The lyrical-epical poem – a ballad from the zbornik from Anton P.Stoilkov –retells the story of the unjustly punished sister. The metamorphosis performed in plays are similar to the previous, except that in the plays the action is enriched with one more mythical-poetical portray: „there where her hair was waving, / a green pine sprout“12F.
Hope and faith in the new life whose traits are immortality and the different forms of salvation and transformation from one condition to another, are given in the ballad of the Collected Works (Zbornik) of Kosta Crnusanov, which represents a variety of the previous examples sung in the village Divle Skopje:
„Where my black eyes drop,
Two clear springs will emerge;
Where my body falls,
It will become a big garden,
It will grow white basil;
Where my white hands will fall,
It will become two white vinegrapes;
Where my white legs will fall,
It will grow two white trees –
Who is thirsty, let him drink;
Who is young, bouquet of flowers let him have;
Who is hungry, let him eat the grapes;
Who is tired, let him sit in the shadow!“13F
This Dionysian secret of the antique, above all given through the bloody disintegration, followed by a new change of energy, is reinforced by the anonymous poet through the expression of his will for a „possible“ metamorphosis, as indicated in the verse: „As she said, it happened“14F. So far, the question regarding the connection of the metamorphosis with the unjust human sufferings and his incapability to oppose the evil is imposed. The oath of innocence of the wounded is the subject of folk song from the Zbornik from Jastrebov. In the song the accused girl finds her escape and proves her innocence through someone who is stronger than herself, and by transforming herself into a flora form in order to avoid human provision:
„The girl speaks with white Danube
Oh, Danube, oh, white Vardar!
I’ll jump and swim in you.
If I’m guilty, you drown me,
If I’m innocent, you lead me out,
Let me out at Thessalonian fields,
In that field, at that meadow lands,
So, it will grow up different kinds of flowers,
So, that girls and brides will pick me up“15F
In Macedonian oral literature we often come across the attempt to contaminate the Dionysian religious ideas with Christianity. This syncretism is reflected, above all, through the devotion of Dionysus and the ritual death at the initiation characterized by the symbolism of ritual renewal and mythical miracle. Namely, Christianity, which is possible only with absolute division of the world of perceptions from the world beyond that, from the very beginning is based on the miraculous. Talking about the order of the structure of art, Shelling treats the miracle as:
„absoluteness seen from a empirical standpoint, that is definite due to which there is no relation with time. The miraculous in historical sense is the only mythological matter of Christianity. It expands from the history of Christ and the apostles continues through the legends, the history of the martyrs and saints, all the way to the romantic wonders who were moved by boldness coming from the touch of Christianity (…) But it should be noticed that the mythology of Christianity completely underlies the understanding of the universe as the Kingdom of God. The history of the saints is at the same time the history of the actual heaven, and even the history of the kings are included in that general history of the Kingdom of God. Christianity was separately identified as mythology only at this end.“16F
Shelling, insisting on the modern epoch having its own epic, establishes God Jesus not in history, but in nature as a sort of cosmogenic power, not only as a divine personality or a historic individual as presented by orthodox theology. More specifically, in His „Philosophy of Mythology“ Jesus, in the image of Dionysus, denominates as „the true mover of the whole process.“.17F A synthesis of the distinguishable continuity of the Dionysian tradition by the Greek mythological world and further, with the individual and universal image of the Christian God as Dionysus, we can see, once again, in another folk song noted by the Russian consul Jastrebov. Through this, and also through the previous examples, amongst others, we seem to be following the idea that art is „reconciling the finite and the infinity, the objectivization of the idea.“18F Through the motif of the faithful sister who doesn’t betray her loved ones even by paying the price of her own life, we follow the process of the „Titanic crime“ and her further escapade. In order to do that one has to endure the strong pain, and that was the imperative of the nature of Dionysus. Contrary to this, as Nietzsche says, the wonder itself is rare and great.19F
„I have no brother, I have nothing to say,
I have nothing to say.
Twist my legs and my knees,
Legs and my knees.
Twist my hands and my arms
Hands from my arms.
… … … … … … … … … … … … … … … … … …
Then, so loud Teja started to scream
Teja started to scream.
… … … … … … … … … … … … … … … … …
I have no legs to run after you
To run after you.
I have no hands, brother, to fight,
Brother to fight.
I have no eyes, brother, to see,
Brother to see.
God gave her legs to run,
Legs to run.
Also he gave her hands to fight,
Hands to fight.
And he gave her eyes to see,
Eyes to see.
She saved her dear brother“.20F
#b
12. Антон П. Стоилов, Македонски народни песни, Институт за фолклор Марко Цепенков – Скопје, посебни изданија, книга 14, Скопје, 1990, песна бр. 1, стр. 21. Варијанта: Димитрија и Константин Миладиновци, Зборник на народни песни, Скопје, 1983, песна бр. 56.
13. Македонски народни песни, Б’лгарска академија на науките. Етнографски институт с музеј. Софија, 1956, песна бр. 398, стр. 212.
14. Исто
15. Објчаи и пјесни Турецких/ Сербов, второ изданје, С. Петербург, 1889, 236.
16. Fridrih Vilhelm Jozef Sheling, Filozofija umetnosti, Beograd, 1989, 141, 142.
17. Исто, 35.
18. Исто, 50.
19. F. Niche, Knjiga o filozofu, Beograd, 1987, 29.
20. Објчаи и пјесни Турецких/ Сербов, второ изданје, С. Петербург, 1889, 231, 232.