Poetry is overshadowed by the novel and story during this period. The most distinguished poet was the Serb, V. Ilk, a dis ciple of Pushkin. Among the Croats an original lyric vein is dis played by S. KranRevie, whose themes were freedom and patriot ism, whilst the Slovene A. Askerc was a vigorous writer of ballads and romances. A less known field of Yugoslav literature to which attention has only recently been directed is the popular poetry of the Muslims of Bosnia and Herzegovina.
In the matter of literary influences, that of Russia has tended to decrease, being supplanted in Serbia by that of France, and in Croatia and Slovenia by the "Moderna" movement which unites to French symbolism Scandinavian influences with Ibsen and Strindberg and German with Hauptmann and H. Bahr. In poetry the new fashion among the Croats was introduced by V. Vidrie. The patriotic poetry of V. Nazor entitles him to be considered their greatest modern lyrist. Of Serbian poets the most repre sentative are J. Duck, M. Rakie and S. Corovic. Since Pregern the greatest interest in Slovene poetry attaches to 0. Zupanek. Croatia has continued to maintain its supremacy in the field of the novel and the drama with Gjalski and I. Vojnovie, and new comers are J. Kosor, M. Begovie, M. Ogrizovie and S. Tuck. The Serbs have given proof of their proficiency in the writing of stories by the work of B. Stankovie, P. Kaie and M. Uskokovie. The only names of importance in drama are B. Nugie and V. Jo vanovie. In Slovene literature the outstanding figure is the novelist I. Cankar.
A notable feature of the realistic period was a steady develop ment of literary criticism, especially among the Serbs. In the '9os Lj. Nedie, educated in Germany, broke with the old formalism, and introduced a criticism free from bias and convention. Among the Croats and Slovenes, the union of creative and critical facul ties in the same writer is more frequent, as exemplified in Mark °vie, Levstik and Stritar. Under French influence, there is a marked advance in subtlety of judgment, leading often to hyper criticism. The scope of criticism has also widened so as to embrace social and political problems. J. Skerie (d. 1914) held the first place as a many-sided critic in Serbia, and exercised a profound influence on the movement towards Yugoslav unity. B. Popovie represents in Serbia the school of Sainte-Beuve and Faguet, and his brother P. Popovie has made a name as a literary historian. S. Jovanovie, the historian and sociologist, ranks as one of the best stylists in Yugoslav literature. A development of fairly re cent date is the increasing number of women poets, story writers, essayists and critics; e.g., Isidora Sekulie among the Serbs, Z. Kveder among the Croats.
BIBLIOGRAPHY.—For Serbian literature see the works of P. PopoviC, J. Skerlie and A. Gavrilovi6; for Croatian those of Gj. Surmin, V. Vodnik and D. BogdanoviC; for Slovene I. Grafenauer and I. Prijatelj. A brief survey of the three literatures is given by P. Popovie in Jugoslovenska Knjiievnost (1918) ; M. S. Stanojevic, Early Yugoslav Literature, vol. i. A.D. 1100-1800 (1922) , is at present the only work in English. The Slavonic Review (London: School of Slavonic Studies) has published articles on Serbian Traditional Folk Poetry by D. P. SubotiC, and a Survey of Modern Slovene Literature by J. Vidmar. The Heroic Ballads of Serbia, trans. by G. R. Noyes and L. Bacon (Boston, 1913) and the Ballads of Marko Kraljevie by D. H. Low (1922) give brief accounts of Serbian popular poetry. For the early period consult M. Marko, Geschichte der iiltern siidslavischen Literaturen (Leipzig, 1908). (D. Str.)