IVAN KUKULJEVIĆ SAKCINSKI IN THE CULTURE OF MIDNINETEENTH-CENTURY SLOVENE LITERARY TRANSLATION: "JURAN AND SOFIA, OR THE TURKS AT SISAK" AND THE FORMATION OF THE SLOVENE NATIONAL IDENTITY

Godine 1850. u knjizi Dve igri za slovensko glediše (Dvije drame za slovensko kazalište) u slovenskom su prijevodu objavljene dvije ilirske/ hrvatske drame, Juran i Sofija ili Turci kod Siska (1839) i Stjepko Šubić ili Bela IV. u Horvatskoj (1841) Ivana Kukuljevića Sakcinskoga. U raspravi najprije ocrtavamo njihov položaj u širem kontekstu istodobnoga dramskog stvaralaštva na slovenskom jeziku, a zatim sužavamo pogled s (južno)slavenskih književnosti na dramska djela na slovenskom jeziku i promatramo položaj tih dviju drama u razvijajućem žanrovskom sustavu prijevodne dramatike gdje, kao modeli junačke igre, zauzimaju jedinstveno mjesto. Ponajprije se usredotočujemo na prvu igru, koja nije samo Kukuljevićevo najpoznatije djelo, nego se za nju općenito može reći da je na slovenskom prostoru bila bolje primljena. Više je razloga za to: specifične društveno-političke prilike, prepoznata društvena relevantnost turske problematike te pojedine sastavnice drame, pri čemu mislimo ponajprije na dramske likove i mjesto radnje te na njihov slavenski karakter. Sve nabrojeno omogućavalo je identifikaciju i nacionalnu emancipaciju. Nije moguće previdjeti ni žanrovske posebnosti narodne junačke drame koja je pomagala popuniti praznine u razvijajućem sustavu slovenske književnosti. Među ostalim dotičemo se i pitanja autorstva slovenskoga prijevoda koje otvara šire pitanje poimanja autorstva u 19. stoljeću.ABSTRACT In 1850, Ivan Kukuljević Sakcinski’s Illyrian-Croatian plays Juran i Sofija ili Turci kod Siska (Juran and Sofija, or the Turks at Sisak, 1839) and Stjepko Šubić ili Bela IV. u Horvatskoj (Štepan Šubic, or Bela IV in Croatia, 1841) were published in Slovene translation in the book Dve igri za slovensko glediše (Two Plays for the Slovene Theatre). First, the paper considers the plays in a wider context of contemporary Slovene-language drama of the same period, and then in a somewhat narrower context of dramatic works in the Slovene language in (South) Slavic literature, wherein the discussion takes into account the position of these two plays in the developing system of genres of translated drama, since these two works occupy a distinctive place because they representing model heroic plays. Special emphasis is placed on the first play, which is not only Kukuljević’s most well-known work, but was, generally speaking, better received in the Slovene context. This can be explained in a number of ways: 1) due to to specific socio-political conditions (the translation into Slovene is from the period of Bach’s s absolutism marked by increased German pressure on the Slovene and Croatian territory); 2) due to obvious social relevance of the Turkish topic (in the Battle at Sisak the Slovenes and Croatians behave heroically, independently and cooperatively); and 3) due to the play’s specific features, in particular its dramatic personae, setting, and Slavic character (in the play, Toma Erdödy, Juran and Andrej Turjaški act in accordance with Slavic reciprocity, and the setting of the play is Slavic). These features, in turn, enabled identification with the characters and promoted national emancipation. The genre of the heroic play filled the gap in the Slovene literature, which Fran Levstik anticipated in his 1858 Slovene literary programme, which is also the first Slovene programme of this type