Croatian epic poetry in the 16th and 17th centuries and Latin and Italian literary traditions

Abstract

Croatian epic poetry had its start in Split at the very beginning ot the 16th century, and its development continued in the same and the following centuries in Zadar and Dubrovnik. Several literary traditions can be discerned in the first two centuries of its existence. Owing to the language, there is, firstly, its own medieval literary production, although rather meagre; secondly, directly or indirectly, the antique Latin (with the absorbed antique Greek) and, lastly, the Italian tradition (with the absorbed elements of the Provence troubadour poetry). Not unimportant for its language and style are Serbocroatian popular ballads. Marko Marulić (1450—1524) stands at the very beginning. He writes his »Judita« (1501) - the matter for which was taken from the Bible - according »to the practice of our ’začinjavci’« (i. e. the versifiers prior to Marulić) and »the rules (...) of the old poets* (i. e. the antique epic ones). In »Planine« (1536) by Petar Zoranić from Nin (1508-1543?) meet, besides the »exegesis of the blessed Hieronymus« (Croatian pre-Renaissance literature), and Marulić, also Latin and Italian poets, from Vergil and Ovid to Sannazzaro and the Bible. In »Vazetje Sigeta građa« (written between 1568 and 1573) by Bme Kmarutić from Zadar (1515?-1573) Marulić and all the constituents of the poet of »Judita« are present. Zadar epic poetry closes with »Vila Slovinka« (1613) by Juraj Baraković (1548-1628). It is a continuation of Marulić’s and Zoranić’s works, partly also of the works of the poets of Hvar and Dubrovnik and of the general acquisitions
221of Italian literature, both preceding and contemporary. »Piligrin« (of the 60’s or 70’s of the 16th century) by Mavro Vetranović from Dubrovnik (1483-1576) is an allegorical epic of Dantesque inspiration, a poem of search for the »right road« and salvation of the soul. »Osman« (the 4th decade of the 17th C.) by Ivan Gundulić from Dubrovnik (1589-1638) is in the general epic tradition, especially in that of Tasso’s »Gerusalemme liberata« (1575), but also in the tradition of Vetranović and Dubrovnik Petrarchan poets. Having accepted the impulses, however, the Croatian epic poets transformed and adapted them to their intentions and conceptions of the purpose of poetry, as established in the conditions of the agelong defence from the aggressive Turks and deceitful Venetians. With Marulić, consequently, the biblical story about the courageous widow Judith serves as a form to express the opinion that also a small nation can withstand the uncomparably stronger power, bringing the problem of defence in direct comparison with the situation in his own country. Zoranić places the localities of his fatherland within the frame of a fictional journey. Using metamorphoses he praises his country, in »shepherds’ dialogues« he pictures the impending Turkish danger and, lastly, in the vision of »the gardens of glory«, he reproaches his learned fellow-countrymen for neglecting their mother tongue and using the foreign. The poet of »Vazetje Sigeta grada« discusses the disaster of Siget, which took place only a few years earlier, suggesting that in defending the country people should go to the end, as death is better than bondage. In »Osman« Gundulić portrays the briefness of ewerything and in the same context foretells the near destruction of the Turks. With Tasso, the crusade is only the occasion, the starting point, the basis for setting forth. The poetry is in Armida, on her enchanting island, in the victory of the woman passionately in love over a sorceress. Gundulić, on the other hand, »teils« the events for their own sake; in their succession and end the permeating idea is the hope in the near liberation of the Slavic peoples from the Turkish domination. In the West, the idyllic and pastoral backgrounds served as an excape from reality into the world of fiction; heroic deeds to veil the non- -heroic times. With the Croatian poets they functioned as a frame of principles to express the fear from the drawn sword of the too much powerful an enemy.