One asks oneself with amazement how such dolorous chaunts could possibly have originated? Was it possibly the dire necessity of droning in concert with a bagpipe? The ‘_dudelsack_’—pitilessly expressive word!—is not unknown in Bosnia at this day, and was certainly as much the property of the primitive Sclave as of the primitive Englishman. Doubtless, too, early singing is pinched and crippled and distorted by the rudeness of early instruments. I did not see a bagpipe here, but traced its evil communications everywhere. It seemed to have corrupted all the other instruments. They had caught it. It had got into their throats like a fog, and given a twang to every chord. It was a positive nightmare of bagpipes. There was a bagpipe in the flute, and a bagpipe in the lute, and a bagpipe even in the whistle! The singing, at any rate, reacts on the poetry; for the long expenditure of breath renders a pause a physical necessity for the recovery of wind at the end of every two lines, so that the lays were generally divided into couplets. Much that looks Procrustean, and many apparently capricious full-stops in classic metres might, one would think, be referred to similar causes. Nearly a minute would sometimes elapse after one couplet before the singer had recovered breath to continue. But what carried one back into epic days at once was a larger gathering, forming a spacious ring lit up by a blazing fire, in the middle of which a Bosniac bard took his seat on a rough log, and tuning his ghuzla began to pour forth one of the grand sagas of his race. Could it have been an unpremeditated lay? Without a book or any aid to memory he rolled out the ballad for hour after hour, and when I turned to rest, not long before sunrise, he was still rhapsodising. I do not pretend to know what was the burthen of the ballad. Perchance it recorded the enchantments of the Vila in yonder forest-mountain; perchance it told how Czar Dūshan marched to seize the city of the Cæsars; or of the finding of Knez Lazar and the sad day of Kóssovo; or, mayhap it belonged to that later cycle of Serbian poetry which centres round the half-hero, half-renegade, Marko Kraljević.[176] For in this land, without books, without history, it is these heroic lays—Tabories they call them, from Tavor, their God of War—that keep alive from generation to generation the sacred traditions of the race. In the days of bondage these have been the one proud heirloom of the Serbian people from the Adriatic to the Danube. Their spirit has been continually refreshed from the perennial fount of epic song. Separated by creed and the barriers of nature, and the caprice of man, it is this national poetry that has kept them from forgetting that they are brothers, that has turned their mind’s eye back from the divisions of the present to the union of the past, and has fed their ambition with the memories of a time when one of their princes seemed