"This simple voice of song," to quote a modern author, "travelled onward from mouth to mouth, from heart to heart, the language of the general sorrows, hopes and memories; strange, and yet near to every one, centuries old, yet never growing older, since the human heart, whose history it relates in so many changing images and notes, remains forever the same." SLAVONIC (RUSSIA). Schlegel says of the Russian Nation: "Her subjection to the Greek Church was alone sufficient during the Middle Ages, and is in some measure sufficient even in our own time, to keep Russia politically and intellectually at a distance from the rest of the Western world." Little if any part was taken by the Slavs in the Crusades. They had hardly any of the spirit of chivalry, and their belief, during their period of barbaric heathenism, was not so romantic and ideal as the Gothic. The heroic prose tales of Russia are older and more popular than her ballads. They are told in the nurseries, and recount the heroic deeds of Vladimir the Great. The ballads are mostly a recital of the feuds between the Poles and the Tartars, not unlike the Border ballads of Scotland. Their greatest hero is Yermak, who conquered the Mongols, and in the fifteenth century won for the Czars the country that is now called Siberia. Yermak's deeds and praises are sung from one end of Russia to the other, even at the present day; and the poorest peasants usually have a colored print representing him on horseback, nailed to the wall of their cabins. SERBIAN. The popular poetry of the Slavic race, which still survives, is found in its perfection among the Serbians and Dalmatians, while it is almost extinct among the other nations. It is of unknown antiquity, and has been handed down from one century to another. The Slavs have always been a singing race, and must have been so from Pagan times, as their songs abound with heathen gods and customs, dreams, omens, and a true Eastern fatalism. Love and heroism are the usual themes, and among the Serbians the peculiar relation of sister and brother forms the principal subject of interest. A Serbian woman who has no brother is considered a fit subject for sympathy. The Serbian poetry is nearly all Epic, and in this particular class of verse no modern nation has been so productive. There is a grand and heroic simplicity in their song, as it recounts their daily life; the hall where the women sit spinning near the fire, the windswept mountain side, where the boys are pasturing their flocks, the village square where youths and maidens dance, the country ripe for the harvest, and the forest through which the traveller journeys, all reecho with song. This Serbian poetry first became generally known in Europe through Goethe and Grimm in Germany, and Bowring and Lytton in England. FINNISH.