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Pavlovic, Aleksandar (2012) from Traditional to Transitional Texts Aleksandar Pavlović From Traditional to Transitional Texts: Montenegrin Oral Tradition and Vuk Karadžić’s Narodne srpske pjesme Supervisors: Dr David Norris, Dr Vladimir Zorić Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy (PhD) in Southeast European Studies, February 2012 CONTENTS Acknowledgements ……..…………………………………………………………………… 3 Introduction …….......……………………………………………………………………….. 4 Chapter 1. The Concepts of Oral Traditional, Transitional and Nontraditional Texts ……..…...… 56 Chapter 2. Genuine Oral Traditional Songs in Narodne srpske pjesme ……...…………………….. 114 Chapter 3. Transitional Texts about the Battles against Mehmet Pasha .......…………………….... 169 Chapter 4. Between Traditional and Nontraditional Texts: The Songs of Đuro Milutinović .......... 228 Conclusion ………………………………………………………………………………… 261 Bibliography ……………………………………………………………………………… 280 1 ABSTRACT This thesis analyses the influence of literate culture on the corpus of Montenegrin oral epic songs published in Vuk Karadžić’s edition of Narodne srpske pjesme from 1823 to 1833. The Introduction places the research in the scholarly context of the Parry-Lord theory of oral composition, later analyses of transitional texts that contain both oral traditional and literary characteristics, and recent interest in the entire process of transcription, edition and publication of songs belonging to the oral tradition. This is followed by an outline of facts relevant to the social and political history of Montenegro, its epic tradition and earliest textual representation. The first chapter discusses in detail the concepts of oral traditional, transitional and nontraditional texts and offers a synthetic theoretical framework for the analysis of transitional South Slavonic oral songs, based on their phraseology, style, outlook and contextual evidences about their documentation and singers. In the second chapter, this is followed by a textual analysis of five genuine oral traditional Montenegrin songs from Karadžić’s collection and a discussion of their style, themes and overall perspective. In the third chapter, two songs about contemporary Montenegrin battles from the collection are analysed and identified as proper transitional texts; they contain a number of literary elements and were influenced by the Montenegrin ruler Bishop Petar I, but also retain to some extent the characteristics of traditional oral songs. The final chapter identifies nontraditional elements in the four songs that Karadžić wrote down from a literate Montenegrin singer Đuro Milutinović Crnogorac. It is argued that these songs combine a traditional style and outlook with elements distinct from local oral tradition, which the singer had adopted during his education and under the influence of Bishop Petar. The main conclusion of the thesis is that the earliest publication of Montenegrin oral tradition already contained a number of features of literary origin; two out of eleven songs are proper transitional texts, and four others display the influence of literate culture. These texts and features did not originate in the local oral tradition; rather, they were introduced by a literate singer close to the political leadership and then incorporated in the collection of oral traditional songs during the process of its literary documentation and representation. By revealing the complex socio-political framework giving rise to the early-nineteenth century collections of South Slavonic oral songs, this thesis makes a contribution to current research in the textualisation of the oral tradition, and provides a consistent model for the analysis of transitional texts in oral studies. 2 Acknowledgements I am deeply grateful to my supervisors, Dr David Norris and Dr Vladimir Zorić, for being such meticulous readers and for providing guidance and support beyond any conventions. My debth to Vlada, amicus certus, cannot be exaggerated; he made this PhD possible by inspiring me to apply for it in the first place, and he made it easier by always being a friend in the time of need. I am also indebted to my dear friends and colleagues (now scattered around the world) Stijn Vervaet, Alexander Dunst, Ivana Đurić, Stefanie Petschick, Adity Singh and Teodora Todorova for their insightful comments and help in resolving language, theoretical and existential doubts along the way. Most of all, I thank my wife Ljiljana, my mother Jelena and my sister Ksenija for their unconditional love and understanding. 3 Introduction This study analyses Serbian oral epic songs published in the first half of the nineteenth century. By oral epic song, I understand the product of a special poetic technique of oral composition in performance, as described by the American scholars Milman Parry and Albert Lord: Oral epic song is narrative poetry composed in a manner evolved over many generations by singers of tales who did not know how to write; it consists of the building of metrical lines and half lines by means of formulas and formulaic expressions and of the building of songs by the use of themes.1 Sources from the sixteenth, seventeenth and eighteenth century, such as notes by foreign travellers, occasional instances of folk songs published in the works of writers from Dubrovnik and the Adriatic Coast, and several seventeenth and eighteenth-century manuscript collections of this poetry, confirm that over the centuries a strong oral tradition existed among the South Slavs. Nonetheless, before the nineteenth century, published sources offered only casual and fragmented instances of this oral tradition. 1 Albert B. Lord, The Singer of Tales 2nd edn (Cambridge, Mass / London: Harvard University Press, 2000), p. 4. 4 The earliest published collections of South Slavonic oral songs appeared in the early nineteenth century, when Vuk Stefanović Karadžić (1878-1864) set out to write them down systematically and published his first collections of Serbian folk songs. Born in the Serbian countryside, Karadžić came to Vienna in 1813 after the collapse of the uprising against the Turks, and played a major role in the modernization of Serbian literature and culture. He reformed the language and orthography by promoting the vernacular instead of the Slavonic- Serbian language used at the time, collected the folklore of Serbian peasants and herders and is considered to be at once the first Serbian folklorist, ethnographer and literary critic. 2 Throughout his life, Karadžić meticulously collected Serbian oral epic and lyric songs, and published three editions with ten volumes altogether between 1814 and 1862. In addition, through his acquaintance with leading scholars of the time, such as Jacob Grimm, Johann Wolfgang von Goethe or Leopold Ranke, and his many publications, Karadžić publicized Serbian folk poetry and Serbian culture in Europe. Two of his younger friends and associates, the prominent Serbian poet Sima Milutinović Sarajlija, and Petar Petrović Njegoš II, Montenegrin ruler and writer, soon followed Karadžić’s founding work and published their editions of epic songs, mostly collected on the territory of present-day Montenegro. Milutinović printed his Pjevanija Crnogorska i Hercegovačka in 1833 and 1837, and Njegoš edited Ogledalo srbsko in 1846. During the second half of the nineteenth century, comprehensive collections of oral traditional poetry of other South Slavonic nations, such as Jukić-Martić’s Narodne pjesme bosanske i hercegovačke, Kosta Hörmann’s Narodne pjesme Muhamedovaca u Bosni i Hercegovini, and the first four volumes of Hrvatske narodne pjesme, were published.3 2 Jovan Deretić, Istorija srpske književnosti (Beograd: Prosveta, 2004), pp. 553-82. For a more comprehensive account of Karadžić’s role, see: O Vuku Karadžiću: studije i eseji, Beograd: Prosveta, 1968. 3 Narodne pjesme bosanske i hercegovačke, ed. by Ivan Frano Jukić and Grga Martić, Osijek: [n.a.]: 1858; Kosta Hörmann, Narodne pjesme Muhamedovaca u Bosni i Hercegovini, Sarajevo: Zemaljska štamparija, 2 vols, 1888- 1889; Hrvatske narodne pjesme, Zagreb: Matica Hrvatska, 4 vols, 1896-1899. For a fuller list of the nineteenth century collections see: Đuro Šurmin, Povijest književnosti hrvatske i srpske (Zagreb: Tisak i naklada knjižare Lav. Hartmana [Kugli i Deutsch], 1898), pp. 23-24. 5 Simultaneously, the publication of Karadžić’s first collections marked the transfer of epic songs from an oral traditional society into the emerging field of Serbian literature. For long, this process of documentation and textualization of oral tradition generally did not attract systematic scholarly attention. As John Miles Foley emphasizes, ‘until relatively recently investigators have tended to overlook just how an oral epic reached textual form, preferring to deal with it as a readymade object that could be analyzed with available tools.’4 Recent scholarship, however, pointed out that the published collections are not a simple reflection of oral tradition and focused on its textual representation, that is, to the entire process of its transcription, edition and publication. Parry and Lord already prepared the basis for such analysis by indicating that oral poetry contains some distinctive features like formulaic language and composition in performance, and that therefore oral patterns of composition, distribution and performance essentially differ from those we find in written literature. The traditional singer composes during performance using traditional formulas and themes, which makes every oral performance unique and distinctive. To capture this fluid,
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