It remains to speak of the moral character of Slavic popular poetry.  If, in respect to its decency, we may judge from the printed collections, we must be struck with the purity of manners among the Slavic nations, and the unpollutedness of their imagination.  Hacquet, speaking of the Slovenzi or Vindes, the Slavic inhabitants of Carniola, states, that the songs with which they accompany their dances are often indecent[16].  But there is little dependence to be placed on judgments of this description.  Sometimes expressions and ideas are rashly called indecent, which only differ from the conventional forms of decency without really violating its laws.  Hacquet moreover only half understood those songs of the Slovenzi.  We will at least not condemn them without having seen them.  Among the Russian songs, there are some of a certain wanton and equivocal character, displaying with perfect naivete a scarcely half-veiled sensuality.  The boldness, with which these songs are sung in chorus by young peasant women, has often excited the astonishment of foreigners.  The number of ballads of this description, however, so far as we are informed, is not considerable; and the character of Russian love-ballads in general is pure and chaste.  As for the Servians, they have in fact a great multitude of songs of a very marked levity and frivolity; and Goethe, when these first appeared in the German version of Gerhardt, could not help finding it remarkable, that two nations, one half-barbarous, the other the most practised of all, (die durchgeuebteste, meaning the French,) should meet together on the step of frivolous lyric poetry[17].  But these Servian songs are pure in comparison with many Grub-Street ballads and German Zotenlieder.  The spirit of roguery and joviality, which prevails in them all, proves that they are more the overflowings of wild and unrestrained youth, than the fruits of dissoluteness of manners.  They are often coarse, but never vulgar; they are indelicate, but they are not impudent.  At any rate, we never meet in them that confounding of virtuous and vicious feelings, which has so often struck us painfully even in the best Scotch and German ballads.  We refer the reader here to our previous remarks on the measure of right and wrong, to be applied in our judgment of nations foreign to us in habits and pursuits.  The heroes of the Servian epics are always represented as virtuous, often to harshness.  Marko Kralyewitch is always ready to punish young women for any trespass against female modesty, by severing their heads from their shoulders; and even to his own bride, when he thinks her too obliging towards himself, he applies the most ignominious names, and threatens her with the sword.