Gli inizi della tradizione delle traduzioni serbe dei sonetti di Petrarca. La versione di Rvf 132 realizzata da Vladislav Stojadinović Čikoš

The tradition of Serbian translations of Petrarch’s sonnets begins in the first decades of the 19th century, when some of the first modern Serbian poets, who are also among the first authors of poetry collections in Serbian culture (Jovan Došenović, Jovan Pačić), took in different ways Petrarchan patterns and especially Petrarchan themes in order to compose some of their own poems, in some cases sonnets which are the first in the history of Serbian poetry. Those poems are adaptations and rewritings, which sometimes can be close to the originals, even if we cannot talk about translations in a stricter, modern sense. Soon after the above mentioned phase, the real history of translation of Petrarch’s sonnets into Serbian begins. This article aims at offering some remarks about the translation of Rvf 132 (S’amor non è, che dunque è quel ch’io sento?) carried out by Vladislav Stojadinović and published in the 1835 issue of the magazine «Zabavnik», edited by Dimitrije Davidović, a leading 19th-century Serbian intellectual. The translator is not a prominent personality in Serbian literature, whereas that is the case of several translators of the last part of the 19th and of the first years of the 20th century, and especially of the second half of the last century, when some of the most important Serbian poets offered their versions of Petrarch’s sonnets. Stojadinović’s translation does not reveal deep poetic skills and inspiration. Nevertheless, it deserves our attention because of its cultural-historical value, since it is the first attempt after Došenović’s and Pačić’s phase and represents a link between that phase and the following, more intense tradition, and because of its features, as well. It is a rather free rewriting, in which the elements of target-language culture are very remarkable (see verse and rhyme scheme). This attempt witnesses the presence and importance of Petrarch’s sonnets in modern Serbian culture.