Commentary Janko Kral

The Commentary on “Zakliata panna vo Váhu a divný Janko” by Janko Král’
The poem I'm discussing with the present commentary is a romantic ballad by Janko Kral,
initially printed in the almanac “Netrain" in 1844. Regarded as one of the standout ballads in
Slovak literature, it's acclaimed as among King's most aesthetically significant creations. Its
author, Janko Král’, most radical Slovak romantic poet and a disciple Ľudovít Štúr, wrote the
poem in a newly coined Slovak literary language, which is definitely influenced the development
of Slovak literature. As a romantic poet, he sought to capture and exalt nature's
capacity to evoke feelings of wonder and transcendence, a phenomenon
often referred to as "the sublime." Reading his poem, we may see how deeply
interested he was in delving into the intricate nuances of the emotional responses of his
characters to encounters with the natural world, reflecting a keen awareness of the profound
impact that such experiences had on their inner lives.
The ballad is a reimagining of the classic fairy tale theme of the Cursed Maiden. A peculiar
Janko, driven by a longing to liberate the Cursed Maiden, falls victim to her enchantment, much
like numerous others before him, and meets a tragic demise as he ventures into the depths of the
Vah River under the cloak of darkness. The tragic aspect of the poem also lies in the peculiar
nature of protagonist who is in conflict with external world. The epic hero Janko is closely
associated with the poet directly depicting himself in the first-person narrative (“Často blúdim,
táram sa cez celý boží deň, hľadajúc kolenačky aspoň dáky kameň”) as if Janko serves as a
pseudonym for the true hero, the author himself – this represents a unique episodic form of self-
representation. Just like the narrator (who is, perhaps, a poet himself), Janko is shelterless and
restless, he tries to find his place, being even not accepted by his family (his parents “doňho duše
svoje nevlievajú”). He is not satisfied with established norms and conventions or with himself,
which makes him leave his home to search for better fortune (“ale čo sám archanjel prvší z neba
stúpi,/ ver Janík ani tomu na krok neustúpi./ Kamarátstva netrpí, na sebe prestáva/[…], dverami
zahrmotil a oidial z domu”). The unrest image of the epic hero is portrayed in contrast with the
idyllic image of Slovak nature, the shepherd and his flock of sheep, which he lives with in
harmony, tight, tight-knit Slovak folks who stand for each other (“všetci sú za jedného”).
Unfortunately, the nature doesn’t welcome Janko, making him overcome the obstacles on his
way (“Janík potichu kráča bez cesty, chodníka, po jamách, po dolinkách, pomedzi suhlinu”). The
motif of thickening darkness around the hero emphasizes how lost he is and strengthens the
thrilling feeling in readers who now may suspect the unhappy ending („Tmí sa/[…] zastreli tiché
háje temnými hábami/ […]/Mesiačka niet na nebi — beda je s hviezdami — kto zná, dokiaľ tam
budú za tými chmárami! — Pole ak’ jedna čierna šatka pamuková, ktorú nosí za mužom osirelá
vdova”). Only with his death, Janko, who passionately wanted to change the course of the world,
merges with the bosom of nature. The serene setting eventually calms the unsettled offspring,
bringing harmony between tranquility and tragedy and acceptance of the course of global order
of things.
From the stylistics point of view, the ballad also has its unique piculiarities. One of the
distinguishing elements of a literary Král’ style is the use of a language phenomena known as
diminutives. He coined new terms using practically all prefixes and suffixes that had previously
existed in the Slovak language, demonstrating the historical and geographical continuity of word
development. His use of the diminutive in his poetry enriches the language and adds semantic
derisiveness, resulting in complexities in emotional expression.
Janko Kráč's use of the diminutive in “Zakliata panna vo Váhu a divný Janko” aims to expand
the language, demonstrate stylistic dexterity, and deepen amorous and emotive impulses in the
poetic language.
The diminutive in Slovac language is also made by using the suffixes such as:
“v tichej dolinke”;
“po lúčičkách pastierik”;
“s ovčičkami”;
“v rodinke”;
“každičkú”;
“v hájičku”;
“ohníček”;
“pomaličky”;
“za pesničkou každičkou”;
“mamičku”;
“pesničku”;
“valašôčku”;
The root word does not usually undergo any changes in meaning, but it simply gets some
additional semantic nuances in terms of emotional expression. Thus, through diminutives, the
author stresses the protagonist's inner conflict with real life and contributes to romanticizing the
idyllic representation of Slovak nature.

It's worth mentioning anaphora and syntactic parallelism, as they give the poem a more dynamic
narrative and a greater sense of balladiness.
že nebudú radšej, vraj, na ráno pýtať jesť,

že nebudú záškodné, nebudú šantuvať,
že budú mamičku napotom počúvať,
----------------------------------------
Čo tie psy tak okolo košiara štekajú?
Prečo tie ovce tak sa v košiari zdúrajú?
Či planého človeka, či vlka zvetrili,
že sa tak z ležoviska ak’ vietor zdurili?
Čo tie psy za košiarom tak behajúc vyjú
The usage of erotema generates technical and aesthetic beauty for rhetorical effects. The idea of
the passage becomes more powerful, and reader’s interest grows. An answer is not expected to
the question since its function is to emphasize aroused feelings. The desired appeal of the poem
is drawn with attention to poetic aesthetics.
Či neznáte tie kraje, kde v tichej dolinke

po lúčičkách pastierik blúdi s ovčičkami,
tými, z ktorých sám pije, pojí ich vodami
a medzi nimi žije ak’ otec v rodinke,
každičkú zná menovať, každičkú zastáva,
medzi nimi vyrástol, medzi nimi spáva?
Či neznáte tie kraje, tie radostné kraje,

kde dobrí, bystrí chlapci bučky preskakujú,
v hájičku pod svrčinou kladú si ohníček,
kúria si pomaličky, nôti im Janíček,
za pesničkou každičkou jednu zagajdujú:
či neznáte tie kraje, tie radostné kraje?
In conclusion, Janko Kral "Zakliata panna vova ua divný Janko" is a remarkable piece in Slovak
literature, showcasing both the author's literary prowess and deep connection to the Romantic
movement. Through exploring themes such as the conflict between idyll and tragedy, the
portrayal of the restless protagonist, and the innovative use of linguistic devices like diminutives,
Král crafts a poignant narrative that resonates with readers on multiple levels. The ballad serves
as a vehicle for storytelling and a reflection of the human condition and our eternal quest for
meaning amidst the forces of nature and fate. Through his masterful manipulation of language
and imagery, Král leaves a lasting impression, inviting readers to ponder the complexities of
existence and the enduring power of art to illuminate the human experience.

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The Commentary on “Zakliata panna vo Váhu a divný Janko” by Janko Král’

of Slovak literature. As a romantic poet, he sought to capture and exalt nature's

capacity to evoke feelings of wonder and transcendence, a phenomenon

impact that such experiences had on their inner lives.

derisiveness, resulting in complexities in emotional expression.

idyllic representation of Slovak nature.

narrative and a greater sense of balladiness.

že nebudú radšej, vraj, na ráno pýtať jesť,

is drawn with attention to poetic aesthetics.

Či neznáte tie kraje, kde v tichej dolinke

Či neznáte tie kraje, tie radostné kraje,

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