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9УДК 808.1
ON ANTITHESES IN ORIENTAL-STYLE LYRIC POETRY
A. Cisic
In this paper we have dealt with antitheses that are characteristic of folk lyric poetry that was developing during the advance of the Eastern Islamic culture through the Slavic South. The folk lyric poems bring to mind: the quaintness of Bosnian towns, love affairs unexpectedly interrupted, marriages; the beauty and charm of men and women; lyrical monologues of young men and women and so on. The charm and beauty of folk lyric poetry derives in part from the Slavic antithesis, a figure of speech which we analysed in the poems that were collected by the famous researcher of folk lyric poetry V. Gunic. He collected them under the titles «Sevdalinke 1» and «Sevdalinke 2». The percentage value indicating the presence of Slavic antitheses in this poetry is 7.54% compared to the total number of analysed poems. The use of Slavic antitheses in these poems highlights the following: fascination by female beauty, which is compared to bewilderment at a natural adversity, fire and disease; male beauty, which leads women to commit sins; the value of good deeds; the shine of Sarajevo streets during Ramadan, which is compared to the glow of the sun, the sheen of men's belts, bridal wedding attire; a lover's home, which is glorified and compared with the sun, moon and sparkling stars; the disease (the plague) that spread through the city and that cannot be compared with any other natural disaster, like life and love, which cannot be compared with any material treasure.
Key words and phrases: folk lyric poem; a figure of speech; Slavic antithesis; allegory.
Oriental style folk lyric poetry is one of the most representative genres of Bosnian-Herzegovinian oral literature and folk art in general. It is a lyrical poem/song the name of which derives from the Turkish word sevda which signifies longing, and is related to Turkism sevdah, which means love, longing and pining for the loved one, infatuation. It developed when oriental forms of lifestyle came to be adopted in the Slavic South by the populace of medieval Bosnia, which adopted Islam. It happened around the beginning of the 16th century when Bosnia was conquered by the Ottomans. That was the beginning of the golden age of the oriental style lyric poem, which lasted until 1878 when Bosnia was occupied by the Austro-Hungarian empire.
At that time the lyric poetry did not cease to exist, but the social backdrop that gave life to it was disrupted. That backdrop consisted of specific town communities with all the required institutions, town quarters, alleys, houses with enclosed yards, with side doors, gardens with enclosed porches and flirting windows. During its existence, the oriental style lyric poetry was created and sung at girls' and young men's meetings, folk dancing events, social gatherings, weddings and other family gatherings. It all took place: in yards, gardens, towers, enclosed porches, inside houses; on picnics, on the road, during evening chatters, in road-houses, walking through the neighbourhood, riding a horse, in spas and hammams, on pastures, while hunting, on town fortresses, in captivity, on military campaigns, under foreign skies.
Экология языка и коммуникативная практика. 2015. № 2. С. 167-176
On antitheses in oriental-style lyric poetry
А. Чишич
The oriental style love songs1 sang of the beauty of women, girls, persons that were known not only by name, but by the part of town they lived in. Living in accordance with the strict laws of patriarchal life, women stayed at home and raised children. Girls were covered by niqab, a kind of women's clothing made of homespun, and hidden until the moment of getting married. In better off classes of the Bosnian town populace, the woman was totally isolated from men so that the beauty of the persons from the songs was sometimes known only from hearsay which was based on the words of another girl or woman. The beauty of the person in question could only be imagined, and the impossibility to see her made that concealed beauty even more alluring and inspiring to the poet's imagination. The beauty and splendour of the women and girls could catch the eyes of unknown poets, who sang praises to them, in case the girl came from a social class that did not oblige her to hide of her face, or if the beauty in question came from the Christian community in which women's faces did not have to be concealed from men's eyes. Alone, hidden from male eyes, women and girls could look at men on the street or atmeydan, especially in the days of flirting, or looking through the dense veil that covered the faces of Bosnian women when they left the house.
Flirting, trysts, weddings that arouse the interest of the neighbourhood, were recorded in the songs, with a chronicler's accuracy, together with the names of the protagonists. And besides that, the songs also recorded the liveliness of Bosnian-Herzegovinian towns and sang of their famed quarters . Besides numerous songs about respectable people, love lives in Bosnia-Herzegovina towns, which are in the third person , there are also songs of a different nature. It is those that
1 Oriental style love-song was sung without accompanyment or accompanied by different kinds of the tambour,a string instrument of oriental origin, in particular the saz which had twelve strings.
2 «Songs coming from Sarajevo spread through Bosnia the word of flirting, picnics and coffeehouses on the Bendbasa, Babica basca and Ilidza, of the nobility of the Moscanica water, on the expanse of the flat and green Atmejdan, on the attractive colours of Bascarsija, the length of Varos and the steepness of Bistrik, the beauty of the gardens in Bjelave and Vratnik, views from Trebevic, Sarajevo fountains and bridges, the liveliness and affluence of Cemalusa, the drunkards' heaven of Latinluk, Moric road-house and Taslihan, the abundance of bedestans, the expanse of the Dzenetica avli and the lavishness of the Bakarevic garden...
And so on the love-songs sang of Banja Luka and its valleys, Banja Luka picnics and the vehement Vrbas, which had the strength even to uproot and take with it a poplar from the bank, and the poet's imagination conjured up the image of a silversmith whom a girl asks to craft her a man of her dreams. Mostar, its emerald Neretva and Karagoz Bey Mosque with sinful muezzins who, captivated by beauty, forget about God; the expanse of the Cernica quarter and the breadth of the blooming rose gardens with Shakhin Mevla beauty, who distracts muezzins on the minaret. Tuzla, its green sward with fine collector Mujo, and coppersmith Alja, rapping at a copper water pot, thinking of the girl who will carry water from Jala in it. Livno, with the courts of Firdus Captain and the proud Hana Pehlivana. Travnik, ablaze with the eyes of a girl, and a meadow near the Lasva with the pretty Atlagic girl. Gradiska on the Sava with its acrobats, whose dance on the rope is, among others, watched by Ceric Captain's granddaughters and the beautiful Begzada Boric, holding their breath. Furthermore, oriental style love-songs sing of: Maglaj, Doboj, Prijedor, Gradacac, Tesanj, Prusac, Jajce, Jezero...» [Buturovic, Maglajlic 1998: 213].
3 «At bigger, more open and lively family gatherings, such as weddings or celebrations on returning from the pilgrimage or wars, along with the generally cheerfully intoned songs, ones with local topics must have been sung, being much more attractive with their light and interesting topics and invoking quite specific then lyric monologues» (Buturovic, Maglajlic 1998: 214).
Экология языка и коммуникативная практика. 2015. № 2. С. 167-176
On antitheses in oriental-style lyric poetry
А. Чишич
become lyric monologues, by young men or girls, feeling hopeless because of unrequited love, infidelity, loneliness and waiting, or exclamations of the joy of love, quivering with the expectation of meeting the beloved one. Young men's lyric monologues were sung under the windows of the beloved ones, in the silence of the night, at men's gatherings, during evening chatter, which began at dusk on enclosed porches, or in gardens. Those love-songs were also called drunkards' songs. Girls' lyric monologues were sung in solitude, at the gatherings of girls by the tambour or doing some other kind of handiwork [Buturovic, Maglajlic 1998: 210-215].
Part of the charm and beauty of oriental style lyric songs comes from the Slavic antitheses, stylistic devices we are going to discuss analysing them in the poems which renowned researcher into folk lyric poetry V. Gunic collected and published as «Sevdalinke 1»4 and «Sevdalinke 2»5. We will also establish the percentage of the love-songs with Slavic antithesis compared to their total number.
We will first focus on the term stylistic device. «Stylistics has classified devices6 in different ways: figures of thought and figures of speech, i.e. figures of word, style, diction, figures of structure, order, followed by figures of motion, stopping, etc. Some contemporary authors on public
7 .. .
speaking simplify this classification, reducing it to the two basic classes: figures of sound (rhythm, parallel sentence structure, alliteration, rhyming) and figures of thought (metaphors, exaggeration and understatement)» [Avramovic 2008: 265-270].
. . R . ^..фф
We will now turn to definitions of antithesis. According to M. Carkic «antithesis is formed by juxtaposing two ideas, two phenomena, two thoughts, two emotions, two images with totally opposite characteristics, with the intention of highlighting one of them» [Carkic 2002: 153].
4Gunic V. Oriental-Style Lyric Poetry. M.; Planjax, Tesanj, 2003. 333 p.
5 Gunic V. Oriental-Style Lyric Poetry 2. M.; Planjax, Tesanj, 2003. 349 p.
6 With regard to that, we will also quote the classification of stylistic devices according to P. Girraud. He classifies them as follows:
1. «Figures of diction, which relate to p r o n u n c i a t i o n. They include: metathesis, prosthesis, paragoge, apheresis, syncope, apocope, dieresis, synthesis, crasis.
2. Figures of structure relate to s y n t a x. For example, word order: hyperbaton, ellipsis, zeugma, syllepsis, pleonasm, linking, separation, attraction, repetition, confrontation.
3. Figures of speech or tropes are: metaphor, synegdoche, metonymy, allegory, irony, sarcasm, catachresis, euphemism, autonomasia, metalepsis, antiphrasis.
4. Figures of thought: hyperbole, litotes, antithesis, apostrophe, interjection, epiphonema, question, subjection, communication, ennumeration, concession, gradation, suspension, interruption, avowal, periphrasis, prosopopoeia and hypotyposis» [according to: Petrovic 1975: 73].
7 According to S. Avramovic the term public speaking has its Serbian equivalent, i.e. «javni nastup» [Avramovic 2008: 32].
8 According to V. Jelacic Srbulj antithesis is defined as «a Gorgian figure, a kind of simile, which is based on contrast. The whole language system is based on contrast. It usually juxtaposes two antonyms, i.e. connects two words which include opposite semantic features (e.g. a meek lamb beside a glaring wolf)» [Jelacic Srbulj 2007: 193]. I. Skaric gives
Экология языка и коммуникативная практика. 2015. № 2. С. 167-176
On antitheses in oriental-style lyric poetry
А. Чишич
M. Milinkovic defines contrast or antithesis as comparison in terms of opposition. With that in mind the author introduces a special type of antithesis called the Slavic antithesis, which consists of three poetical (rhetorical) images [Milinkovic 2004: 114-115]. V. Jelacic Srbulj defines the Slavic antithesis as «a simile which consists of three parts: 1) a question or statement, 2) a negative reply, and 3) a positive reply» [Jelacic Srbulj 2007: 193].
Bearing in mind that in this work we will be dealing with the Slavic antitheses to be found in the folk lyric songs, we shall quote several specific examples out of this rich trove.
(1) Why has fog enveloped Travnik town Two mounts rising above Travnik town -Bukovica watching Vilenica. Vilenica asking Bukovica: «Why has fog enveloped Travnik town, Is it blazing flames or burning plague? It's not blazing flames or burning plague, It is fire from a maiden's eye, From a dark eye burning through a pane, Two new dukkans have been set ablaze, Two new dukkans and a tavern new, And the court too where the kadi rules».
[Gunic 2003: 35].
Example (1) is the lyric song «A sto mi se Travnik zamaglio "which glorifies the beauty of a girl in a rather unusual way. The setting for the events in the poem is personified nature in which everything that is inanimate becomes alive. The dialogue between Vilenica and Bukovica mountains is commonplace in this type of poetry. Through the Slavic antithesis Vilenica mountain asks why Travnik is so foggy, if it is blazing flames or burning plague. The negative reply follows that it is neither. Finally, a compelling metaphor tells us that a girl has set it aflame through a glass window, and burned down shops, an inn and even a court of law. In this way this calamity is effectively compared to female beauty which nothing can stand up to. With regard to this it is interesting to note that at a conference of members of European Pen Clubs in Paris in 1934 Jovan
the following definition of antithesis. «The antithesis of words is a figure which puts together contrary or contradictory concepts to better highlight both of them, e.g..: He whose belly is full believes not him who is fasting. Children are joy and sorrow. A good name is more desirable than great riches. [... ] Sentence antithesis is a contrast between two sentences, e.g.: We don't give what's ours, and won't take from others! That's one small step for a man, one giant leap for mankind. The poor do what they can, the rich what they will. A creaking door hangs longest. He was as gentle as a woman, and as furious as a hero» [Skaric 2003: 135].
Экология языка и коммуникативная практика. 2015. № 2. С. 167-176
On antitheses in oriental-style lyric poetry
А. Чишич
Ducic, a famous poet from the Kingdom of Yugoslavia, recited this poem stating that to the best of his knowledge there was in all the world's poetry no metaphor more beautiful than this one: «It is fire from a maiden's eye, From a dark eye burning through a pane » [Gunic 2003: 35].
(2) Who is walking along Sheikh's Fields
Who is walking along Sheikh's Fields Is it Moric, or Saburic Mujaga? It's not Moric, or Saburic Mujaga, It is Dzenetic Osman Bey. Nur hanuma watching from above, At the window, spreading her white arms: «Osman Bey, come into my arms, Cadi, father, is away from home, Lady, mother, is away from home!» [Gunic 2003: 226].
Example (2) is a quote from the song «Who is walking along Sheikh's Fields» about a famed young man, Dzenetic Osman - bey. The setting of this song is the Sheikh's Dugonje Street9, which extended from Careva cuprija, passing by the Bistrik railway station, to the hill (the current Bistrik Street) in Sarajevo. The folk singer starts the song with a Slavic antithesis, wondering who is walking through Bistrik, if it is Moric, or Saburic Mujaga. The question is replied straight away that the person walking is Dzenetic Osman - bey of Bistrik who is observed by the beautiful Nur - lady who, struck by love, invites him into her home. Captivated by his looks, Nur - lady is even ready to sin.
(3) Three emperors Mehmed Pasha served
Three emperors Mehmed Pasha served, Nine treasure towers he deserved. Mehmed pasha was sitting and thinking, how so much treasure will he spend?
Will he give the treasure to the poor, Will he drink the treasure up in wine,
9 The name of the street includes the Italianism duganje referring to shops [Gunic 2003: 226].
171
Will he toss it down the River Drina, Will he spend it on many good deeds, May Bosnia earn its place in songs, Aman, aman, jasha, jasha, Mehmed Pasha.
Three emperors did the pasha serve, Nine treasure towers did he earn. Mehmed pasha was sitting and thinking, how so much treasure will he spend?
Neither will he give it to the poor, Neither will he drink it up in wine, Nor will he toss it down the River Drina, He will spend it on many good deeds, He will build a bridge over the Drina, May Bosnia be sung in many songs, Aman, aman, jasha, jasha, Mehmed Pasha.
[Gunic 2003: 264].
Example (3) is the lyric song «Three emperors did Mehmed Pasha serve» in which the folk singer sings about Mehmed - Pasha Sokolovic's good intention to build a bridge on the River Drina. By using the Slavic antithesis the folk singer asks where the famed Mehmed - Pasha is going to spend his riches. Whether he will give it to the poor, squander it drinking wine, throw it in the Drina, or do good deeds across Bosnia and earn his place in songs. Naturally, the singer himself replies singing of pasha's good intention and exalting it. He emphasizes that the pasha will not distribute his wealth to the poor, squander it through drinking, throw it in the Drina, but do good deeds in Bosnia through charity, and first of all build the bridge on the Drina. This folk lyric song is a praise of Mehmed - pasha's generosity.
(4) What is shining in Saraj'vo town? What is shining in Saraj'vo town? Is the mountain hiding rays of sun, Is it clasps on a young man's belt, Is it gifts embroidered by maids? It is not the sun behind the hill,
It's not clasps on a young man's belt, It's not the maids embroidering gifts. It's the shining nights of Ramadan, Filled with lanterns and small candle lights, Blissful Bayram follows after it, It will bring us happiness and joy.
[Gunic 2003: 128].
Example (4) is the lyric song «What is shining in Saraj'vo town?» which glorifies the Ramadan nights of Sarajevo. In Islamic religion the month of Ramadan is the month of fasting, forgiveness, communion with God and acts of kindness. It is followed by Bairam when the fasting ends and family and friends are given gifts. Through the Slavic antithesis the folk singer expresses his astonishment at the beauty of Sarajevo and asks if it is the sun shining behind a hill, or the belts of the buckled young man from Sarajevo, or girls' dowry embroidery. The singer then replies in the negative that it is the brightness neither of the sun, nor of the clasps or the wedding presents, but the light of the lanterns and small candle lights of Sarajevo which come on on the mosques to mark the time of iftar, the end of the fast. The folk singer used the Slavic antithesis to compare the brightness of Sarajevo streets illuminated by lanterns and candle lights at the time of Ramadan with sunlight, the sheen of young men's belts and girls' wedding attire.
(5) What's that white light shining there? What's that white light shining there, In the mountain far above? Is it the sun, is it the moon, Is it maybe sparkling stars? It's not the sun or the moon, Or any splendid, sparkling stars, It is the home of my loved one, She is walking in her court, Watering dewy flowers. See my darling, see my dear, That white face of mine. I cherish it and you fear That someone else might kiss it. Do not fear, do not, my dear, They will be kissed by none but you.
See my darling, see my love, Those dark eyes of mine. Oh my darling, you fear so much That someone else might blur them.
[Gunic 2003: 129].
Example (5) is a quote from the lyric song «What's that white light shining there?» in which a lover, by means of a Slavic antithesis, compares the house of his beloved to the sun, moon and shining stars. Then he asks himself in a state of rapture what it is shining white in the mountain, if it is the sun, the moon or stars. Then he himself replies it is none of the above, but the home of his darling, who then expresses her loyalty to him.
(6) Sarajevo, why are you so dark? Sarajevo, why are you so dark? Have you been burnt by fire, Have you been ruined by plague, Or flooded by the Miljacka waters? Had I been burnt by fire, My white courts would have risen anew, Had I been flooded by waters, It would have washed my lanes; I have been ruined by plague, A death to the old and young, Parting the nearest and dearest!
[Gunic 2003: 78].
Example (6) is a lyric song that commemorates a big tragedy10 which took place in 1762, when the plague in Sarajevo claimed 15 000 lives. The song is realised in the form of a dialogue between the folk singer and the personified city of Sarajevo. The singer asks the city why it is so dim, if it is for fire, flood or the plague. The city replies that it is neither fire nor flood, but the awful plague from which there is no escape. The Slavic antithesis describes the tragedy that has hit the city, incomparable to any other natural disaster, like life and love which cannot be compared with any material goods.
10 The folk song «Sarajevo, why are you so dark?» recollects several catastrophes that befell Sarajevo in the second half of the 18th century: floods, hunger, fires, plague. Baseskija recorded the big flood of 1791. He also recorded several big fires the most severe of which took place on 29 June 1778. That fire destroyed 17 road-houses, around 60 coffeehouses on the Sarajevo Carsija, and the Bey's Mosque, Sahat kula (the Clock Tower) and many shops caught fire. It was also ravaged by many fatal diseases: measles, pertussis, etc. Yet, the most lives were claimed by the plague [Gunic 2003: 78].
Following the examples quoted from the analysed texts that V. Gunic, a distinguished
scholar in the field of folk lyric poetry, collected under the titles «Sevdalinke 1»11 and «Sevdalinke
12
2»12, we will also quote the percentage value that shows the frequency of folk lyric songs with Slavic antithesis compared to the total number of songs under analysis. We have analysed 517 folk lyric songs included in the collections mentioned above and found antitheses in 39 examples. This means that the percentage of songs with Slavic antitheses amounts to 7.54%. We will quote the songs from V. Gunic's first collection, «Sevdalinke 1», which begin with Slavic antitheses: Oh, my dear swaggerer [Gunic 2003: 23]; Oh, my bay, my good bay [Gunic 2003: 26]; Why has fog enveloped Travnik town [Gunic 2003: 35]; Beautiful Hajrija is in pain [Gunic 2003: 49]; A laddie is in pain [Gunic 2003: 53]; Nightingale sings to me [Gunic 2003: 61]; Darling Ivka walks down the Bedestan [Gunic 2003: 85]; The Drina has arrived [Gunic 2003: 100]; Gondze-Meha got a taste for Egypt [Gunic 2003: 131]; It is either clear or cloudy [Gunic 2003: 144]; I bit into a dappled apple [Gunic 2003: 167]; Hey, fearless Rose-Bey's Mosque [Gunic 2003: 182]; While the plague was plaguing Mostar [Gunic 2003: 199]; Who is walking up Sheikh Fields [Gunic 2003: 226]; Kopcic forges a clock by the sea [Gunic 2003: 236]; What beautiful shops there are in Mostar [Gunic 2003: 244]: Three emperors Mehmed Pasha served [Gunic 2003: 2264]; Oh, Karagoz Bey Mosque [Gunic 2003: 313]; Oh, my girl, my darling [Gunic 2003: 310]; In Vratnik, under a walnut tree [Gunic 2003: 290]; They say melon in Vratnik is strange [Gunic 2003: 289]; In the meadow under an ash tree [Gunic 2003: 285]; The folk lyric poems from the second collection by V. Gunic, «Sevdalinke 2», which include Slavic antitheses, are as follows: A swallow flew up [Gunic 2003: 43]; Zarka fell ill on her mother's lap [Gunic 2003: 61]; Sultan Suleiman fell ill [Gunic 2003: 62]; Sultan Suleiman fell ill (2) [Gunic 2003: 63]; Sarajevo, why are you so dark [Gunic 2003: 78]; A hawk is flying over Sarajevo [Gunic 2003: 107]; What is that sound behind the town [Gunic 2003: 127]; What is shining in Saraj'vo town [Gunic 2003: 128]; What's that white light shining there [Gunic 2003: 129]; What's that shining amid Sarajevo [Gunic 2003: 130]; Why aren't you here, darling, to come to me [Gunic 2003: 134]; In a stone tower [Gunic 2003: 176]; Kademli Nurija was doing embroidery [Gunic 2003: 193]; Vizier Zejna walks over the melon patch [Gunic 2003: 194]; A fairy's riding Osman's horse [Gunic 2003: 198]; Two dear comrades are drinking wine [Gunic 2003: 202]; Dawn is breaking, roosters singing [Gunic 2003: 230];
11Gunic V. Oriental-Style Lyric Poetry. M.; Planjax, Tesanj, 2003. 333 p.
12Gunic V. Oriental-Style Lyric Poetry 2. M.; Planjax, Tesanj, 2003. 349 p.
Экология языка и коммуникативная практика. 2015. № 2. С. 167-176
On antitheses in oriental-style lyric poetry
А. Чишич
At the end we can draw the following conclusions. The circumstances in which the oriental style lyric song took shape were marked by the advance of oriental Islamic culture to the Slavic south. These songs retained in the folk memory the quaintness of Bosnia-Herzegovina towns and quarters and their well-known parts; incidents taking place on the streets and at fountains, flirting windows; happenings related to flirting, romantic relationships broken by unexpected partings and marriages; the beauty and pride of women and men; men's and women's lyric monologues, etc.; The charm and beauty of the folk lyric poems derives in part from the Slavic antithesis, a figure of speech which we have analysed in the texts collected by the famous researcher of folk lyric poetry V. Gunic under the titles «Sevdalinke 1» and «Sevdalinke 2». The percentage value indicating the presence of Slavic antitheses in this poetry is 7.54%, compared to the total number of analysed poems. The use of Slavic antitheses in these poems highlights the following: fascination by female beauty, which is compared to bewilderment at a natural adversity, fire and disease («Why has fog enveloped Travnik town»); male beauty, which leads women to commit sins («Who is walking along Sheikh's Fields»); the value of good deeds («Three emperors Mehmed Pasha served»); the shine of Sarajevo streets during Ramadan, which is compared to the glow of the sun, the sheen of men's belts, and bridal wedding attire («What is shining in Saraj'vo town?»); a lover's home, which is glorified and compared with the sun, moon and sparkling stars («What's that white light shining there?»); the disease (the plague) that spread through the city and that cannot be compared with any other natural disaster, like life and love, which cannot be compared with any material treasure («Sarajevo, why are you so dark»). In view of the aforesaid we can conclude that the Slavic antithesis is an effective stylistic device for recapturing the atmosphere in which this kind of folk lyric poetry was born and continued its life to the present in different forms and on different media, carrying on steadfastly through the filter of time.
References
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Petrovic S. The Rhetoric. M.: Gradina, Nis, 1975. 423 p.
Skaric I. The basis of the Modern Oratory. M.: Skolska knjiga, Zagreb, 2003. 191 p. ABOUT THE AUTHOR
Alma Cisic, Doctor of Humanistics sciences in the field of Linguistics, Professor assistant, Department of the Bosnian, the Croatian and the Serbian language and literature
University of Tuzla
1 Tihomila Markovica st., Tuzla 75000 Bosnia and Herzegovina E-mail: alma.cisic@gmail.com
