Safet Hasanbegovic

   
Dr. Aida Vidan 2
 
   

 

ZLATOM VEZE, A BISERJE NIŽE

“Embroidered with Gold, Strung with Pearls : The Traditional Ballads of Bosnian Women”

(Copyright 2003 The Milman Parry Collection of Oral Literature.)

 

DISCLAIMER AND COPYRIGHT. The text presented here is intended for NONCOMMERCIAL USE and for the benefit of those who are not able to obtain the printed version.

 


 

Annotation

40 Bosnian traditional ballads are now available to the English reader in a bilingual edition offering a selection of never before translated or published materials from Harvard University's Parry Collection.

 

Table of Contents

 

Series Foreword                                    ix

          Stephen Mitchell

          Gregory Nagy

Foreword                                           xi

          Mary Louise Lord

Acknowledgements                                   xiii

Introduction                                       1   (1)

      Songs by Women Performers in the Milman      2   (10)

      Parry Collection of Oral Literature

      Problems of Genre and Terminology            12  (19)

      Towards a Classification of Ballads from     31  (6)

      the Milman Parry Collection

      Questions of Microstructures and             37  (28)

      Macrostructures in the South Slavic

      Traditional Ballad

        Instances of Fixity and Near-Fixity        37  (4)

        Newly Composed Songs                       41  (3)

        Between Fixity and Novelty: the Spectrum   44  (1)

        Between Fixity and Novelty: Pronounced     45  (6)

        Textual Stability

        Between Fixity and Novelty: Relative       51  (4)

        Textual Stability

        The Theme, the Pattern, and the Plot       55  (5)

        In Pursuit of a Theme                      60  (3)

        Formula and Dialectal Influences           63  (2)

      The Role of Mythology                        65  (7)

      Formulaic Language in Translation            72  (7)

  Part I Background

  Basic Biographical Information                   79  (2)

  Conversations                                    81  (16)

      Hasnija Hrustanovic's biography and          81  (2)

      family background as told by her son

      Ibrahim Hrustanovic

      Emina Sakovic's biography and family         83  (1)

      background as told by her son Hamdija

      Sakovic

      Conversation with Dula Dizdarevic            84  (6)

        Part I                                     84  (3)

        Part II                                    87  (3)

      Interview with the collectors Hamdija        90  (7)

      Sakovic and Ibrahim Hrustanovic

  Part II Songs

  Songs                                            97  (158)

    Text 12220 by Hasnija Hrustanovic, written     97  (22)

    down by Ibrahim Hrustanovic

      Text 2887 by Hasnija Hrustanovic, written    99  (3)

      down by Ibrahim Hrustanovic

      Text 2889 by Hasnija Hrustanovic, written    102 (2)

      down by Ibrahim Hrustanovic

      Text 1032 by Emina Sakovic, written down     104 (2)

      by Hamdija Sakovic

      Text 1992 by Emina Sakovic, written down     106 (2)

      by Hamdija Sakovic

      Text 2331 by Dula Dizdarevic, written        108 (3)

      down by Hamdija Sakovic

      Text 2674 by Zulka Tanovic, written down     111 (3)

      by Ibrahim Hrustanovic

      Text 2903 by Zehra Sakovic, written down     114 (5)

      by Ibrahim Hrustanovic

    Text 1035 by Emina Sakovic, written down by    119 (2)

    Hamdija Sakovic

    Text 2274 by Emina Sakovic, written down by    121 (14)

    Hamdija Sakovic

      Text 2828 by Hasnija Hrustanovic, written    123 (1)

      down by Ibrahim Hrustanovic

      Text 2224 by Kana Tanovic, written down      124 (6)

      by Hamdija Sakovic

      Text 2344 by Delva Sakovic, written down     130 (2)

      by Hamdija Sakovic

      Text 2544 by Haska Dilic, written down by    132 (3)

      Hamdija Sakovic

    Text 3073 by Hasnija Hrustanovic, written      135 (3)

    down by Ibrahim Hrustanovic

    Text 2641 by Hasnija Hrustanovic, written      138 (7)

    down by Ibrahim Hrustanovic

      Text 2192 by Kana Tanovic, written down      140 (2)

      by Hamdija Sakovic

      Text 2251 by Dula Dizdarevic, written        142 (3)

      down by Hamdija Sakovic

    Text 2036 by Emina Sakovic, written down by    145 (9)

    Hamdija Sakovic

      Text 2839 by Hasnija Hrustanovic, written    150 (4)

      down by Ibrahim Hrustanovic

    Text 2615 by Hasnija Hrustanovic, written      154 (2)

    down by Ibrahim Hrustanovic

    Text 2451 by Emina Sakovic, written down by    156 (2)

    Hamdija Sakovic

    Text 2872 by Hasnija Hrustanovic, written      158 (2)

    by Ibrahim Hrustanovic

    Text 2858 by Hasnija Hrustanovic, written      160 (4)

    down by Ibrahim Hrustanovic

      Text 2407 by Hata Ovcina, written down by    161 (3)

      Hamdija Sakovic

    Text 2846 by Hasnija Hrustanovic, written      164 (2)

    down by Ibrahim Hrustanovic

    Text 11686 by Dula Dizdarevic, written down    166 (5)

    by Halid Dizdarevic

    Text 2611 by Hasnija Hrustanovic, written      171 (3)

    down by Ibrahim Hrustanovic

    Text 12207 by Hasnija Hrustanovic, written     174 (1)

    down by Ibrahim Hrustanovic

    Text 2129 by Emina Sakovic, written down by    175 (9)

    Hamdija Sakovic

      Text 11747 by Dula Dizdarevic, written       181 (3)

      down by Halid Dizdarevic

    Text 3047 by Hasnija Hrustanovic, written      184 (2)

    down by Ibrahim Hrustanovic

    Text 3074 by Hasnija Hrustanovic, written      186 (2)

    down by Ibrahim Hrustanovic

    Text 11754 by Dula Dizdarevic, written down    188 (4)

    by Halid Dizdarevic

      Text 11724 by Dula Dizdarevic, written       188 (1)

      down by Halid Dizdarevic

      Text 1318 by Dula Dizdarevic, written        189 (1)

      down by Hamdija Sakovic

      Text 1036 by Emina Sakovic, written down     190 (1)

      by Hamdija Sakovic

      Text 6501a by Raba Zvizdic, phonograph       190 (2)

      records 3596-97

    Text 971 by Emina Sakovic, written down by     192 (6)

    Hamdija Sakovic

      Text 12227 by Hasnija Hrustanovic,           194 (2)

      written down by Ibrahim Hrustanovic

      Text 7086 by Dula Dizdarevic, written        196 (2)

      down by Halid Dizdarevic

    Text 10080 by Hasnija Hrustanovic, written     198 (2)

    down by Delva Hrustanovic

    Text 10062 by Hasnija Hrustanovic, written     200 (2)

    down by Delva Hrustanovic

    Text 2586 by Hasnija Hrustanovic, written      202 (2)

    down by Ibrahim Hrustanovic

    Text 2314 by Dula Dizdarevic, written down     204 (3)

    by Hamdija Sakovic

      Text 2450 by Dula Dizdarevic, written        205 (2)

      down by Hamdija Sakovic

    Text 2771 by Hasnija Hrustanovic, written      207 (3)

    down by Ibrahim Hrustanovic

    Text 2854 by Hasnija Hrustanovic, written      210 (6)

    down by Ibrahim Hrustanovic

      Text 11725 by Dula Dizdarevic, written       212 (2)

      down by Halid Dizdarevic

      Text 6450 by Hajrija Sakovic, phonograph     214 (2)

      records 3489-3493

    Text 2692 by Hasnija Hrustanovic, written      216 (2)

    down by Ibrahim Hrustanovic

    Text 2702 by Hasnija Hrustanovic, written      218 (1)

    down by Ibrahim Hrustanovic

    Text 2740 by Hasnija Hrustanovic, written      219 (1)

    down by Ibrahim Hrustanovic

    Text 1990 by Emina Sakovic, written down by    220 (2)

    Hamdija Sakovic

    Text 2897 by Hasnija Hrustanovic, written      222 (3)

    down by Ibrahim Hrustanovic

    Text 2334 by Emina Sakovic, written down by    225 (2)

    Hamdija Sakovic

    Text 2460 by Emina Sakovic, written down by    227 (4)

    Hamdija Sakovic

    Text 1070 by Hasnija Hrustanovic, written      231 (6)

    down by Camila Sakovic

      Text 2343 by Delva Sakovic, written down     232 (3)

      by Hamdija Sakovic

      Text 2233 by Najla Sakovic, written down     235 (2)

      by Hamdija Sakovic

    Text 2127 by Emina Sakovic, written down by    237 (3)

    Hamdija Sakovic

      Text 2122 by Emina Sakovic, written down     238 (1)

      by Hamdija Sakovic

      Text 2169 by Mena Tanovic, written down      238 (2)

      by Hamdija Sakovic

    Text 2727 by Hasnija Hrustanovic, written      240 (1)

    down by Ibrahim Hrustanovic

    Text 2315 by Emina Sakovic, written down by    241 (3)

    Hamdija Sakovic

      Text 2618 by Dula Dizdarevic, written        242 (2)

      down by Ibrahim Hrustanovic

    Text 3037 by Hasnija Hrustanovic, written      244 (3)

    down by Ibrahim Hrustanovic

    Text 2772 by Hasnija Hrustanovic, written      247 (2)

    down by Ibrahim Hrustanovic

    Text 2291 by Dula Dizdarevic, written down     249 (2)

    by Hamdija Sakovic

    Text 2857 by Hasnija Hrustanovic, written      251 (4)

    down by Ibrahim Hrustanovic

Glossary                                           255 (2)

Selected Bibliography                              257 (10)

Index                                              267

 

Zlatom veze, a biserje niže

Embroidered with Gold, Strung with Pearls : The Traditional Ballads of Bosnian Women. Aida Vidan. Copyright 2003 The Milman Parry Collection of Oral Literature.

Knjiga je dobila Heldt Translation nagradu Društva za žene u slavističkim studijama, ogranka American Association for the Advancement of Slavic Studies (AAASS).

(usmenoknjiževna preoblika engleskog promotivnog teksta:)

Južnoslavenske narodne balade svojom su ljepotom i izrazom intrigirale mnoge, od Goethea do Milmana Parryja i Alberta Lorda. Sada se one predstavljaju anglofonim čitaocima u dvojezičnom izdanju s izborom materijala iz zbirke Milman Parry (pretraživa baza podataka u pripremi! nf) na Harvard University. Svih četrdeset usmenoknjiževnih tekstova, od kojih se mnogi ovdje javljaju u različitim inačicama, izvele su Bosanke, a prikupljene su u području Gackog (BiH), tijekom tridesetih. U opsežnom uvodu, Vidan naznačava potrebu da se teorije Parryja i Lorda dopune širim etnološkim, kulturološkim i povijesnim podacima, kako bismo razumjeli: kakva je postojanost pjesme? Kako se ona širi i prenosi? Kako se povezuje s mitologijom?
Zadnjih desetljeća postoji neuravnoteženost u proučavanju južnoslavenske narodne poezije, neuravnoteženost u korist epskih pjesama; na nju ova knjiga upozorava, pokazujući, istovremeno, kako svaki pjesnički žanr zadržava vlastite stilske posebnosti, premda se oba sastoje od istih temeljnih elemenata. Osim poredbene analize građe iz Parryjeve zbirke, Vidan navodi brojne objavljene i neobjavljene primjere hrvatskog i srpskog (valjda i bosanskog, op. prepj.) usmenog pjesništva.

Knjigu nemaju: NSK Zagreb, knjižnice Filozofskog fakulteta u Zagrebu. Na internetu nisam našao nikakav prikaz na južnoslavenskim jezicima (nažalost, ni bilo kakav mukte čitljiv; ne daju ni Oral Tradition, ni Slavic Review; let's write one for ourselves!)

Snimke iz Parryjeve zbirke muzički je transkribirao nitko drugi do li Bela Bartok; piše o tome 1942 (dok je Barac, recimo, bio u KZSTG).

 

http://filologanoga.blogspot.com/2005_02_01_filologanoga_archive.html

 

 

Kod pripreme tekstova za ovaj dio stranice Gacko.net konsultovao sam mnoge izvore koji govore o radu Milmana Parry-ja i saradnika na skupljanju narodnih umotvorina, ali i tekstove koji govore o gatačkoj epskoj i lirskoj pjesmi.Veliki dio nadjenih napisa nisam uključio u tekst, jer su oni manje interesantni za čitaoca koji se ne bavi ovom problematikom.

 

 

   

Krajem marta l935. godine Parry je u jednom svom izvještaju opisao sam postupak razgovora i postavljanja pitanja pjevačima: “Moje sve veće iskustvo i poznavanje ljudi, guslara i pjesama, naučili su me metodima rada pomoću kojih, u to sam uvjeren, mogu da ostvarim sabiranje najboljeg materijala koji je pristupačan u oblasti južnoslavenskih pjesama. Naročito mi je koristilo moje iskustvo u sastavljanju niza pitanja koja postavljam guslarima pred mikrofonom o njihovoj vještini, njihovom životu, o njihovoj društvenoj sredini, i ja vjerujem da ću donijeti natrag u Ameriku zbirku rukopisa i ploča koja je jedinstvena u svijetu za pročavanje funkcionisanja i života cijele jedne usmene narativne poezije. Snimljeni ko-mentar Avde Međedovića o pjesmi Ženidba Smailagić Mehe, koju je on ispjevao u l2.000 stihova, svakako je jedinstven u zbirkama narodnih epskih pjesama. Rezultati mojih zapažanja na terenu kao i primjena tih rezultata na ispitivanje ostalih epskih poezija iznose se u posebnoj knjizi The Singer of Tales, koja će uskoro biti objavljena u izdanju Harvard University Press-a u seriji “Harvard Studies on Comparative Literature”. 

U uvodu knjige objavljene 1953. citirane su riječi M. Parryja pa se kaže: “ ... Ova zbirka tekstova sačuvanih usmenih predanjem nije sakupljena sa namjerom da dobijemo jednu novu knjigu uz već postojeće obimne zbirke ove poezije, već radi dobijanja podataka na osnovu kojih bi se mogli izvući opći zaključci koji se mogu primijeniti na cjelokupno usmeno pjesništvo ...  

... Ne samo što možemo pratiti kako pjevač sastavlja riječi i rečenice i stihove, već također i čitave pasuse i teme, možemo vidjeti kako jedna cijela pjesma živi i prelazi od jednog čovjeka do drugog, s jedne generacije na drugu, prelazi preko polja i planina, pa i preko granica jednog jezika i, još više od toga,kako cijela usmena poezija živi i umire” 

 Nakon što je l933. godine dobio potporu od strane Američkog savjeta učenih društava, kome se prethodno obratio za podršku svome poduhvatu, Parry je otputovao u bivšu Jugoslaviju gdje je putem snimanja i zapisivanja skupljao usmenu građu u Novom Pazaru, Bijelom Polju, Kolašinu, Gacku, Stocu, Trebinju, Bihaću, Cazinu, Kulen Vakufu i nekim mjestima Dalmacije, Crne Gore i Makedonije. Tokom prvog putovanja u naše krajeve Parry je obišao oblasti koje je želio da obuhvati u svom radu da bi se tokom drugog putovanja, u kojem je uzeo učešća tada još student slavistike Albert Lord, posvetio sakupljanju usmene pjesničke građe. Poslije tragične Parryjeve smrti, neposredno po povratku iz tadašnje Jugoslavije (u decembru 1935. godine) njegov rad je nastavio Lord. Tako je 1937. godine ponovo došao da bi se izvršila transkripcija od oko 500 tekstova koje je Parry snimio na gramofonskim pločama. Tokom maja i juna 1950. godine i avgusta 1951. Lord je posjetio mjesta u kojima je Parry boravio prije rata i ovom prilikom sakupio otprilike 500 tekstova dodavši ih zbirci koja se danas čuva u posebnoj “Parryjevoj kolekciji” smještenoj u biblioteci Wiedner na Harvardskom univerzitetu. U poslu oko prikupljanja građe dvojici istraživača dragocjenu pomoć su pružili zapisivači i pomoćnici, prije rata Nikola Vujinović Parryju i poslije rata Miloš Velimirović Lordu.

 Dr Enes Kujundžić

Bošnjačka epika i homersko pitanje

Dokumentarna osnova

 http://www.razlika-differance.com/Razlika%202/RD2-Kujundzic.pdf

 

 

 

 

O epskoj tradiciji Nikšića i drugih crnogorskih gradova koji su bili pod osmanskom vlašću svjedoči  izuzetna, ali na žalost nezavršena epska pjesma koja je u narodu  poznata pod imenom “Krnovka”.  Nju je pjevao narodni pjesnik-pjevač Mujo Džubur iz Gacka.  “Krnovku” je od pomenutog Džubura i Muja  Selimotića iz Dobropolja u Hercegovini, zabilježio Stevan Delić, a pomenuti  pjevači su je čuli od nekog Sukića, koji je bio jedan od nikšićkih  muhadžira nakon 1878. godine.  Interesantno je dodati da se dvije obrade  “Krnovke” nalaze u zaostavštini Koste Hörmanna, i da su rado bile pjevane  ne samo među nikšićkim muslimanskim stanovništvom, već i na znatno širem području.

 

 

Pregledajući mnoštvo varijanata poznate pjesme Boj na Krnovu, kako  muslimanskih tako i crnogorskih, koje su u narodu poznate kao Krnovke,  dok je kod Vuka Karadžića slična pjesma objavljena pod naslovom Junaštvo  i smrt Lopušine Vuka, smatramo da je najbolja ona koju je zabilježio Stevan Delić, koju je jedne ramazanske noći pjevao Mujo Džubur,  rodom iz Gacka. Delić nije stigao da je zapiše cijelu, a pošto je Džubur  neposredno iza toga umro, pjesma je ostala nezavršena. Ipak, ona i takva  ima najrazuđeniju i najosmišljeniju kompoziciju (zabilježen je 771 stih), sa vrlo interesantnim početkom, dok Delić kaže da je ostala još jedna trećina  nezavršena. Pjesma je znatno duža od varijante koju je zabilježio Vuk (507  stihova), sa vrlo interesantnim početkom, koji u razvijenoj i uspjeloj gradaciji, poređenjem podgoričkih, kolašinskih i nikšićkih junaka muslimana -  prilikom brđanskog odlučivanja koga će napasti - motiviše dramski zaplet  u pjesmi, a prosočenje (potkazivanje) na crnogorskoj strani (od Liješa  Nešo - što sadrže gotovo sve varijante), doprinosi uvjerljivosti pjesme, odnosno  njenoj epskoj snazi koja podrazumijeva vrhunskog narodnog tvorca -pjevača.

 

O Krnovki, njen zapisivač, Stevan Delić, ostavio je zapis: "Dugo sam  gledao i tražio pjevača da kako pjesmu nadopunim, ili je cijelu zabilježim.  Kazaše mi Muja Selimotića iz Dobropolja, tim više, jer su njih oba učili tu pjesmu od nekog Sukića iz Nikšića, što se po padu Nikšića naselio u Propolju, kod Džubura. Osim toga oba su Muja zajedno drugovali, zajedno hodili, spavali, jeli, pili i pjevali. U tome sam stalno držao, e ću pjesmu  ipak u cjelini imati i zasebno štampati, kao što na molbu prijatelja, obećah im, dobavim ga i zabilježim je. No šta mislite: je li se slagala s Džuburovom?...  Iako su oba Muja od jednog pjevača, Sukića, istu pjesmu primili i zapamtili, zajedno hodili i pjevali, opet sam tu pjesmu od Selimotića zabilježio kao varijantu Džuburove; nijesu se slagale! Ona je kraća, a i lošija - tako je prosuđuju. Jer dok je Džubur pjevao kako je djevojka trčala   Nišić, našla građane (Nišićane) u džamiji da klanjaju, javila im za udarac brđanski, kako je koji dopadao i u boj ulazio, u Selimotića ni traga o tome.  Ipak ne kažem da je Selimotić loš pjevač - to mu je zanat i lijepu mu  korist donosi, osobito uz ramazan; no svaki je pjevao po svome načinu - ćejifu i ukusu. I sada su mi jasne one silne varijante kod naših guslara; a  radi uporede iznijeću i Selimotićevu - ona se više primiče Vukovoj ("Junaštvo i smrt Lopušine Vuka", IV, 54).13

  

Tamo je među guslarima osobito bio cijenjen Murat Džubur iz Gacka, kao i ujo Selimotić. (Opširnije o bosanskoj narodnoj epici vidjeti: Prof. dr Matthias Murko, Bericht über eine Reise (Studium der Volksepik in Bosnien und Hercegovina im Jahre 1913), Wien, 1915., 14-33.

  

Čuveni guslari na Pešteri

Rešo Hadžić ili Alihadžić(1865- ), iz Gujića, po pričanju Ibra (Hontića)   ajrovića (1922) iz Melaja „bio je viđen i ugledan čo’ek srednjeg  rasta, širok i kako ga ja znam sijed, sa brkovima. Bio je i musljihun. Gudeo  je u hanu u selu Melaje koji je drž’o Redžep Dukađinac. Prekrstio bi noge  na palače i pev’o do dockan, do u neki vakat.“46 – sjetno priča o njemu naš  sagovornik. Prema pisanju Vehbije Muratovića, Rešo Ali Hadžić iz sela  ujiće je bio daleko najbolji guslar na Donjoj Pešteri. Živio je u imućnoj  bitelji i sa svojih deset godina imao priliku u svojoj kući učiti pjesme. Otac i daidže Rešovi, hercegovački muhadžiri iz Gacka su takođe bili guslari.

 

Hörmann (1850-1921), tokom 1888. i 1889. godine sakupljao narodne jesme po Bosni i Hercegovini i u okolini Gacka zabilježio dvije pjesme,“Hamza Mijatović i Pivljanin Bajo” i “Ropstvo kadune Cerić Ali-bega”,u okolini Nevesinja jednu pod naslovom “Hrnjica Mujo u Janoku zarobljen”. ovom kontekstu značajno je spomenuti da su sa područja Golije,kraškog bila koje pripada Nikšićkom kraju, i dva znamenita epičara čije je umijeće zauvijek sačuvano zahvaljujući Vuku Stefanoviću Karadžiću, a to su Tešan Gavrilov Podrugović, rodom iz golijskog sela Kazanci, i znameniti slijepi guslar Filip Višnjić.  Vuk ni od jednog drugog pjevača nije zabilježio toliki broj pjesama kao od Tešana iz čijeg su repertoara i pjesme: “Hajka Atlagića i Jovan Bećar” i “Rišnjanin hadžija i Limun trgovac”.  Podrugoviću i Višnjiću svakako treba pridružiti i Starca Miliju iz Rovaca iz razloga što i to područje, u širem smislu riječi, djelimično pripada i Nikšićkom kraju. Karakteristično je, u smislu prebroji 327 stihova. Pogledati: Zlatan Čolaković, Milman, Nikola, Ilija i Avdo Međedović

Čuveni guslari iz Gacka bili su Fejzaga Zvizdić i Sadik Šehović. Za Šehovića je ezana priča da je pjevao i knjazu Nikoli Petroviću i „sedmorici konzula“ i da je za to od knjaza bio nagrađen sa 25 napoleona. Njihov najbolji učenik bio je Avdija Agović koji je odselio u Sjenicu na Pešterskoj visoravni i tamo smatran jednim od boljih guslara. Po njegovoj ličnoj izjavi, mogao je pjevati neprekidno i po deset časova

(Vojin Vuković, Iz narodne epske poezije sjeničkih muslimana, Zbornik radova, knj. XIV, Etnografski institut, knj. 2, SAN, Beograd 1951, 245).

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http://www.almanah.cg.yu/Ostale/PDF/casopis/Almanah%2031-32.pdf http://www.almanah.cg.yu/Ostale/PDF/casopis/25-26.pdf

 

Hasnija Hrustanović

Text 10080; notebook Gacko 102; written down by Delva Hrustanović

 

Alibegovica was so lovely,

no one was her equal in the whole of Bosnia,

in the whole of Bosnia and Herzegovina.

In vain her slenderness and beauty,

since she had no child of her own,                                                   5

and Alibeg scolded her,

scolded her every day and night.

Alibegovica said to him:

“Listen to me, Alibeg!

Marry me to your treasurer,                                                               10

you take a lovely maiden for yourself,

and you will see who has no offspring.”

The bey could scarcely wait to do so,

he married his wife to his treasurer,

and he took a lovely maiden for himself.                                          15

Scarcely a year passed,

and the treasurer’s wife gave birth to a son,

but not a sign of anything in the bey’s family.

There scarcely passed the second year,

the treasurer’s wife gave birth to a second son,                             20

and there scarcely passed the third year,

the treasurer’s wife gave birth to a third son,

but not a sign of anything in the bey’s family.

Alibeg sent word,

sent word to the treasurer’s wife:                                                      25

“Please send me your three sons[1]                  

so I can see them while I still live.”

When the treasurer’s wife heard this,

she readied her three sons                                

and dressed them in nicest attire.                                                      30

She advised the tavern-keeper Mara thus

on how to escort them to the bey,

how to show the children to him:

“Place the oldest one by the bey’s shoulders,

the middle one by his knee,                                                                35

and sit the youngest on his lap.”

When the bey had a look at the children,

he gave them the best gifts he had:

to the oldest untamed thoroughbreds,

to the middle brocade and velvet,                                                     40

to the youngest countless treasures.                                                              

When the bey bestowed this on the children,

he said this and parted with his soul.[2]                            

The young Alibegovica remained alone,

remained alone, woe to her mother.                                                  45

 

 

 

 

Hasnija Hrustanović

Text 2771; notebook Gacko 20; written down by Ibrahim Hrustanović

 

When Alibeg came from Novi,

as soon as he came, he was overcome by lust.

He was causing misery for his wife:

“My faithful wife, I will remarry.”

“Get married, agha, if you wish.                                                         5

I will help you beat the wheat,

I will send my son with your wedding guests,

my own son, Rizvanbeg.”

Alibeg gathered the wedding guests,

gathered the wedding guests, went for the maiden.                      10

Just as the bey arrived in Novi,

Rizvanbeg joined the wedding guests.

Rizvanbeg’s mother had given this advice to him:

“O my son, Rizvanbeg!

When you are on the plain of Novi,                                                 15

lower your bay’s tassels to its hooves,

and cover it with golden lynx skin.

Do not look up at the sky and clouds,

but look at the green grass.

The young and the old will look at you,                                          20

including the maiden in the white tower.

When you come to the marble courtyard,

scatter some golden Magyar ducats around.

When you enter the maiden’s room,

sprinkle some small pearls on her.                                                     25

The lovely maiden will ask you:

‘By God, Rizvanbeg!

For whom has your father asked my hand?’

You will say this to her, son:

‘By God, lovely maiden, for himself!’                                               30

And you will say to her, son:

‘When you come to our white manor,

my old father will come out

to help you off the sorrel mount.

Do not allow him to help you off,                                                      35

but ask him for whom you have been brought.’“

When they were on the plain of Novi,

Rizvanbeg was riding his horse,

he let his bay’s rein loose,

and its tassels down to its hooves.                                                  40

The bey looked at the green grass,

the young and the old looked at him,

the maiden looked at him from her window,

she looked at him and she said:

“My mother, dear parent!                                                                   45

Look at that handsome brave man,

marvelous brave man on the bay mount.

Lucky woman who marries him!”

Right then the festive wedding guests

dismounted from their horses in front of the courtyard,               50

and they entered into the courtyard.

If you could only see Rizvanbeg!

When he entered the marble courtyard,

he scattered some golden Magyar ducats around.

They went to the upper floors,                                                          55

the bey asked for the lovely maiden.

They brought the lovely maiden,

the bey sprinkled some pearls on her.

They spent three bright days there.

When the fourth morning dawned,                                                   60

the guest-in-chief cried out, the band sounded,

pipes and trumpets began playing:

“Ready are the wedding guests, ready is the maiden!”

Right then Rizvanbeg entered,

right then he entered the maiden’s room.                                        65

The lovely maiden asked him:

“By God, Rizvanbeg!

Who are you taking me to marry today?”

“By God, lovely maiden!

I am taking you to my old father.”                                                     70

The maiden hissed like a poisonous serpent:

“By God, Rizvanbeg!

If it is to your father, I will not make a step,

I will marry you, Rizvanbeg.”

The bey began advising the maiden                                                 75

just as his mother advised him.

Then the wedding guests set out,

they took away the lovely maiden.

When they were in front of the white tower,

Alibeg came out                                                                                   80

to help the maiden off the horse.

The lovely maiden said:

“By God, I will not get off, Alibeg,

until I see for whom I have been brought.”

“By God, for me, lovely maiden!”                                                      85

“I do not want you, old grandpa!

I have not grown to be kissed by an old man.”

Alibeg was embarrassed,

and he brought out Enverbeg,

Enverbeg, his youngest son,                                                             90

he brought him out to help the maiden off.

The maiden did not want to get off her sorrel,

and she said to Enverbeg:

“I have not come to kiss a weakling.”

The grandpa was embarrassed again,                                              95

he took out brocade and velvet:

“Get off the horse, may fortune never find you!”

“By God, I will not, I swear by my life!

My heart desires no brocade or velvet.”

And she turned her horse out of the courtyard,                             100

and then Alibeg shouted:

“O my son, Rizvanbeg!

Help the lovely maiden off the horse,

take her to the white tower,

and take her to be your faithful wife.”                                              105

Rizvanbeg obeyed him,

and he sprang to the sorrel mount,

helped the maiden off, took her to the tower,

and he took her to be his faithful wife.


 

[1] For an explanation of the adjective “posobca”, used in the original but omitted here, see footnote 43.

[2] What Alibeg said before he died is unfortunately omitted.

 

 

Interview with the collectors Hamdija Šaković and Ibrahim Hrustanović

 

Interview conducted by Nikola Ivanov Vujnović in Gacko, 1935.

Hard cover notebook 11, phonograph records 2989, 2991, 3004-3009

 

Nikola: I would like you to tell me about this, for example, where did you collect the songs, how did you collect them, what troubles did you have? (...)

Ibrahim: (...) We endured the worst hardships, the worst difficulties, snow, cold weather, while walking around and collecting these songs. We encountered difficulties collecting from old Muslim women who still cling to old conservative customs and do not want to have any contact with young men. (...)

Nikola: Where did you collect them?

Hamdija: The Gacko area, that is, the Gacko district, which has a number of villages that have preserved folk poetry better than the town itself. Having visited these villages and collected songs, I can say that I have not visited all of them because there are many, but I did my best to visit as many as I could. (...)

Nikola: Was it difficult to find women who were willing to tell songs?

Hamdija: Very difficult, because even those who knew songs did not want to tell them. I do not know why, perhaps they were ashamed in front of us, young men, to tell or sing a song. Or some demanded a reward to be given to them, since these are mostly poor people willing to take advantage of every opportunity. This was one of the greatest difficulties.

Nikola: What do you think, were these difficulties caused more by shame or by a desire to be materially rewarded?

Hamdija: More because of shame.

Nikola: But I do not understand, how come these old women, for example, are still full of shame? You yourselves are Muslims, aren’t you, and you are known here and such. And why wouldn’t they? (...)

Hamdija: In town, they were much better than in villages, because we are not known there. We look to them like some strangers. (...) They would call us infidels.

Nikola: Do you think, these women who told you songs, did they know a lot of old songs?

Ibrahim: Sure they did. (...) We would find a woman and estimate her ability. Perhaps she is not capable to put two words together by herself, and it is clear that she learned these old songs.[1] We encountered this a number of times: she begins a song and then knows only half of it. Half she knows, further she does not. We would tell her: “Try to remember!” and this and that. And we would see that she could not remember that song. Had she composed the song herself, she would have been able to add something, but since she cannot we see that she heard that song from older women.

Nikola: Did [these women] know well the customs of old Muslim women?

Ibrahim: They knew the customs well. Some of the songs that we have collected are sung “u ravan.”[2]