Kollar's poem yet contains many reminiscences of other writings. It has already been stated that the leading idea of the two last cantos is borrowed from Dante. The pilgrim in the earlier cantos sometimes recalls Childe Harold. Mina, or the "Daughter of Sláva," is sometimes modelled on Beatrice, sometimes on Laura. Kollar indeed never made a secret of the fact that he had studied the poetry of Western Europe. Such study was indeed a necessity at a time when, with the exception of the songs of the people, the Slavs possessed no poetry. Bohemian critics agree in asserting that the first canto of the Slávy Dcera, written under the influence of a passionate love for Mina, is infinitely the best. The introduction to the poem has also been justly admired. It is interesting also as containing a general exposition of the author's views and dreams concerning the past and future of the Slavic race. Want of space will oblige me to quote only a portion of the "fore-song." Kollar, viewing the former homes of his race, exclaims: "Here before my tearful eyes lies the land, Once the cradle, now the tomb, of my nation. Stop! it is holy ground on which you tread. Son of the Tatra (Carpathian mountains), raise your head towards heaven, Or rather guide your steps towards that oak-tree Which yet defies destructive Time. But worse than Time is man, who has placed his iron sceptre on thy neck, O Sláva; Worse than wild war, more fearful than thunder, than fire, Is the man who, blinded by hate, rages against his own race.[1] O ancient times that surround me as with night! O land that art a record of all glory and all shame! From the
- ↑ Kollar refers to those who, though of Slav origin, identified themselves with the Germans.
