related. The variety of invention in
these tales is astonishing; the skill of the combinations and the
final development surpasses all that hitherto has been known of
popular poetry. One of the most remarkable of them is a narrative of
1227 lines; which relates to the marriage of a young man, Maxim
Tzernovitch, son of Ivan Tzernovitch, a wealthy and powerful
Servian. The father goes to Venice to ask in marriage for his son the
daughter of the Doge. He describes him as the handsomest of young men;
but, when he comes home, he finds him metamorphosed by the smallpox
into the ugliest. By the advice of his wife, he substitutes another
handsome young man to fetch home the bride with the procession of
bridal guests; promising him the principal share in the bridal gifts;
for he commits the fraud less from covetous views than from pride,
being afraid of being put to shame as unable to keep his word before
the haughty Venetians. They succeed in bringing away the bride; but
the cheat is discovered on the road; a contest arises, and the whole
affair ends in a horrible slaughter.
Vuk Stephanovitch has heard this tale repeatedly, and with several
variations; but the principal features, for instance a rich and
elaborate description of the bridal gifts, were always recited exactly
in the same words. It was chanted in the most perfect manner by an old
singer, named Milya, whom prince Milosh often had to sing it before
him; and from whose lips Vuk at last took it down.
Another section of more modern ballads narrates events from the latest
war between the Servians and Turks, between 1801 and 1815. Who of our
readers has not heard of Kara George? His companions, Yanko Katitch,
Stoyan Tchupitch, Milosh of Potzerye, are in Servia as well known and
admired as Kara George himself. They and their comrades are the heroes
of these ballads. The gallant Tchupitch rewarded the blind poet
Philip, who chanted to him a long and beautiful poem of his own
composition, with a white horse. The subject of his narrative was the
battle of Salash; where Tchupitch himself had been the Servian
commander.[59]
The same ballad singer Philip is the author of most of the modern
heroic poems. Of others the authors are not known. Little stress is
laid on the art of poetry; exercised with such extraordinary power.
These productions of our day are by no means inferior to the ancient.
There is indeed no essential difference, either in their diction or in
their conception; and it is easy to be perceived, that old and young
have been nursed from their infancy on tales of "the days of yore."
Some passages of Philip's ballads are really Homeric.[51] Fortunately,
the period is past when our admiration for hyperborean poetry needed
to be justified by its similarity with the classics. We have learned
that real poetry is not spell-bound to names, nor to any nation or
age; and the _beautiful_ has obtained in our time an independent
existence, no longer subject to certain forms and conditions, but
resting on itself and its divine gifts.
The difficulties Vuk Stephanovitch met with in collecting these
wonderful ballads, were not small. He was often hardly able to prevail
on the young men and girls to recite, still less to sing them before
him; partly from a natural shyness to exhibit themselves before a
stranger; partly because his search after effusions which had so
little value in their eyes, and his attempt to fix them by writing,
seemed to them an idle and useless occupation. The only reason which
they could conceive for it was, that the learned idler meant to
ridicule them; and his request was frequently answered by the words:
"We are no blind men to sing or recite songs to you."
Of the heroic poems, he tells us, that they are not only chanted, but
often recited, as _we_ are accustomed to _read_; and that in this
latter way, old people teach them by preference to the children. His
own father, grandfather, and uncle, were wont to recite and to sing
them; and the two latter even composed not a few. Among those from
whose lips he took down the present collection, were lads, peasants,
merchants, as also hayduks, i.e. highwaymen, in Servia a mode of life
less disreputable than with us, and somewhat approaching to heroism.
Further, at least seven or eight were blind men; all of them
professional bards, and almost the only persons willing to satisfy
him. The _shenske pjesme_, or female poems, he had to catch by chance;
and short as they are, it was easy to keep them in memory after having
heard them once or twice.
While these latter poems are mostly sung without any instrumental
accompaniment in the spinning-rooms, in the pastures, or at the
village dances; on the other hand the tavern, the public squares, the
festive halls of the chiefs, are the places where the Guslè is heard
which accompanies the heroic ballads. The bard chants two lines; then
he pauses and gives a few plaintive strokes on his primitive
instrument; then he chants again, and so on. He needs these short
pauses for recollection, as well as for invention. Although these
ballads are chiefly sung by blind men, yet no hero thinks it beneath
him to chant them to the Guslè. Pirch, a Prussian officer, who
travelled in Servia some twenty years ago, tells us, that the Knjas,
his host, took the instrument from the hands of the lad, for whom he
had sent to sing before his guest, because he did not satisfy him, and
played and chanted himself with a superior skill. Clergymen themselves
are not ashamed to do it. Nay, even Muhammedan-Bosnians, more Turks
than Servians, have preserved this partiality for their national
heroics. The great among them would not, indeed, themselves sing them;
but they cause them to be chanted before them; and it happened, that a
Christian prisoner in Semendria obtained his liberty by their
intercession with the Kadi, which he owed merely to their fondness for
his ballads. A considerable number of fine songs are marked in Vuk's
collection as having been first heard from Muhammedan singers.
Although the same ballads are not heard every where, yet the poetical
feeling and productiveness seem to be pretty equally distributed over
all the region inhabited by the Servian race. The heroic ballads
originate mostly in the southern mountains of Servia, in Bosnia,
Montenegro, and its Dalmatian neighbourhood. Towards the North-East
the productiveness diminishes; the songs are still _known_ in the
Austrian provinces, but the recitation of them, and the Guslè itself,
are left to blind men and beggars. Pirch heard, nevertheless, the
ballads of Marko Kralyevitch in the vicinity of Neusatz, in Hungary.
On the other hand, the amatory Servian ballads, and all those
comprised under the name of female songs,--although by no means
exclusively sung by women,--originate chiefly in those regions, where
perhaps a glimpse of occidental civilization has somewhat refined the
general feeling. The _villages_ of Syrmia, the Banat, and the Batchva,
are the home of most of them; in the Bosnian towns also they are
heard; while in the _cities_ of the Austrian provinces they have been
superseded by modern airs of less value, perhaps, and certainly of
less nationality.
It remains to remark, that while in all the other Slavic popular
poetry, the _musical_ element is prominent, it is in the Servian
completely crowded into the background. Even the little lyric pieces,
or female ballads, are not only in a high degree monotonous, but even
without the peculiar sweetness of most popular airs. They also are
chanted rather than sung.
The Bulgarian language is said to be particularly rich in popular
ballads; and it would hardly be credible, that the numerous nations
with which they mixed for centuries, should not have influenced their
poetry as well as their language. Nevertheless, those ballads we have
met with are not distinguished in any way from the Servian; especially
from those Servian ones sung in the provinces where intercourse with
a Turkish population is more frequent. One specimen will be
sufficient.
THE SLAVE GANGS.[52]
O thou hill, thou high green hill!
Why, green hill, art thou so withered?
Why so withered and so wilted?
Did the winter's frost so wilt thee?
Did the summer's heat so parch thee?
Not the winter's frost did wilt me,
Nor the summer's heat did parch me,
But my glowing heart is smothered.
Yesterday three slave gangs crossed me;
Grecian maids were in the first row,
Weeping, crying bitterly:
"O our wealth! art lost for ever!"
Black-eyed maidens from Walachia
Weeping, crying in the second:
"O ye ducats of Walachia!"
Bulgar women in the third row,
Weeping, crying, "O sweet home!
O sweet home! beloved children!
Fare ye well, farewell for ever!"
The SLOVENZI or VINDES, that is, the Slavic inhabitants of Camiola and
Carinthia, have of course their own ballads, which have been recently
collected. That the influence of the German population, with whom they
live intermingled, has been very great, even in these songs, cannot be
matter of surprise. It is, however, chiefly discernible in the
melodies they sing; which are said to be the same familiar to the
German mountaineers of Styria and Tyrol. Several narrative ballads of
some length are still extant among them, similar to the Servian, but
rhymed. These have been communicated to the German public in a
translation by their poet Anastasius Grun. They are all too long to be
given here as specimens; we therefore confine ourselves to the
following pretty little song:
THE DOVELET.[53]
"Where were you, and where have you stray'd
In the night?
Your shoes are all with dew o'erlaid;
In the night, in the night."
I strayed there in the cool green grove,
In the night.
There flutters many a turtle dove,
In the night, in the night.
They have such little red cheeks, they all,
In the night;
And bills so sweet, and bills so small,
In the night, in the night.
There I stood, lurking on the watch,
In the night;
Till one little dovelet I did catch,
In the night, in the night.
It had of all the sweetest bill,
In the night;
Red rose, its cheeks were redder still,
In the night, in the night.
That dovelet now caresses me
In the night;
And kissing each other we'll ever be,
In the night, in the night.
The field of popular poetry, which the Slavic nations of the WESTERN
STEM present to us, promises a gleaning of a comparatively inferior
value.
It appears from the Königshof manuscript, that five centuries ago the
BOHEMIANS _had_ a treasure of popular poetry. This document exhibits
also the extraordinary fact, that almost the same ballads were sung in
Bohemia in the thirteenth century, which are now heard from the lips
of Russian and Servian peasant girls. The reader may compare the
following songs, all of them faithfully translated.
ANCIENT BOHEMIAS SONGS.
I.
O my rose, my fair red rose,
Why art thou blown out so early?
Why, when blown out, frozen?
Why, when frozen, withered?
Withered, broken from the stem!
Late at night I sat and sat,
Sat until the cocks did crow;
No one came, although I waited
Till the pine-torch all burned low.
Then came slumber over me;
And I dreamed my golden ring
Sudden slipp'd from my right hand;
Down my precious diamond fell.
For the ring I looked in vain,
For my love I longed in vain!
II.[55]
O, ye forests, dark green forests,
Miletinish forests!
Why in summer and in winter,
Are ye green and blooming?
O! I would not weep and cry,
Nor torment my heart.
But now tell me, good folks, tell me,
How should I not cry?
Ah! where is my dear good father?
Wo! he deep lies buried.
Where my mother? O good mother!
O'er her grows the grass!
Brothers have I not, nor sisters,
And my lad is gone!
SERVIAN SONG.[56]
O my fountain, so fresh and cool,
O my rose, so rosy red!
Why art thou blown out so early?
None have I to pluck thee for!
If I plucked thee for my mother,
Ah! poor girl, I have no mother;
If I plucked thee for my sister,
Gone is my sister with her husband;
If I plucked thee for my brother,
To the war my brother's gone.
If I plucked thee for my lover,
Gone is my love so far away!
Far away o'er three green mountains,
Far away o'er three cool fountains!
PASSAGES FROM SEVERAL RUSSIAN BALLADS.
_current at the present day_.
I.
Last evening I sat, a young maid,
I sat till deep in the night;
I sat and waited till day-break,
Till all my pine-torch was burnt out.
While all my companions slept,
I sat and waited for thee; love!
II.
No good luck to me my dream forebodes;
For to me, to me, fair maid, it seemed,
On my right hand did my gold ring burst,
O'er the floor then rolled the precious stone.
The Bohemians preserved their nationality, and very probably with it
their ancient popular songs, down to the seventeenth century. During
the thirty years' war, of which Bohemia was in part almost
uninterruptedly the seat, a complete revolution in manners,
institutions, and localities, took place. Whole villages emigrated, or
were driven into the wide world, wandering about in scattered groups
as fugitives and mendicants. Most of the ancient songs may have died
at that time. The German influence increased rapidly during the
remainder of the seventeenth century, mostly by force and reluctantly;
still more during the eighteenth century by habit, intermarriages,
education, etc. The Bohemians, the most musical nation in the world,
are still a singing people; but many of their ditties are evidently
borrowed from the German; in others, invented by themselves, they
exhibit a spirit entirely different from that of their ancestors.
These modern songs are mostly rhymed. The following specimen of songs
still current among the peasantry of Bohemia, will show well the
harmless, playful, roguish spirit that pervades them.
THE FORSAKEN MAIDEN.
Little star with gloomy shine,
If thou couldst but cry!
If thou hadst a heart, my star,
Sparks would from thee fly,
Just as tears fall from mine eye.
All the night with golden sparks
Thou wouldst for me cry!
Since my love intends to wed,
Only 'cause another maid
Richer is than I.
LIBERAL PAY.
Flowing waters meet each other,
And the winds, they blow and blow;
Sweetheart with her bright blue eyes
Stands and looks from her window.
Do not stand so at the window,
Rather come before the door;
If thou giv'st me two sweet kisses,
I will give thee ten and more.
HAPPY DEATH.
In a green grove
Sat a loving pair;
Fell a bough from above,
Struck them dead there.
Happy for them,
That both died together;
So neither was left,
To mourn for the other.
THE LYING BIRD.
What chatters there the little bird,
On the oak tree above?
It sings, that every maid in love
Looks pale and wan from love.
My little bird, thou speak'st not true,
A lie hast thou now said;
For see, I am a maid in love,
And am not pale, but red.
Take care, my bird; because thou liest,
I now must punish thee;
I take this gun, I load this gun,
And shoot thee from the tree.
In the following fine ballad the German influence is manifest. It is
extant in two different texts. We give it in Bowring's version, which
has less of amplification and embellishment than is usual in English
translations.
THE DEAD LOVE.
I sought the dark wood where the oat grass was growing;
The maidens were there and that oat grass were mowing.
And I called to those maidens: "Now say if there be
The maiden I love 'midst the maidens I see?"
And they sighed as they answered: "Ah no! alas no!
She was laid in the bed of the tomb long ago." [57]
"Then show me the way where my footsteps must tread,
To reach that dark chamber, where slumber the dead."
"The path is before thee, her grave will be known,
By the rosemary wreaths her companions have thrown."
"And where is the church in church-yard, whose heaps
Will point out the bed where the blessed one sleeps?"
So twice to the church-yard in sadness I drew,
But I saw no fresh heap and no grave that was new.
I turned, and with heart-chilling terror I froze,
And a newly made grave at my feet slowly rose.
And I heard a low voice, but it audibly said,
"Disturb not, disturb not the sleep of the dead!
"Who treads on my bosom? what footsteps have swept
The dew from the bed where the weary one slept?"
"My maiden, my maiden, so speak not to me,
My presents were once not unwelcome to thee!"
"Thy presents were welcome, but none could I save,
Not one could I bring to the stores of the grave.
"Go thou to my mother, and bid her restore
To thy hands every gift which I valued before.
"Then fling the gold ring in the depth of the sea,
And eternity's peace shall be given to me.
"And sink the white kerchief deep, deep in the wave,
That my head may repose undisturbed in the grave!"
The Slovaks, the Slavic inhabitants of the north-western districts of
Hungary, are considered, as we have seen above, as the direct
descendants of the first Slavic settlers in Europe. Although for
nearly a thousand years past they have formed a component part of the
Hungarian nation, they have nevertheless preserved their language and
many of their ancient customs. Their literature, we know, is not to be
separated from that of the Bohemians. Their popular effusions are
original; although, likewise, between them and the popular poetry of
their Bohemian brethren, a close affinity cannot be denied. The
Slovaks are said to be still exceedingly rich in pretty and artless
songs, both pensive and cheerful; but the original Slavic type is now
very much effaced from them. The surrounding nations, and above all
the Germans, have exercised a decided and lasting influence upon them.
The following ballads are still heard among the Slovaks. The first of
them is also extant in an imperfect German shape. As the coarse
dialect, in which the German ballad may be heard, is that of the
"Kuhländchen," a small district of Silesia, where the Slavic
neighbourhood has not been without influence, we have no doubt that
the more complete Slavic ballad is the original.
THE MOTHER'S CURSE.
The maiden went for water,
To the well o'er the meadow away;
She there could draw no water,
So thick the frost it lay.
The mother she grew angry;
She had it long to bemoan;
"O daughter mine, O daughter,
I would thou wert a stone!"
The maiden's water-pitcher
Grew marble instantly;
And she herself, the maiden,
Became a maple tree.
There came one day two lads,
Two minstrels young they were;
"We've travelled far, my brother,
Such a maple we saw no where.
"Come let us cut a fiddle,
One fiddle for me and you;
And from the same fine maple,
For each one, fiddlesticks two."
They cut into the maple,--
There splashed the blood so red;
The lads fell on the ground,
So sore were they afraid.
Then spake from within the maiden:
"Wherefore afraid are you?
Cut out of me one fiddle,
And for each one, fiddlesticks two.
"Then go and play right sadly,
To my mother's door begone,
And sing: Here is thy daughter,
Whom thou didst curse to stone."
The lads they went, and sadly
Their song to play began;
The mother, when she heard them,
Right to the window ran:
"O lads, dear lads, be silent,
Do not my pain increase;
For since I lost my daughter,
My pain doth never cease!"
SUN AND MOON.
Ah! if but this evening
Would come my lover sweet,
With the bright, bright sun,
Then the moon would meet.
Ah! poor girl this evening
Comes not thy lover sweet;
With the bright, bright sun,
The moon doth never meet.
The reader will perceive that these Slovakian songs are rhymed. There
are however also rhymeless verses extant among them; the measure of
which seems to indicate a greater antiquity, and brings them nearer to
the nations of the Eastern stock.[58]
Of all the Slavic nations, the POLES, as we have already remarked, had
most neglected their popular poetry. There were indeed several
collections of popular ballads published, partly by Polish editors,
with the title of popular poetry in Poland. But they all, without
exception, so far as we know, refer to the Ruthenian peasantry in
Poland, who use a language different from the Polish, and essentially
the same as the Malo-Russian. These tribes, inhabitants of Poland for
centuries, may indeed be called _Poles_ with perfect propriety. Yet
this name is in a more limited sense applied to the Lekhian race
exclusively; and it is in respect to them that we remarked above, that
their songs had been collected for the first time only a few years
ago.[59]
That they also had national ballads of their own could hardly be a
matter of doubt; and the neglect may easily be explained, in a nation
among whom all that has any reference to mere boors and serfs has
always been regarded with the utmost contempt. Their beautiful
national dances, however, known all over the world, the graceful
Polonaise, the bold Masur, the ingenious Cracovienne, are just as much
the property of the peasantry, as of the nobility. Their dances were
formerly always accompanied by singing; just as it was customary in
olden times every where, and as it is still the usage among the
Russian and Servian peasantry, to dance to the music of song instead
of instruments. But these songs are always extemporized; and in Poland
probably were never written down. The early refinement of the language
secured to the upper classes a greater or lesser share in their
national literature, which gave them apparently better things;
although we have seen above, that, far from developing itself from its
own resources, their literature was alternately ingrafted on a Latin,
Italian, or French stock. Among the country gentry, and even at the
convivial parties of the nobility, the custom of extemporizing songs,
probably full of national reminiscences, continued even down to the
beginning of our own century. Very little stress was naturally laid
upon them; since the interest for all that is national, historical, or
in any way connected with the people, belongs only to the most recent
times. In our day, the local scenes of Lithuania have excited some
interest, and the Ukraine has become the favourite theatre of Polish
poets.
The Polish nation has an ancient hymn, which may be said to belong in
some measure to popular poetry. It is known under the name of _Boga
Rodzica_, or God's Mother; and is said to have been composed by St.
Adalbert, who lived at the end of the tenth century. According to
Niemcewicz, the Polish poet, it was still chanted in the year 1812 in
the churches of Kola and Gnesen, the places where St. Adalbert lived
and died. It is a prayer to the Virgin, ending with a sixfold Amen;
and was formerly sung by the soldiers when advancing to battle. For
that reason probably we find it frequently called a war song.
The popular ballads, published by Woicicki and Zegota Pauli, are not
distinguished in any way from those still extant among the Slovakians,
Bohemians, and Lusatian Sorabians. It can only be matter of surprise,
that they have imbibed no more of the wild and romantic character of
the ballads sung by the Ruthenians, with whom they live intermingled
in several regions. They are ruder in form; and alternately rhymed, or
distinguished from prose only by a certain irregular but prosodic
measure, sometimes trochaic, but mostly dactylic. With the classical
beauty of the Servian songs they can bear no comparison; in which
latter the perfect absence of _vulgarity_ may perhaps be partly
accounted for, by their having been produced among a people where no
privileged classes exist. Only in their wedding songs, and other
similar ones, is there a striking affinity; it is in general in these
relics of ancient times, that the popular poetry of the nations of the
Eastern and of the Western Stems meet in one distinct and fundamental
accord.
Many of the more ancient ballads extant among the Poles we find also
in one or other of the Western Slavic languages. For example, the
following; which exists in the Vendish language in a shape more
diffuse and twice as long; and also in Slovakian, still more
sketchlike. That the Polish ballad is derived from a time, when the
horrid invasions of the Tartars were at least still distinctly
remembered, we may safely conclude. In the Slovakian ballad the
invaders are called Turks; in the Vendish ballad, probably the latest
of the three, they have lost all individual nationality, and have
become merely "enemies," or "robbers."
THE INVASION OF THE TARTARS.[60]
Plundering are the Tartars,
Plundering Jashdow castle.
All the people fled,
Only a lad they met.
"Where's thy lord, my lad?
Where and in what tower
Is thy lady's bower?"
"I must not betray him,
Lest my lord should slay me."
"Not his anger fear,
Thou shalt stay not here,
Thou shalt go with us."
"My lord's and lady's bower
Is in the highest tower."
Once the Tartars shot,
And they hit them not.
Twice the Tartars shot,
And they killed the lord.
Thrice the Tartars shot--
They are breaking in the tower,
The lady is in their power.
Away, away it goes,
Over the green meadows,
Black, black the walls arose!
"O lady, O turn back,
To thy walls so sad and black.
"O walls, ye dreary walls!
So sad and black are you,
Because your lord they slew!
"Because your lord is slain,
Your lady is dragged away
Into captivity!
A slave for life to be,
Far, far in Tartary!"
Among the ballads of almost all nations we find some that illustrate
the mournful and destitute state of _motherless orphans_. There seems
to be hardly any feeling, which comes more directly home to the
affectionate compassion of the human heart, than the pitiable and
touching condition of helpless little beings left to the tender
mercies of a _stepmother_; who, with her traditional severity, may be
called a kind of standing bugbear of the popular imagination. The
Danes have a beautiful ballad, in which the ghost of a mother is
roused by the wailings and sufferings of her deserted offspring, to
break with supernatural power the gravestone, and to re-enter, in the
stillness of the night, the neglected nursery, in order to cheer, to
nurse, to comb and wash the dear seven little ones, whom God once
intrusted to her care. It is one of the most affecting pieces of
popular poetry we ever have met with. The Slavic nations have nothing
that can be compared with it in _beauty_; but most of them have
several ballads on the same subject; and in a general collection, the
"Orphan Ballads" would fill a whole chapter.[61] The simple ditty
which we give here as another specimen of Polish popular poetry,
exceedingly rude as it is in its form, and even defective in rhyme and
metre, cannot but please and touch us by its very simplicity.
POOR ORPHAN CHILD.[62]
Poor little orphan is wandering about,
Seeking its mother and weeping aloud.
Jesus Christ met it, mildly to it spake:
"Where art thou roaming, poor little babe?
"Go not, go not, babe, too far thou wilt roam,
And goest e'er so far, not to thy mother come.
"Now turn and go, dear babe, to the green cemetery,
From out her deep grave thy mother will speak to thee."
"Wo! at my grave who's knocking so wild?"
"Mother! dear mother! it's I, thy poor child!
"Take me to thee, take me,
Ill I fare without thee!"
"Go home, my babe, and thy strange mother tell,
She'll wash thy tattered shirt and comb and clean thee well!"
"When my shirt she washes,
Sprinkles it with ashes.
"When she puts it on to me,
Scolds so grim and bitterly!
"When she combs my head,
Runs the blood so red.
"When she braids my hair,
Pulls me here and there!"
"Go thee home, my babe, the Lord thy tears will dry!"
And the babe went home, laid her down to cry.
Laid her down to cry, one day only cried;
Groaned the second day, and the third day died.
From his heaven our Lord did two angels send,
With the poor babe they did to heaven ascend.
From the hell our Lord did two devils send;
They took the bad stepmother and down to hell they went.
Of all the surviving Slavic tribes, we have seen that the nationality
of the VENDES of Lusatia is most endangered. If formerly, as a race,
they suffered from persecution and oppression, they have now for
several centuries shared all the advantages of an enlightened
education and wise institutions with their German countrymen; and it
would therefore be erroneous to consider them still in the light of an
oppressed or subjugated nation. Although their language cannot be said
to be _favoured_ by the government, they have their schools, their
worship, their courts of justice, and, above all, their ballads,
without let or hinderance; and if nevertheless the statistics of each
year, especially in the plains of Lower Lusatia, show a diminution of
the Slavic speaking population, we must attribute it rather to the
natural and irresistible effect of time and circumstances, than to any
despotic or arbitrary measures of the government. The Vendish
villages are flourishing; the costumes of the peasants are heavy and
rich; and to their general welfare the _cheerful_ merry character of
their ballads seems to bear testimony. Their melodies resemble the
Bohemian, as much as their ballads do those of their neighbours; but
German melodies also are frequently heard among them, and many
translations of German popular ballads have become perfectly
naturalized. That the language of Upper Lusatia approaches very near
to the Bohemian, we have stated above. It is, however, much more
interspersed with German words; although not to such a degree as the
Lower Lusatian dialect.
Of all the Slavic popular ballads, we find in those of the Lusatians
least of that chaste feeling, which is in general characteristic of
Slavic love songs. The pleasures of illicit intercourse and their
consequences, which make also a favourite theme of the common English
and German ballads, are often grossly described; and we may conclude
that the talent of extemporizing, or in general making pretty verses,
has forsaken the female villagers in this German neighbourhood, and
passed over to the men.
We give here two characteristic ballads of the Upper Lusatian
language.
THE ORPHAN'S LAMENT.[63]
Far more unhappy in the world am I,
Than on the meadow the bird that doth fly.
Little bird merrily flits to and fro,
Sings its sweet carol upon the green bough.
I, alas, wander wherever I will,
Every where I am desolate still!
No one befriends me, wherever I go.
But my own heart full of sorrow and woe!
Cease thy grief, oh my heart, full of grief,
Soon will a time come that giveth thee relief.
Never misfortune has struck mo so hard,
But I ere long again better have fared.
God of all else in the world has enough;
Why not then widows and orphans enough?[64]
GOOD ADVICE FOR LADS.
Let him who would married be,
Look about him and take care,
That he does not take a wife,
Take a wife;
He'll repent it till his life.
If thou shouldst make up thy mind,
And shouldst take too young a wife,
Youthful wife has boiling blood,
Boiling blood;
No one thinks of her much good.
If thou shouldst make up thy mind,
And shouldst take too old a wife,
In the house she'll creep about,
Creep about;
And will frighten people out.
If thou shouldst make up thy mind,
And shouldst take a handsome wife,
Nought but trouble she will give,
Trouble give;
Others' visits she'll receive.
If thou shouldst make up thy mind,
And shouldst take too short a wife,
Lowly thou must stoop to her,
Stoop to her,
Wouldst thou whisper in her ear.
If thou shouldst make up thy mind,
And shouldst take too tall a wife,
Ladders thou to her must raise,
Ladders raise,
If thou wouldst thy wife embrace.
If thou shouldst make up thy mind,
And shouldst take a snarling wife,
Thou wilt want no dog in the house,
Dog in the house;
Thy wife will be the dog in the house.
As for poor ones, let them be,
Nothing they will bring to thee,
Every thing will wanting be,
Wanting be;
Not a soul will come to thee.
If thou shouldst make up thy mind,
And shouldst take a wealthy wife,
Then with patience thou must bear,
Thou must bear,
If the breeches she should wear.
Pretty, modest, smart, and neat,
Good and pious she must be;
If thou weddest such a wife,
Such a wife,
Thou'lt not repent it all thy life.
Merry ballads like these are usually sung at wedding feasts, where
several of the old Slavic ceremonies are still preserved; among other
things the bringing home of the bride in solemn procession. Many old
verses, mostly fragments of half forgotten ballads, familiar to their
ancestors, are in like manner occasionally recited. But the poetical
atmosphere, which still weaves around the Russian or Servian maiden a
mystical veil, through which she gazes, as in a dream full of golden
illusions and images, into that condition of new existence feared and
desired by her at once--that atmosphere is destroyed by the lights of
the surrounding civilization, which show the sober reality of things
in full glare. The flowers are withered that were wound around the
chains; but the chains themselves have become lighter. The ancient
wedding songs, full of pagan allusions, have been supplanted by glees
mostly composed by their half German pastors; the only educated men
who still speak their language. Indeed, not a few of their most
popular ballads are written by their curates. How soon these will be
superseded by German songs, no one can say; but it requires no great
stretch of prophetic power to predict, that the time is near at hand.
FOOTNOTES:
[Footnote 1: _Volks und Meisterlieder_, Frankf. a.M. 1817.]
[Footnote 2: _De Bello Gothico_, lib. iii. c. 14.]
[Footnote 3: Vol. I. p. 69.]
[Footnote 4: _Geschichte der Slavischen Sprache und Literatur_, p.
52.]
[Footnote 5: This song is among the few, which Russian critics think
as ancient as the sixteenth century. See Karamzin's _History of
Russia_, Vol. X, p. 264.]
[Footnote 6: Bowring'a translation.]
[Footnote 7: The piece to which we allude was in the possession of the
Cardinal Albani, at Rome; but has since been carried to England. A
fine copy in plaster is in the Museum at Paris; from which numerous
drawings have been taken, now scattered all over Europe.]
[Footnote 8: _Kunst und Alterthum_, Vol. II. p. 49.]
[Footnote 9 _Narodne Srpske Pjesme skup. i izd. Vuk_ etc. Leipz. 1824.
Vol. I. p. 55. _Volkslieder der Serben, von Talvj_, Halle 1825. Vol.
I. p. 46.]
[Footnote 10: Pronounced _Yelitza_.]
[Footnote 11: The whole of this tale is translated in Bowring's little
volume of "Servian Popular Poetry."]
[Footnote 12: The Greek ballad is entitled "The Journey by Night," and
begins thus:
Manna, me tous ennea sou uious, kai me tên mia sou korê.
'O mother, thou, with thy nine sons, and with thine only daughter.'
A Russian ballad also begins very similarly:
"At Kief, in that famous town,
Resided a rich widow;
Nine sons the widow of Kief had,
The tenth was a daughter dear."
The story however is essentially different.]
[Footnote 13: See above p. 306, n. 2.]
[Footnote 14: This remarkable fact is mentioned by all Russian
historians, on the good authority of the ancient annalist Nestor.]
[Footnote 15: "The Tshuvashes have a Penate, which they call Erich.
This Erich is nothing but a bundle of broom, _cytisus_, tied together
in the middle with the inner bark of the linden. It consists of
fifteen branches of equal size, about four feet long; above is a piece
of tin attached to it. Each house has such an Erich, which usually
stands in a corner of the entry. Nobody ventures to touch it. When it
becomes dry, a new Erich is tied together, and the old one placed in
running water with great reverence." See _Stimmen des Russ. Volks_,
von P.v. Goetze, Stuttg. 1828, page 17.--The Tshuvashes, however, are
not a Slavic, but a Finnish race, living under the Russian dominion.]
[Footnote 16: Dobrovsky's _Slavin_, 1834, p. 113.]
[Footnote 17: _Werke_, _Ausgabe letzter Hand_, Vol. XLVI. p. 332.]
[Footnote 18: In those four of our Russian specimens marked P, the
translation is by J.G. Percival.]
[Footnote 19: Page 323.]
[Footnote 20: See above, p. 64.]
[Footnote 21: We say, 'to judge from the language.' But their
coincidence with Bohemian ballads of the thirteenth century, and
various other indications (e.g. their frequent mention of the Danube),
seem to vindicate, for their groundwork at least, a very high
antiquity.]
[Footnote 22: _Stimmen des Russischen Volkes_, von P.v. Goetze,
Stuttg. 1848.]
[Footnote 23: Slavery in Russia is comparatively of modern date.]
[Footnote 24: _Pjesni Russkawo Naroda_, St. Petersb. 1837-39, Vol. IV.
p. 29.--We would remark here, that all our specimens are translated,
not by means of the German, but from the original languages, and that
all the originals are (or have been) in our possession. It would have
been easy to embellish these simple songs by little additions or
omissions, the rhymeless ones by rhyme, and the rhymed ones by more
regularity; but we could not possibly have done it without impairing
the fidelity of such a version.]
[Footnote 25: Both these are bad omens for a Russian girl.]
[Footnote 26: Names of the street and gate in Moscow, through which
formerly criminals were led to execution.]
[Footnote 27: _Buinaya golowushka_, that is, the _fierce, rebellious,
impetuous head_, and _mogutshiya pletsha_, or _strong shoulders_, are
standing expressions in Russia, in reference to a young hero; the
former, especially, when there is allusion to some traitorous action.]
[Footnote 28: Sacharof's Collection, Vol. IV. p. 218; see p. 346.]
[Footnote 29: That is, the Russian governments Kief, Pultava,
Tshernigof, Kharkof, and Yekatrinoslav. The latter, the cradle of the
present population of Malo-Russia, belongs, according to the present
geographical division of the Russian empire, to Southern Russia.]
[Footnote 30: The Polish poet Bogdjanski is said to have collected in
the government of Pultava alone towards 8000! A great many of these
consist, of course, only in variations of the same theme, owing to the
failing memory of the singer. Maximovitch's Collection contains
several thousand pieces.]
[Footnote 31: _Volkslieder der Polen gesammelt und übersezt, von W.P._
Leipzig 1833. It ought to have been called _Songs of the Ruthenian
people in Poland_.]
[Footnote 32: The origin of this polite appellation is its rise in the
Ivanovskoi Lake.]
[Footnote 33: Towards the close of the eighteenth century, Catharine
II induced great numbers of the Zaporoguean Kozaks to move to the
northern shore of the Kuban, east of the Black Sea or _Tshernayamora_,
in order to protect the border against the Circassians. They are hence
called Tshernomorskii, or Black Sea Kozaks.]
[Footnote 34: These affectionate feelings were gradually extended
towards all the rivers of their ancient establishments. Their ballads
express a tender attachment to Mother Wolga, Mother Kamyshenka, Mother
Tsarytzina, etc.]
[Footnote 35: See above, p. 297.]
[Footnote 36: Yessaul is the name of that officer among the Kozaks,
who stands immediately under the Hetman. The ballad refers to an
incident which happened before 1648. It is from Sreznevski's _Starina
Zaporoshnaya_, i.e. _History of the Zaporoguean Kozaks_, Kharkof
1837.]
[Footnote 37: Probably John Wihowski, Hetman after Chmielnicki. After
the death of this latter, he fell off from Russia, and led the Kozaks
back to Poland. It seems it was he who occasioned Pushkar's death.]
[Footnote 38: Manuscript.]
[Footnote 39: From Czelakowski's Collection; see above, p. 216, n.
58.]
[Footnote 40: From Sacharof's Collection, St. Petersb. 1839. Vol. IV.
p. 497.]
[Footnote 41: The reader will find an elaborate essay on the popular
poetry of the Ukraine in the Foreign Quarterly Review, Vol. XXVI. No.
51. It was evidently written by one of the Polish exiles in England.
In it, however, a singular mistake is made as to the derivation of the
appellation of the Zaporoguean Kozaks. _Porog_ does not mean "Island"
in any Slavic language.]
[Footnote 42: See a description of this national dance in Wilkinson,
_Dalmatia and Montenegro,_ I, p. 399.]
[Footnote 43: A Servian woman never would sit down in the presence of
her husband. At table she stands behind him, and waits on him and his
guests. Even the wife of prince Milosh did so; only with the
restriction that she confined her services to her husband. The
Morlachians--who seem indeed to be the _rudest_ part of the Servian
population--do not mention their wives to a stranger without adding:
"With your permission."]
[Footnote 44: The reader will find a description of a Morlachian
wedding in Wilkinson, Vol. II. p. 164 sq. For a fuller account, see
_Volkslieder der Serben, von Talvj_, Vol. II. Introduction.]
[Footnote 45: Servian popular poetry has properly no rhymes; but
wherever a rhyme occasionally occurs, it appears to be welcome; so in
this little piece, which is faithfully conformed to the original. All
our specimens of the Servian "female" songs are taken from the first
volume of Vuk's Collection. See above, p. 115.]
[Footnote 46: For more specimens see Bowring's _Servian Popular
Poetry_, Lond. 1827. These little songs are there made much more
attractive by giving them an English dress with _rhymes_, and
accommodating them to the English way of feeling and expressing
feelings; a proceeding which we have purposely avoided, because our
only object is a _faithful_ translation. Dr. Bowring has moreover
translated mainly from our German translation.]
[Footnote 47: A mountainous region in the vicinity of Montenegro.]
[Footnote 45: See the similar beginning of "Hassan Aga," p. 324
above.]
[Footnote 49: See an account of this remarkable custom, from the
Abbate Fortia, in Wilkinson, II. p. 178 sq.]
[Footnote 59: This beautiful poem see in Vuk, III. p. 299 sq. Transl.
by Talvi, II. p. 245.]
[Footnote 51: As the best illustration of this remark we recommend,
among other examples, the poem on the death of Meho Orugditch, Vuk,
III. p. 333 sq, Transl. by Talvi, II. p. 279 sq.]
[Footnote 52: From Czelakowsky's Collection; see above, p. 216, n.
58.]
[Footnote 53: From _Slowanske narodnj pjsne sebran. F.L.
Czelakowskym_, Prague 1822-27. The collection of Carniolan ballads by
Achazel and Korytko, which appeared in 1839, we have not yet seen.]
[Footnote 54: From _Rukopis Kralodworsky, etc. wydan od W. Hanky_,
Prague 1835, p. 106.]
[Footnote 55: Ibid. pp. 107 sq. 197 sq. 131 sq.]
[Footnote 56: Taken down by Vuk from the lips of a peasant girl.]
[Footnote 57: In the original, _she was buried last week_. The lover
could hardly expect to find a _new_ grave, if she had been buried
_long ago_.]
[Footnote 58: All our Bohemian and Slovakian specimens are taken from
Czelakowsky's Collection, as we happened not to be in possession of
Kollar's and Erben's later work of that kind. For the full title see
p. 385, note.]
[Footnote 59: See above p. 297.]
[Footnote 60: _Pjesni ludu Bialo Chrobatow, Mazurow i Russinow z nad
Bugu zebr. przez K.W. Wojcickiego_, i.e. Songs of the White
Chrobatians, Masovians, and Russinians on the Bug, collected by K.W.
Woicicki, Warsaw 1836. Vol. I. p. 85. See above, p. 297.]
[Footnote 61: We have also two most exquisite Lithuanian ballads which
treat of the same subject; one of them being the lament of a
_fatherless_ boy.]
[Footnote 62: _Pjesni ludu Polskiego w Galicyi zebr. Zegoia Pauli_,
Lemberg 1838, p. 57. See above, p. 297.]
[Footnote 63: _Pjesnicki hornich i delnich Luziskich Serbow_, i.e.,
Songs of the Servians of Upper and Lower Lusatia, published by L.
Haupt and J.E. Schmaler, Grimma 1844. Comp. p. 304, above.]
[Footnote 64: A similar _naïvete_ we find in a little Servian elegy. A
poor girl sings: "Our Lord has of every thing his fill; but of poor
people he seems to have greater plenty than of any thing else!"]
* * * * *
INDEX.
NAMES OF SLAVIC AUTHORS MENTIONED IN THE PRECEDING WORK.
A.
Achazel, 142, 335.
Aeneas, J. 190.
Albertrandy, 269.
Albertus, 131.
Albick, 181.
Alexeyef, 48.
Alipanof, 97.
Alter, 125.
Ambrosius, 200.
Anastasevitch, 85.
Appendini, 132.
Arsenief, 89, 91.
Augusta, Pileator, 190.
Augustini, 200.
B.
Bare, 248.
Bagdanovitch, 68.
Bahyl, G., 200, 218.
Bahyl, M., 200.
Baïkof, F. 58.
Bajza, 219.
Bakalarz, 179.
Balbin, 197,201, 203.
Balbus, 181.
Balinski, 289.
Bandulovich, 130.
Bantkie, J.V. 298.
--------- G.S. 241,269,271,248,298.
Basatinksi, 96.
Bardzinski, 255.
Bartholomaides, 220.
Barteszewski, 246.
Basilius, 55.
Baszko, 230.
Batjushkof, 79.
Bazylik, 248.
Beckowski, 197.
Berkowski, 271.
Bel, 200, 218.
Benedicti, S. 189.
Benedictof, 96.
Beneshowsky, 189, 211.
Bentkowski, 225, 238, 249, 251.
Beransky, 191.
Berchtold, 206.
Berg, 89.
Beritch, 112.
Bernatovicz, 296.
Bernolak, 219, 221.
Berynda, 45.
Bestushef, 85, 93, 94.
Bialobocki, 255.
Bialobrzeski, 217.
Biankovitch, 131
Bielowski, 98, 279.
Bielski, Joach, 248.
-------- Mart, 248.
Bierling, 310.
Bierkowski, 247.
Bilegowsky, 191,193.
Bitchonrin, see Hyacinth.
Blahoslaw, 190.
Blasius, 200.
Blazowski, 248.
Bobrof, 69.
Bobrowski, 280.
Bodtanski, 88.
Boethlingk, 92.
Bogashinovitch, 129.
Bogufal, 230.
Bogush, 84.
Boguslawski, 279.
Bohomolec, 278.
Bohorizh, 140, 141.
Bohusz, 271.
Bohuslaw, 181.
Bolchovitinof, 75, 84.
Boldryef, 83.
Boltin, 70.
Bonus, 129.
Borowsky, 191.
Brankovilein, 111.
Bratanofski, 71.
Bratkowski, 256.
Brezow, 162.
Brodzinski, 274, 276.
Bronefski, 81.
Bronikowski, 286.
Broscius, 255.
Buchich, 136.
Budny, 238, 247.
Budow, 193.
Bulgakof, 69.
Bulgarin, 89, 93.
Bulitch, 112.
Bunin, Anna, 96.
Burski, 296.
Bushinsky, 63.
Buturlin, 89.
Bydzhowsky, 191.
Bystrzycki, 281.
C.
Caboga, 30.
Cacich, 114, 130, 367.
Capito, 190.
Caraman, 127.
Carlovitz, 111.
Cassio, 130, 132.
Chelcicky, 177.
Chemnitzer, 69, 80.
Chmelenski, 205.
Chmelnitzky, 80.
Chmelowecz, 192.
Chodkiewicz, 255, 281.
Chodubashef, 98.
Cholewa, Mart. 230.
Chomiakof, 96.
Chrominski, 27.
Chroscinski, 255.
Chwalkowski, 255.
Chwostaf, 79.
Cielecki, 249.
Cimberg, 179.
Ciaudian, 181, 191.
Codicillus, 194.
Coepolla, 190.
Comenius, 197 sq.
Constant, Vsevolodovitch, 55.
Cosmas, 169,
Cyril, 31 sq.
Cyril, M. of K. 55.
Czacki, 233
Czarnokowski, 247.
Czarowski, 246.
Czartoryski, A. 265, 278.
Czartoryski, Isabella, 279.
Czaykowski, 295.
Czech, 281.
Czechticz, 177.
Czelakowsky, 205, 216, 385.
Czerny, 181.
D.
Dahl, 93.
Dalmatin, 140.
Daneykowicz, 266.
Daniel, Heg. 55.
Daniel, Archb. 109.
Danilewsky, 84, 90.
Danilof, 64.
Dankowski, 14.
Darxich, 128.
Davidof, 91.
Davidovitch, 112, 113, 132.
Della Bella, 132.
Delwig, 79.
Dembowski, 279.
Demetrius, 63.
Dershavin, 69.
Desnitzky, 84.
Dlugosz, 234.
Dmitrief, 79, 85.
Dmochowski, 277, 278.
Dobner, 125.
Dobrovsky, 7, 27, 33, 45, 202, 204.
Dolezhal, 200.
Dolgoroki, 62.
Dorof, 90.
Drachenicz, 180.
Drachowsky, 196, 211.
Draskovich, 137.
Drazow, 192.
Drozdof, 83.
Druzbacka, Eliz. 255.
Dshefarovitch, 111.
Duba, 162.
Durich, 202, 203.
Dziarkowski, 282.
Dzierwa, 234.
Dzwonowski, 255.
E.
Elsner, 199.
Ephraim, 190.
Eristof, see Yeristof.
Eugene, see Bolchovitinof.
Eugenius, 45.
F.
Fabricius, 313.
Falenski, 270.
Faligoborski, 256.
Falimierz, 249.
Fandli, 219.
Farnik, 143.
Felinski, 278.
Feodorof, 97.
Fredro, 279, 296.
Frenzel, 310.
G.
Gabriel, 99.
Gaj, 133, 137.
Gallus, 181.
Garezinski, 295.
Giganof, 83.
Gilowski, 247.
Ginterod, 188.
Giubronavich, 129.
Glagolyef, 92.
Glinka, 79, 81, 97.
Glosins, 200.
Glück, 63.
Gnjeditch, 81.
Gnorowski, 191.
Gogol, 93.
Gloanski, 280.
Gohkof, 70.
Golovnin, 81.
Golubinsky, 99.
Gondola, Fr. 130.
Gondola, J. 129.
Gorecki, 295.
Gozze, 128.
Grabowski, 289, 295.
Grebenko, 95.
Grekof, 58.
Gretsch, 85, 92.
Gribojedof, 80.
Grigoryef, 91.
Grimm, J. 27, 241.
Grochowski, 246.
Groddeck, 280.
Groicki, 249.
Groza, 296.
Grutinius, 249.
Gryllus, 192.
Grzebski, 249.
Guagnini, 248.
Gucetich, 131.
Gutowski, 254.
H.
Hadshitch, 112.
Hagek, 194.
Haguemaster, 91.
Han, Helene, 96.
Hansheri, 98.
Hanka, 157, 202, 203.
Hanush, 192.
Harant, 193.
Hassenstein, see Lobkowicz.
Helic, 190.
Herbart, 249.
Heym, 101.
Hippolytus, 141.
Hitshevsky, 96.
Hnewkowsky, 208.
Hobe, 288.
Hodani, 278.
Hod of Hagek, 179.
Hofman, 279, 292.
Holawinski, 291, 296.
Holli, 205.
Horowicof, 162.
Hostowin, 191.
Horsky, 192.
Hromadko, 206.
Hruby, 188.
Hrushkowic, 200.
Huss, 167.
Hyacinth, 81, 91, 98.
I, J.
Jablonowski, 255.
Jablonsky, 205.
Jakubovitch, 96.
Jakubowski, 272.
Jandit, 211.
Jankovitch, 112.
Januskowski, 240.
Januszowski, 248.
Japel, 143.
Jaronski, 280.
Javorsky, 63.
Jazikof, 96.
Jelowicki, 291.
Jemin, 70.
Jerome of Prague, 169.
Jesak, 101.
Jessenius, 190.
Ignes, 256.
Igumnof, 83.
Innocenz, 92.
Jodlowski, 271.
Jordan, 205, 311.
Julinatz, 112.
Jundzill, 281.
Jungmann, 202, 203, 211.
Juszinski, 277.
K.
Kabatnik, 179.
Kadlubec, Vinc. 230, 234.
Kaladovitch, 84, 93.
Kaleniczof, 177.
Kamaryt, 205.
Kantemir, 64.
Kapnist, 69.
Karadshitch, see Vuk Stephanovitch.
Karamzin, 76 sq.
Karlsberg, 192.
Karnkowski, 247.
Karpinaki, 274, 278.
Karpowicz, 272.
Kasembeg, 98.
Katancsich, 131, 134.
Katchenofsky, 85.
Kavelin, 92.
Kengelatz, 112.
Khanikof, 91.
Kheraskof, 68.
Kicinski, 272.
---- V. 278, 296.
Kilinski, 270.
Kinsky, 200.
Klatowsky, 211.
Klaudian, 191.
Klicpera, 205.
Kleich, 199.
Klinofsky, 64.
Klonowicz, 246.
Kluk, 281.
Klushin, 68.
Knapski, 240, 254.
Kniaznin, 274.
Knjashnin, J. 68.
Kobylin, A. 249.
---- P. 249.
Kochanowski, A. 245.
---- J. 245, 255.
---- P. 245.
Kochowski, 255.
Kocin, 188, 193.
Köppen, 85, 93, 95.
Koialowicz, A.W. 254.
---- K. 248, 254.
Kola, 255.
Koldin, 194.
Kollar, 205, 206, 207, 217.
Kollontaj, Hugo, 267.
---- K.H. 256.
Kolowrath-Liebsteinsky, 206.
Kolzof, 97.
Konacz, 188.
Konarski, 254, 264.
Koneczny, 212.
Koni, 97.
Konissky, 71.
Konkowski, 281.
Konstantinovitch, 193.
Konstanz, 196.
Kopczinski, 298.
Kopitar. 27 sq. 123 sq. 142, 144, 234.
Kopiycwitch, 60, 63.
Koranda, 177.
Korf, 91.
Kovatzevitch, 119.
Krobeinikof, 58.
Korshavin, 85.
Korssak, 294.
Korwell, 296.
Korytko, 142, 385.
Koslof, 79.
Kossakowski, 279.
Kostrof, 69.
Koszutski, 247.
Kotliarewski, 50.
Kotwa, 191.
Kozmian, 277.
Kraiewski, 246.
Kramerius, 202.
Krascewski, 296.
Krasinski, Ign. 295.
Krasinski, Valer. 290.
Krasiski, 273, 278.
Krasonicky, 189.
Kraszewski, 289, 291.
Krayefski, 88.
Krman, 200, 218.
Kromer, M. 244, 248.
Kropinski, 279.
Krupsky, 188.
Kruszynski, 278.
Krylof, I. 80.
---- N. 91.
Kucharski, 289.
Kuczborski, 247.
Kukolnik, 97.
Kumersdey, 143.
Kuthen, 193.
Kuznico, 143.
Kwiatkowski, 270.
Kwitka, 95.
L.
Lachowski, 272.
Lafontaine, 282.
Laschetnikof, 93.
Latosz, 249.
Lazaref, 81.
Lazarevitch, 112.
Lefort, 88.
Lelewel, 268 sq. 271, 292.
Lenski, 97.
Leonard, 237.
Leopolito, 237.
Lermontof, 93, 96.
Lesczynski, R. 255.
---- Stan. 264.
Leska, 205.
Levakovitch, 127.
Levenda, 71.
Levicky, 44.
Levshin, 71.
Libertin, 196.
Liboczan, 193.
Linde, 271, 298.
Lipinski, 279.
Litomierzicky, 176.
Lobkowicz, J. 179.
Lobkowicz-Hassenstein, 181.
Lomnicky, 192.
Lomonosof, 60, 65 sq.
Lubienec, 336.
Lubienski, 255.
Lubomirsky, 255.
Lucas, 189.
Lucaszewicz, 289, 290.
Lupacz, M. 177.
---- P, 193.
M.
Machaczek, 205.
Macherzynski, 289, 291.
Maciejowski, 288.
Macsay, 219.
Macynski, 240, 289.
Maiewski, 270, 272.
Maikof, 68.
Magarashevitch, 112.
Magnitzky, 64.
Makawsky, 191.
Malcz, 282.
Malczeski, 294.
Manoshkin, 91.
Maraczewski, 289.
Marek, 205.
Marlinski, 94; see Bestuschef.
Martin Gallus, 230.
Masovitch, 112.
Martynof, 81.
Massalski, 93.
Matthei, 311.
Matusczewicz, 272.
Matveyef, 57.
Maurenin, 191.
Maximovitch, 92, 98.
Menze, 128.
Merzjakof, 81.
Mezericki, 162.
Mezyhor, 179.
Miaskowski, 264.
Mies, Jacobellus of, 170.
Micalia, 132.
Michailowski, see Danilewski.
Michalides, 200.
Mickiewicz, A. 275, 277, 293.
Miklaszewski, 270.
Milicz, 162.
Milowuk, 119.
Milutinovitch, 119, 122.
Minasovrez, 129.
Minasowicz, 278.
Miossich, 130, 367.
Mirkowsky, 191.
Mirosh, 177.
Mirzinsky, 177.
Mitrowicz, 193.
Mladienowicz, 176, 179.
Mochnacki, 291.
Moehn, 311.
Molski, 277.
Mostowski, 246, 255.
Mouravyef, 92.
Mouravyef-Apostol, 81.
Mrongovius, 298.
Muczkowski, 232, 291.
Mueller, G.J. 70.
Munich, 84.
Mushitsky, 119.
Mussin Pushkin, 53, 85.
N.
Nadeshdin, 87, 88, 92.
Nagurszewski, 278.
Narbutt, 289.
Nareshnoi, 81.
Naruszewicz, 267, 278.
Nefedvef, 91.
Negedly, 202, 203, 212.
Neledinsky-Meletzky, 69.
Nestor, 41, 55.
Newerof, 87.
Nicolai, 190.
Nicolef, 68.
Niegosh, P.P. 119, 120.
Niemcewicz, 179, 270, 272, 275.
Niemir, 255.
Niesicki, 254.
Nikitenko, 92.
Nikon, 59.
Nitikin, 58.
Noakowski, 101.
Norof, 91.
Novikof, 69.
Nowasielski, 296.
O.
Obradowitch, 112.
Oczko, 247.
Odachowski, 247.
Odoyeski, 93.
Odyniec, 294.
Oginski, 270.
Ojczyczniak, 292.
Okraszewski, 277.
Olomucius, 181.
Onacewicz, 270.
Opalinski, 255.
Optat, 189, 211.
Orliczny, 189, 191.
Orlof, 80.
Orphelin, 112.
Orzechowski, 248.
Osinski, A. 285.
---- H. 281.
---- L. 277, 278.
Osnovianenko, see Kwitka.
Ostrorog, 231.
Otfinowski, 255.
Ottersdorf, 193.
Oustralof, 89.
Ozerof, 80.
P.
Padura, 295.
Palacky, 205, 207, 209.
Palaczek, 177.
Palkowicz, G. Can. 220.
---- G. Prof. 199, 205, 220.
Palma, 191.
Palmota, Jac. 130.
---- Jun. 129.
Paprocky, 193, 246.
Parczek, 206.
Parenoga, 102.
Parsky, 83.
Paszkowski, 248.
Pauli, Zeg. 289, 297, 399.
Pawlof, 93.
Pawlof, Mrs. 96.
Pelzel, 201, 204, 211.
Perewostschikof, 88.
Perzyna, 282.
Peshina, 191, 197.
Petryci, 280.
Philarete, 92.
Philomusa, 192.
Piasecki, 248.
Pisecky, M. 192.
---- W. 188.
Pishek, 191.
Placel, 193.
Plachy, 196, 205.
Platon, 71.
Pleinef, 85.
Pochlin, 142.
Poezobut, 281.
Podiebrad, 179.
Podolinski, 96.
Podoljedof, 84.
Pogodin, 88, 89, 90.
Pohl, 211.
Polak, 205.
Polenof, 205.
Poletika, 99.
Polevoi, 87, 92, 97.
Polinski, 281.
Poniatowski, 256.
Poninski, 254.
Poplinski, 290, 298.
Popovich, 143.
Popovitch, 112, 119.
Poprovsky, 69.
Poszakowski, 254.
Potocki, Ant. 266.
---- Ign. 266, 267.
---- John, 6, 271, 284.
---- Paul, 266.
---- Stanisl. K. 266, 267, 272, 280.
---- W. 255.
Prachatitzky, 181.
Prazmowski, 272.
Prelawsky, 189.
Prerowsky, 192.
Presl, 206.
Prochazka, 202, 203.
Procopius, Boh. Broth. 177, 190.
Procopius, 180.
Prostiborz, 193.
Protosof, 83.
Przezdziecki, 289.
Przybylski, 277, 278.
Puchmayer, 202, 203.
Pudlowski, 246.
Pulkawba, 162.
Pushkin, 80, 85, 89, 95.
R.
Racownicky, 193.
Raczynski, 256, 282, 284, 290.
Radomski, 247.
Radowesic, 192.
Raguini, 130.
Raitch, 111, 112.
Rakowiecki, 30, 271, 285.
Rastawiecki, 290.
Rautenkranz, 206.
Ravnikar, 143.
Razzi, 130.
Reisenbach, 194.
Reshatko, 192.
Rey of Naglowic, 244.
Rhasis, 98.
Rileyef, 79, 85, 93.
Rogalinski, 281.
Rokycana, 177.
Rosa, St. 127, 131.
Rosa, 197.
Rosciszewski, 247, 249.
Rosen, 79.
Rosenberg, 176.
Roshnay, 208.
Rositzius, 234.
Rosolocki, 254.
Rostoptshin, Countess, 96.
Rwaezowsky, 191.
Rybinski, 245.
Rytchkof, 70.
Rzewuski, 265, 281.
S.
Sabin, 205.
Sacharof, 98, 346.
Sagoskin, 93.
Saltszewicz, 255.
Samailof, 89.
Sanin, 59.
Sapieha, 249, 271.
Sapocki, 254.
Sarnicki, 249.
Schaffarik, 122, 205, 207 sq.
Sehevyrof, 92.
Schieweck, 298.
Schloezer, 4, 20, 41.
Schmaler, 311, 313.
Schmidt, J.J. 82.
Schmidt, J.E. 101, 298.
Schraniko, 203.
Seclucyan, 237, 247.
Sedlaczek, 206.
Seiler, 311.
Senkowski, 74, 83, 281.
Seraphim, 75, 83.
Shakofskoi, 80.
Shakofsky, 84.
Shishkof, 78, 84.
Shlecta, 181.
Shtitny, 162.
Shtsherbatof, 70.
Shud, 191.
Shukofsky, 79, 93.
Siarczynski, 270.
Sidonski, 99.
Sieber, 206.
Siemenski, 297.
Sienkiewicz, 278.
Siennik, 249.
Sierakowski, 281.
Simeon of Polotzk, 57, 59, 66.
Simon, 177.
Sirenius, 249.
Sjetchinof, 71.
Skorga, 247.
Skorbek, 279, 296.
Skorina, 59.
Skromnenko, 88.
Skrzetuski, C. 271.
---- V. 271.
Slawata, 192.
Slawiarski, 282.
Slowacki, 279.
Slowzof, 89.
Smetana, 206.
Smotrisky, 44, 65, 111.
Snaider, 208.
Sniadecki, 281.
Sokolof, 84.
Sokolovki, 96.
Solarich, 112.
Solowyef, 87,
Soltyk, 272.
Soltykowicz, 270.
Sonneg, U.v. 140.
Sophia, Tzarevna, 57.
Sopikof, 76, 85.
Sorgo di, Kath. Poz. 129.
Sowinski, 271, 272.
Spalatro, B.d. 130.
Spiczynski, 249.
Sreznefski, 89. 359.
Starowolski, 255.
Staszyc, 229, 278, 282.
Statorius, 240.
Stepanek, 205.
Stepanof, 91.
Sternberg, 193.
Sternberg, K. 206.
Steyer, 196.
Stoikovitch, 112.
Stranensky, 190.
Stransky, 199.
Stribrsky, 192.
Strnad, 206.
Stroyef, 84, 87, 125.
Strubicz, 249.
Strycz, 190.
Stryikowski, 248.
Strzembski, 230.
Stulcz, 205.
Stulli, 132.
Sturm, 191.
Sudrovins, 246.
Sumarokof, 68.
Surowieckowski, 282.
Sushishky, 191.
Svinyin, 89, 93.
Swiencki, 282.
Swotlik, 310.
Sychra, 205.
Sylvanus, 192.
Sylvester, 55.
Syrenski, s. Sirenius,
Szabranski, 296.
Szczaniecki, 254.
Szianawski, 272, 280.
Sziawianski, 280.
Szrzeniewa, 298.
Szumski, 272, 298.
Szydlowski, 277
Szymanowicz, 245.
Szymanowski, 256, 274.
Szyrma, Ljach, 284.
T.
Taborsky, 192.
Tanska, e Clem. 279.
Tanski, 277.
Tappe, 101.
Tarnowski, 248, 249.
Tatishtshef, 102.
Tchulkof, 70.
Teplef, Miss, 96.
Terlaitch, 112.
Tham, 211.
Ticinus, 310.
Timkowsky, 81.
Timofeyef, 96.
Tishnow, S. of. 176.
Tomaszewski, 277.
Tomek, 205.
Tomsa, 202, 203.
Trajanski, 291.
Trambczynski, 298.
Trediakofsky, 65.
Trembecki, 274.
Truber, 139, 140.
Tshbinof, 98.
Tshoikovitch, 119.
Tupi, 205.
Turinsky, 205.
Turnowski, 246.
Turnowsky, 194
Turski, 270.
Twardowski, 281.
Twardowski, S. 255.
Tymowski, 277.
Tzertelef, 98.
U.
Umiatowski, 249.
Ustralof, see Oustralof.
Uzewicz, 45.
V.[A]
Vater, 101, 298.
Venelin, 87, 145.
Vetranich, 128.
Vidakovitch, 119.
Vincentius, 160.
Vitkovitch, 119.
Vjazemsky, 79.
Vladimir Vsevolod. Monomach, 54.
Vodnik, 143.
Volkof, 83.
Volkonski, princess, 96.
Voltiggi, 132.
Vostokof, 79, 84, 93.
Vsevolodovitch, 55.
Vuitch, 112.
Vuk Stephanovitch, 113-118, 368.
W.
Waleczowsky, 179.
Wangocki, 248.
Wapowski, 248.
Wartowsky, 190.
Wcewolodsky, 91.
Welensky, 188.
Weleslawlin. 189, 193.
Weltmann, 93.
Wenelin, see Venelin.
Wengierski, Ad. 254.
---- And. 254.
---- T.K. 274.
Wenzyk, 279.
Wirtemberg, princess of 279.
Wisin, Van, 68.
Wisnoiwiecki, 256.
Witwicki, 264, 293.
Wlzek, 179.
Wlkanow, Prefat of, 193.
Wocel, 205.
Woicicki, 296, 397.
Wojeikof, 81.
Woronicz, 272, 276.
Wratnowski, 292.
Wrbensky, 191.
[Footnote A: There is only one letter in the Slavish Alphabet for _V_
and _W_. In the personal names of those nations, which use the
Cyrillic alphabet, we have written it V, according to the English
pronunciation; in those belonging to nations which have adopted the
Latin alphabet, we of course did not feel justified in making any
alteration. The Slavic _W_ is always pronounced like the English _V_.]
Wresowicz, 193.
Wuiek 238, 247.
Wydra, 206.
Wyrwicz, 272.
Wysocki, 254.
Y.
Yeristof, 92.
Z.
Zablocki, 279.
Zaborowski, 240.
Zaborowski. Ign. 281.
Zagorski, 290.
Zabradnik, 206.
Zaleski, 295.
Zaluski, 265, 266.
Zalushansky, 194.
Zamrsky, 190.
Zbylitowski, 246.
Zdanof, 102.
Zebrowski, 255.
Zeletawski, 191.
Zeneide B. 96.
Zhelotyn, 194.
Zherotin, C. of, 193.
Zialinski, 296.
Zidek, 179, 188.
Ziegler, 206.
Zimanowicz, 246.
Zizania, 44, 65.
Zlatarich, 129.
Zolkowski, 279.
Zibrzyeki, 289.
Zukowski, 281.
Zuzerich, S. 129.
Zuzzeri, Fl. 129.