Have you ever noticed and sometimes thought about how the data on one’s life and the whole work, in the files and lists, on monuments, is limited to the name, surname, places and years of birth and death?
Could it be, perhaps, that before you grew the injustice that all of one’s life, and everything that he/she did, was squeezed between a few misinterpreted words and numbers?
Have you ever felt the dread for those about whom we do not know even that?
And have you ever tried to unwind the story of a person and his work with these data, the basic ones, to everyone equally given, according to them as key words?
That is what I am asking, targeted, now, at the beginning of the conference in honor of the most famous decasyllable, Serbian and folk poet whose name is Filip, his last name is Višnjić, the place of birth of Trnovo, and so on, intending to partially answer the questions.
The Serbian name Filip origins from the Greek language. The basic meaning of that name is a man who loves horses, who is a rider and a passenger in the saddle. Perhaps that is why the Vozhd in Filip’s song “Lazar Mutap and the Arabian” has seven hundred horses and offers a famous haiduk to choose one for themselves. Perhaps that is why Filip’s rebellious heroes are always on the horses. Like Čupić is on his Mrkov who will give Filip a shelter and as a prize for verses to give Belac on which he went a far. Whoever looks at the map of Filip’s travels will wonder how he could see all that although he was blind.
The Serbian name of Đorđe is actually George, who kills the Dragon, with his name also goes word – a great martyr. Filip’s father was called Đorđe. He died young, suddenly, in a fierce tangle. His son became a four-year-old orphan. Later, when Filip’s uncles and his closest relatives defended the honor of their Đurđija, Turkish soldiers enslaved them and killed. Who knows well what Filip achieved in poetry, when one hears the name of the place in which he was born, when one hears about Trnovo, that one does not think of the vineyards and fruit trees around them from the description of Milorad Panić Surep, but already thought of thorny wreath of glory, the thorny path to it, the thorny house from which is Philip. That is why images of disorder and evil are so convincing in his verses.
But the lucky hand has determined that the Vozhd of Uprising, whose poet is Philip, is called Đorđe, as well as his father. He does not say Karađorđe for Vozhd. No black, someone else’s word, will speak to him because he is chosen to bring the light. Filip saw him in his own verses, without sight after smallpox when he was eight years old, so in Đorđe he had a father of Serbia, as Njegoš called him, and his father, barely remembered. Đorđe Petrović led, in the words of Iguman Stefan,
“The generation created for the poetic,
The fairies will try through centuries
To knit worthy wreath for you,
Your example will taught the singer
How to talk with immortality! ”
Let us listen again to some of the key words from the verses that are from “The Mountain Wreath”. They refer to the fairies that will bring down worthy wreaths to the heroes and rebels. Who could do better than Vilić (Fairy)? Can the singer, in the same verses, be able to have a different name other than Vilić? Like Filip’s last name, because some of his ancestor were a Vilać (Fairy man), “in friendship with higher powers.” The Fairies found Filip that in his song a Serbian rebels talk with an immortality, but we all know him with the last name Višnjić and not Vilić. Thus, according to his mother, after his mother was remarried in Međaši, she took a child who would later make the famous verse “Drina water, a noble border”, because each border among the same people is noble and invisible, even if all the forces elevated it.
The baptized name of Filip’s mother was Mary, just as the mother of the Son of God was called, who received a crown of thorns on the cross. Therefore, it seems that the nickname of Filip’s mother did not mature on the fruit from Trnovo so that she could easier remarried in Međaši. Perhaps Vilić, which are so fairy like attached to the heights, thought about the pronouncement of Mary’s name to the Allmighty, and from here, his daughter-in-law called Višnja, with a different emphasis, therefore, from what fruit trees are given. And maybe they gave their brother Đorđe Vilić, Filip’s father, nickname Stojan to be jumbled and persistent as Jankovic, and perhaps, in enlightenment, they realized that another Stojan, Dragon of Night and Čupić, would be tasselled in Filip’s verses.
So who can forbid us to say that Filip Višnjić, while he was making a unique decasyllable verses about Đorđe Petrović, the leader of the First Serbian Uprising in 1804, and about Stojan Čupić, a duke in the same Uprising, with the eyes that left him early so that with them he could more and further, in heavenly veil, to see his father, Đorđe, who they called Stojan? This happens when the gift arrives from the God.
With such a gift, Filip Višnjić is on the border, between Vuk’s folk poetry, as its epic ending at the last peak, and between “The Mountain Wreath” where the decasyllable song reached the artistic peak, such that: whoever wants continue – it must do the opposite. The first anthology after the Vuk’s one, in which Višnjić’s poems have the title “Serbian Mirror”. With a hand held him Njegoš. It was published in Belgrade, in a natural place for such jobs, in 1845. At the beginning of the book is the figure of Đorđee Petrović, and at the center of nine songs by Filip Višnjić about the undertaking in which ” the people stood up as the grass from the land.”
How we should not, at this very occasion, and otherwise, in the same way as before, by key words, allow, at least almost, that they call each other with verses – the poet of Uprising and the poet Wreath, Višnjić and Njegoš ?
Višnjić sees that “the blood from the soil has boiled,” and Njegoš sees that ” the black soil is soaked with the blood”, that “the blood devours horses and heroes”.
Višnjić says “the time has come, we have to fight”, and Njegoš should raise “destroyed altars,” “to cantillate the Orthodox faith”.
Višnjić sees the right time when a Serb must “spill their blood for the cross”, and Njegoš that the shadow of the Orthodox cross “in the blood washed”, that “the blood vapors on the altars”.
From both of them could be heard: “Fight for the cross, for the face of the hero!” For both of them, Karađorđe is on a white horse as it suits the winners.
The great poem of Filip Višnjić “The Beginning of the Revolt against the Dahijas” in the end says that it was
“When Đorđe ruled Serbia
and crossed Serbia with a cross
and shrouded with his wing. ”
Dedication to the father of Serbia at the beginning of Njegoš’s “The Mountain Wreath” about the same time and about the same Đorđa says:
“The people rising up, baptizing the earth, and breaking the barbaric chains,
from the dead Serbs cry, breathe the life of the Serbian soul. ”
When we can not change them already, and see them among us, the we will leave two poets to continue to call each other in their former way.