{"id":247,"date":"2025-07-25T23:44:14","date_gmt":"2025-07-25T23:44:14","guid":{"rendered":"https:\/\/koshanin.com\/blog\/?p=247"},"modified":"2026-01-06T04:42:07","modified_gmt":"2026-01-06T04:42:07","slug":"na-srce-mi-lezi-mila-mamo","status":"publish","type":"post","link":"https:\/\/koshanin.com\/blog\/2025\/07\/25\/na-srce-mi-lezi-mila-mamo\/","title":{"rendered":"NA SRCE MI LEZI, MILA MAMO"},"content":{"rendered":"

\u201cNa scre mi le\u017ei, mila mamo<\/b><\/em>\u201d<\/em>
\n<\/b>(\u041d\u0430 \u0441\u0440<\/b><\/em>\u0446<\/b><\/em>\u0435 \u043c\u0438 \u043b\u0435\u0436\u0438, \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e)
\n<\/b><\/em>Macedon<\/b>ia<\/b>n Traditional Folk Song<\/b><\/h3>\n

SONG INFO & LYRICS<\/b><\/h3>\n

 <\/p>\n

In this lovely Macedonian folk song a young man confides in his mother about his admiration for a young woman Sevda<\/em>. He has apparently developed deep feelings for this beautiful girl, nothing short of an obsession – so strong that he feels as if an angry serpent is lying coiled on his heart, hence the song title \u201cIt lays on my heart, dear mother\u201d.<\/p>\n

Perhaps he is longing for her so much that each time the girl\u2019s image pops up in his mind, this young man feels like his heart has been bitten by an angry serpent. He goes on with passionately describing her striking beauty by likening her eyes to black cherries, her eyebrows to sea leaches, and by admiring her strength and her slim, tall figure.<\/p>\n

Our young protagonist then proceeds with a plea to his mother to go and ask for the young woman\u2019s hand. He continues with instructing his mother to bring the girl back to him in a luxurious carriage or, if her father refuses her, to just take a moment and look at the girl to admire her beauty.<\/p>\n

\u041d\u0430 \u0441\u0440\u0446\u0435 \u043c\u0438 \u043b\u0435\u0436\u0438 \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e
\n<\/i><\/span>(M<\/span>acedonian folk song)<\/span><\/i><\/span><\/strong><\/p>\n

\u041d\u0430 \u0441\u0440\u0446\u0435 \u043c\u0438 \u043b\u0435\u0436\u0438 \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e
\n\u043d\u0430 \u0441\u0440\u0446\u0435 \u043b\u0438 \u043b\u0435\u0436\u0438,
\n\u0430\u0458 \u043d\u0430 \u0441\u0440\u0446\u0435 \u043c\u0438 \u043b\u0435\u0436\u0438, \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e
\n\u0435\u0434\u043d\u0430 \u043b\u0443\u0442\u0430 \u0437\u043c\u0438\u0458\u0430.<\/i><\/p>\n

\u041d\u0435 \u043c\u0438 \u0431\u0438\u043b\u0430 \u0437\u043c\u0438\u0458\u0430 \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u043d\u0435 \u043c\u0438 \u0431\u0438\u043b\u0430 \u0437\u043c\u0438\u0458\u0430,<\/em>
\n\u0430\u0458 \u043d\u0435 \u043c\u0438 \u0431\u0438\u043b\u0430 \u0437\u043c\u0438\u0458\u0430, \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u0442\u0443\u043a’ \u0435 \u043a\u0430\u0440\u0430 \u0421\u0435\u0432\u0434\u0430.<\/em><\/p>\n

\u0421\u0435\u0432\u0434\u0438\u043d\u0438\u0442\u0435 \u043e\u0447\u0438, \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u0421\u0435\u0432\u0434\u0438\u043d\u0438\u0442\u0435 \u043e\u0447\u0438,<\/em>
\n\u0430\u0458 \u0421\u0435\u0432\u0434\u0438\u043d\u0438\u0442\u0435 \u043e\u0447\u0438, \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u0446\u0440\u043d\u0438 \u0447\u0435\u0440\u0435\u0448\u043e\u0432\u0438.<\/em><\/p>\n

\u0421\u0435\u0432\u0434\u0438\u043d\u0438\u0442\u0435 \u0432\u0435\u0453\u0438 \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u0421\u0435\u0432\u0434\u0438\u043d\u0438\u0442\u0435 \u0432\u0435\u0453\u0438,<\/em>
\n\u0430\u0458 \u0421\u0435\u0432\u0434\u0438\u043d\u0438\u0442\u0435 \u0432\u0435\u0453\u0438 \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u043c\u043e\u0440\u0441\u043a\u0438 \u043f\u0438\u0458\u0430\u0432\u0438\u0446\u0438.<\/em><\/p>\n

\u0421\u0435\u0432\u0434\u0438\u043d\u0430\u0442\u0430 \u0441\u043d\u0430\u0433\u0430 \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u0421\u0435\u0432\u0434\u0438\u043d\u0430\u0442\u0430 \u0441\u043d\u0430\u0433\u0430,<\/em>
\n\u0430\u0458 \u0421\u0435\u0432\u0434\u0438\u043d\u0430\u0442\u0430 \u0441\u043d\u0430\u0433\u0430 \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u0442\u0435\u043d\u043a\u0430 \u0435\u043c \u0432\u0438\u0441\u043e\u043a\u0430.<\/em><\/p>\n

\u041e\u0434\u0438 \u043f\u043e\u0441\u0430\u043a\u0430\u0458 \u0458\u0430, \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u043e\u0434\u0438 \u043f\u043e\u0441\u0430\u043a\u0430\u0458 \u0458\u0430,<\/em>
\n\u0430\u0458 \u0430\u043a\u043e \u0442\u0438 \u0458\u0430 \u0434\u0430\u0434\u0430\u0442, \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u0432’ \u043f\u0430\u0458\u0442\u043e\u043d \u0434\u043e\u043d\u0435\u0441\u0438 \u0458\u0430.
\n<\/em>\u0410\u0458 \u0430\u043a\u043e \u043d\u0435 \u0458\u0430 \u0434\u0430\u0434\u0430\u0442, \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e<\/em>
\n\u043f\u043e\u0441\u0442\u043e\u0458, \u043f\u043e\u0433\u043b\u0435\u0434\u0430\u0458 \u0458\u0430.<\/em><\/p>\n

English translation:<\/p>\n

On My Heart Lies, Dear Mother
\n<\/i><\/span><\/strong>(Macedonian folk song)<\/i><\/span><\/strong><\/p>\n

On my heart lies, dear mother,
\nIt does lie on my heart.<\/b>
\nAh, on my heart lies, dear mother,
\nA fierce wild serpent.<\/i><\/p>\n

But it’s not a serpent, dear mother,
\nNo, it’s not a serpent.
\nAh, it’s not a serpent, dear mother,
\nIt is the dark Sevda.<\/i><\/p>\n

Sevda\u2019s eyes, dear mother,
\nSevda\u2019s eyes,
\nAh, Sevda\u2019s eyes, dear mother,
\nblack cherries.<\/i><\/p>\n

Sevda\u2019s eyebrows, dear mother,
\nSevda\u2019s eyebrows,
\nAh, Sevda\u2019s eyebrows, dear mother,
\nleeches from the sea.<\/i><\/p>\n

Sevda\u2019s figure, dear mother,
\nSevda\u2019s figure,
\nAh, Sevda\u2019s figure, dear mother,
\nSlender and tall.<\/i><\/p>\n

Go ask for her, dear mother,
\nGo and ask for her.
\nAh, if they give her to you, dear mother,
\nBring her in a carriage.<\/i><\/p>\n

Ah, if they don\u2019t give her, dear mother,
\nJust stand and look at her.<\/i><\/p>\n

Just as I previously noted in my essay about the folk song \u201cOj golube, moj golube<\/a>\u201d here we have another instance of a borrowed poetic element:<\/p>\n

Ah, Sevda\u2019s eyebrows, dear mother,
\nLike leeches from the sea.<\/b><\/i><\/p>\n

(\u0430\u0458 \u0421\u0435\u0432\u0434\u0438\u043d\u0438\u0442\u0435 \u0432\u0435\u0453\u0438 \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e
\n\u043c\u043e\u0440\u0441\u043a\u0438 \u043f\u0438\u0458\u0430\u0432\u0438\u0446\u0438.<\/strong>)<\/i><\/p>\n

We can find these same metaphoric comparisons in many older folk songs. One example is an old Serbian folk song \u201cSisters without a brother<\/i>\u201d that has been recorded by a famous Serbian philologist, anthropologist and linguist Vuk Karad<\/b><\/i>\u017e<\/b><\/i>i<\/b><\/i>\u0107<\/b><\/i> who researched and compiled hundreds of old folk songs and poems.<\/p>\n

\u0421\u0435\u0441\u0442\u0440\u0435 \u0431\u0435\u0437 \u0431\u0440\u0430\u0442\u0430<\/b><\/span>
\n<\/b>(<\/b>Serbian folk song)<\/i><\/p>\n

\u0414\u0432\u0438\u0458\u0435 \u0441\u0435\u0458\u0435 \u0431\u0440\u0430\u0442\u0430 \u043d\u0435 \u0438\u043c\u0430\u043b\u0435,
\n\u041f\u0430 \u0433\u0430 \u0432\u0438\u0458\u0443 \u043e\u0434 \u0431\u0438\u0458\u0435\u043b\u0435 \u0441\u0432\u0438\u043b\u0435,
\n\u041e\u0434 \u0431\u0438\u0458\u0435\u043b\u0435 \u0438 \u0458\u043e\u0448 \u043e\u0434 \u0446\u0440\u0432\u0435\u043d\u0435;
\n\u0421\u0442\u0440\u0443\u043a \u043c\u0443 \u043c\u0435\u045b\u0443 \u0434\u0440\u0432\u043e \u0448\u0438\u043c\u0448\u0438\u0440\u043e\u0432\u043e,
\n<\/span>\u0426\u0440\u043d\u0435 \u043e\u0447\u0438 \u0434\u0432\u0430 \u0434\u0440\u0430\u0433\u0430 \u043a\u0430\u043c\u0435\u043d\u0430,<\/b><\/span>
\n<\/span>\u041e\u0431\u0440\u0432\u0438\u0446\u0435 \u043c\u043e\u0440\u0441\u043a\u0435 \u043f\u0438\u0458\u0430\u0432\u0438\u0446\u0435,<\/b><\/u><\/span>
\n\u0421\u0438\u0442\u043d\u0435 \u0437\u0443\u0431\u0435 \u0434\u0432\u0430 \u043d\u0438\u0437\u0430 \u0431\u0438\u0441\u0435\u0440\u0430;
\n\u0417\u0430\u043b\u0430\u0436\u0443 \u0433\u0430 \u043c\u0435\u0434\u043e\u043c \u0438 \u0448\u0435\u045b\u0435\u0440\u043e\u043c:
\n\u201e\u0422\u043e \u043d\u0430\u043c \u0458\u0435\u0434\u0438, \u043f\u0430 \u043d\u0430\u043c \u043f\u0440\u043e\u0431\u0435\u0441\u0458\u0435\u0434\u0438.\u201c<\/span><\/i><\/p>\n

English translation:<\/p>\n

Sisters Without A Brother<\/b><\/span>
\n<\/b>(Serbian folk song)<\/i><\/p>\n

Two sisters had no brother,<\/i><\/strong>
\nSo they wove him from white silk,
\nFrom white silk and also red,
\nFor his waist they placed boxwood,
\n<\/i>His dark eyes – two precious stones,<\/b><\/i>
\n<\/i>His eyebrows – leeches from the sea,<\/b><\/u><\/i>
\nTiny teeth – two rows of pearls;
\nThey fed him honey and sugar:
\n<\/i>“Eat this for us, then speak to us.”<\/i><\/em><\/p>\n

Source:
\n<\/i>Karad\u017ei\u0107, V. S. 1824. Narodne srpske pjesme. Knjiga prva. Lipisca. Str. 57\u201358.
\n(source link<\/a>)<\/i><\/p>\n

 <\/p>\n

Yet another example of an older folk song using the same motif:<\/p>\n

An excerpt from
\n<\/i>\u0423\u0434\u0430\u0458\u0430 \u0441\u0435\u0441\u0442\u0440\u0435 \u0409\u0443\u0431\u043e\u0432\u0438\u045b\u0430<\/b><\/span>
\n<\/b>(Serbian folk song)<\/i><\/p>\n

\u201c\u2026
\n(line 13) \u041e\u0447\u0438 \u0441\u0443 \u0458\u043e\u0458 \u0434\u0432\u0430 \u0434\u0440\u0430\u0433\u0430 \u043a\u0430\u043c\u0435\u043d\u0430,<\/b>
\n(line 14) \u0410 \u043e\u0431\u0440\u0432\u0435 \u043c\u043e\u0440\u0441\u043a\u0435 \u043f\u0438\u0458\u0430\u0432\u0438\u0446\u0435,<\/b><\/u>
\n(line15) \u0422\u0440\u0435\u043f\u0430\u0432\u0438\u0446\u0435 \u043a\u0440\u0438\u043b\u0430 \u043b\u0430\u0441\u0442\u0430\u0432\u0438\u0446\u0435,
\n<\/i>…\u201d<\/i><\/p>\n

English translation:<\/p>\n

An excerpt from
\nThe Wedding of Ljubovic\u2019s sister<\/b><\/span>
\n(Serbian folk song):<\/i><\/p>\n

\u201c…
\n<\/i>Her eyes are two precious stones,<\/b>
\nAnd her eyebrows sea leeches,<\/b><\/u>
\nHer eyelashes the wings of a swallow.
\n<\/i>\u2026\u201d<\/p>\n

Source:
\n<\/i>Sabrana dela Vuka Karad\u017ei\u0107a, Srpske narodne pjesme, izdanje o stogodi\u0161njici smrti Vuka Stefanovi\u0107a Karad\u017ei\u0107a 1864-1964 i dvestogodi\u0161njici njegova ro\u0111enja 1787-1987, Prosveta. Pjesme juna\u010dke srednjijeh vremena, knjiga tre\u0107a 1846, Beograd, 1988., str. 383-385.
\n(source link<\/a>)<\/i><\/p>\n

 <\/p>\n

In these two poems another recurring motif appears:<\/p>\n

His dark eyes – two precious stones<\/b><\/i><\/span>
\n<\/b><\/span>(<\/b><\/span>\u0426\u0440\u043d\u0435 \u043e\u0447\u0438 \u0434\u0432\u0430 \u0434\u0440\u0430\u0433\u0430 \u043a\u0430\u043c\u0435\u043d\u0430<\/b><\/i><\/span>)<\/b><\/i><\/span><\/p>\n

Her eyes are two precious stones<\/b>
\n<\/b>(<\/b>\u041e\u0447\u0438 \u0441\u0443 \u0458\u043e\u0458 \u0434\u0432\u0430 \u0434\u0440\u0430\u0433\u0430 \u043a\u0430\u043c\u0435\u043d\u0430<\/b>)<\/b><\/i><\/p>\n

These examples are showing a transmission of powerful poetic elements through different periods and between authors. Ultimately, such motifs have the ability to cross over ethnic or cultural borders due to their universal symbolism.<\/p>\n

– – –<\/p>\n

Apparently Sevda\u2019s<\/em> eyebrows are strong, full, wide and long, perfectly formed and gently arched above those dark \u201cblack cherries\u201d. These are indeed some lovely comparisons, but they reveal much more than just the admiration for a natural beauty of her facial features.<\/p>\n

In Zoology leeches are classified in two categories: freshwater and marine leaches. In all the examples above we have metaphors with specific references to the marine type – se<\/b><\/i>a<\/b><\/i> leeches,<\/i> and while this could be explained as a common or practical poetic figure, it is more likely that these identical references are suggesting an intentional choice and that they are actually indications of an underlying deeper awareness. In all these examples our poets, perhaps somewhat subconsciously, reveal a common folk knowledge of marine creatures which clearly implies the experience with living near the sea and a direct knowledge of the coastal environment.<\/p>\n

Although at first it might seem like a far-fetched theory, it is quite obvious that such comparisons would be constructed only from firsthand experience and genuine knowledge. After all, it would be quite surreal to hear a poetic reference to \u201ca white, snowy mountain caps\u201d from a Brazilian rain forest native, or some metaphor involving a \u201ckangaroo\u201d from indigenous inhabitants of the Arctic circle.<\/p>\n

These Slavic inhabitants, although in present times confined to small, fragmented and virtually insignificant states, once inhabited much larger lands and formed great kingdoms encompassing virtually all of the Helm region and beyond.<\/p>\n

Today, modern states such as Serbia and Macedonia have been compressed in landlocked patches and have been denied their historic territorial access to the seas. These hidden poetic motifs serve as subtle reminders to forgotten historical facts to which countless other suppressed historic documents and oral traditions transmitted through generations point as well.<\/p>\n

– – –<\/p>\n

The young woman\u2019s name in this song – Sevda<\/em>, is a feminine name of Turkish or Persian origin meaning \u201clove or \u201cpassion\u201d and the word \u201csevda<\/em>\u201d most likely stems from the Arabic word \u201csawda<\/em>\u201d which means black bile, melancholy, sadness<\/i>. Feminine name Sevdina<\/em> and its masculine counterpart Sevdin<\/em> are used in various Balkan ethnic groups of Muslim faith and are likely modifications of a Turkish feminine name Sevdiana<\/em>.<\/p>\n

Just as we have seen with the sea leaches,<\/i> here we have another such case of firsthand knowledge or experience. A foreign personal name in this folk song is a consequence of the actual contact between different ethnic groups – in this case the native Slavic population and their foreign occupiers, the Ottomans. Although it is highly possible that the young woman in this song is indeed of Turkish origin, the name still marks an external influence on the local folk tradition and culture.<\/p>\n

– – –<\/p>\n

Compared to most of the other folk songs that I\u2019ve recorded and written about, I suspect that this one is of a relatively recent origin. I haven\u2019t found enough relevant information about it so that I could pinpoint the exact time but we can at least determine the earliest possible period of its origin. For this we have to look no further than just a little bit closer into its lyrics. We will have to rely here on a single-word clue that is conveniently hidden in plain sight, as it lies within these lines:<\/p>\n

\u0430\u0458 \u0430\u043a\u043e \u0442\u0438 \u0458\u0430 \u0434\u0430\u0434\u0430\u0442, \u043c\u0438\u043b\u0430 \u043c\u0430\u043c\u043e
\n\u0432’ \u043f\u0430\u0458\u0442\u043e\u043d<\/b><\/u> \u0434\u043e\u043d\u0435\u0441\u0438 \u0458\u0430.<\/i><\/p>\n

English translation:<\/p>\n

Ah, if they give her to you, dear mother,
\nBring her in a carriage<\/b><\/u>.<\/i><\/p>\n

In my English translation this information is absent but the original Macedonian lyrics refer to a specific type of carriage called \u201c\u043f\u0430\u0458\u0442\u043e\u043d\u201d<\/i> (pronounced similarly to: python).<\/p>\n

\u041f\u0430\u0458\u0442\u043e\u043d <\/i><\/span>(Pajton)<\/i><\/span> is a <\/span>luxurious, open roofed, horse-drawn carriage for <\/span>passenger <\/span>transport. <\/span>This type of c<\/span>hariots appeared in the early 19th <\/span>C<\/span>entury and <\/span>they <\/span>were drawn by one or two horses.<\/span><\/p>\n

\""Pajton"<\/p>\n

Photo:\u00a0Milton Manaki<\/a> on a carriage, photographed on the road between Grevena and Sorovikj. 1913.<\/em>
\nSource: Wikipedia, link here<\/a>.<\/em><\/h6>\n

While this clue still leaves us with a potential time frame of nearly 200 years, we can safely establish that this song originated, at the earliest, sometimes in the early 19th<\/sup> Century.<\/p>\n

With the rapid development of modern transportation technologies, especially in the mid 20th<\/sup> Century, chariots and carriages assumed new roles. Instead of their initial usage as a passenger, luggage and postal transport vehicle, in more recent times they have primarily become regarded as an extravagant, luxurious or festive symbol. Such change of function seems to be a gradual process for many new inventions \u2013 starting from novelty to a status symbol, then from common tool to an obsolete technology and eventually to becoming a museum piece. Given the social circumstances in the entire Balkan region, I wonder if the later years of the 19th<\/sup> Century or sometimes in the early 20th<\/sup> Century could be a more likely time period of this song\u2019s origin?<\/p>\n

\u201cToday, pythons are used as a tourist attraction and for entertainment. As a sign of extravagance, they are sometimes used by the graduates to arrive at the prom or the newlyweds for a wedding.\u201d
\n<\/i>(Source: Wikipedia \u2013 link here<\/a>).<\/em><\/p>\n

 <\/p>\n

Another intricate play of words lies within the 8th<\/sup> line:<\/p>\n

\u0442\u0443\u043a’ \u0435 \u043a\u0430\u0440\u0430 \u0421\u0435\u0432\u0434\u0430<\/b>.<\/i><\/p>\n

English translation:<\/p>\n

It is the dark Sevda<\/b>.<\/i><\/p>\n

This intentional play of words is employed here as a poetic tool for emotional amplification. Indeed, \u043a\u0430\u0440\u0430 \u0421\u0435\u0432\u0434\u0430<\/b><\/i> (kara Sevda<\/i>; pronounced: kah-rah sev-dah) means dark Sevda<\/i> and the girl could have easily had dark, black hair. However, the word kara<\/b><\/i> in Turkish means black<\/i> and the word sevda<\/b><\/i> means love, passion, longing, rapture<\/i>. Put together, we get kara sevda<\/b><\/i> which is a Turkish phrase meaning dark love, blind love<\/i> and it refers to a deep, passionate love,<\/i> heavy melancholia <\/i>or deep sadness<\/i> most often related to unrequited love.<\/p>\n

Apparently, our witty unknown poet cleverly named the girl Sevda<\/em> and gave her black hair so he could strengthen the feeling of deep, dark love and longing that is tormenting our poor protagonist.<\/p>\n

Not surprisingly, in some modern lyrics sheets for this song the text in line 8 is written as: karasevda<\/i> and not kara Sevda,<\/i> recognizing this alternative meaning.<\/p>\n

Kara sevdah<\/i> (also karasevdah<\/i>) is also a dominant mood and theme in Sevdah music<\/b><\/i>, also known as Sevdalinke<\/a><\/i> \u2013 traditional genre of folk music originating in Bosnia and Herzegovina<\/i> and also spread and cherished all across the former Yugoslav<\/a> states.<\/p>\n

– – –<\/p>\n

There are numerous versions and recordings of this folk song out there, so the following examples below serve as a brief survey with a few standard, traditional performances followed by a couple of interesting, unconventional arrangements.<\/p>\n

 <\/p>\n

Kevser Keti Selimova and \u0110or\u0111e \u017del\u010deski \u2013 Na srce mi le\u017ei
\n<\/b>https:\/\/www.youtube.com\/watch?v=YGsth8v9T6E<\/a><\/p>\n