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THE GERMAN INFLUENCE ON THE LATVIAN FOLKSONGS

BY

Ilona Balcers

A-THESIS

Submitted to
Michigan State University
in-partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

.Department of German and Russian

1965

‘ACKNOWLEDGEMENTS

The author wishes to acknowledge her indebtedness
and sincere appreciation to Dr. George Radimersky for
his direction, encouragement and advice in this study.
Gratitude is also expressed to Dr. Stuart Gallacher and

Dr. Mark Kistler, members of the Masters Committee.

11

TABLE OF CONTENTS

Page

INTRODUCTION......................... ...... ........ 1V
GERMAN INFLUENCE ON LATVIAN CULTURE RELIGION AND
LITERATURE......................................... l
Misinterpretations and Opponents of the
Latvian folksongs.............................. ll
GOTTFRIED HERDER'S INFLUENCE ON THE LATVIAN
FOLKSONG.................. ........ ................. 23
Minor influences and collectors of Latvian
folksongs...................................... 39
COLLECTION OF FOLKSONGS BY KRISJANIS BARONS........ #5
CONCLUSION.......... ......... ...................... 68
BIBLIOGRAPHY....................................... 72

111

INTRODUCTION

In this presentation we wish to investigate the German in-
fluence on the Latvian folksong.

The reasons for selecting this tOpic are many. Our Lat-
vian origin, heritage and early environment exposed us to
Latvian literature and culture. Being more and more exposed
to literature we became fascinated with the folksongs, or,
Dainas which had survived German, Russian, Swedish and Polish
influence throughout the many centuries. Most of these na-
tions were unsuccessful in completely superimposing their
culture upon the Latvian people.

German colonizers, however, seemed to have the greatest
influence on Latvian culture, religion and literature. Next,
the question arose: To what extent did the Germans influence
the folksong specifically? A general survey of history re-
vealed that the German influence began in the twelfth cen-
tury and lasted through the nineteenth century.

Several Latvian scholars, such as, Andrups, Kalve,
Spekke, Svabe, Berzins and other less important ones wrote
essays about the Latvian folk literature. However, they
did not specifically trace the German influence on the Lat-
vian folksong. Therefore, although works exist that have
a bearing on the general nature of the problem area, we
have found nothing that duplicates our efforts.

The German influence is confined to the chronological

span of 1200 - 1900 AD.

iv

Within this period we shall look into
(1) the general historical panorama,
(2) Gottfried Herder's influence,
(3) The collection of folksongs by KrisJanis Barons.
This study attempts to present a deeper insight into and
understanding of the abundance of concepts expressed in the

Latvian folksongs or Dainas and shows why these folksongs

survived throughout the centuries.

GERMAN INFLUENCE ON LATVIAN CULTURE, RELIGION AND LITERATURE

We shall look at the historical aspect of the problem from
the threefold German influence on Latvian history and consi-
der the viewpoints of culture, misinterpretations of the
folksongs and opponents of the Latvian culture, respectively
the folksong.

Turning to the first point, that of the German influence
on Latvian culture, we wish to stress the German influence
on the soil, its people, religion and literature.

First to be mentioned are the Baltic Sea and the rest of
the waterways such as GauJa and Daugava which have a great
significance in the history of the Latvians. In early
centuries many tribes such as the Vikings and Teu-
tons moved through the country to Lithuania and Byzantium etc.
Written records of Latvian history, however, were not promi-
nent or of great value until 1158, when German merchants
sailed up the Daugava River establishing themselves on its
banks. History previous to this date is obscure, but it
seems reasonable that both amber from the Baltic shores and
also the role of the Daugava and GauJa Rivers as trade routes
had according to Tacitus been enticing invaders for centu-
ries. The Chronicle of Henry of Livonia (1225) composed by
Henricus de Lettis, is one of the tersest written accounts
describing thexole which the Latvians played in history;
what conditions prevailed in the country; and how the Lat-

vians were affected and influenced by the Germans. From the

account of Henricus de Lettis we learn that the German mer-

_ 1 -

- 2 -
chants were not the only ones interested in this country be-
cause German armies, missionaries and other colonists soon
appeared and undertook a German conquest of Latvia.
Approximately in the early part of the thirteenth century

when the German armies and crusading knights appeared in the
Baltic area, they found that they were faced with strong mi-
litary fortifications which they were able to take only be-
cause of the lack of unity among the Latvians. Thus, the Ger-
man victors were able to establish themselves in Latvia. En-
gulfed in these historical events, the Latvians now had to
yield to German power and German influence.

We recognize several stages chronologically. During the
first, German missionaris claimed to be the first to convert
the Latvians to Christianity although, according to Henricus
de Lettis, crosses on graves and other Christian symbols from
both Roman Catholic and Greek Orthodox missionaries of pre-
German times were found. For the most part Latvian society
consisted of hunters and farmers devoted to a form of pan-
theism, without much use for the mysteries inherent in Christi-
anity. In order to make the Christian religion acceptable,
Christ and the Virgin Mary had to pardflel deities familiar
to the peasants before they appealed to the imagination of
the people.

According to ancient folksongs, the " Dainas," the Lat-
vians believed that they were descended from the sun and

thus, their religion was somewhat related to the pre- ethnic

- 3 _

Indo - European mythology and worship of the sun. The Lat—
vians followed and upheld a religions dualism, acknowledging
gods and godesses as well as two opposing spirits in nature,
one good and the other evil which were supposed to attend a
person throughout his life. The sun god was depicted as a
strong warrior attired in a glittering cloak and riding a
horse with a golden saddle. He represented and defended mo-
ral and legal principles. The deities fulfilled a practi-
cal protective function such as protecting a man in battle,
protecting crOps from draughts and pestilence etc.

After the German military conquest the Latvians were bap-
tized without being made acquainted with or comprehending the
doctrines and significance of Christianity. Regardless of
these, the peOple were forced to accept Christianity, were
brought under control of the Christian law which also impo-
sed the obligation on the part of the people to pay tithes
to their ecclesiastical overlords. Thus, the fate of the
Latvians was under the influence of the west.

One of the first Germans to exert significant influence
upon the Latvians was Bishop Albert. He proved to be a
clever and a shrewd diplomat claiming to have founded Riga
in the year 1200 and forcing the Roman Catholic faith on
the people by founding an Order of the Knights whose duty it
was to convert with arms the pagans or heathens and to de-
fend the church. The inevitable outcome was a clash between

the missionaries of Latin Christianity and Russian Orthodoxy

.4-

for the religions allegiance of the Latvians. The Germans
came out on tOp and the Russian influence diminished. Bishop
Albert further strengthened the Catholic movement by intro-
ducing and fostering architecture. Colossal cathedrals, cast-
les and fortresses appeared. During this period other arts
flourished also. Paintings and sculpture adorned the alters,
walls and window panes of the churches and cathedrals. In
order to elevate the spirit of the congregation and gain more
followers, scenes from the Bible were dramatically performed
inside and outside the churches.

The medieval period brought with it concepts of black ma-
gic, witchcraft which supposedly exerted an evil and superna-
tural power over people and their affairs. For the Roman A
Catholic Church, this period was a sort of inquisition in the
thirteenth century. A general tribunal was established for
the purpose of ferreting out and suppressing of heresy and
heretics. Clergymen were instructed to search for and punish
nonbelievers, heathens, pagans and heretics. Not withstan-
ding, the Christian doctrines were still as mysterious to
many of the natives as ever. In the folksongs the Latvian
gods began to acquire Christian features but the Virgin Mary
had not yet changed by the first part of the thirteenth cen-
tury and was presented as a pagan goddess. It was evident
that Christian ideas were too deeply embedded in the old tri-
bal, non - Christian beliefs. Even though the new ideas were

implanted into the ancient beliefs, they had as of yet failed

- 5 -

to alter the latter. Too many people regarded the new ideas
with distrust and frequently with contempt. Thus, many people
resisted and accepted only portions of Christianity incorpora-
ting them into their old paganism.

The frustrated clergy identified witchcraft with heresy
making participation in it a crime and trying adherents by
Papal inquisitors. This happened in the thirteenth and four-
teenth centuries in all parts of Latvia. The clergy tried to
root out from the land the abominable witches, by ferreting
them out, punishing, imprisoning and penalizing them and
others convicted of various offenses of wickedness, etc.

Once started, the persecutions were very cruel and lasted for
centuries. Neither age nor sex was spared, and since witch-
craft is associated with women, these were mostly the victims.

In Latvia most of the ancient folksongs were composed and
sung only by women. These also possessed the mental capacity
of retaining and reviving impressions. Their recollection of
large numbers of folksongs, proverbs and sayings seemed su-
pernatural to many, especially to the clergy. Many of these
women who recited or sang folksongs dealing with mythological
figures, old folk beliefs and images, were accused of being
possed by evil spirits, supernatural, wicked powers and there-
fore, were considered to be witches. 'The clergy, according to
Alfred Bilmanis, gave full credence to the current tales of
witchcraft, which led to the victimizing of so many Latvian

women."1

- 6 _

.Other clergymen, such as Von HimmelstJerna preached and pub-
lished sermons against witches in Latvia. This injustice
lasted until the nineteenth century, the humanistic period
or the Enlightenment.

The second stage of German influence is associated with
the Reformation which began in Latvia in 1522 when emissaries
of Martin Luther arrived to preach the Reformation. In 1525
the Livonian Order recognized Lutheranism in Riga. Clashes
and rivalry between the Catholic and Protestant Churches
were fierce. In order to win and keep the Latvians as follo-
wers and supporters, both faiths began to translate into the
Latvian language and distribute religions literature such as
the Lords Prayer, the Ten Commandments etc. Original Lat-
vian literary material such as the folksong, was still banned
and regarded as the residue of wickedness, paganism and su-
perstition; hence, very few Latvian folksongs were written
down during this period and handed down to us.

The reforming period therefore, in Latvia took conside-
rable time because the Catholic and pagan influences were
still too deeply imbedded in the minds of the inhabitants.
Thus, there developed a struggle between the Protestant Re-
formation forces and those of the Counter - Reformation, the

Catholics. Jesuit activity established grounds, Spread, dis-

 

1) Bilmanis, Alfred, History of Latvia, New Jersey

A
Princeton University Press, 1951, p.172.

- 7 -

persed propoganda and formed brotherhoods. Unlike the pre-
vious clergy, they tried to help the poor peasants and thus
gained their confidence and support. Just as the rest of Eu-
rOpe, Latvia was confronted with a religious crisis in the
nineteenth century. For centuries new invaders had forced
their religion on the natives.

The third stage may be defined as the establishment of
Lutheranism. With more independence foreign clergy diminished
in Latvia and Lutheranism established itself as the main reli-
gion of the country. The Latvians to a great degree, then
acquired Western - European culture from the Germans who con-
structed churches, castles, statures; who painted, preached
and dramatized the work of God, introduced the Spielmann who
visited the courts and raised to a higher degree music and
singing and set up a code of laws and wrote chronicles.

At the time of the earliest German invasion and coloniza-
tion the German influence on Latvian literature was not of any
great importance. No significant novels, legends or spiri-
tual songs appeared at this time. However, many of the exis-
ting fairy tales were enriched through the new culture. Lat-
vian literature at this time consisted of an immense number
of folksongs or " Dainas " transmitted by word of mouth. In
the " Dainas " we find reflections of the ancient Latvian ci-
vilization and legendary past. The reoccuring motives and
allusions to religion, rich cities and castles, noblemen,

heroes, princesses, pOpular art and design as well as de-

_ g -

tailed descriptions of daily life, presented and account of
history of the peOple and land. Further, the " Dainas " also
expounded nationalism striving for unity and independence of
the peOple. The only other existing literary forms were fairy
tales, proverbs, riddles, epics legends and magical formulas.
Although relatively small in number their imagery, fantasy,
mythological content motifes and allusions made them rich in
quality. At this time the " Dainas " were treasured by the con-
quered Latvians, for they were the only psychological and
Spiritual outlet for them and the only area in which they
could express their grief, Joy, aSpirations and use their ima-
gination. During this early period all written literature

was in German or Latin because the Latvian language was re-
garded as inferior and was used among the lower classes and
peasants.

Not until the sixteenth century do we find a Latvian li-
terature. It was humanistic in nature and centured in Riga.
Its form was that of poetry. It is indeed remarkable, that
the Latvian language should have been preserved throughout cen-
turies witnout having given us written records. This huma-
nistic sixteenth century literature Was weak and unpolished.

Several religious works such as Catechismus Catholicorum,

 

(1555) and Enchiridion, (1557) as well as a Latvian Grammar

 

appeared along with poetry. Centuries later a classical Lat-
vian work in the Latvian language, by A.Alunans appeared.

The significance of this was that once again there was evi—

- 9 -
dence that the language of the natives had been restored.

During the Enlightenment the " Dainas ", filled with folk-
loristic elements and motifs, and carriers of Latvian ancient
tribal history were revived by Gottfried Herder even though
the German clergy headed by Pastor G.F. Stender tried to con-
demn and replace them. Despite these efforts, the " Dainas "
were introduced into most of EurOpe and translated into the
Russian language.

During the nineteenth century, the ancient heroic legends
and poetry flourished. The latter part of the nineteenth centu-
ry it exhibits two literary movements, Romanticism and Natio-
nal Realism. These movements gave us short stories and no-
vels depicting national revolutionary ideas, rapid social eco-
nomic and cultural changes and other problems of the country
and its people, changes were carried into the twentieth centu-
ry as well. The pace of literary developments during the
twentieth century was rapid. Psychology and contemporary
philos0phies of revolution, nationalism, religion, emancipa-
tion of women etc., were dominant among themes in the lyrical
and prose works. A great number of " Dainas " depicting
archeaic customs, traditions, beliefs and other folklore of
the Latvians was collected and organized in eight big volumes
by KrisJanis Barons. Literary creativity of the Latvians had
not disappeared but was enriched with variants by the Archives

of Latvian Folklore.

- 10 -

Recapitulating we might state that the Christian Church
and German clergymen initiated of a written Latvian literature
in the form of hymns, the Lords Prayer, and other religious
materials. The Germans also initiated the style for Latvian
prose and introduced into written poetry verse conventions in
the Latvian language. For centuries however, they also attemp-
ted to destroy the indigenous images and ideas of the peOple,
but with little success. Up until the National awakening and
the simultaneous revival of the folksong by Gottfried Herder
and the beginning of Romanticism a written Latvian literature
is still in the formative period. It is evident that Latvian
literature took a long time to develop. The literature of the
nineteenth and twentieth centuries indicates that it is not

entirely based on the folksong but imitated and adapted foreign

forms, mostly from the Germans.

_ 11 _

Turning now to the second of our points, namely the misin-
terpretations of the Latvian folksong, we shall touch upon the
origin, the types and the appraisals of folksongs. In the
origin, we would like to touch upon the history of the Latvian
folksong. We find that the first printed folksong was found
written down in the historical works of professor Fredericus
Menius (1632) entitled Syntagma de origine Livonorum. It is
a humorous song and appears in the Syntagma together with
its melody.

" My fair maiden, give me a little cat
A little mouse has sneaked in my bucket of butter”(2)
The foreign influence is quite evident here because the writer
of this did not have command of the Latvian language and
thus made errors, in germanizing the words of it.

The first definition of the Latvian folksong is found in
a chronicle of the seventeenth century written by Fabricius,
where we read: " Their songs consist of two lined verses, each
line of an equal number of syllables; for the most part they
are witty and contain a complete meaning; when sung they
match in tone and melody."

These folksongs were kept and transmitted from mouth to

 

(2) Manne Balte Mamelyt/ Dod mann wene kathenyt/
Mann pelyte peejukus/ Py ta sweesie bundeling.
(This and all the folksongs henceforth, have been trans-
lated by the author of this thesis)

.- 12 -
mouth throughout centuries. If we only consider that Latvia
in the first part of the twentieth century had a pOpulation
of approximately two million, it is nothing short of astoun-
ding to learn that about 200,000 folksongs with 800,000 vari-

ations come from it according to Arnold Spekke's History of

 

Latvia (1951).

In this vast number we find various types of folksongs
which reflect the nations soul by describing its festivals,
ideas, images and feeling. We may then inquire; Who sings
these songs? When are they sung? Where are they sung? What
is their content?

Taking up the first question we find a simple answer.
The entire Latvian nation sang and still sings these folk-
songs. No matter whether the singer hails from the North
or South, East of West he still sings the same song. At
a time when no other unity exister in the land, the folk-
songs had a unifying force among the people of all geo-
graphical areas. In ancient Latvia they were sung mostly
by women who, performing their daily routine tasks of spin-
ning and churning butter and caring for the household, would
sing them. Orphans also found consolation by attributing
maternal characteristics to the sun for instance and sing-
ing about them:

Oh, sun dear and pure

You mother for the orphans,
You warmed up our hands and feet,

Just could not talk to us.

- 13 -

To the shepherd and to the man going to war the folksongs
proved to be boon companions. The peasants sing them in the
5 rythm of their work, such as flailing the grain.

When are the folksongs sung? Many folksongs emphasize
in their lyrics, that they are to be sung throughout one's
lifetime; at birth, during one's youth, maturity, old age
and when death approaches.

I was born singing, I grew up singing

I went through life singing

iintfifiggirfiifi 22.38.25.232... (4)
The songs sung at birth are songs of creation followed by
transitional songs which emphasize the elements necessary
for future life and happiness. These are sung at the
Chritening. Then come the most beautiful songs, those of
youth. Youth is the happiest period of one's lifetime as
indicated in literally hundreds of folksongs. Thus, young
people are urged to sing them during these carefree days.
" Beautiful is the time of youth, it will never return."

When the youth have matured, they are ready for marriage

and mature reSponsibility. There

 

(3) Ai saulite mila, balta/ Serdienisu mamuliya/
Kajas, rokas sasildiJi/'Valodinas vien nebiJa.

(A) Dziedot dzimu dziedot augu/'Dziedot muzu nodzivoJu/'
Dziedot navi ieraudziJu/ Paradizes darzina.

_ 14 -
are approximately 13,000 folksongs pertinent to this time and
the wedding ritual according to Arnold Spekke. AThe folksongs
also resounded during the celebration of festivals such as the
Midsummer's Night festival, the Martin's Night and others.
Ancient burial songs with old traditions and ceremonies exist
but have been replaced by Christian ceremonies and beliefs.

Timewise, folksongs are sung at sunrise as well as at
sunset; at night and during the day; in every season. Sin-
ging and the folksong in Latvia are as old as the Latvian lan-
guage and they develop, spread and establish themself, within
the nation.

Where are the folksongs sung? Since the folksongs pa-
rallel life, they are sung everywhere: In the house, at work,
in nature, in recreation areas, places of celebration and any
other conceivable place of activity. Only in this manner can
they validly be interpreted, do they appear effectively.

The content of the folksongs can be divided in two parts;
that which reflects reality and that which expounds idealism.
The aspects of reality are taken directly from the life of the
Latvian peeple; that is, from every day life as well as from
the fleeting moments of life. Every moment has its own tone
and color along with the content and value. When we speak of
every day life of the Latvian people we mean to indicate how
they are affected by the sunset and sunrise, the heat of the

noonday sun, the beginning of the work day, the length as well

_ 15 -
as the end of it, interrelationships with kin, friends,
enemies and the rest of their environment. They further re-
flect certain social conditions and some historical recollec-
tions as wars carried on with some of the neighboring countries:
Poland, Russia, Lithuania, Estonia and Sweden. These in-
numerable moments and aspects of a lifetime provide the mate-
rial for and are incorporated in the Latvian folksong.
Idealistic or spiritual aspects are achieved by the addi-
tion of feeling and emotion to the realistic aspects. The
soul and the spirit have given a definite independence to
individual fleeting moments- each moment arousing a different
effect. In this manner, the exterior aspects of life are
portrayed concretely and the spiritual elements add beauty
and lyrical qualities to the folksongs. In this category,
sympathy, sentimentality and feeling are predominant.
These folksongs also initiate and expound the ethics of the
nation loyalty, ambition, virtue, wiseness and aesthetic
qualities are emphasized over and over again in the folk-
songs. With peace of mind and a song one is able to face
even the largest obstacles and problems of life. Sympathe-
tic and deep feelings mature into love providing extraordi-
nary emotion for the love songs. These are tender, melan-
choly, and sensitive songs. The conviction throughout
these songs is that the combination of a sound body and a
strong soul is necessary in the process of giving life to

the coming generations.

_ l6 -

There are also feelings which do not arouse sympathetic
feelings because peOple exPerience much unpleasantness, dis-
appointments and frustration which arouse feelings of anger
and hate. Also negative traits such as laziness, arrogance,
irresponsibility, excessive indulgance in drinking etc. Pro-
vide material for folksongs with wit and a satirical flavor.
These songs are very gay and at times bring forth penetra-
ting or biting witticism. National feeling and the desire
-for liberty are the prevading ideas and thoughts in these
songs. For instance, they reflect the Latvian peasants
feeling towards the German overlord and viceversa. The
oppressed peasant gets a psychological outlet by concocting
songs in which the overlord appears, inferior to him. This
is achieved through various symbols such as animals or
plants which portray positive traits and skills of the pea-
sants. One of these symbolic animals is the hare who is
small, weak and afraid but still possesses something which
enables him to outwit a larger animal such as a bear who
represents the oppressor or overlord.

With Christianity other motives symbolizing the above
were introduced. For instance, God fighting the Devil and
the weaker good brother fighting with his strong, wicked
brother. Through these songs we can see the changing histo-
rical conditions and the unfortunate fate of the Latvian

peasants throughout the centuries.

i 17 _

Gods of ancient Latvian mythology also occur in the folk-
songs. The proper names which appear in the folksong refer
for the most part to mythological characters. Therefore,
many folksongs are poetical expressions of ancient mytholo-
gical forms which parallel the mythology of other peOples.
For instance, the three fates, the Latvian Laima, Dexla and
Karta, can be compared with the Norse fates of Norus: Urdun,
Verdandi and Skuld. Porsonification of the elementary,
forces such as Thunder, Mother Earth, the Sun, Moon, Mother
of the Woods, Fields, Sea and any other Natural phenomenon
relate the primitive beliefs and superstitions of the Lat-
vian peOple as well as of other civilizations in those days.
Unfortunately, the mythological forms provided more kind-
ling wood for the overlords in Latvia who, as was mentioned
earlier, interpreted these poems are evil, paganistic and
killed many who recited or sang them as witches and wizards.

The content i.e. the totality of realism and idealism
shows from century to century the soul of the Latvian nation,
the national feeling as well as uniqueness of the nation.

No epic poetry exists because Latvia was Oppressed by many
nations as Germany, Russia, Sweden etc. and was deprived of
a political life peculiar to itself. The existing folksongs
are therefore, lyrical since they don't portray historical,
factual events nor historical heroes but only allude to

these.

- 18 -
During the seventeenth and eighteenth centuries many
critiques and appraisals of these folksongs appeared in chro-

fl
nicles, periodicles and books as the Langgewunschte

 

Lettische Postill (165h). For the most part, the authors

 

took a neutral, objective or apologetic point of view to-
wards the Latvian folksongs which portrayed the traditions
and beliefs of the nation. Others as Johann Berger, consi-
derated them of little importance to literature and believed
that they would disintegrade with the uncoming new philoso-
phies according to Latvian literary history.

Many of the German inhabitants in Latvia misinterpreted
the ancient " Dainas " and were Opponents of the Latvian
folksongs, beliefs and customs. As early as the sixteenth
century Sebastian Manster wrote in his cosmogrophy of 1550
that they Latvians howled like wolves and constantly repea-
ted the word Jehu. When asked what this word signified they
replied that they didn't know, but that their grand fathers
and fathers also had sung it and therefore, they also were
singing it. This strange observation, however, is explained
later by Menius and Fabricius. In 1632 Menius writes in his
Syntagma de origine Livonorum about their sounds. One voice
takes the role of a soloist or lead voice (moduletur) and
others, after a pause, follow this lead voice. Then the

rest of the singers, the concantores, Join in singing or

humming. He further told of their customs of welcoming new-

_ 19 -

comers and strangers with apropos songs. He claimed that
the Latvians were great improvisors and could compose a song
impromptu, for any occasion. Fabricius elaborated and ex-
plained their external form of two lined verses each line
with an equal number of syllables. Although he said that
the melodies at times did not vary too much they did match
it in tone. The content, he wrote, is witty and contains a
complete meaning. The seventeenth century produced negative
attitudes and harsh criticism of Latvian folksongs. Grego-

N
rius Mancelius in his Langgewunschte Lettische Postill (1654)

 

attacked the folksongs, customs and beliefs. He regarded
the peasant language as uncouth and crude and called them
" foolish songs."

Paul Einhorn who also lived and wrote during the first
part of the seventeenth century shared Mancelius critical
appraisal. In his Historia Lettica (1648) he described the
folksongs as uncouth and regards them with arrogance as
" foolish songs." He also criticizes the numerous mytholo-
gical references and says that the folksongs are actually
perticular peculiar diety hymns ( peculiares hymnos deorum).
He further condemns these songs as being immoral and un-
christian. He is especially critical of the folksongs sung
day and night after a wedding ceremony by the relatives and
friends. These songs are of a witty, satirical nature where

the men and women go back and forth trying to outwit each

'.20 _
other. He considersthis the epidemy of foolishness and bar-
barism.

Mancelius, along with Einhorn criticised elements of su-
perstition in the folksongs and claimed that they were used
for witchcraft, magic and sorcery. They based their Opinion
on the observation of several Latvian festivals. The most
colorful one Midsummer Nights festival (Janu Naxts) is ceAV’
lebrated by the Latvians on the eve of June the twenty-third.
During this festival, folksongs and dancing climax the merri-
ment. Various rites, such as the lighting of bonfires to
ensure crop and livestock fertility and the swinging in
swings to be free from insects, prevail in the celebration.
In a sermon on the following day after this festival, Man-
celius tells his congregation to be good Christians and not
pagans who are as foolish as the Latvian peasants. He mocks
their rites and concepts which claim that these rites will
keep them fertile and free of 1011 spirits, demons and
witches. During this century the clergymen were also
looking for persons reciting folksongs containing witchcraft
elements. Einhorn and Mancelius were responsible for the
accusation of many for supposedly practicing witchcraft and
sorcery. Weber, in Des Veranderte Russland according to
Latviesu Raxstniecibas Vesture (1957) also commented un-
favorably on the contents, the behefs, customs and language

of the folksongs. He described the singing of the peasants

- 21 -
as an abominable screaming and wrote that these were pagan
songs which contained something strange since the people
were unable to forget them.

Another clergyman, Gotthard Fredrich Stender (1714-1796)
exerted great influence and authority in Latvia. His Judge-
mentanent the folksongs, which he also called the foolish
songs, was harsh and he went to great length attempting to
destroy and to replace them. Up until the latter part of
the eighteenth century he was quite active in the literary
circles being considered an authority on literature. He
almost succeeded in extinguishing the folksong by introdu-
cing his own ditties as replacements. These ditties were
inferior songs borrowed from German originals according to
Latvian Literature Essays (1954). They spread throughout
Latvia and were well received by the workers on the estates
and became slowly familiar to the Latvian people at large.
The Latvians still refused to give up their own folksongs.
Stender continued to publish his ditties with the reoccuring
themes of loyalty, obedience and respect to one's superiors
and God. He also attempted to express the descriptions of
the peasants in a refined language in " Jaunas Singes "

(New Ditties) which first appeared in 1774. The next edi-

tion appeared in 1783 and a third called Singu Lustes in

 

1789. In the last he advocated a virtuous life preaching

piety and morality. However, no matter what approach he

- 22 -

used, he was unable to do away with the ancient indigenous
folksongs even though he did succeed in banning them. Thus
they came to a standstill for a while.

At this point we would like to remark that even though
his attitude was a negative one with respect to the folksong
his influence in other aspects, such as his interest in edu-
cating the farmers by publishing Janna ABC un Lassischanas
Mahziba 1782 as well as Augstas Gudribas Gramata no Pasaules
un Dabas 1774 (Book of Higher Learning_about the World and
Nature) in the long run proved to be positive influences.

In terms of the folksong then, the Germans denounced and
attacked it far into the late eighteenth century. They
attempted to establish certain literary forms e.g. those of
imitating neighboring countries and merely attaching local
color to these imitations. However, because of future
historical develOpments the universal ideas of liberation
of foreign elements and a reawakening of nationalism, the
folksong and the attitudes towards the folksong were radi-

cally but positively changed by a German, namely Gottfried

Herder.

GOTTFRIED HERDER'S INFLUENCE ON THE LATVIAN FOLKSONG

Let us turn our attention to the importance of the late
eighteenth and the entire nineteenth centuries to the Lat-
vian folksongs. With this in mind we shall stress
(1) the positive influence exerted by Gottfried Herder,

(2) minor positive indirect German influences, and
(3) the flourishing of the Latvian folksongs in the nine-
teenth century.

Speaking of the first ofthese three factors, we can say
that during the second half of the eighteenth century the
sounds of a new era were stirring throughout Europe. The
writers of the Age of Enlightenment had attempted to free
men from his ancient traditions, beliefs and achievements.
They regarded the past as a dark and barbaric age and an-
cient folk literature was of little value or importance to
them. Originality was displaced by imitation of foreign
metric and style rules and motives were adopted from the
classics and Oriental literature.

Not until the Storm and Stress movement and Gottfried
Herder's (1744-1803) philosophy of history do the folk
and national literature gain any prominence in Latvia or
anywhere else in EurOpe. Herder, the propagator of the
new irrational trends, created the necessary intellectual
climate that enabled many poets and other men of letters to
break with the existing form and conventions. Historical
developments and the appearance of Gottfried Herder thus

_ 23 -

- 24 _
decided the cource of the Latvian folksong.

Gottfried Herder arrived in Riga, Latvia, in 1764 at the
age of twenty. Here he found the literary atmOSphere inspi-
ring and formed valuable friendships with Johannes Hamann
(1736-1788), and others. In Riga, Herder held the position
of assistant teacher at the Cathedral School of Riga. Along
with this position he also assumed the duties of a preacher.
From here on Herder was preoccupied with religion through-
out his lifetime. Regarded a free thinker by most of the
other ministers because his early sermons dealt mostly with
ethical problems, he was shown in hislater sermons and theo-
logical writings not to be consistent in his theological
standpoints.

As a pedagogue, Herder remained active and productive
during his five-year stay in Riga and published his first
work Fragmente fiber die neuere deutsche Literatur (1767).
This work reflects his interest in historical developments;
that is, he maintains that, literature can only be understood
in the light of history. No nation needs to imitate classi-
cal models because original folklore and traditions of any
nation can provide the necessary stimulus and inspiration.
With this concept Herder tried to manifest an interest in
the national past. These ideas were further expressed in

Uber Ossian and die Lieder alter Volker (1771) and in the

introduction to the Stimmen der Volker in Liedern (1778 and 1779)

- 25 -

volumes XXV and XXVI. In these he stated that folk litera-
ture was that kind of literature which was the original and
Spontaneous eXpression of the national soul. Therefore,

folk literature as the folksong eXpressed the feelings, ideas,
hOpes, fears, joys, sorrows and beliefs of a nation. Folk-
song further reflected the physical, social, political and
religious environment of the nation. In all this he poin-
ted out the beauty of the mother language and literature.

He promoted and stimulated a national consciousness when
he stressed the need for literature which could be understood
by the peasants as well as the relatively few educated ones.
With this he hOped to eliminate the gap and hostility bet-
ween and among the social classes in any given culture and
educate peOple in the ideals of humanity. The humanitarian
principles and philosophy of mankind did not become the Ob—
jects of comprehensive studies until after-Herder's works
had appeared.

The obvious signifiCance of Gottfried Herder lies in the
fact that he provided a stimulus in so many intellectual
areas. Thus, he was a pathfinder and influencial figure in
the entire concept of nationalism; he changed the train of
thought of nations from reason to feeling and intuition and
brought about a change in attitude toward the concept of the
develOpment of nations. He maintained that the spirit of
mankind developed from the totality of various national

cultures and that each individual nation, regardless of size

-26-
or power, contributed to the whole of humanity in general.
Thus, to him, every culture was significant.
In Latvia, Herder observed that this small nation had
been oppressed and deprived of its language and culture for

centuries. According to Arnold Spekke's History of Latvia

 

(1951) the aristocracy was still suppressing the peasants
while the Capital City Riga enjoyed comparative freedom

to Geneva. Spekke stated further that the beginning or at
least the deciding stimulus for Herder's love of the soul

of the people and their national peculiarities resulted in
1765 when he had the Opportunity to watch the celebration

of the Latvian Midsummer Night festival at Lake Jugla

near Riga. Herder's impressions and emotional experience

of this colorful, half pagan, festival are vividly expressed
in the historical essay " Maras Zeme " in Janis Sarma's
Gadsimteni (1959). Here Sarma describes how Herder along
with his friend Hamann dressed in aristocratic attire with
powdered wigs arrived to observe the modestly but geily
dressed peasants celebrate this picturesque festival. Both
men were fascinated by the innumerable Midsummer Night fires,
singing and dancing believed to ensure the fertility of crOps
in the fields and the general prOSperity of the farmers.

The young Herder seemed to be amazed at the Latvian's love
of singing. He didn't even object when several peasant

women surrounded him with witty improvised songs to suit

- 27 -
this occasion, and placed wreath of oakleaves on his head.
Even though he was unable to understand the Latvian language
he could sense and understand the extraordinary emotion of
these lyrical songs. He also noticed how these songs func-
tioned among the peasants, as bonds of unity and national
pride, for only in them were they able to express their hOpes,
aspirations, fears and Joys. To his delight he was able to
wittness how a nation, deprived of most rights, customs,
and language, had kept alive its ancient past through the
medium of the uncultivated song of rythm and of the dance.
He saw that a superimposed culture leads to substituting
imitations. Foreign cultures had been unsuccessful in de-
priving the Latvians completely of their spiritual heritage,
their language, songs and customs. This experience and the
Latvian folksongs, therefore, aided Herder in formulating
his ideas about folksongs in general. Hereafter Herder paid
much attention to the Latvian folksongs and greatly revolu-
tionized the general attitude towards the folksongs not on-
ly in Latvia but all over EurOpe. Previously, two other
German contemporaries J.J. Harder and Theodor Gottfried
Hippel (17Al-1796) had described the Latvian customs, ritu-
als and folksongs. However, neither they nor any one else
before Herder had expressed such deep and genuine obser-
vations of the Latvian nation and its folksongs.

In his endeavors to understand and collect folksongs,

he collaborated with other men of letters who were active

- 28 _
in the field of literature. One of them, Johannes Hamann

II
in his Kreuzzuge der Phi1o1ogeh (1762) described the Latvian

 

customs and their singing. Having command of the Latvian
language he was able to aid and stimulate his friend Herder.
This friendship proved to be of great significance for
Herder's own development.

Other men of letters, Hupel, Nessler, Baumann and Berg-
mann collaborated also by supplying Herder with Latvian
folklore materials, by translating and analizing them for
him. Herder saw the spirit of nations in their folksongs
and, therefore, he urged people to collect their national
literature.

Some of his contemporaries such as Gotthard Friedrich
Stender (1714-1796) and Friedrich Nicolai (1733-1811), how-
ever, did not share Herder's enthusiasm for the folksong

and the ideas of folk poetry he had expressed in Fragmente

 

(1766) and Kritische Walder (1769). Friedrich Nicolai in
his Almanach (1776) expressed the attitude of the Enligh-
tenment toward folk literature when he stated the idea that
the common people have poetic talent was absurd. Rather,
he regarded the folksong as crude expressions by simple
people describing primitive conditions. Moreover, the
clergy in Riga, headed by Gotthard Stender, ridiculed and
criticized Herder's interest in the folk material which

Stender up to this time had denounced, fought and condemned.

Fortunately, Herder overcame his Opposition by writing

a 29 -

and influencing many through his essays on folk literature.
In 1773 his Ossian und die Lieder alter Vglker was well re-
ceived by most of his contemporaries except by such men as
Nicolai and Stender. Thus, step by step Herder triumphed
and the folksong gradually established itself as national
literature.

_It is significant to point out that not only did Herder
urge and encourage others to collect their national lite-
rature but that he himself published a collection of folk-
songs Stimmen der Vglker in Liedern (177s and 1779), gene-
rally referred to as Volkslieder. This collection aroused
interest in folksongs and revived folk literature all over
Europe.

Up to this day the Latvian peOple regard Herder as the
champion who saved the Latvian folksong from oblivion.

In his Volkslieder Herder devotes a section " Zu den
Lettischen Liedern". Here he states:

" Die Dichtkunst und Musik der Letten ist
besonders, und zeigt von der Natur, die ihr
Lehrmeister gewesen und noch ist. Ihre
Poesie hat Reime, aber nur mannliche. Einer-
lei Wort zweimal hintereinander gesetzt, heisst
bei ihnen schon ein Reim. So heisst es in
einem ihrer Liebeslieder:

Es, pa zellu raudadams

Gahjn, tewi mekledams.

und das ist ein guter Reim. (5)

 

(5) Herder, Gottfried, Alte Volkslieder, KEV, Altenburg pp.595,594

(Henceforth referred to as Herder,G., Volkslieder
followed by the page number of volume xxv.)

 

n 50 -

Several Latvian folksongs and a riddle translated into
German appear in this collection; "Singe", "Fragments
lettischer Lieder", "Fruhlingslied", "Schmeichellied auf
die Herrschaft" and the riddle of "Miklah". To the
following "Sings" Herder adds that "Diese Probe, vielleicht die
schlechtste, die zuerst gegeben werden konnte, ist aus
Webers Verandertes Russland 8.70:

I!
Hort einmal
Madchen all
noch sind Freier nicht theuer
Ich will gleich
unter Euch
heut noch werden Euer.
Denn gar bald kommt Zeit heran
glaubet meinem Worte
da ihr all zusammen geht
da ihr all in Hausen fleht
eines Mannes Barte. (6)

Next, Herder comments about the " Miklah " or riddle."

I!
Die angenehme Beschaftigung, den Ver
stand durch diese Beweise des wahren
Witzes zu uben, ist unter den Letten
sehr bekannt und gebrauchlich, und mag
unter ihren Vatern noch bekannter gewe-
sen seyn. "
Sie haben Rathsel unter sich, die alle
wahren Eigenschaften derselben besitzen;
einige zeigen von einem hohen filterthum,
und sind also wohl von ihren Vatern auf
sie gekommen.

(6) Herder, G., Volkslieder, 91.

Probe : Der MohnkOpf.

Ich keimtel als ich gekeimt hatte,
wuchs ich,

Als ich gewuchsen war,

ward ich ein hadchen

Als ich ein Madchen geworden war,
ward ich eine junge Frau,

Als ich eine junge Frau geworden war,
ward ich ein altes Weib,

Als ich ein altes Weib geworden war,
bekam ich erst Augen,

Durch diese Augen kroch ich selbst heraus.

I!
Die Letten haben einen unuberwindlichen Hang zur
Poesie und meine Mutter bestritt nicht, dass die
Lettische Sprache schon halb Poesie ware. Sie
klingt, sagt sie, wie ein Tischglockchen die
Deutsche aber wie eine Kirchenglocke."(7)
When Herder left Riga in 1769 he was able to take with him
about 70 songs. Many of them were fragments or individual

stanzas from complete songs. In his collection Volkslieder

 

he grouped them under the title of "Fragments Lettischer

Lieder". The songs which appeared under this title proved
to be representative of the Latvian folksong motives: dis-

may on the part of orphans, affection between brother and
sister, beauty of nature, praising God, yearning for free-
dom and independence, social stratification, the time of
youth, courting, marriage, and the fleeting moments of life.
For example, in the following stanza the bond between the
orphan and the sun is reflected:

Liebe Sonne, wie so saumig?

Warum gehst du so Spat auf?

Jenseits jenem Hugel saum ich
Warme da verweiste Kinder (8)

r—w.

(7) Herder, G., Volkslieder, 395, 596
(8) Herder, G., Volkslieder, 409

e 32 -
Among the most beautiful motifs in the Latvian folksong are
affection between brother and sister and reliance in God.
Along with the above the following stanza also reveals an
emphasis on nationalism unity and independence.

Lass uns sitzen, liebe Schwester,

Nah an einem Ort beifiammen.

Gott weiss, wonwir kunftgen Jahres

Anderswo vergnugt seyn werden?

Irgendwo auf anderm Hugel,

Unter andrer Volker Herrschaft.

Irgendwo auf anderm Hugel? den werd ich wohl
nimmer sehen.(9)

When the young men reached maturity they began courting
and seeking desirable mates.

Schwesterchen, Jungferchen
Seht die Junge Freier

Folget mir alle hier

Eh sie werden theuer.

Denn es kommt die Zeit heran
Glaubet meiner Sage

Da ihr Madchen all in Hausen
Werded mit einander laufen
Nach dem Hochzeittage.(10)

01"

ll
Auf stieg ich den Hugel, schaute
Mich umher nach goldngn Madchen.
Sghaarenweise kamen Madchen,
Hupften alle umuden Hugel,
Sangen alle schon; Liedfir,
Hatten Apfelbluth in Handen.(11)

 

(9) Herder, G., Volkslieder, 409.

 

(10)Herder,G., Volkslieder, 411.

 

(ll)Herder, G., Volkslieder, 410.

_ 33 -
The young man in pursuit of a bride might sing:

Klingend war mein Pferd gezaumet,
Klingend mit der Harfenseite,

Mit ihm ritt ich in die Fremde,
Tpnete,

Hupfete, "

In der Fremde sah ich ein Madchen,
SghOn wie Blumen, frisch wie Rosen,
Jungling, der du einsam lebest,
Hast nur Leid und Plage;

Jungling nimm dir eine Freundin,
So hast Lebensfreude. (12)

The marriage often became an object of concern to the re-

latives. An example:

Meines Sohnes Tochter wollt' ich
Einem Jungen Herrn vertrauen;

An das Schilfband ich mein Schiffchen,
Band mein Fullen an den Haber. (13)

Many ceremonies, celebrations and attending groups of guest
honored the couple before the wedding. An example:

Scheinst du denn nur, liebe Sonne
Durch die Spalte unsrer Wohnung?

Sind nicht mehr der lieben Gaste
Als wir funf zu der Hochzeit? (14)

The theme of the marriage ceremony was often based on the
departure from one's family to Join the other. An example:
H
Glanze nur mein Brautkranz
Glfinze durch neun lichtfi Fensterscheiben.

Ffihre mich zu fremden Volkern,
Fuhre mich durch neun Gebiete. (15)

 

(l2) Herder, G., Volkslieder, 411.

 

(13) Herder, G., Volkslieder, 410.

 

(14) Herder, G., Volkslieder, uo9.

 

(15) Herder, G., Volkslieder, 409.

-34 ..

The preparation and plans for another ceremony are very

joyous, humerous, with colorful as the following song indi-

cates:

ll
Lustig auf ihr kleinen Vogel,
Eine Lerche will ich fangen.
Holzpecht mit dem bunten Kleide,
Soll die Braut zur Hochzeit fuhren.
Hase mit den leisen Fussen,
Sollt voran dem Brautpaar laufen
Pfingstenvogel gruner Kleidung,
Sollt die Gaste zur Hochzeit bitten.
Nachtigall mit vielen Stimmen,
Sollt die Gaste fein vergnugen.
Eichhorn mit dem krausen Schwanze,
Sollt die Tische sauber fegen.
Elster mit dem breiten Gurtel,
Sollt die Teller ab uns nehmen.
Rabe mit dem langen Schnabel,
Sollt die Speisen fein zerlegen.
Krahe mit den krummen Schultern,
Sollt zur Kuche Wasser tragen.
BAr mit deinen breiten Tatzen,
Sollt das Holz zur Kuche spalten.
Schwalbe mit dem schwarzen Harnisch,
Sollt das Kuchenzeug uns waschen.
Bachstelz, eine artge Dirne,
Soll zum Tanz die Gast aufnehmen.
Kuckuck mit der holden Stimme,
Soll die Pfeife zierlich blasen.
Fuchs mit seinem schOnen Kleide,
Soll der Braut zur Seite sitzen.
Also war der Lerche Hochzeit. (16)

Sometimes, one class within society interfered with one's

social relationships and aspirations. For instance the care-

free servant sang:

 

(16) Herder, G.,

Volkslieder, 410 - 411.

 

-35...

Was fehlt eines Herren Knechte?

Ist er nur nicht stolz und traurig:
Er sitzt auf des Herrn Sattel,

Hat des Herren 80porn und Pferd. (17)

The parents of the young lady had the following Opinion
of the servant:

"Wer gibt wohl dem Raben Honig

Wer dem Knecht sein Kind zur Ehe?
Iss 0 Babe, Moos im Sumpfe.

Nimm, Elender, eine Magd dir". (18)

Often the promises of matrimony did not materialize.

"Landmann wo ist deine Rede,

Die du vor dem Jahre sprachest?
Wolltest mich zu deiner Gattin,
Wolltest goldnen Ring mir kaufen.

Hast mich nicht zu‘deiner Gattin,

Hast mir nicht den Ring gekauft.
Iandsmann, das war Schelmenrede". (19)

Most vowes and promises, however, led to a happy ending:
!

"Hahnchen du mein liebes Hahnchen,

Warum kr test du so frfih?

Wollte noch der liebe "pflegen,

Wollte meine Gattin kussen. (20)
Springtime is the season of life, rebirth and reawakening.
It brings with it many hOpes and initiates new undertakings
and endeavors. Many Latvian folksongs, as is the following

were devoted to this situation.

 

(17) Herder, G., Volkslieder, 409 - 410.
(18) Herder, G., Volkslieder, 410.
(19) Herder, G., Volkslieder, 411.
(20) Herder, G., Volkslieder, 409.

- 36 _
Frflhlingslied

Komm, o komme Nachtigallchen!
Komm mit deinem warmenHSommer;
Mgine lieben Jungen Bruder
Wuszten sonst die Saatzeit nicht.

Liebes Matterchen, die Biene
Die so vielen Honig hat;
Allen gebet sie nicht Honig,
Doch der Sommer allen Brot.

Vater, Vater, bahnen Wege

Kinder, Kinder folgen nach;

Gebe Gott, dass unsre Kinder
Unsern Wegen folgen nach.

Fallen mit dem weissen Fusse,
Scheust du dich hindurch zu traben

Sohn, du musst durch wandern,
Heimzuholen deine Braut.

GeStern nicht, es war schon lange,

Da die Sonne Braut noch war;

Gestern nicht, as war schon lange,

Als der erste Sommer ward. (21)
The following folksong incorporates a phase of the interre-
lationship of the master and vassal or upper and lower classes.
It is interesting to note that the fifth stanza mentiones
the enthusiasm for " Johannesabend," a pagan-like festival,
whereas the seventh stanza contains Christian elements. 0-
riginally the following song was called " Johanneslied " but
here it appears as:

Schmeichellied auf die Herrschaft

Diese Herren, Jene Herren

Sind nichts geggn unsepn Herren.

Unsres Herren Mutze glanzt
Von dem besten Flittergold.

 

(21) Herder, G., Volkslieder, 411 - 412.

1.37-

Auf dem Vorhof unsres Herren

Sind drei sch3ne Silberquellen;

Aus der einen trinken Kinder,

Aus der andern braune Fullen,

In der dritten Spult man Silber.
Diese Herren, u.

Unser Herr, er ist zum Herren,

Bruderchen zum Feld gebohren;

Unser Herr, er, klingt mit Golds,

Bruderchen mit Erdeschollen.
Diese Herren, u.

Alle fremde Herren reisen,

Nachten hier bei unserm Herren,

Trinken da aus Silberbechern,

Sprechen da mit schonen Fraulein.
Diese Herren, u.

"
Alle sind Johannesgaste,
Lieben den Johannesabend,
Lassen sich mit Grase binden,
Horen diese Johanneslieder.
Diese Herren, u.

Junger Herr, auf deinen Braunen!

Reit' , umreite deine Felder,

Dass des Grases Spitzen hupfen,

Dass das Gras sich bucke nieder.
Diese Herren, u.

Gott 1a 3 unserm Herrn gedeihen

Gute Fruchte auf dem Felde;

Seine Huter mogen weiden

Andrer Herren Feldesfruchte.

Diese Herren, u. (22)
Although these and other Latvian folksongs have been

the bearers of history and their content and form are of
great antiquity, we do not find epic or mythological epic

songs. Herder attempted to find some epic folksongs in Lat-

via.

 

(22) Herder, G., Volkslieder, 579 - 58o.

 

- 58 -

"Es sind viele, welche behaupten, die

Letten hAtten noch Spuren von Heldenlieder,
allein diesen vielen widerspricht mein

Vater; "Das Genie der Sprache, das Genie der
Nation ist ein Schfifergenie. Wenn sie gekront
werden sollen, ists ein Heu- Oder hochstens
ein Kornkranz, der ihnen zusteht. Ich glaube
Helden gehdren in Norden zu Hause, wo man
hérter ist und fast taglich wider das Klima
kampfen muss; die Letten kOnnten also hierzu
Anlage haben, wo ist aber ein Zug davon?
Wurden sie wohl seyn und bleiben was sie sind,
wenn nur wenigstens" Boden zur Freiheit und
zum Ruhm in ihnen were." (25)

Herder thus, found that, because to the countrie.s geo-
graphical and political history, epic songs did not exist.

Herder, then, concluded that the Latvians had an unsur-
passable gift for poetry and that their genius was idyllic,
suble and delicate. While he only published a few folksongs
in his collection, he commented on others:

"Ausser ihren Staatsliedern d.i. solchen, die
bei gewissen feierlichen Gelegenheiten ge-
sungen werden, machen sie ihre meisten
Poesien aus dem Stegreif. Diese haben allen
den satyrischen, manchmal auch boshaften
Witz der englischen Gassenlieder.

(Wenn sie jemand besingen, so wissen sie so
scharfsichtig seine lacherliche Seite zun
finden, und diese so spottische zu entblossen
als irgend ein Swift und Rabner im Sitt-
11011811).

Hingegen haben sie in ihren Liebesliedern
alle das zfirtliche, das eine verliebte
Melancholie an die Hand geben kann; sie
wissen die kleinen nachdrucklichen Neben—
umstande, die ersten einfaltigen Bewegungen
des Herzens so geschickt anzubringen, dass

 

(25) Herder, G., Volkslieder, 596.

- 59 -

Ihre Lieder ungemein ruhren. Weibliche

Reime haben sie gar nicht, ohnerachtet

ihre Sprache dazu sehr fahig ist wie

solches die von hiesigen Geistlichen

ubersetzten Kirchenlieder beweisen."(24)

Finally he states: In diesen Liederchen herrscht bau-
rische zgrtliche Natur und etwas dem Volke eigenes. (25)
From the above we can observe the significance of Gott-

fried Herder in the history of the Latvian folksong. Her-
der's efforts were decisive in helping the folksong to
flourish. He stressed the importance of capturing inspi-
ration in the folklore and traditions and said that folk
poetry could be found among all nations, as in Latvia, at
all times. Herder thus, paved the way for the coming
romanticists making the pe0ple familiar with the greatness
of their own history and the treasures of their own lite-
rature. Janis Andrups states in his "Folk-Poetry and Early
Writings" (1954) that the beginning of Romanticism heralded
the period of the Latvian national awakening. The emergence
of Herder and the insuring historial changes resulted
in a decisive victory of the spiritual world as found

in Latvian folksongs.
Another German,Romantic, Garlieb Merkel (1769-1850),

 

(24) Herder, G., Volkslieder, 594.
(25) Herder, G., Volkslieder, 597.

-uo-
assisted in the development of the Latvian national litera-
ture. He was a native of Vidzeme and was aware of the con-
ditions in Latvia. In 1797 he published a historical work

entitled Die Letten which aroused sympathy and shook all

 

over EurOpe concerning the treatment of the peasants by the
German aristocrats. He continuously fought thereafter, for

the national rights of the Latvians. To strengthen his

cause Merkel submitted an articlte to a literary magazine

Der neue teutsche Merkur edited by Wieland. His essay

 

"aber Dichtergeist und Dichtung unter den Letten" was pub-
lished in this magazine in 1797. Not only did he describe
and evaluate the poetic spirit and the poetry of the Lat-
vians, as did Herder, he also introduced a new concept in-
to the historiography of folksongs. According to Andrups
he was an exponent of the Romantic theory according to
which the folksongs were fragments of a long obscure epic
dealing with ancient Latvian gods. Thus he set out to
reconstruct the past using the mythological forms, names,
and refrains from the folksongs. Because of Merkels
attempts to romanticise the folksongs pseudo-mythological
and pseudo-historical themes were reflected in nineteenth
century Latvian literature and sky-rocketed during the pe-
riod of the national awakening. During the latter phase,
the folksongs were further cultivated and appeared in print.

Because of this, two different kinds of lyrical poetry can

be observed in Latvian literature, the genuine folksongs

- hl -
and "art poems"(Kunstlieder) written in accordance with
established models. From this it can be concluded that the
folksong set the foundation for the Latvian "art poem".

Although there were many literary trends and writers
pertinent to Latvias national awakening, as e.g. repre-
sented by Kronvalda Atis (1837-1875) and KrisJanis Valdemars
(1825-1891), we shall examine only the flourishing of the
Latvian folksongs in the nineteenth century.

Following Herder's example and inspired by the spirit
of Merkel, a broader public began to show an interest in
the folksongs and collected them.

With the first appearance of Latvian folksong collec-
tions in the early part of the nineteenth century, fa-
vorable comments about them by several European writers
appeared as in the writings of Sir Walter Scott.

According to the Latviesu Rakstniecibas Vesture (1957)
the first to make collections of Latvian folksongs in Lat-
via were the German clergy since they were members of the
formally educated class there. In 182u they organized the
Latvian Literary Society whose goal it was to collect and
analyze Latvian literary treasures.

The reverend Buttner undertook the most comprehensive
study of the folksongs exhibiting in it the keenest insight.
Another member of this society, A.Bilensteins, recognized
their ethnographical, historiographical and linguistic sig-

nificance but criticized their lack of national epics.

-42-
Such Opinions and conclusions, although characteristic, were
incomplete and subjective became at the relatively small num-
ber of folksongs which had previously been collected.. For
example, in the Latviesu Rakstniecibas Vesture we find that
the first Latvian folksong collections contained 490 songs
collected and organized by the minister Bergmanis of Rujie-
na, entitled Erste Sammlungacht Lettischer Sinngedichte
(1807) and Zweite Sammlung Lettischer Sinn-oder Stegreifs-

Gedichte (1808). The other collection, the Palomariesu

 

dziesmn Krajums,(1807) was published by the minister Wahr
and contained 411 songs. Two other ministers, Ulmanis

from Krimulda and Buttner from Kabile were also avid collec-
tors. Buttner had a fine feeling for folk poetry and he
collected and combined folksongs with his own compositions
and published 2854 of them in Latweeschu lauschu dzeesmas

un singes (1844). Bilensteins,together with other members
of the Latvian Literary Society, published 4793 songs
between the years 1874 and 1875.

The period of the national awakening went through Lat-
via like a wild fire arousing patriotic feelings among the
inhabitants. It was the first time in history that native
Latvians began to record their own folksongs. There are
now a number of such collections. Some of them are listed
below.

The first extensive collection Pamyjatniki latishskavo

narodnavo tvorchestva,was published in 1868 by J. Sprogis

-43-
and containes 1857 songs together with an introduction, let-
ters, and parallel translations in Russian. This according
to Latviesu Rakstniecibas Vesture (1954). This collection
appeared after an article in Peterburgas Avizes (1864) had
appealed to the Latvians residing in Moscow asking them to
collect their own national folk-literature.

A second but smaller collection appeared prior to the
date of publication of the above collection. In collabo-
ration with Jekabs Zvaigznite (1833-1867, Juris Allunans

(1832-1864) published several hundred songs in Seta Daba

 

Passaule (1860. It appeared together with essays pertinent
to folksongs. Zvaigznite wrote that in folksongs man is
able to express his innermost experiences in an individualis-
tic manner. The totality of the folksongs, therefore, re-
lates what the nation as a whole has experienced.

A third collection was published by Aronu Matiss. It
is a very concise collection Musu tautas dziesmas (1888).
Fricis Brivzemnieks (1846-1907) collaborated with the mi-

nister Bilenstein and collected according to Latviesu

 

Rakstniecibas Vesture approximately 5000 songs. Bilenstein

published two volumes containing 4793 Dainas in Latveeschu

 

tautas dseesmas (1874-1875) .
Andrups wrote in his Folk Poetry and Early Writings that
Brivzemnieks traveled through Latvia in 1869 and collected

his materials from the Latvian intelligentsia and the Lat-

vian folk. After about ten years he realized that this

-44..

tedious task was too large for one man and he asked in the
literary magazine Pagalms (1881) for the cooperation of the
entire nation and entire generations. Versions of folksongs
began to pour in and Brivzemnieks found that he was now
swamped with work and unable to pursue the task by himself.
He therefore, turned to Krisjanis Barons (1835-1923) and
asked him to continue what he had begun. The following
chapter, then, will be devoted to this man who, influenced
and inspired by such pathfinders as Herder, Merkel and en-
lightened German clergy, devoted 45 years to the task of

collecting and editing eight volumes of Latvian folksongs.

9145"

COLLECTION OF FOLKSONGS BY KRISJANIS BARONS

In the previous chapter we observed how many interested
persons, inspired by Herder's writings and folksong collec-
tion, began to collect the Latvian folk poetry which up to
now had been regarded with contempt as being crude ex-
pressions by peasants and their primitive conditions. Not
only did Herder awaken a broad interest in the Latvian folk-
song, but he also awakened an interest in collecting and
studying other Latvian folk materials such as legends, fairy
tales, remnants of mythology, etc. Thus, he aided in produ-
cing a certain national consciousness which ultimately led
to a general national awakening. After the turn of the
nineteenth century, the Romanticists, led by Garlieb Merkel,
centered much of their attention on the folksong proper.
Songs and folk tales were written about peasants and country
life instead pf nobility.

In this chapter, we shall examine the work of KrisJanis
Barons who was inspired and influenced by Herder, Merkel and
the German clergy to the extent that he collected and edited
eight volumes of Latvian folksongs.

With the birth of a national consciousness in the se-
cond half of the nineteenth century, the Latvians realized
that their folk treasure would fare better if a native
rather than a foreigner were to collect and analyze them.

The preparatory work of collecting Dainas had been accom-

plished mainly by the German clergy as represented by

-45-

Bergmann, Buttner and others. Several Latvian natives--
Sprogis, Alunaus, Zvaigznite and Brivzemnieks to mention a
few -- had to some extent collected them but with little
organization. Through Brivzemnieka appeal to the Latvians
for better collaboration in collecting folksongs, he a-
roused interest and cooperation on the national level. In
fact, in 1878 Brivzemnieks realized that he could not con-
tinue to collect folksongs alone and, according to the
historian Andrups, he asked the folklorist KrisJanis Barons
to take over. Subsequently, Barons set out to prepare a
collection which was to include all the previously printed
folksongs even going back as far as the first one written
down by Menius in 1632, as well as new ones. The collectors
and the nation united and folksongs kept coming in from all
parts of Latvia as well as from as far as Moscow. Accor-
ding to Latviesu Rakstniecibas Vesture, the following accounts
were given: Around 1890 Barons received 54,000 songs with
variants from Moscow alone. In 1893, when he began to or-
ganize this mass of material for the purpose of publication,
he had over 150,000 folksongs in his possession. In 1894,

he published his first notebook of Latvju Dainas. There-

 

after, he continued to collect more and in 1903 he had
collected 213,120 folksong items. By December 1912, the
unbelievable number of 217,996 songs had passed through

his hands. At this point it might be interesting to ask

how Barons went about organizing this tremendous mass of

1 47 -
Folksong material. Latviesu Rakstniecibas Vesture related
that he used mechanical means. That is, he designed a
special cabinet which was devided into two parts each having
55 drawers. Each of the 70 drawers contained 20 com-
partments in which he placed 150-200 strips of paper. All
those folksongs, which he received were copied from the
original manuscript on these strips of paper. Barons
accomplished this seemingly unsurmountable task with the aid
of students. The strips then were categorized according to
content. It took Barons twenty-five years to organize his
collection and twenty more revising, editing, and publishing
it. Only by being very systematic and consistent in his
habits did he accomplish this great task. Thus, he rose
every morning at 5:00 and worked until sunset.

In this manner, he was able to organize eight volumes
containing a total of 218,000 songs. The first title page
was in Russian, the second in French, and the third in Let-
vian. The last book contained the index to the entire
collection in Latvian, German and Russian. After having
collected and edited his folksongs, he submitted them to

foreign readers with the following statement in Les Annalee

 

Des Nationalités (1915):

The subject of the Latvian folksong is
the material and spiritual life of the
people themselves; they always refer to
some stage in life of a person; therefore,
they must be arranged in accordance with
the different stages of a man's life;

from the cradle to the grave.

- 48 -

The first volume is devoted to songs as the companions
of man throughout his lifetime. In the second volume Ba-
rons groups the rhythm of man's lifetime stressing such im-
portant events as birth, christening, courtship, marriage,
death and burial. The third volume contains songs dedica-
ted to various kinds of labor such as farming, bookkeeping,
etc. The social order and the relations between the
classes appear in the fourth volume. The fifth volume con-
tains songs of defense for the native country; thus, it can
be said to contain a collection of patriotic folksongs.
Annual days of celebration and festivals are represented
in the sixth volume. The seventh volume is dedicated to
mythological songs and the eigth volume contains miscella-
neous materials: superstitions, grandfather's advice and
naughty songs.

In the first volume, we learn about songs and singing
proper. The Latvians are seemingly preoccupied throughout
their lifetime with singing.

I was born singing, I grew up singing,
Singing I lived my life through.
Singing I met the death,
In the garden of Paradise. (25)
Singing also helps them to overcome problems, burdens and

SOPI‘OW.

 

(26) Dziedot dzimu, dziedot angu/'Dziedot muzu nodzivoJu/'
Dziedot navi ierau dziJu/Taradizesdarzina.

-249-
Sorrow, what great sorrow,
I did not worry about my sorrow.
I placed my sorrow under the stone
And walked across it singing. (27)

Just as man goes through certain stages of his life,
so do the folksongs, paralleling these stages from the
cradle to the grave. The first group of songs relates the
oncoming birth, the actual birth, the christening and, fi-
nally, the raising and rearing of the child. Motherly love
is tenderly expressed in the lullabies where the mother
sings: "Sleep quietly, my little golden head." (28)
‘Especially tender are the songs about the mother's concern
and care:

My dear, good mother
She brought me up with love and care.
She walked through the mud
But carried me in her arms.(29)
The folksongs also teach the children to honor and to mind
their parents.
0 children, 0 children,
Listen to and obey your father and mother.
The sun remains in the sky forever,
But your father and mother do not live foever.(30)

The love of the children for the mother is expressed in

many folksongs.

 

(27) Bedu man lielu bedu/Es par liedu nebedaJu/Liku bedu
zem akmeizu/Tari gaJu dziedadam.

(28) Klusi dusi, zeltaninit.

(29) Mans mila manulina/Mani mili audzinaJa/fate mate
dublus brida/Mani nesa rocinas.

(30) A1 bernini ai bernini/Klausiet tevu,mamulinu/Muzam
saule debesis/Ne muzam tevs,mamina.

- 5o -

I light a candle, I burn a branch,
My little room is still dark.

When my mother enters, (3 )
The room lights up, right away.

Sunshine is warm, mother is nice.
Both are of equal goodness.
Warmth comes from the sunshine
Kind words from mother. (32)

When a child is orphaned, he looks for a mother in the sun
to which he attributes maternal characteristics.

0 dear sun, what can I do

Now that I am an orphan.

I am looking at the sun now

Just as I do to my mother. (33)

The second volume also contains songs of youth stressing
general observations of their interrelationships and sta-
ges of wooing. They contain advice and warning given by
other people in the matter of marriage.

Don't take a man,
Who has soft hands.

He is a card player
Not a bread winner.(34)

 

(31) Degu skalu, degu sveci/Tumsa mana istabina/Ienak mana
mamulina/Tudal gaisa istabina.

(32) Saulit silta, mamin Jauka/Abas vienu labuminu/No
saulites silti riti/No maminas mili vardi.

(33) Vai saulite ko darisu/Nu es esn barenite/Tasaveru sau-
lite/Ha sava mamina.

(34) Balin tavas dzirmutinas/Lilla cela malina/Vakar tautas
lielijas/Nozagt vienu malejimi.

_ 51 _
Next, old customs and marital rites are described. The

oldest way to get married was to steal or snatch a bride.
Bride snatching or abducting customarily occurred in two
ways -- if the suitor was rejected or to replace engage-
ments and weddings. This went on until the tenth century
after which time bride stealers were punished. Regardless
of the change, it still took place until the sixteenth
century, at which time the choice of the bride was made
with the consent or knowledge of the family who had given
their consent to the abduction. The only surprised person
was the bride—to—be. She was, as a rule, stolen while she
was performing some task.

0 my brother in your mill,

Near the main road,

The neighbor boys were bragging

About stealing a girl working there.(35)
When the bride-to-be was stolen, she was taken by the goom-
to-be by his friends and relatives to his home which some-
times was far away. The bride's male relatives and other
men chased after them.

0 brother, get your horse ready,

Get ready your fastest horse.
Ride after the sister

Whom the neighbors took, (36)

Why did you come strangers,

To pick the flower from our land?
Did you not have such a flower

In your own land? (37)

k

(35) Neluko to puisiti/Ar baltam rocikam/Tas biJ karsu
spelmanitis/Ne maizites deveJins.

.52—
When the abducted bride arrived at the groom's home, she
was asked to come in and Join the household. If she liked
it there, she remained.

I saw from a distance already,

That my sister was engaged.

As shiny as a star,

Was the ring on her finger.(38)

O my brothers,

Turn your horses back and go.

I'll stay here.

Just thank and greet dear mother.(39)
There are also songs of wife-buying and selling of young
maidens. This was seemingly a later phase of matrimony
and was considered honorable as well as acceptable and
showed that the groom appreciated the bride's upbringing
and skills. At this time the groom also had to pay for
the hope chest.

Lend me, brothers, some money

I am bringing a bride from the neighborhood

And is she pretty!
But high is the price.(40)

 

(36) Drizin, drizi balelini/Kumelinus segloJat/Dzenaties
pic masinas/Ko aizveda svesi landis.

(37) K0 nakat svesi laudis/Musu zeme ziedu rant/Vai Jus
pasu zemite/Tadi ziedi neziedeja.

(38) No talienes es pazinu/Ka masina sadereta/Spid Ka
zvaigzne rocina/Tautu dotais gredzentins.

(39) Es bralisi vairs neiesu/Kam Jus mani maldinat/Tar-
nesati maminai/Simtu labu vakarinu.

(40) Lidzat brali man ar naudu/Nu es nemsu ligavinu/Ciema
viena zeltenite/Dargas naudas sadereta.

_ 53 _

The wedding took place after an agreement and a settlement
were reached between the groom and the bride's parents.
The groom also had to promise to be good to the bride and
to take good care of her. Her brothers and other relatives
would return to make sure that she was indeed happy. In
the event that she was unhappy, she would return home with
her brothers.

In the evening the groom was scolding,

Thinking my brothers did not know.

The sun had not risen yet

My brothers already had come to save me.(41)
In most cases, however, the bride seems to be content and
happy. She confirmed this to her brothers and other kin
when they came to visit.-

Come right in my brothers,

Walk all through the house.

Good is my living,

Good is my man.(42)
Later, with the acceptance of Christianity, the bride was
taken to the church by her brother where she met the groom.
The wedding ceremony was followed by three days of cele-
bration.

This is the last ride

With my brother to church.

Now I have my own man
Who will take me to church.(43)

 

(41) Vakara tautas raJa/Lai batini nesaJuta/Nav saulite
nolekusi/Uau balini saJutusi.

(42) Bits mani baletini/Lidz pasam dibenam/Laba bija man
dzivite/Labs biJ mans araJins.

- 5h -

I brought to my land lord.

A bricket of honey, Just to be nice.

To my minister I gave a couple of chickens
To wed us and make us a couple.(44)

Go good luck, go first

I will follow in your footsteps.
Dont'let me take the road,

Where the bad days are.(45)

Brew ale, bake bread,

Buy the wedding brandy.

We'll celebrate for three days,

Dancing and singing.(46)

We ate good, drank good,

Thank you, dear God.

God's given is the food,

Mara's woven the table cloth.(47)
The above songs are dedicated to the young people who bene-
fited from the experience, wisdom and advice of the older
ones. Next wit and gaiety prevail in the songs about the

daughter and mothers-in-law.

 

(43) Nu es braucis vairs nebrauksu/Ar braliti baznicai/Nu
pasai araJinis/Baznica vedejinis.

(44) Kungam nesu medus podu/Lai nenem par launu/Macitajam
calu paris/Lai pa param salaulaja.

(“5) EJ Laimina tu Pa prieksu/Es tavas pedinas/Nelaid mani
to celinu/Kur aizgaja launa diena.

(46) Bruve alu, cep maiziti/Dzersim kazas tris dieninas/
Dziedadami,dancodami.

(47) Paedusi,padzerusi/Pateicam Dievinam/Dieva dota ta
maizite/Maras austi galdautini.

_ 55 _

Starting from now on,

There will be everything new:

The young housewife,

Sits at the table.(48)

Where is the mother-in-law

We don't see her around

We don't see her around

Welcoming her daughter-in-law?(49)
Human weaknesses were not Judged or condemned but satirized
and sometimes put into humOrous settings. According to
KrisJanis Barons in Latvlu Dainas, when a man was dying he
was placed on a straw sack on the floor and the windows
were Opened so that his soul could fly freely towards hea-
ven. When dead, the man was washed, dressed in new cloth-
ing, put into a coffin and carried to a barn where, to show
their reSpect his kin would remain with him day and night
until the funeral. Then the deceased was brought back to
the house, the coffin was placed on benches and lighted

candles were placed around it. Relatives and friends sang

sad songs and lamented the dead. Then the deceased was ta-
ken to the cemetary where the preacher gave the last ser-

mon. After the coffin was placed into the grave, the re-

latives bur:ied it and then returned quietly to their homes.

 

(48) No 81 pass vakarina/Saksies Jauna dzivosana/Uauna sed
saiminiece/Istabin as dibena.

(49) Kur palika vira mate/Ks neredz staigaJam/Ka neredz
staigajam/Sanemam vedeklinu.

- 56 _

In the event the deceased was taken to the graveyard by sled
or carriage, the latter was over turned remaining in this
position for three days, as a sign of mourning. Finally,
the mourners ate and sang songs like the following in which
sorrow was alkwiated somewhat by the feast that followed.

0 wind, why did you break

The best of the oaks

0 death, why did you kill

The oldest from us.(50)

Bitterly cry my father and mother,

Taking me to the graveyard.

Don't cry dear parents

I'll be waiting for you there.(51)

Carry me singing,

Don't carry me weeping,

Let my soul go

To God-- Singing.(52)

Baking for me good bread

Brewing for me ate

They ate it, they drank it

They left me in the graveyard.(53)
Conditions of life in which peasants showed initiative cause
them to make music as they worked and sang in celebration of
tasks they had accomplished various kinds of work, agricul-

tural, animal husbandry, hunting, cattle breeding, fishing,

 

(50) A1 veJini kam nolauzi/Taisnako ozolinu/Ai navite kam
nokavi/Vecako darbinieku.

(51 ) Gauzi raud ters mamina/Smiltiena vadidami/Neraud gauzi
ters mamina/Tur es Jus sagaidisu.

(52) Vedat mani dziedadami/Nevedat raudadami/Lai iet mana
dveselite/Tie Dievina dziedadama.

(53) Dara man saldu alu/bep man mikstu placeniti/Tasi ed,
p881 dzer/Mani atstaJ smiltene.

- 57 _
bee keeping, etc. were depict in the folk songs in volume
three.

0 little girls, 0 little sisters

Honor the farmer,

The ploughing man's feet and hands

Are blossoming like apple blossoms.(54)

Grant, God, good health

And a good crop to the plougher.

Good crOp to the plougher

Good crOp to the sower.(55)

As a little girl, I was a shepherdess

Soaking my feet in the dew

To grow up nice and fair.(56)
Volume three also emphasize the work performed by women.
A. Hupel in his Topographische Nachrichten von Lief-und
Ehstland (1777) described the duties of the woman; she had
to take care of the cattle feeding and milking and pastu-
ring the cows. Another task of the woman was to grind

the grain into flower and to bake bread.

Everybody says, everybody tells
This bread is the very best,

My hands did it all

With my brother's mills. (57)

 

(54) Vai meitinas vai masinas/godajat araJinu/Arajam kaJas,
rokas/Ka abelu ziedi zied.

(55) Dod Dievini veselibu/Tiru rudzu araJam/Tiru rudzu
araJam/Tiru rudzu seJeJam.

(56) Maza biJu ganos gaJu/Rasa kaJas mercinaJu/Lai es augu
liela,diza.

(57) Visi saka, visi saka/Bideli-ta ta maizite/Manas rakas
bideleJa/Balelina dzirnavas.

- 58 -

The women also had to work in the fields, sowing, planting,
weeding flax and later spinning it into thread and then
wearing it into fabric.

Where would you be little flax,

If the girls were not around?

Who would weed you, who would Spin you

Into something beautiful? (58)
Throughout the ages, the women are constantly sewing, wea-
ving, knitting, embroidering and chrocheting, besides per-
forming their daily chores.

0 my work, 0 my work,

When can I finish you all---

Sewing, weaving and

my unfinished embroidery. (59)

I knit ornamented mittens,

And embroidered shawls.

The mittens I gave to a boy,

And the shawl to his mother. (60)
The woman also performs household duties which consist of
washing, keeping house and cooking.

I washed for my working man

The whitest shirt

He can walk around,
As white as a swan. (61)

 

(58) Kur linini Jus paliktu/Ua meitinas neuzaugtu/Kas Jus
pluktu, kas Jus verptu/Kas Jus daili darinatu?

(59) A1 darbin, ai darbin/Kad es tevi padarisu/Suveklitis,
audeklitis/Ierakstita vilainite.

(60) Rakstiem vien cimdus adu/Rakstiem vien vilnainites/
Rakstiem cimdus tautam devn/Vilnain delu maminai.

(61) Es savam araJam/Baltu kreklu izveleJu/Lai tas man ta
staigaJa/Ka baltais teterits

, 59 _

The mother also has to find time for setting an example and
teaching her daughter how to run a household. Sometimes the
woman finds time to go visiting and get together with her
kin and neighbors. This occurred mostly during the winter
when nothing much was left to do on the farm. Chatting and
singing prevails during these get togethers.

Come girls, come to me,

Spend this evening,

Spend this evening,

Singing gay songs. (62)
In the fourth volume we have a picture of the social order
and the relations between and among the classes. Accor-
ding to A. Svabe's Latviesn Tautas Dziesmas (1952) the Lat-
vians used to live on farms in large family groups. The
married children usually remained with their parents for a
few years. Then the parents would give them some land on
which the newly weds could build and expand. Many Latvian
folksongs mention a master or lord. This so-called master
is not a Latvian rather he is a German who lives in a
castle and has Jurisdiction and rights over the land and
its people. (There were several counties,severa1 lords
and castles in Latvia throughout the centuries). Each
respective lord was payed rent by the farmer in the cover
crops, cattle, and work. Recruited men were sent to war
with another lord in other counties. In this manner the

k

(62) Naciet meitas pie manim/Vakarinu, vakarot/Vakarinu va-
karot/Uaukas dziesmas padziedat.

- 6o -

Latvians who were the real owners of the land were gra-
dually reduced to surfdom and had to work for the master
from sunrise till sunset. This hard work and difficult
existence of the peasants under a master are indicated in
many folksongs.

Dear sun, go quickly to God,

Give me peace and rest.

Severe masters made me toil,

They don't give me peace or rest.(63)

The master told me to hurry up,

I hurried my horse

The poor horse was wet with sweat,

I was wet with tears.(64)
Tears and grief were expressed only before God or nature.

No one saw me

Bitterly crying

Me sleeve, however, saw me

While drying my tears. (65)
The oppressed peasant thought of avenging himself and ridi-
culed the cruel German master. Thus, the peasant songs of
revolt became tolerated ways of letting off steam.

0 German, 0 German

Home you don't know how to act.

Your only brown coat
Got torn, while you danced. (66)

 

(63) EJ saulite driz pie Dieva/Sod man svitu vakarinu/'
Bargi kungi darbeu deva/Nedev sveta vakarina.

(64) Kundzins mani drizinaJa/Es drizinu kumelinu/Kumelinam
viedri liJa/Man birst gauzas asarinas.

(65) Neviens mani neredzeJa/Kur es gauzi noraudaJu/Piedur-
knite ta redzeJa/Tur noslauka asarinas.

(66) A1 vacieti ai vacieti/Nu tu busi nezina/Vieni pasi
bruni svarki/Tie noplisa dancojot.

-61-

Having lost their political and economic independence, the
Latvians lived under foreign masters. Still they retained
their ancient customs and culture and hoped someday to be
independent and free in their own land. Thus, they defen-
ded their land and went to war for foreign rulers. They
found new strength in songs.

I went about singing

While serving harsh masters,

I remedied my tears

By singing songs. (67)
Other songs contained patriotic expression. "This is my
native land, I was born by the River GauJa."

0 my God, what can I do

Now we have to part.

I have to go to war

You have to stay by yourself. (68)
Days of celebration and festivals were reflected in the
sixth volume. One of the most colorful Latvian festivals,
Jani was celebrated on the eve of June twenty-third or the
summer solistice. This celebration symbolized fertility
of the crOps and cattle as well as the blessings of the
farmer and his family. For this celebration the house,

barns and cattle were decorated with wreath and garlands

of grass, flowers and oak leaves. The day's work was fi-

 

(67) Dziedadama vien stai gaJu/Sivus kungus klausidama/Lai
es savas asarinas/Dziesminas remdinaJa.

(68) Se ir mana tevu zeme/Esmu dzimis gaqualiets/Vai
Dievini ko darisu/Mums abiem Jaskiras/Man Jaiet
karina/Tev vienai se palikt.

-62-
nished earlier and cattle were brought in from the pastures
before evening fell. The farmer's wife had prepared a spe-
cial kind of cheese, baked and brewed ale for the family and
neighbors. In the evening the midsummer night fires were
lit to keep away bad Spirits and the celebrators went from
farm to farm singing and dancing. Since John was a very
popular name, this day was also his name'sday. All the men '
who were named John then had wreath of grass and oakleaves
placed on their heads and received much attention. Particu-
lar power was attributed to the Janu, zale or grass, and

the head of the household and his wife had the wreath draped
around their shoulders. Legend tells that only on this
night a fern, paparde, blossomed while during the rest of

the year it remained a green plant. Whoever saw these white

blossoms could expect good luck and fortune. Therefore,
everyone went to seek this fern. During this celebration
special Janu songs were sung. They always ended with the
word "Ligo" meaning cheer or merry. Approximately 70 songs
with variants are devoted to this festival.

Originally, says the historian A. Svabe,Janu-day was
a religious day in honor of John the Baptist who was born
on June twenty-fourth. The general view held by the Lat-
vians though, was that centuries ago the mystic Janis or
Joannes pusillus came once a year to see his children, that
is, the farmers. The folksongs state that he came to ob-

SGI‘V:

- 63 -

How they ate

How they drank
Ligo,ligo

How they lorified him
Ligo---- 69)

Good evening John's mother

Ligo, ligo

Have you been waiting for us?

Ligo

John's day celebrators

Ligo, ligo

Have brought you many wreaths. (70)

All flowers are good,

Picked on John's evening.

But picked the next morning
They are not good for anything
Ligo, ligo (71)

I gave to our John

What I promised him:

Plenty of bread, a barrel of ale,
And a well fed piggy. (72)

Come rain whenever you want to,
Don't rain on Johns night,

Wet will get the Johnsgrass
Wet will be the parade blossom. (73)

Martini was a day on November tenth, whichlthe farmers
celebrated as a last day to let the cows and horses out in-

to the pasture. Here after, the cattle were kept in the

 

(69) Ka tie eda/Ka tie dzera/Ligo, ligo/Ks Janiti daudzinaJa/
Ligo

(70) Labvakaru Janu mate/Ligo, ligo/Vai gaidiji Janu berni
atnesusi/Ligo, ligo/Tquevinas Janu zales.

(71) Visa laba Janu zale/Kc pluc Janu vakara/Ko pluc rita
saulite/Ta vairs lieti nedereJa

(72) Devu devu Jamsam/Ko es biJu soliJusi/Cepli maizes,
muca alus/Nobarotu siventinu.

(73) List lietini,Kad lidams/Nelist Janu vakara/Salijis Janu
zales/Salis Janu papardites.

-64-
barns. For this day's celebration the women of the house
baked and cooked and prepared drinks. Martini can be com-
pared to Halloween because on this night children dressed
up and disguised themselves and visited the neighbors who
invited them in to eat, sing and dance. One of the most
popular disguises or costumes was that of the gypsy.

Let us go children and be gypsies

Gypsies have a good life:

Gypsies ate fat meat

Dipping it in cream. (74)

Jurgi was the day on April 23 when the farmers finished
their old contracts or started to break in their new wor-
kers. When one wanted to move from one place to another
to start a new life, this was the day to go. The old do-
main had to be cleaned and left spotless on this day. En-
tering the new home the farmer's wife first carried in a loaf
of bread and a broom. This was the symbol for good health,
wealth and blessing. For the farmer, Jurgi also represented
the beginning or termination of the year. This was the day
the cattle were brought out to pasture. Jurgis was the
patron for the cows and horses. On this day also, shepherds
sere sprinkled with water, in fact everybody got this shower,

except the head of the household or the farmer.

 

(74) Eina berni, Ciganos/biganos laba dzive/Cigans eda
tauku galu/Krejuma mercedams.

165-
The seventh volume is dedicated to songs of mythologi-

cal nature. In the third volume of L.H. Gray's The Mytho-

 

logy of All Races the author states that only remnants of

 

a Baltic mythology exist but although these are fragmentary,
their value is great because they explain migrations of the
Indo—EurOpean Race and portray their creativity through poe-
tical imagery. Most of these fragments deal with the mytho-
logy of the sun or the cult of the sun and are related to
the pre-ethnic Indo-EurOpean sun mythology. The belief
existed that the ancient Latvians had descended from the

sun and that even though they had lost their freedom and
their land the "sons and daughters of the sun" would once
again regain their freedom and independence.

Besides worshipping the sun, the Latvians according to
the historians Spekke and Svabe of the twentieth century had
various other gods. They worshipped the most of the crea-
tion and personified elementary forces. That,is, they had
a god for heaven, for earth, thunder, moon etc. Because
their life revolved around nature, they worshipped almost
everything which was close to them; sea, rivers, trees, birds,
etc. The farmers believed that this would enhance the
quality and quantity of their crOp and livestock and bring
them and their family good health and prosperity.

Aside from worshipping the creation and nature, they

also worshipped imaginary objects such as the three fates

- 66 -
Laima fate, luck daughter of god, Dekla, Karta comparable
to the Norse Urdun, Verdandi, Skuld, and to the Greek Clotho,
Lachesis, and Atropos. Mara was a good force in nature and
in the atmosphere. She gave fertility and helped all wo-
men. Thus she was worshipped and offering were made to her.
Evil genii in nature were also recognized. Good repre-

sents an evil force with which man has to c0pe. Another
ugly, evil force is the devil who lives under ground and
attempts to destroy man and God.

Dark field, dark field

Who will be my companion?

God was my walking companion

. Laime showed us where to go. (75)

High is sings the lark

Higher than any other bird.

Lamas decision is better

Than any good advice. (76)

Go, sun, go to God,

Don't touch the tips of the trees.

God's sons can do it,
They have sharp swords. (77)

According to J. Andrups Christianity penetrated the realm
of the folksong not in the form of an alien and disrupting

force but as a new creative and cultural element.

 

(75) Tumss lauka, tumss lansca/Kur bija nemt cela drawgu?/
Sievs bija mans cela draugs/Laima cela raditaja.

(76) Augstak dzied cirulitis/Parvisiem putnniem/gndraks
Laimas lemumins/Par visiem padomiem.

(77) Ej saulite, driz pie Dieva/Neli-dzim meza galus/Lai
lidzina Dieza deli/Ar aso zobentinu.

(78) Es Dievinu pieminepi/Ir rita vaxara/Se celos/Se gulos/
Zem Dierrna Lajinam.

'- 67 ..

I called for God

In the morning and evening

I get up and lay down

Under his feet. (78)
Throughoutthe centuries the German clergy rejected the folk-
song and the epitome of dark paganism. They failed to un-
derstand that the gods and goddesses mentioned in the folk-
songs reflected ancient Latvian mythology and accused the
singers as witches and heathens.

Under the category of miscellany Barons grouped the
naughty songs which were considered highly immoral and foo-
lish by the German clergy.

0 my fairmother,

Who will pasture the cows tomorrow?

Yesterday the village boys,

Ripped my skirt. (79)

0 Johnny, oh brothers,

Tomorrow you'll be whipped.

You brought a lose girl

As a bride to the brother. (80)
Grandfather's wisdom and advice also appeared in the last

volume.

Don't hurt the small child,

Nor the old man.

It is just as difficult for the small child
As for the old person. (81)

 

(79) A1 balta mamulina/Kas rita ganos ies?/Man vakar ciema
zeni/Lindracinus saplukaja.

(80) A1 Janiti, ai braliti/Dabus ritu smalku riksu/Kam
atvedi balinam/Izbruketu ligavin?

(81) Nedarju mazam pari/Ne vecam cilvekam/grut mazam berninam/’
grut vecam cilvekam.

e68-

We have passed the German influence on the Latvian folk-
song in rapid review. To obtain a sharper perspective of
just what this influence entails, we shall briefly summa-
rize what we have presented.

The Germans began to influence Latvia eight centuries
ago when German merchants colonized the Baltic shores and
Bishop Albert along with the Order of the Brethren of the
Sword founded the Capital City of Riga. The German cul-
ture, religion and literature were gradually superimposed
on the natives. For centuries efforts were made to convert
the Latvian peasants to Christianity, and the German con-
querors and leaders advocated the spread of German Cul-
ture by force of arms. 0n the whole, the status of the
Latvians was reduced to that of serfs and the conditions
of the peasants became deplorable. For six centuries the
Latvian language and folk literature were looked upon by
the German conquerors as being coarse and unrefined. The
German missionaries, especially the Jesuits, became aware
of Latvian folksongs and the important role they played in
the life of the Latvian peOple. Most of the missionaries
and clergy, however, were unable to speak the Latvian lan-
guage. Thus, they misinterpreted many folksongs and gene-
rally regarded them as being crude, foolish, uncouth and
of little, if any, literary value. In fact, two prominent

clergymen, Einhorn and Stender, violently Opposed, preached

-69-
against, condemned,and attempted to extinguish them. How-
ever, a feeling of respect for ancient traditions and here-
ditary values enabled the natives to remember and sing them.
A publicly demonstrated memory of folksongs meant as much
as persecution and death to women, fonthereby they were
accused of being witches, especially in the sixteenth and
seventeenth and early eighteenth centuries. Foreign wars,
foreign languages, and harsh foreign masters provided more
obstacles for the development of the Latvian folksongs.
Stender almost succeeded in extinguishing them in the early
eighteenth century by replacing many of them with his own
ditties written in accordance with foreign metric and sty-
listic rules characterized by a didactic, moralizing and
superficial content.

Not, however, until Gottfried Herder appeared in the
late eighteenth century, did the German influence upon the
Latvian folksong become a positive one. In his attempts
to blaze new trails for humanity, Herder greatly favored
the Latvians. Residing in Latvia from 1764—1769 he noticed
that this nation had for centuries been deprived of its
language and culture. Consequently, he set out to present
his humanitarian principles and spoke like a prophet to all
nations.

He inaugurated the great movement of new humanism which

led to the concepts of nationalism and romantic patriotism.

The Latvian language and folksongs, previously regarded as

r 70 -
insignificant, were now regarded by Herder as being the ex-
pressions of the soul of this nation. By Observing the Lat-
vian Midsummernight festival he realized that he had wit-
nessed how a nation, deprived of most of its rights, had
kept alive its ancient past through the medium of its
folksongs. He recognized and propounded the fact that a
nation's culture had to have deep roots in the past which
sprang from the native soil.

To appreciate Herder's contribution, his inspiration
and stimulus to study and collect folksongs, we must re-
member that Herder saved, revived, popularized, and re-
volutionized contemporary attitudes towards the Latvian
folksong and established a firm basis for the development
of the future of Latvian literature. He aroused the Lat-
vians to a culture which was a true expression of their
natural genius and, thus, he created enthusiasm for the li-
terary treasure Of the past and the achievements of the Lat-
vian people as a whole. Further, he expounded and strengthe-
ned the idea living amongst the Latvians that culture does
not originate from without but rather from within. This
led to the national awakening of Latvia.

An exponent of the Romantic theory, Garlieb Merkel, al-
so exerted great influence on the Latvian folksong. Through
his attempts to restore national rights to the Latvians and
to romanticize the folksong's pseudo-mythological and pseudo-

historical themes, Latvian folksongs and subsequent litera-

- 71 -
ture blossomed mightily during the period of national awa-
kening.

Through the efforts of Herder, Merkel and the German
clergy, active in Latvian literature, the Latvians regained
strength and realized that hard work, patriotism and unsel-
fish sacrifice were necessary to restore their national
heritage, namely the Dainas, and become free again.

The entire Latvian nation collaborated with Krisjanis

Barons enabling him to collect eight volumes of Latvju Dainas

 

the first of which appeared in 1898. Thus, Krisjanis Barons
paved the way for further interest and inspired others to
begin where he had left off. The Achives of Latvian Folk-
lore extended his collection by adding approximately 60,080
.songs and collecting 800,000 variants. Even now, work in
folksong research and continued collection by many immigra-

ted Latvians goes on in the United States.

BIBLIOGRAPHY

Andress, Mace, Johann Gottfried Herder as an Educator,

 

New York, G. E. Stechert & Co., 1916.

Andrups, Janis and Kalve, Vitauts, Latvian Literature,

 

Stockholm, Goppers, 1954.

Barons, Krisjanis, Latvju Dainas I - VIII , Riga,

Valtera im Rapas spiestuve, 1921-1923.

Bilmanis, Alfred, A History of Latvia, New Jersey,

Princeton University Press, 1951.

Blese, Ernests, Latviesu Literaturas Vesture,

Gaismas File, 1947.

Brundage, James, The Chronicle of Henry of Livonia, Wisc.,

 

University of Wisconsin, 1961.

Clark, Robert,T. Herder, His Life and Thought , Berkley,
University of California Press, 1955.
Ergang, Robert,Reinhold, Herder and German Nationalism,

New York, Columbia University Press,l93l.

Hamann, Johann Georg, Kreuzzuge des Philologen

Hamanns Werke II Wien, 1950.

Haym, Rudolf, Herder, Berlin, Aufbau-Verlag, 1954,V.I.

- 72 -

- 73 -

fl ....._.....
Herder, Gottfried, Samtliche Werke, XXV, Berlin,

 

Weidmannsche Buchhandlung, 1885.

Herder, Johann Gottfried, Schriften, Munchen,

 

Wilhelm Goldmann Verlag, 1960.

Holmber, Uno, The Mythology of all Races, Y} I I, if}
Finno-Ugric, Siberian. Boston, Marshall
Johnes Co., 1927.

Katzenelenbogen, Uriah, The Daina, Chicago,

 

Lithuanian News Publishing Co.Inc,1935.
Klaustins R. and Saiva,J. Atskanu Chronika, Nebraska,

Pilskalus, 1960.

n H
Kuhnemann, Eugen, Herder, Munchen,

C.H. Beck'sche Verlagsbuchhandlung, 1927.

Matulis, Anatole G., Lithuanian Culture in the Prose,Works
of Hermann Sudermann, Ernst Wiechert, and

Agnes Miegel; dissertation, M.S.U., 1963.

Mo Eachran,F., The Life and Philosophy of Johann Gottfried

Herder, Oxford, Clarendon Press, 1939.

Polis, Karlis, Dievs un Dvesele ka Religiozs Prieksstats
Aizkristietisko Latviesu Tradicijas,
Pilskalus, 1962.

- 7h -

Redlich, Carl, Herders Poetische Werke, Berlin,

 

Weidmannsche Buchhandlung, 1885, vol. 25.

Sarna, Janis, Gadsimteni - Maras Zeme, Amerika, 1959.

 

Spekke, Arnolds, History of Latvia, Stockholm,
Goppers, 1951.
Svabe, Arveds, Latviesu Vesture, Stockholm,

Dauzava, 1962.

Svabe, Arveds, Straumes un Avoti I_- II, Nebraska,

 

Pilskalus, 1963.

Svabe, Arveds, Straubergs and Hauzenberga Sturma,
Latviesu Tautas Dziesmas, KOpenhagena,
Imauta, 1952.

Wells, G.A. Herder and After, Gravenhage,

Mouton & Co., 1959.

Zeiferts, Teodors, Latviesu Rakstniecibas Vesture I, II,
Vaidava, 1957.

   

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