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TRADER KANJOŠ MACEDONOVIĆ 
AS A MONTENEGRIN NATIONAL MYTH
Marijan PREMOVIĆ
University of Montenegro, Faculty of Philosophy, Department of History, 
Danila Bojovića bb, 81400 Nikšić, Montenegro
e-mail: marijanp@ucg.ac.me
ABSTRACT
This paper presents the story of Kanjoš Macedonović (1870), written by Mon-
tenegrin author Stjepan Mitrov Ljubiša (1822–1878). The tale of Kanjoš, a well-
known literary text about the protagonist’s visit to Venice in the 15th century, lends 
itself to numerous historical, humanistic, and interdisciplinary interpretations. 
In the paper, the author reconstructs the historic significance of Kanjoš’s battle 
with the giant Furlan, a symbolic representation of the relationship with Venetian 
authorities and the granting of trade privileges as a reward to the medieval Mon-
tenegrin Paštrovići clan. Kanjoš is a national hero characterised by high moral 
standards and a desire to fight honestly for the rights of his people. The paper 
analyses the importance of this narration in terms of national literary myth and as 
a symbol of the Montenegrins’ struggle for independence in the 19th century. One 
of the essential components of this struggle was resistance. Along with the story, the 
paper elucidates the influence of the writer Stjepan Mitrov Ljubiša on Montenegrin 
nation building in the second half of the 19th century in which mediaeval history 
played a major role. 
Keywords: Kanjoš Macedonović, national myth, Venice, Paštrovići, Montenegro
IL COMMERCIANTE KANJOŠ MACEDONOVIĆ 
COME MITO NAZIONALE DEL MONTENEGRO
SINTESI
L’articolo presenta la storia di Kanjoš Macedonović (1870), scritta dall’autore 
montenegrino Stjepan Mitrov Ljubiša (1822–1878). La storia di Kanjoš è una nota 
opera letteraria che tratta della sua visita a Venezia nel XV secolo e che fornisce 
una varietà di informazioni storiche, umanistiche e interdisciplinari. L’autore rico-
struisce il significato storico della sua lotta con Furlan, il simbolismo dei rapporti 
delle autorità veneziane e l’acquisizione di privilegi commerciali come ricompensa 
per la tribù montenegrina dei Paštrović. Kanjoš è l’identificazione di un eroe nazio-
Received: 2021-04-19                            DOI 10.19233/AH.2021.14
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nale, caratterizzato da elevati standard morali e disposto a combattere onestamente 
per i diritti del suo popolo. L’articolo analizza l’impatto di questa storia come mito 
letterario nazionale e uno dei simboli del Montenegro, formatosi nella lotta per 
l’indipendenza nella seconda metà del XIX secolo, il cui elemento integrante è la 
resistenza. Seguendo questa narrazione, l’articolo interpreta l’influenza dello scrit-
tore Stjepan Mitrov Ljubiša sulla formazione dell’identità nazionale montenegrina, 
attraverso la storia medievale, nella seconda metà del XIX secolo.
Parole chiave: Kanjoš Macedonović, mito nazionale, Venezia, Paštrovići, Montenegro
I.
This paper aims to show how the work of the Paštrovići author Stjepan Mitrov Ljubiša, 
Kanjoš Macedonović, (1870) influenced the emergence of an artificial narrative that has 
developed into the national myth of the Paštrovići tribe and Montenegrins. The purpose of 
this paper is to encourage a more complex interpretation of this story, with resistance and 
battle as its elements. We will try to show in the example of this literary work how Ljubiša 
participated in the process in the second half of the 19th century. Scientific studies paid 
solid attention to the story of Kanjoš Macedonović (Ljubiša & Levstik, 1954; Čađenović, 
1972; Pogačnik, 1981; Jelušić, 1997; Jelušić, 2005; Zenović, 2014; Jovanović, 2016; 
Čelebić, 2019), which, with its interpretative potential and symbolism as a literary work, 
provides a number of analyses. 
Stjepan Mitrov Ljubiša belongs to a generation of leading Montenegrin and South 
Slavic authors. He was born in Budva in 1824, in the Paštrovići tribe (Ljubiša & Lev-
stik, 1954, 4–7; Milutinović, 1975, 7). The latest research into the report of the Junior 
Elementary School in Budva, where Ljubiša studied, revealed that he was born two years 
earlier, in 1822 (Martinović, 2014, 235). Budva was then part of the Austrian Dalmatia, 
formed after 1815 from the former Venetian lands, Dalmatia and Boka, and the Dubrovnik 
Republic. From Rab to the north to Sutomore to the south, the territory is known as the 
Kingdom of Dalmatia and it remained a province of Austria until 1918. At the time, 
Dalmatia was one of Austria’s poorest provinces, with numerous peasants, impoverished 
nobility, weak bourgeoisie, numerous clergy, and a few nationally conscious intellectuals. 
In the 19th century, the Montenegrin coast was under strong pressure and ambitions of the 
pro-Italian autonomist party. The Slavic population had bad memories of the centuries-
long Venetian rule (1423–1797), resulting in a stronger awakening and character of 
southern Dalmatia. Ljubiša belonged to the Slavic front, formed against foreign rule, and 
he acted through the Dalmatian People’s Party. This political organisation was formed in 
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1861 by Croats, Serbs and Montenegrins. From the very beginning, one of the leaders 
was Stjepan Mitrov Ljubiša, the most prominent representative of the Boka Kotorska. He 
played a very prominent role in political and national activities, starting with the status 
of languages in public life, through raising national awareness (Petrović, 1976, 125–145; 
Čelebić, 2019, 95–110, 142–143).
At the age of 39, Ljubiša was a candidate for a member of the Vienna State Parlia-
ment. From 1863 to 1876, he was a member of the Dalmatian Parliament and the Imperial 
Council in Vienna. He was a representative of Herceg Novi, Risan and Budva. He was 
a literature lover, and although he was anti-Italian, he was very interested in classical 
Italian literature (Lodovico Ariosto, Dante Alighieri, etc.). The political inspiration for his 
activities was the community of Dalmatia with Croatia and Montenegro. Austrian sources 
state that in the Parliament of the Austro-Hungarian Monarchy, he supported the Slavic 
people from his region, rejecting Italian linguistic and cultural domination (Petrović, 
1976, 125–132). In 1867, the Austro-Hungarian Compromise was established, which 
definitely included Dalmatia in the Austrian countries. From that moment on, Ljubiša had 
been moving closer to Montenegro. In 1869, people in southern Dalmatia rebelled against 
the introduction of the new military Austrian law introducing the general compulsory 
military service. That year, the Krivošije Uprising broke out, and Ljubiša then established 
contact with Montenegrin Prince Nikola Petrović. For several weeks, the Boka Kotorska 
had declared autonomy and independence. Soon after, in the village of Knežlaz (Kotor), 
Bokelji were given the imperial word that the law would not be enforced in the Boka 
Kotorska. On those grounds, the agreement and reconciliation between Bokelji and the 
Austrian government were achieved. Austria thus re-established the rule over the armed 
Bokelji (Jovanović, 1970; Subotić, 1970). In 1870, Ljubiša wrote a story about Kanjoš 
Macedonović, creating literature work in line with his program, aimed at shaping the 
language into a symbolic tool that will shape the Montenegrin nation. At the end of his 
political career, in late 1870s, Ljubiša moved to Dobrota, near Kotor. He sold his private 
library there to feed his family. This fact casts light on the life of this man, spent in high 
politics, with sublime storytelling gift and ideas, ended in poverty. He died in Vienna in 
1878 (Ljubiša & Lestvik, 1954, 14; Martinović, 2014, 235–245).
In written sources, the name of Kanjoš was mentioned in the Paštrovići in the 16th 
century,1 but Kanjoš Macedonović is a fictional historical figure. Inventing a new heroic 
past is the best way to create the notion of a nation within the heroic monumental idea. 
The narrated collective memory presents a history of the past that explains the present 
and serves as the basis for planning the future (Kuljić, 2006, 212, 208, 218). On the other 
hand, the search for memory creates an identity dimension of the relationship with the 
past (Cubitt, 2019). In the 19th century, the literature was in the service of national efforts 
implying that its main characteristic was ideological and political instrumentalization. 
According to Ljubiša’s wish, the folk tale has a function to show its political activity 
1 Among the fourteen Paštrovići noblemen who decided at the beginning of March 1423 in Drobni Pijesak to 
recognize the Venetian rule, Kanjoš Bladenović Blizikuća was mentioned. A small village of Kanjoši still 
exists in the Paštrovići (Vukmanović, 2002, 29, 128).
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in the national mythical image and in the national political agenda. In line with politi-
cal developments in the second half of the 19th century, Ljubiša created a national and 
literary figure that would serve as the basis for literary creation and national struggle 
(Radović, 1955, 120). The choice of the character of the protagonist already indicates the 
specific nature of Montenegro’s tradition and nation at that time. At the time of establish-
ing national states in the Balkans, language became one of the most important unifying 
elements of national states. Various national mythologies in literature were then formed 
as progressive ideas (Pogačnik, 1981, 148–149). At the time, the literature formed an 
important link between memory and identity due to the understanding of the past, and 
the most concise form was found in literary plots and myths (Neumann, 2008, 334–335).
II.
The Paštrovići cover a coastal area in Montenegro between Budva and Bar 
(Vukmanović, 2002, 5–7). In historical sources, they are mentioned for the first time in the 
mid-14th century. Following the death of Montenegrin ruler Balša III Balšić in 1421, the 
Paštrovići became part of the Serbian Despotate. That is when the battle between Serbia’s 
Despot Stefan Lazarević and Venice over Montenegro’s coastal region began. On the 
Fig. 1: Stjepan Mitrov Ljubiša (Wikipedia).
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other hand, the Ottomans started breaking into Montenegrin coastal areas. The Paštrovići, 
between Serbian Despotate and the Ottomans, opted for Venice (Božić, 1979, 105–115). 
In 1423, representatives of the municipality of Paštrovići concluded an agreement with the 
Venetians, recognizing the sovereignty, and they became a part of its southernmost region, 
Venetian Albania. The Paštrovići promised their new rulers a free service in war and any 
other work in the territory from Bar to Kotor and their surroundings. On the other hand, 
the Venetians guaranteed internal self-government, rights, and borders. For products from 
Paštrovići, no customs duties would be charged in Venice or other Venetian regions. The 
contract was formally made legal by the Doge of Venice, Francesco Foscari, in 1424. The 
alliance with the Venetians was to protect the Paštrovići from the Ottomans (Čoralić, 2011, 
1–2). Venice ruled over the Paštrovići until 1797. That year, the Austrians took over the 
Paštrovići, and from 1807 to 1813, the Paštrovići were under Napoleon’s rule. From the 
end of 1813 to June 1814, they were under the rule of Montenegro. At the request of the 
Russian Emperor Alexander I, Montenegrins ceded the Paštrovići and the Boka to Austria, 
which remained under its rule until 1918 (Vukmanović, 2002, 250–251). 
The Paštrovići were interested in participating in the foundation of the Montenegrin 
state, but the economic and political elite was not developed in the second half of 
the 19th century. Residents of the Montenegrin coastal region in the 14th and 15th 
centuries had economic ties with Dubrovnik and Venice. Trade exchange was very 
important for the living of the population. The surplus of agricultural and artisan prod-
ucts was sold. Merchants from the Montenegrin coast traded mainly salt, oil, wine, 
and fabrics (Premović, 2018, 880–882). At the end of the 15th century, the Venetians 
imposed customs duties on the Paštrovići to protect their own products. For that reason, 
in 1481, the Paštrovići sent emissaries to Venice to complain about the violation of 
the agreement made in 1423. The Venetians again accepted their pleas and requests 
for the abolition of customs. In the 16th century, the trade was revived. Trade was 
very important for the Paštrovići because it was their primary source of sustenance. 
In the late 16th and 17th century, attempts were made to introduce the tax, but the 
Paštrovići successfully resisted. This is the historical foundation of the motif in the 
tale of Kanjoš Macedonović, the long struggle of the Paštrovići tribe to trade freely in 
Venetian markets, free from duties (Čađenović, 1972, 167–168). That is the reason why 
Ljubiša chose a true rebel trader as a constituent myth. Ljubiša uses memory to point to 
general relations in the past and present in a specific socio-cultural context. A culture of 
protecting the memory from oblivion is very important, as it shapes the identity as well 
as the attitude to history (Ifversen, 2010, 452–454). 
The formation of modern nations was part of a movement that covered most of 
Europe in the 18th and 19th century. The political, economic and cultural movements 
of national identities were then shaped. The tale shows Montenegro’s identity through 
its interpretation in the present. The story’s central event is a duel with giant Furlan. 
Kanjoš Macedonović coincides with the Slovenian myth of Fran Levstik Martin 
Krpan and belongs to the antemurale category (Darovec, 2014, 271). The myth from 
the past presents the memory of ancient times and explains the present. It is an ex-
traordinary way of exploring collective memories, mindset, and social relationships 
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(Tamm, 2013, 463). The history of the Paštrovići autonomy under Venice is a part 
of the cultural memory. The tale of Kanjoš and Furlan relates to the mnemohistory 
concept, which implies that they remember the past, and those events are remembered 
as important facts (Assmann, 2011, 15–33). It was the free trade that had left a strong 
mark on the collective memory, which can be followed in Slavic folk literature, thus 
presenting the historical and literary basis for the tale of Kanjoš Macedonović. The 
concept of cultural memory is part of a continuous process where memories focus 
on specific items (Cubitt, 2019, 139), in this case, free trade. Ljubiša’s selection of 
Kanjoš for the protagonist reflects a specific attitude toward the Montenegrin nation, 
and the following are identified in him: trader, rebel, a fighter for the Paštrovići tribe, 
and saviour of the community from the Venetians. In any case, the selection of a 
trader as the main character points out the specificities in shaping the Montenegrin 
nation in the folk tale of Kanjoš (Pogačnik, 1981, 145, 148–149). Through this tale, 
Ljubiša provides a source and purpose of identity in the Paštrovići and Montenegrins’ 
fight for independence in the process of national awakening and autonomy of the 
Balkans peoples. 
III.
The plot of the tale Kanjoš Macedonović was set in the 15th century, but political 
circumstances actually refer to the 1870s, in fact, the Ottoman wars, from the viewpoint 
of small heroes fighting for life and despising death. Ljubiša was a supporter of the school 
of thought of Vuk Stefanović Karadžić as regards collection of folk legends and tales 
(Čelebić, 2019, 95–99, 135–149, rem. 69). In his tale of Kanjoš, the author points out that 
almost every member of the Paštrovići tribe knows it. The story is relatively simple: the 
Paštrovići trader Kanjoš Macedonović leaves for Venice with a boat full of oil, wine, tal-
low, and socks to trade with the Venetians, hoping that they would not make any trouble 
for him and that they would respect the agreement and peace they had made. Kanjoš 
is an illustration of the medieval trader and his trade in produce from the Montenegrin 
coast. However, he faces numerous obstacles, trickery, difficulties selling goods. On the 
other hand, the Venetians want to charge duties on his goods. Kanjoš is trying to resolve 
things with the Venetian administration, and that is when his drifting around the offices 
and the courts began, waiting endlessly at many closed doors. The Venetians despise him, 
underestimate his qualities and values. A bald lawyer shuts the door in front of his face 
saying that he knows more when he’s sleeping than Kanjoš when he’s awake, in a desire to 
belittle him. The Venice administration was portrayed negatively, as slow and inefficient 
with at least one specific outer marker. Those are people bald, lame, short-sighted, with 
ridiculous posture, walk, and suits. They despise, refuse, and deceive a man who is in 
trouble. Kanjoš would wait for a few hours for the reception only to be told to come 
one or two days later.  Deeply disappointed with the Venetians’ behaviour, he decided to 
withdraw and stop trading (Ljubiša & Lestvik, 1954, 17–21).
At the same time, another fatal and disturbing situation was happening in Venice, 
shaking the entire Republic. A fearless warrior named Furlan came from the Province 
of Friuli, challenging the Dodge of Venice to a duel or surrender. The Dodge was 
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an older man and was unable to find a brave deputy. Kanjoš heard that from a man 
from Brčko at the tavern where he had lunch. The member of the Paštrovići tribe 
said he would be willing to accept the duel with Furlan. This information reached 
the Venetian administration, which called him the following morning for a reception. 
Kanjoš made fun of the false heroism of the Venetian people, emphasising to the 
Venetian administration that there were hundreds of brave young men in his country 
who could easily defeat the giant. For such a statement, Kanjoš was called to appear 
before the Dodge. The hero is short, unappealing, and weak, thus giving Ljubiša the 
opportunity to create a series of interesting scenes. During the reception at the Dodge 
and Venetian nobility, Kanjoš is bothered by his height, so as he talks about it, he 
sighs: “Alas, if only I had been taller!” The Venetian lords then became more inter-
ested in his clothes than his personality and heroic deeds. He was unhappy with the 
fact that he could not represent his people with his physique as much as he could with 
his speech (Ljubiša & Lestvik, 1954, 22–24; Čađenović, 1972, 171–173). The Dodge 
asked Kanjoš to bring a brave warrior from his country. He got tempting promises 
Fig. 2: Kanjoš at the reception at the Venetian administra-
tion (illustrated by Albert Kinert, in Ljubiša, 1950s, 13).
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and free trade offers from the Dodge. That motivated him to return to his tribe and 
find someone to confront Furlan instead of the Dodge. Pleased, Kanjoš returned to the 
Paštrovići to give them the Dodge’s message at the assembly of all adult Paštrovići. 
The Assembly of Paštrovići took place at Drobni Pijesak and that was the site where 
they made decisions on all important matters. At the assembly, Kanjoš informed the 
members of his tribe about the situation that had befallen the Venetian Republic, and 
that it was looking for their hero. The Paštrovići negotiated about whom to send to 
Venice to defend their honour and save face. The Assembly decided to send Kanjoš to 
the duel with Furlan. Kanjoš admitted he was unable to go because he was short. The 
members of the Assembly told him: “If it cuts you down, we will send back a taller 
one [...] If you die, we will mourn you wonderfully, and every one of us, when we 
come to Venice, will visit your grave” (Ljubiša & Lestvik, 1954, 26–27).
Kanjoš’s short stature and physical weakness did not inspire confidence in the 
Venetian noblemen. The Dodge made the following comment on Kanjoš: “This one 
is as frail as a twig, not fit for a duel.” Ljubiša uses death in the language to chan-
nel and motivate Kanjoš’s response: “The great and powerful went to the great and 
powerful, and you were quite lucky to get me.” That is the essence of Ljubiša’s 
Fig. 3: Drobni Prijesak, place where the Paštrović held meetings of their assemblies 
(Wikipedia).
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writing Kanjoš Macedonović, to show the Venetians through ridicule and scorn. No 
one among the Venetians believed Kanjoš would be able to defeat the fierce giant 
Furlan. Ljubiša portrays Venetians as liars, hypocrites, arrogant, plain cowards who 
let another man fight for their interests. Kanjoš left for the island in a boat. His 
internal monologue shows the turmoil in his mind, disappointment when he realised 
that he was risking his life for “the fearful and pompous scoundrels […] if I had only 
sat at home like a gentleman.” When he found out that Kanjoš was his adversary 
and came to the island as the Dodge’s representative, Furlan thought he was joking. 
Kanjoš answered “You’ll quickly get to know me but let’s cross our swords; I’ve got 
no time to waste.” Kanjoš surprised Furlan by pushing his boat adrift because only 
one would be needed. He turned an unfavourable situation to his advantage and ex-
pressed his self-confidence in this way (Ljubiša & Lestvik, 1954, 28–29). He turned 
a duel into a negotiation process. That is David and Goliath’s fight. The negotiations 
Fig. 4: Kanjoš Macedonović (illustration taken from the title page from 
the book: Jože, 1967).
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between Kanjoš and Furlan reflect the long negotiating experience of Stjepan Mitrov 
Ljubiša during the Reichsrat sessions. Kanjoš fought with a sword, but perhaps even 
more with his tongue. Kanjoš won the duel because he turned Furlan so that the sun 
glared into his eyes. He was speaking as he was wielding a sword; he was speaking 
at the moment of killing Furlan, which makes him a bloodthirsty humourist (Jelušić, 
1997, 1120–1125; Jelušić, 2005, 197–203). He took advantage of the laws of nature 
and used his wisdom to defeat the enemy. By defeating a much stronger enemy, 
Kanjoš proved that a smart man of a strong spirit, with ideals and faith in himself, can 
compensate all the physical shortcomings with his skill and wisdom. Kanjoš’s duel 
with Furlan shows his ingenuity, resourcefulness, shrewdness and rhetorical ability 
to hide his fear with “great” words and self-confident posture. He surprised himself 
as well as others and marked his name with superior ethical traits. The tale of Martin 
Krpan who planted basswood bludgeon to Brdavs (Ljubiša & Levstik, 1954, 4–7; 
Pogačnik, 1981, 142–143; Darovec, 2014, 273–274). Both examples are interesting 
expressions of skill and spirit.
The winner of the duel, Kanjoš, wants for his prize nothing more than a charter al-
lowing him and the Paštrovići to trade freely. The fight for trade shows a long-standing 
tradition of exchanging all kinds of goods between the population on the eastern side 
of the Adriatic and Venice. Trade represented the continuity of the Paštrovići life as 
an essential component of life, as well as community, survival and acquiring wealth. 
The most important thing is a myth created by an invincible merchant, a Paštrovići 
farmer, with his victory over notorious Furlan. The tale also reflects Ljubiša’s traits, 
as he was a statesman and a diplomat. He had both trading and negotiation skills. 
Kanjoš fulfilled the will of the Paštrovići because he was ethically devoted to them. 
He brought Furlan’s ring and sword as a gift to the Dodge, and the Venetian dignitar-
ies organised a ceremony at St. Mark’s Church in his honour. After that success, the 
Dodge rewarded him with a chest full of gold, which he refused with an explanation 
that they should put more in the chest than take out, and then he put his own ducat 
into it. He thus proved that he did not care for the treasure and that all he wanted was 
honouring agreements and promises. Then the Dodge offers his daughter’s hand in 
marriage (Ljubiša & Levstik, 1954, 30–32), but, like Martin Krpan, Kanjoš refuses 
the Princess’s hand in marriage (Darovec, 2014, 288). He stated that it was their 
custom to marry women of their own tribe. The hero sees that in Venice, the world 
is based on power and money, not on honour and integrity, as in Montenegro, and 
acts contrary to the expectations of the Venetians. He thus emphasizes his honour 
and dignity, for his life has no price, nor can it be paid for. In addition to chivalry, 
Ljubiša highlighted the ethical virtues of Montenegrins. Namely, the story ends with 
Kanjoš’s only wish fulfilled: gaining free trade privileges. As a reward, he will accept 
that the Venetians do not charge duties to Paštrovići and that the coast is named 
Slavic. Kanjoš expresses the sacrifice of the Paštrovići in relation to the Venetians, 
which was still vivid in the collective memory. Kanjoš’s world is honesty, honour and 
humanity, and it should be the foundation of every society; without them no nation 
can successfully develop. In the epilogue of this tale, it was noted that the Venetians 
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failed to respect the agreement and that they were again making trade difficult, as 
before (Ljubiša & Levstik, 1954, 4–7, 30–32; Pogačnik, 1981, 149–151). In the end, 
the narrator emphasizes that the Venetians ended up as they deserved, which is an 
allusion to the downfall of the Venetian empire. 
IV.
Cultural memory is an ability that allows us to create an identity about ourselves 
(Assmann, 2008, 109); in this case, it is linked to a literary story from the 15th century. 
The characteristic of literary works is metaphor and symbolism for establishing indi-
vidual national myths, creating the impression of the authenticity and eternity of a hero 
Fig. 5: Duel of Kanjoš and Furlan (the title page from the book illustrated by Albert 
Kinert, in Ljubiša, 1950s).
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(national) of economic activity in the chosen national territory. The success of the story 
is undoubtedly rooted in the fact that the author’s starting point was the mindset of the 
Montenegrin nation, the historical reality, and the collective memory of the Paštrovići 
(Pogačnik, 1981, 151–153). The tale created a hero, as culture code of the small tribe of 
Paštrovići and the Montenegrin people. Its struggle for survival expresses authenticity, 
embedded in the major cultural flows (Jovanović, 2016, 353). 
With the tale of Kanjoš, Ljubiša also presented the life of the Paštrovići during the 
Venetian rule.2 The Paštrovići were willing to sacrifice “small” Kanjoš for the great 
Venetian state. Kanjoš’s sacrifice on behalf of his tribe was needed as a memory of the 
new national Montenegrin state that was being established at the time. The cultural 
memory in a tale actively contributes to shaping history and is an important factor of 
perception that influences human activity (Cubitt, 2019, 129, 142). The tale evokes 
memories of the heroic and ethical traits of the national history of the Paštrovići. The 
identity of the Paštrovići and Montenegrins is presented through the tension in the 
duel and victory.3 The nation needs a usable past to create a community’s history and 
destiny. The cultural memory is equally referring to the past and the future, how to 
perceive the present better, make sense of it, and determine its place between the past 
and the future (Kuljić, 2006, 35, 237).
Kanjoš’s story is a dynamic one, coloured by humour, comedy at one moment, 
and irony and bitterness at another (Đurović, 2001). Kanjoš is an exponent of tribal 
will and instrument of Venetian policy, while heroism belongs to the entire Paštrovići 
tribe. Kanjoš sends a message: if one wants to win the fight, physical strength is 
not enough; one has to faith in oneself, one’s ideals, strong will, determination, and 
strong spirit, all that Macedonović had (Čađenović, 2001). The myth of Kanjoš is a 
heroic symbol of the long resistance of the Paštrovići under the rule of the Venetian 
Republic as well as the powerful instrument of social and political mobilization.4 On 
the other hand, the continuity myth (ethnic and heroic) was an important historical 
mainstay for the creation of new Balkan states (Kuljić, 2006, 170). The task of the 
literary tales of Kanjoš Macedonović and Martin Krpan was the national awakening 
and nation-building (Darovec, 2014). The myth of Kanjoš was an important aspect 
of the self-determination of Montenegrins and influenced the creation of a heroic 
spirit. In the political struggle of Montenegrins for independence, 1876–1878 and 
2006, this tale suggested that the faith in oneself and one’s ideals, shrewdness, and 
resourcefulness can help to win various battles fought to preserve one’s ethnic origin. 
The element of heroic struggle and honour is essential: just as Kanjoš fought for 
his people and the benefit of all, so should the nation fight for its freedom and self-
determination.
2 See more about cultural memory in the past and present: Straub, 2008, 215–227; Wertsch, 2012, 173–185.
3 For literary texts and their effects on cultural memory please cf. Assmann, 1995; Neumann, 2008, 333–342.
4 Cf. example: Balkelis, 2008, 111–145.
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TRGOVEC KANJOŠ MACEDONOVIĆ 
KOT ČRNOGORSKI NACIONALNI MIT
Marijan PREMOVIĆ
Univerza v Črni Gori, Filozofska fakulteta, Oddelek za zgodovino, Danila Bojovića bb, 81400 Nikšić, Črna Gora
e-mail: marijanp@ucg.ac.me
POVZETEK
Prispevek obravnava zgodbo črnogorskega pisatelja Stjepana Mitrova Ljubi-
še (1822–1878) o Kanjošu Macedonoviću (1870). Pripoved o Kanjošu je znano 
leposlovno besedilo o junakovem obisku Benetk v 15. stoletju, ki ponuja številne 
možnosti za zgodovinske, humanistične in interdisciplinarne interpretacije. V duhu 
političnih dogodkov v drugi polovici 19. stoletja je Ljubiša ustvaril narodnega in 
literarnega junaka, ki je služil kot izhodišče za književno ustvarjanje in narodni 
boj. Značaj osrednjega lika njegove zgodbe je zrcalil svojskost črnogorskega 
izročila in naroda v tistem obdobju. Kanjoš Macedonović je bil pripadnik klana 
Paštrovićev, ki je bil med letoma 1423 in 1797 pod beneško vladavino. Z dogovo-
rom, sklenjenim v Benetkah leta 1423, so bile Paštrovićem obljubljene pravice do 
prostega trgovanja v Benetkah in deželah pod beneško oblastjo. Kanjoš je zgodba 
o srednjeveškem trgovcu in njegovem trgovanju v Benetkah, ki se prične z beneško 
kršitvijo dogovora iz leta 1423 in zahtevo, da Kanjoš za blago, s katerim trguje, 
plača carino. Njegovi poskusi, da bi zaplet uredil pri beneški upravi, se izrodijo 
v romanje od enega urada in sodišča do drugega in čakanje pred številnimi zapr-
timi vrati. Nato se v Benetkah pojavi velikan Furlan in izzove beneškega doža na 
dvoboj. S Kanješevo izjavo, da je v njegovi domovini na stotine pogumnih mladih 
mož, ki bi zlahka premagali velikana, v zgodbi nastopi preobrat. Beneški dož prosi 
Kanjoša, naj pripelje nekoga iz Paštrovićev, da se bo boril s Furlanom, in mu 
v zameno obljubi trgovske privilegije. Skupščina Paštrovićev v Drobnom Pijesku 
soglasno izbere Kanjoša za svojega zastopnika. Kanjoš je neuglednega videza, 
drobne in šibke postave, kar Ljubiši omogoči ustvarjanje niza zanimivih prizorov. 
Z nizko postavo in telesno šibkostjo Kanjoš med beneškimi plemiči sprva ne vzbuja 
zaupanja, vendar se v dvoboju z velikanom Furlanom izkaže za iznajdljivega, 
domiselnega in premišljenega nasprotnika, predvsem pa odličnega retorika, ki z 
»velikimi« besedami in samozavestno držo spretno prikriva svoj strah. Gre za bitko 
med Davidom in Goljatom v fizičnem smislu. Kanjoš je izkoristil naravne zakone 
in z modrostjo premagal veliko močnejšega sovražnika. Ljubiša je z napetostjo in 
zmago v njunem dvoboju izrazil značaj Paštrovićev in Črnogorcev. Kanjoš dokaže, 
da pameten človek odločnega duha, ki zaupa vase, lahko telesno šibkost nadoknadi 
s spretnostjo in modrostjo. Protagonist prinese Furlanov prstan in meč kot darilo 
dožu. Za uspeh ga dož želi nagraditi s skrinjo zlata, vendar jo Kanjoš zavrne. 
Prav tako zavrne poroko s princeso, ki mu jo ponudijo. Zgodba se konča z izpol-
nitvijo njegove edine želje: da bi za celotni klan Paštrovićev pridobil privilegije 
prostega trgovanja. Trgovina je za Paštroviće in vso njihovo skupnost predstavljala 
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pomemben element v življenju, možnost preživetja in povečevanja premoženja. Ob 
koncu zgodbe je izpostavljeno, da se Benečani dogovora niso držali in so trgovanje, 
kot že poprej, vnovič otežili. Največji pomen zgodbe pa je v izoblikovanju mita o 
nepremagljivem trgovcu, kmeta iz Paštrovićev, ki je porazil zloglasnega Furlana. V 
političnem boju Črnogorcev za neodvisnost, med letoma 1876‒1878 in znova leta 
2006, je bila zgodba o Kanjošu nosilec sporočila, da je z vero vase in v svoje ideale, 
s preudarnostjo in iznajdljivostjo mogoče doseči zmago v boju za ohranitev lastne 
etnične identitete. Prvini junaškega boja in časti sta tu bistvenega pomena: tako kot 
se je Kanjoš boril za svoj klan in za dobrobit vseh, tako naj bi se črnogorski narod 
boril za svobodo in pravico do samoodločbe.
Ključne besede: Kanjoš Macedonović, nacionalni mit, Benetke, Paštrovići, Črna gora  
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