novels of Wells, and the plays of Bernard Shaw have been translated into the beautiful tongue of the “Belgrade regicides.” * * * * * To resume, it is not surprising that Western Europeans do not know Southern Slav civilization, when many rich fields of this culture still remain “buried treasures” to the Southern Slavs themselves. The Serbo-Croat and Slovene poets, such as Gundulić, Ranjina, Palmotić and Gjorgjić from Ragusa and Dalmatia, compare favourably with the exponents of Western literature, and among modern Serbo-Croat poets Petar Petrović Njegoš, Lazar Kostić and Silvije Kranjčević are great, even when compared with the greatest. Yet it is not so much the artists and their individual works, but the _nation_, and the _collective artistic worth_ of the national spirit that is of priceless value. The music of the Southern Slavs, more especially the music of Old Serbia and Bosnia, possesses great melodic beauty and emotional depth, and when it finds its modern exponent it will take its proper place in the history of music. This great art of the Serbian nation however, is not only absolutely unknown to Europe and the rest of the world, but even in Serbia, although universally known, it is cultivated little or not at all. The Serbian State, which since its re-birth under Karagjorgje Petrović has waged continual war for the liberty and union of the Southern Slavs, could not devote itself to music, art and beauty; and that part of the nation which remains under the yoke of the Ottoman Turks and the Hapsburgs felt still less inclined to do so. The priceless treasures of popular song have not yet been artistically exploited. Thus their own creation is a buried treasure to the Southern Slavs; in a sense, one may even say, that there is no Serbian music. Europeans cannot value this beautiful and noble music because they do not know it; neither can they value the national textile art of Old Serbia, Dalmatia and Croatia, since it is equally unknown. For three consecutive years the Serbian Government has had to arm the State, and has had neither time nor money to turn the Southern Slav textile art into a modern industry. What the Serbo-Croats and Slovenes, and even the Bulgarians, do cultivate, and are proud of, is the Southern-Slav or Serbian national poetry, the ballads and legends which the people have invented and sung during centuries of slavery. Goethe, the great “citizen of the universe,” and the first to predict the foundation of a modern universal literature, assigned Serbian national poetry a very high place among the literatures of the world, and many of the poems have already been translated into different languages.[18]