The reception of the ballad “Hasanaginica” in German and Italian culture starts with Fortis’s discovery and translation of the ballad into the Italian language, which he publishes in his work Viaggio ...in Dalmazia”/ “The Way to Dalmatia” in 1774. Consequently, European readers had been given an opportunity to get acquainted with the Bosnian culture, especially that formed during the Ottoman Empire in Bosnia, when the ballad was created. Considering that Fortis along with the ballad, described the customs and mentality of the Morlaks, the people among whom he found this ballad, the European audience got acquainted with a forgotten and often stereotypically depicted South Slavic people. Although Fortis’s work was created during the period of Enlightenment, it already contained elements of pre-Romanticism, such as the originality, simplicity and humanity for which Fortis expressed a special sympathy while presenting the ballad. In the German-speaking countries, many intellectuals have been dealing with this ballad, but the most important for her reception in German culture was the famous Goethe, which was fascinated by the ballad not only because of its content and form, but also because of the fact that he could identify himself with Hasanaga, one of the protagonists of the ballad and because of his interest in the Islamic Orient and the psychological characterization of the woman. His translation into German is of great importance, since he managed to split the song into the strophes on the basis of composite ensembles, retaining the same rhythm that was present in the original version, although he did not know the language in which the ballad was created.
The new retranslation of the ballad “Hasanaginica” brings about an interpretation grounded in comprehensive scholarly research, which a linguo-stylistic analysis of both its source text (ST) and 25 ...published (re)translations represent. This retranslation is designed to make a notable difference reflected in its aspiration to achieve optimal equivalence on all levels of expression, minding its metrics, rhythm, sound figures, as much as its lexical choices and syntactic structures. One of the paper’s main aims is to compensate for the linguistic and stylistic flaws recognized in the previous translations of this ballad, which were not always erroneous deviations from a semantic correspondence, but interpretations informed by a fundamental incomprehension of the religio-cultural circumstances shaping the world of the ballad.
Published in Venice in 1774 in the first volume of
Viaggio in Dalmazia, the ballad appeared simultaneously in the Serbo-Croat original (
Xalostna pjesanza plemenite Asan-Aghinize) and in Italian ...translation by the monk Alberto Fortis. Fortis' book — and not least the
Hasanaginica itself − was received, read, disseminated and further translated with such enthusiastic interest that it may justly be compared to a modern “bestseller”. It is, therefore, not surprising that the dramatic “Hasanaginica”-ballad with its grand passions of love and pain, obedience, shame and pride has served as a pretext for a number of Serbo-Croat dramatisations:
I.
1909, under the title of
Hasanaginica, by the Croat Milan Ogrizović;
II.
1976, also under the title of
Hasanaginica, by the Serb Ljubomir Simović;
III.
1991, by the Croat Tomislav Bakarić under the significantly altered title of
Hasanaga.
In comparison, it is to be seen that the reception and the processing of the ballad pretext in the three drama texts discussed here are very varied and extend even into the realms of current politics. Motif-constants in all the dramas are the unjust rejection of the wife on the grounds of unsuccessful, since paradoxical communication and her death of a broken — and not as her husband accuses her a petrified — heart. And it is certainly this connection of force, destruction and death, but also of transgression, communication and utopia (in the sense of Georges Bataille), which lends the
Hasanaginica its general significance and its ageless fascination.
Cilj nam je proučiti različite utjecaje okcidentalnih književnosti
na južnoslavensku književnost kao i način prijenosa i širenja narodnih pjesama u oba smjera. Predlažemo imagološki i interkulturalni ...metodološki otvoren pristup koji daje apsolutni prioritet tekstovima Alberta Fortisa i Charlesa Nodiera ispitujući funkciju drugosti, studiju prikaza drugog, altera et aliusa. Usmeno prenošenje francuskog epskog materijala na područje Južnih Slavena je veoma značajno: tema Rolanda prodire u Dalmaciju preko Umbrije (Banašević 1975a: 8). Poetska tema “Hasanaginice” (“Tužna balada plemenite supruge Asan-age”), prvog teksta književnosti s istočne obale Jadrana prevedene na francuski, pobudila je znatiželju i zanimanje francuske javnosti za narodne pjesme južnih Slavena. Ovu “morlačku” pjesmu objavio je Alberto Fortis u originalu s talijanskim prijevodom u Viaggio in Dalmazia (1774). Goetheova verzija ove poznate pjesme doprinosi valorizaciji poezije balkanskih naroda u Njemačkoj, a zatim i u drugim europskim zemljama. Može se konstatirati da visoka poetska vrijednost narodnih pjesama na ovom području juga obilježava u okcidentalnoj književnosti paralelni razvoj i uzajamnu potporu.
Postoje samo dva slovenska prijevoda Hasanaginice. Prvi je Hasanaginicu preveo na slovenski Jakob Zupan (Domžale kod Ljubljane, 1785. – Celovec, 1852.) u 3. svesku Kranjske čbelice (1832.) pod ...naslovom Asan-Aginka. Slijedio je Fran Cegnar (Škofja Loka, 1826. – Trst, 1892.), koji je slovenskom čitatelju predstavio Hasanaginicu u Glasniku slovenskega slovstva (1854.) pod naslovom Asan-Aginica. U vrijeme svoga teološkog studija u Beču Zupan je (svećenik, jezikoslovac, prevoditelj i pjesnik) upoznao Jerneja Kopitara, koji ga je oduševio za studije slavenske filologije i posebno za slavensko narodno pjesništvo. Tako je Zupan, kao pripadnik Prešernova i Čopova književnog kruga, počeo objavljivati u prvom slovenskom časopisu Kranjska čbelica prijevode srpskih i hrvatskih na¬rodnih pjesama, među njima i Hasanaginicu. Njegov je prijevod dobar, ali bolji je prijevod Frana Cegnara, jer se više oslanja na izvornik Alberta Fortisa u knjizi Viaggio in Dalmazia (Venezia, 1774.). Fran je Cegnar bio inače odličan prevoditelj s različitih jezika (češkog, poljskog, njemačkog). S njemačkog je preveo Schillerovu trilogiju Wallenstein. Bio je aktivan kulturni djelatnik u Trstu, jedan od osnivača tršćanske čitaonice (1861.) i prvi urednik tršćanskog slovenskog dnevnika Edinost koji je počeo izlaziti 1876. godine. U redakciji tog dnevnika ostao je do smrti. Slovenski prijevodi Hasanaginice se dakle ograničavaju na 19. stoljeće, na razdoblje romantizma, kada je vladalo opće zanimanje za narodnu poeziju. U novije doba došlo je do pretiska svih pet svezaka Kranjske čbelice (Mladinska knjiga, Ljubljana, 1969.) i time naravno do pretiska Hasanaginice u trećem svesku sa Zupanovim prijevodom.
Prvi je Hasanaginicu preveo na talijanski jezik te je objavio uz hrvatski izvornik Alberto Fortis u knjizi Viaggio in Dalmazia (Venezia, 1774.) pa je time predstavio cijeloj Europi. Slijedili su u ...nekoliko desetljeća prijevodi na različite jezike od kojih je najslavniji Goetheov iz 1775. godine. Tek 1949. godine pojavio se drugi i do sada jedini prijevod Hasanaginice na talijanski iz pera Artura Cronie koji ga je uvrstio na prvo mjesto u svojoj antologiji Poesia popolare serbo-croata (Padova, 1949.). Prijevod je, u usporedbi s Fortisovim, pisan modernijim jezikom, prevoditelj se s metričkog gledišta pokušava približiti desetercu i obogaćuje ga filološkim komentarom. Do nedavna se mislilo da je i višejezični pjesnik Marc Bruère Desrivaux (1765.? – 1823.), čiji je otac René Charles Desrivaux bio francuski konzul u Dubrovniku, preveo Hasanaginicu na talijanski. Međutim, iz rukopisa pod naslovom Poesie Illiriche, Latine ed Italiane koji se čuva u »Slovanskoj knihovni« Ministarstva vanjskih poslova u Pragu razvidno je da se radi o pukom prijepisu Fortisova prijevoda. HKE navodi i Tommaseov prijevod Hasanaginice. Međutim, u njegovoj knjizi Canti popolari toscani, corsi, illirici e greci (Venezia, 1842.) toga prijevoda nema.
