Petar II

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. Petar II Petrovic-Njegos ( Serbian - Cyrillic Петар II Петровић-Његош ., Peter II ' ; born November 1 . Jul / 13. November  1813 greg. In Njeguši , Montenegro ; † October 19 jul. / 31 October  1851 greg. in Cetinje , Montenegro) was Prince-Bishop of Montenegro and one of the most important poets in the Serbian- speaking area. He wrote u. a. The Mountain Wreath , The False Tsar , Šćepan the Little One and The Ray of the Microcosm . Njegoš administratively laid the foundations for a modern state in Montenegro.

Live and act

Petar II. Petrović Njegoš

Born under the name Radivoje ("Rade") Tomov Petrović in the village of Njeguši below Lovčen, Petar II spent his youth in the core area of ​​the Montenegrin patriarchy. Through his father, Rade was familiar with the Gusle and the folk epic of the Serbo-Croatian heroic songs written in the meter of the Deseterac . Although he had not learned to read or write as a child, he entertained the uncle Prince-Bishop Petar I. Petrović-Njegoš, who was actually averse to folk poetry, at the gusle as a twelve-year-old with epics he had composed himself in the Deseterac. Rade achieved this so humorously that even Petar couldn't suppress his laugh behind his monastery cell door.

Later, Sima Milutinović Sarajlija (1837) published five epics written by Rade in a collection of epic heroic songs ( Pjevanja crnogorska i hercegovačka ), which trace Njegoš's transition from an illiterate epic singer to a fully developed romantic poet in the genre of oral poetry . In one of the songs - Nova pjesna crnogorska ( A new Montenegrin Song ), there are stylistic devices that are no longer elements of tradition. After an artificial invocation of the Vila - bring together all voices into the gusle - the song begins with a description of the date of origin - In one thousand eight hundred / and half of the twenty-seventh year , which as an element is no longer in the context of the epic Tradition is found. The formative first impressions that Njegoš received from the autochthonous and non-literary folk epic, in which there are diverse animistic and neo-Manichaeistic elements, also remained alive in his later works.

In 1825 Rade entered the Cetinj monastery, where he learned to read and write and was looked after by various teachers. The poet and Freemason Sima Milutinović Sarajlija took over his education in 1827 , but Njegoš developed in particular as an autodidact . In his later life, Njegoš grew into a fully literary poet, but he remained true to the ten-syllable meter of the Deseterac of the folk epic for his great poems - Luča mikrokozma , Gorski vijenac and Ščepan mali .

When he succeeded his uncle Vladika Petar I in spiritual and secular power in 1830 and became Prince-Bishop of Montenegro in Cetinje , he took over the first name of his predecessor.

After Njegoš returned from Russia in 1834, he opened the first school in Montenegro and in 1835 introduced the first modern book press in Montenegro. Trying to strengthen the authority of the state, Petar II ruthlessly broke the power of the clan chiefs.

Under his rule, the state institutions, the Senate, the administrative authorities and the law enforcement agencies were established in Montenegro. He introduced taxes and founded the first school in Montenegro in 1843.

With the help of Russia , Peter II tried to secure his country against the Turks .

From one of his trips to Russia (1833), the Prince-Bishop of Montenegro brought a printing facility with him and thus founded a printing house in Cetinje in which his first works, as well as a literary almanac and the first Montenegrin school books were printed.

In 1851 Peter II died suddenly due to a lung disease. His successor as Prince-Bishop was his nephew Danilo II. Petrović-Njegoš (1851-1860). He gave up the office of bishop in 1852 and proclaimed himself secular prince of Montenegro .

plant

His epic and poetry moved on the border between heroic and bourgeois age under the changing influence of folk poetry and Slavic classicism. The Bergkranz ( Gorski vijenac ), an epic with strong poetic expressiveness in lyrical parts, which describes the liberation struggle of the Serbs and Montenegrins against the Turks, is considered a major work of South Slavic literature.

The mountain wreath was often regarded by the Serbian side as the "ultimate completion of the heroic epic" in the tradition of folk songs. According to Svetozar Koljević and other modern literary critics, however, the prerequisite for the unity of "moral determination and heroic action" is no longer to be found in the epic Njegoš. While the folk song incorporates the fundamental principles of the "heroic age" so that the heroes never need moral justification for their actions, Koljević's Gorski vijenac no longer fulfills the traditional definition of an epic as "large-scale narrative poetry about deeds and actions of warriors and heroes " . Thus, Koljević recognizes the drama and not the epic as a fundamental structural principle in the Bergkranz, in that the moral dilemma and the reflexive nature of Bishop Danilo is similar to that of Shakespeare's Hamlet .

“What was available for Shakespeare in the image of the medieval cosmic order and universal hierarchy, that was for Njegoš the moral clarity of the most successful works of South Slavic heroic oral poetry , that is: the belief and the perception of certainty, according to which his powerful and nevertheless longed for skeptical artistic imagination, disturbed by all the paradoxes in his personal and historical fate. "

- Svetozar Koljević, Smrt epa u Gorskom vijencu 1993

The so-called "Njegošologie" ( Njegošologija ) is dedicated to the research of Njegoš 'philosophical thoughts and the literary opus in philology , u. a. Anica Savić Rebac, Miron Flašar.

literature

Web links

Commons : Petar II. Petrović-Njegoš  - collection of pictures, videos and audio files

The problem of violence in the 'Bergkranz' PP Njegos' ( Memento from July 22, 2004 in the Internet Archive )

Individual evidence

  1. ↑ Bogdan Rakić 2010: Subverted Epic Oral Tradition in South Slavic Written Literature . In: Philip V. Bohlman & Nada Petković (eds.) 2012: Balkan Epic - Song History, modernity . Europea: Ethnomusicologies and Modernities, No. 11, The Scarecrow Press, Lanham. ISBN 978-0-8108-7799-3 , p. 41
  2. ^ Albert Bates Lord, Edited by Mary Louise Lord 1995: The Singer Resumes the Tale . Cornell University Press, Ithaca. ISBN 0-8014-3103-4 , p. 233
  3. ^ Albert Bates Lord, Edited by Mary Louise Lord 1995: The Singer Resumes the Tale . P. 234
  4. ^ Albert Bates Lord, Edited by Mary Louise Lord 1995: The Singer Resumes the Tale . P. 235
  5. ^ Albert Bates Lord, Edited by Mary Louise Lord 1995: The Singer Resumes the Tale . P. 233
  6. ↑ Bogdan Rakić 2010: Subverted Epic Oral Tradition in South Slavic Written Literature . Pp. 41-42
  7. ↑ Bogdan Rakić 2010: Subverted Epic Oral Tradition in South Slavic Written Literature . P. 42
  8. ↑ Bogdan Rakić 2010: Subverted Epic Oral Tradition in South Slavic Written Literature . P. 42
  9. ↑ Bogdan Rakić 2010: Subverted Epic Oral Tradition in South Slavic Written Literature . Pp. 43-44
  10. ↑ Vladimir Osolnik: Njegosologija kot slovanska duhovna dediscina . [1]
predecessor Office successor
Petar I. Petrović-Njegoš Prince-Bishop ( Vladika ) of Montenegro
1830-1851 		Danilo II. Petrović-Njegoš
personal data
SURNAME Petar II
ALTERNATIVE NAMES Petrović-Njegoš, Petar II .; Peter II .; Petrović, Radivoje Tomov; Петровић-Његош, Петар II
BRIEF DESCRIPTION Montenegrin poet and prince-bishop
DATE OF BIRTH November 13, 1813
PLACE OF BIRTH Njeguši , Montenegro
DATE OF DEATH October 31, 1851
Place of death Cetinje , Montenegro