Serbian literature

      the literature of the Serbs, a Balkan people speaking the Serbian language (still referred to by linguists as Serbo-Croatian).

      Serbian literature developed primarily from the 12th century, producing such religious works as the illuminated Miroslav Gospel, biblical stories, and hagiographies. During the Middle Ages, the strong Serbian state that encompassed most of the Balkans fostered literary and translation production by highly educated priests in numerous monasteries. Though mostly replicating Byzantine literary genres, Serbian literature also developed its own indigenous genre of the biographies of Serbian rulers. The founder of the independent Serbian church and a figure customarily taken as the originator of national literature, Saint Sava (Sava, Saint) (1175–1235) started this literary tradition by writing a biography of his own father, the Serbian ruler Stefan Nemanja. After the Turkish occupation of Serbia in 1459, written literature declined, but oral literature of epic poems, songs, tales, proverbs, and other forms, which would for the most part be gathered and written down in the 19th century, continued to flourish in rural areas.

      No significant revival of Serbian culture and literature occurred until the 18th century. The most important representative of the Enlightenment period was Dositej Obradović, whose writings greatly influenced Serbian literary development. A man of great learning and a polyglot who spent most of his life traveling through Europe and Asia Minor, Obradović wrote a captivating autobiography, Život i priključenija Dimitrija Obradovića (1783; The Life and Adventures of Dimitrije Obradović). Many characteristics of European Romanticism could be observed in the literature of the period 1820 to 1870, especially the cult of folklore and national self-assertion. A central figure was Vuk Stefanović Karadžić (Karadžić, Vuk Stefanović), a reformer of literary language who wrote a Serbian grammar and dictionary and collected Serbian folk poetry and stories.

      The greatest writer of the 19th century was Montenegrin ruler Petar II Petrović Njegoš (Peter II), whose epic poem Gorski vijenac (1847; “The Mountain Wreath,” Eng. trans. The Sabre and the Song) presented in chiseled verse an event from Montenegrin history, giving a unique picture of Montenegrin society and reflecting Njegoš's philosophy of the eternal struggle between good and evil. The lyric verses of Branko Radičević contributed to the break with earlier didactic-objective poetry. Notable Romantic writers included Radičević, Jovan Jovanović (known as Zmaj), Ðura Jakšić, and Laza Kostić. From 1870 to 1900 there was a tendency toward realism, reflected in the fiction of Laza Lazarević, Simo Matavulj, and Stevan Sremac, a satirist and humorist. In the late 19th and early 20th centuries, Serbian literature was influenced by European currents, particularly French Symbolism (Symbolist movement) and the psychological novel. The most important writers of the turn of the century were poets Jovan Dučić, Aleksa Šantić, and Milan Rakić; prose writer Borisav Stanković, whose outstanding novel Nečista krv (1910; “The Impure Blood”) depicted tragic clashes in provincial Serbia of tradition and modernity and of eastern and western cultures; and a playwright of popular comedies, Branislav Nušić.

      Serbian writers between World Wars I and II continued to follow major European literary movements. The Belgrade Surrealist group introduced a note of radical, left-wing politics, and some of its members later turned to the style of Socialist Realism. The literature of the 1930s was shaped by the focus on political and social themes. Among the major writers of the period was Ivo Andrić (Andrić, Ivo), whose novel Na Drini ćuprija (1945; The Bridge on the Drina) reflects the history of his homeland of Bosnia. Andrić was awarded the Nobel Prize for Literature in 1961. Another influential writer of the time was Miloš Crnjanski, best known for his two-volume novel Seobe (1929, 1962; Migrations), which deals with the fate of Serbs in the northern province of Vojvodina.

      The postwar period initially saw the continuation of realism, but by the 1950s more original forms of expression had been introduced into prose, as in the work of Miodrag Bulatović and especially that of Oskar Davičo, whose novel Pesma (1952; The Poem) explored the dynamics among revolution, art, and human emancipation. Montenegrin Mihailo Lalić wrote several outstanding novels, the most acclaimed of which was Lelejska gora (1957; revised editions 1962 and 1990; The Wailing Mountain), which revolved around the struggle of Yugoslav partisans in World War II, weaving in galvanizing reflections about human existence in general. In poetry Serbia was represented by Desanka Maksimović, Vasko Popa (Popa, Vasko), Stevan Raičković, Miodrag Pavlović, and Ivan Lalić.

      Later developments included novels with more experimental forms, philosophical concerns, and greater social and political comment, such as Danilo Kiš's Grobnica za Borisa Davidoviča (1976; A Tomb for Boris Davidovich), in which pseudo-biographical stories of communist revolutionaries and victims of the Stalinist purges crossed the line between fiction and factuality. The Klokotrizam group experimented with literary form in an apparent attempt to defy the canons and aesthetic norms of art. The 1970s and '80s were also marked by the appearance of prominent women writers Milica Mičić-Dimovska, Hana Dalipi, and Biljana Jovanović, as well as by the trend toward a “new realism” characterized by a pseudo-documentary style and an emphasis on dark subjects.

      Well-known writers at the turn of the 21st century included Milorad Pavić, whose postmodern novel Hazarski rečnik (1984; Dictionary of the Khazars) deals with issues of history and identity, and Borislav Pekić, author of the novel Vreme čuda (1965; The Time of Miracles).

Gordana P. Crnkovic

Additional Reading

Studies of Serbian literature include Antun Barac, A History of Yugoslav Literature (1955, reissued 1976), trans. from Serbo-Croatian; Sveta Lukić, Contemporary Yugoslav Literature: A Sociopolitical Approach (1972; originally published in Serbo-Croatian, 1968); Thomas Eekman, Thirty Years of Yugoslav Literature, 1945–1975 (1978); and Vasa D. Mihailovich, A Comprehensive Bibliography of Yugoslav Literature in English (1984), with three supplements published in 1988, 1992, and 1999. Also useful are Jelena Milojković-Djurić, Tradition and Avant-Garde: Literature and Art in Serbian Culture, 1900–1918 (1988; published as Tradition and Avant-Garde: The Arts in Serbian Culture Between the Two World Wars, 1984); and E.D. Goy, Excursions: Essays on Russian and Serbian Literature (1996), edited by Patrick Miles. Anthologies in English include Miloslav Šutić (ed. and trans.), An Anthology of Modern Serbian Lyrical Poetry: 1920–1995 (1999; originally published in Serbo-Croatian); Radmila Jovanović Gorup and Nadežda Obradović (eds.), The Prince of Fire: An Anthology of Contemporary Serbian Short Stories (1998), with a foreword by Charles Simic; Joanna Labon (ed.), Balkan Blues: Writing Out of Yugoslavia (1995; originally published as Out of Yugoslavia, 1994); Charles Simic (ed. and trans.), The Horse Has Six Legs: An Anthology of Serbian Poetry (1992); Milne Holton and Vasa D. Mihailovich, Serbian Poetry from the Beginnings to the Present (1988); Mihailo Dordević (comp.), Anthology of Serbian Poetry: The Golden Age (1984), with English and Serbo-Croatian (Cyrillic) in parallel columns; Thomas Butler (ed.), Monumenta Serbocroatica: A Bilingual Anthology of Serbian and Croatian Texts from the 12th to the 19th Century (1980); Mateja Matejić and Dragan Milivojević (eds. and trans.), An Anthology of Medieval Serbian Literature in English (1978); Vasa D. Mihailovich (ed.), Contemporary Yugoslav Poetry (1977); Branko Mikasinovich, Dragan Milivojević, and Vasa D. Mihailovich (eds.), Introduction to Yugoslav Literature: An Anthology of Fiction and Poetry (1973); Bernard Johnson (ed.), New Writing in Yugoslavia (1970); Ante Kadić, Contemporary Serbian Literature (1964).

* * *