Cultural life
News •
Cultural milieu
The antecedents of a distinct Slovak culture date from the Christian mission sent to Moravia in 863 ce by the Byzantine emperor Michael III at the request of the Moravian prince Rostislav; the Moravian state then encompassed at least part of the territory of present-day Slovakia. Byzantine influence was short-lived, however, and did not survive the competition with Latinized western Christianity. Slavic liturgy disappeared from the region after the invasions by nomadic Magyar (Hungarian) tribes toward the end of the 9th century. These Magyar invasions also succeeded in separating the West Slavic ancestors of today’s Slovaks, living north of the Danube River, from the South Slavs. Thereafter, until the founding of Czechoslovakia in 1918, the history of the Slovaks was closely connected with that of Hungary.
Slovak culture, particularly the Slovak language, survived despite Hungarian hegemony and the widespread use of Czech, Latin, and German. In the 15th century, Hussites from Bohemia brought the Czech language and culture to Slovakia, and Slovak Lutherans used Czech as both their liturgical and literary language, but they remained a distinct minority. Roman Catholicism continued as the majority religion, and Latin was used not only for liturgical purposes but also as the main administrative language until almost the mid-19th century, when it was replaced by Hungarian. German was widely used by the aristocracy and the urban middle class, owing to the influence of the Habsburg monarchy. The first Slovak intellectuals to be concerned with the preservation of the Slovak language and culture emerged during the Enlightenment and the French revolutionary wars. Although primarily educated in Hungarian, the Slovak intelligentsia—whether priests, lawyers, or doctors—communicated with Slovak peasants and servants in their language and helped to accelerate the spread of modern Slovak literacy. Hungarian nationalists reacted by enforcing Magyarization at every level of education beyond primary school; contemporary experts predicted the extinction of the Slovak nation within a generation. Nevertheless, the number of Slovaks attending secondary schools and colleges in Hungary continued to increase, and selective censorship could not stop the spread of Slovak newspapers and books. With the creation of Slovakia within the new country of Czechoslovakia, the durability of the Slovak language and culture was confirmed. Shortly after Slovakia’s independence, Slovak became enshrined as the country’s official language.
Daily life and social customs
The rich folklore and customs of many Slovak regions have survived into modern times. They are on full display in the Catholic parishes, especially during the two main Christian holidays. A genuine Roman Catholic Christmas in Slovakia includes the three days of Christmas (December 24–26) and is carried over to Three Kings’ Day (January 6). Traditional Christmas carols are typically a part of the festivities. In some regions Easter, particularly Good Friday, is the biggest religious holiday of the year. Apart from religious celebrations, numerous folk music festivals take place in Slovakia. These may feature both Slovak and Roma performers.
Slovak food and drink have been influenced by the surrounding, mostly Hungarian and German, cuisine. Traditional Slovak food consists of a wide range of soups, gruels, boiled and stewed vegetables, roasted and smoked meats, and dairy products, especially sheep’s milk cheese (bryndza). Bryndzové halušky, small potato dumplings mixed with bryndza, is a Slovak specialty. Viticulture was brought to Slovakia by the ancient Romans as they advanced along the Danube 2,000 years ago, and vineyards still are found along the Danube and Váh rivers. In addition to wine, brandy is a popular drink in Slovakia. Typical Slovak brandies include the plum-based slivovica and the juniper-based borovička.
The arts
Literature and drama
Although Slovak dialects had been distinct from Czech since the Middle Ages, a Slovak literary language did not develop until the late 18th century. The Catholic priest Ján Hollý (1785–1849) was the first Slovak writer to use the Slovak language successfully in his poetry. The language had been recently codified by another priest, Anton Bernolák, who had based his codification on the Western Slovak dialect. Yet Bernolák’s Slovak failed to catch on, owing to a lack of followers and strong opposition by educated Slovak Lutherans, who used Czech as their literary language. Even Ján Kollár’s Slávy dcera (1824; “The Daughter of Sláva”), considered a principal work of Slovak literature and among the impulses behind Pan-Slavism, was written in Czech. It was up to a younger group of Slovak Lutheran writers, headed by L’udovít Štúr, to abandon Czech in favor of Slovak. This time the codification was based on the Central Slovak dialect. Later poets, using a refined form of literary Slovak, continued to produce nationalistic and Romantic works, such as Marína (1846), by Andrej Sládkovič (Andrej Braxatoris), and the ballads of Janko Král’, whose exploits in the Revolutions of 1848 made him a legend.
In the first half of the 20th century, poetry, particularly lyric poetry, continued to be the chief strength of Slovak literature. Notable poets included Hviezdoslav (Pavol Országh), Svetozár Hurban Vajanský, Ivan Krasko (Ján Botto), Martin Rázus, Janko Jesenský, and Emil Boleslav Lukáč. However, important Slovak novelists—such as Timrava (Božena Slančíkova), Milo Urban, and Margita Figuli—also emerged.
With the foundation of Czechoslovakia and the further expansion of Slovak education, Slovak writings multiplied. The difficulties of World War II and its aftermath of communist rule found vivid, personal expression in the work of Ladislav Mňačko, Alfonz Bednár, and Dominik Tatarka. Mňačko was among the first eastern European writers to criticize Stalinism, in his popular novel The Taste of Power (1967), while Tatarka attacked the Gustav Husák regime’s process of “normalization” in Czechoslovakia after 1969 in Sám proti noci (1984; “Alone Against the Night”). In the years leading up to the Velvet Revolution of 1989, such novelists as Ladislav Ballek, Vincent Šikula, and Ján Johanides asserted a distinct Slovak voice. During the late 20th and early 21st centuries, a new generation of writers—including Dušan Mitana, Pavel Vilikovský, and Martin Šimečka—distinguished themselves.
Slovak drama developed at about the same time as Slovak literature; Juraj Palkovič’s play Dva buchy a tri šuchy (1800; “Two Bumps and Three Rubs”) is considered the first example. Ján Chalupka produced a lively satire, Kocúrkovo, in 1830, while Ján Palárik wrote popular comedies, including Inkognito (1857; “Incognito”) and Zmierenie (1862; “The Reconciliation”). The best-known Slovak playwright of the 20th century was Peter Karvaš, author of The Diplomats, The Midnight Mass, and Antigone and the Others, among many other plays. (See also Slovak literature.)
Robert Auty Z.A.B. Zeman Milan Hauner