Robert Elsie
Anthology of modern Albanian poetry
An Elusive eagle soars
Edited and translated with an introduction by Robert Elsie
UNESCO Collection of Representative Works
European Series
ISBN 1-85610-017-0
Forest Books, London & Boston 1993
213 pp.
CONTENTS
- Introduction
- Lasgush PORADECI
Pogradec
Morning
End of autumn
Winter
- MIGJENI
Preface of prefaces
The sons of the new age
Songs unsung
Poem of poverty
Blasphemy
Broken melody
Song of noble grief
The lost rhyme
Autumn on parade
Scandalous song
Resignation
Fragment
New spirit
The themes
The weight of destiny
Song of the West
- Esad MEKULI
Longing for the unobtainable
Turk, elhamdulila
Is it the Albanians fault?
- Martin CAMAJ
My land
To a modern poet
The old deer
Mountain feast
First elegy
- Fatos ARAPI
On the shoulders of my times
If I die young...
Life
I dived into the waters of the Ionian Sea
Do not hate me
The workers
Sultan Murat and the Albanian
- Dritëro AGOLLI
The cynics monologue
The petty bourgeoisie
The heart
The cow
The vineyard
The foundations
First nostalgia
In the ancient city
A couple of words to poets to come
Work
- Vorea UJKO
Arbëresh moment
Arbëresh song - X
You are beautiful
Three maidens
Music
- Din MEHMETI
The light still blazes
Olympus
Dialogue with the lake
- Dhori QIRIAZI
Oh, first love
The leafy acacias are disrobing
I have noticed...
- Fahredin GUNGA
The wave
The porter
- Ismail KADARE
Poetry
Childhood
And when my memory
Longing for Albania
The cataracts
The old cinema
Train timetables
Requiem for Mayakovski
What are these mountains thinking about
- Azem SHKRELI
At Saint Naums
Mass
Over Europe
Tale about us
Portrait
Rugovë
- Rrahman DEDAJ
Our word
When... 2
Obstinate verse
Between
The dog
- Ali PODRIMJA
Ghazal
The unknown
Go back to Homers verse
Rain in a legend
The black cat
The illness of my family
Requiem
The day of the butterflies
Between two ages
Ballad of man
The stolen flame
And you dead
It is the Albanians fault
- Xhevahir SPAHIU
History
For you
The eagle
To be with you
Sunday taxis
The foxes
Our history
- Agim VINCA
Becoming a poet
Biography of the root
Albanian rhapsodies
Psalm for Saint Naum
Ballad of the Dry Mountain
The names
My dead
The hounds of Sodom
- Eqrem BASHA
Introduction to the meaning of a solitude
Silence
Perpetuum mobile
Road with an end
Surrogate
- Natasha LAKO
A womans monologue
The leaves fall every autumn
Insomnia
At night, after threshing
Albania
I shall write a poem about the doorstep
The grave of Paul Eluard
Oh, what new verdure
- Bardhyl LONDO
The monuments
Çajupi
Who are you?
Migjeni
Lasgush Poradeci
The poets last request
Chronicle of a love affair
Whenever
Ithaca
Morning on the Acropolis
Feelings in search of Homer in Athens at midnight
Meeting with Leonidas
Only Ithaca remains
- Moikom ZEQO
For Gabriel García Márquez
The double
Anna Comnena
Antigonia
On my elderly aunt
- Sabri HAMITI
Blindness
The death of young Don Quixote
George Castrioti
- Rudolf MARKU
Caligulas horse
In memory of my mother
Arithmetic
- Visar ZHITI
The arrival of Pegasus in my cell
The warbling of moments
In our cells
Moments
Love
Epilogue (of which time makes a preface)
Bloody lips
- Mimoza AHMETI
Song
Rhetorical question for Comrade X
Paper
It would be awful
Outside and inside me
Extinction
- Selected Bibliography
INTRODUCTION
Two hundred years ago, Edward Gibbon
described Albania as a land within sight of Italy and less known
than the interior of America. The spirit of this quotation has
lost surprisingly little of its validity over the last two centuries.
Albania, bordering on Greece and what has been Yugoslavia, and
less than one hundred kilometres from the southern Italian coast
has until very recently been no better known to most Europeans
than Tibet or Timbuctu.
The Albanians are probably among the
oldest inhabitants of southeastern Europe, claiming descent from
the ancient Illyrians, although due to the lack of linguistic
records the exact strength of the Illyrian element in Albania
is difficult to determine. Fathoming the genesis of a people
is particularly difficult in the Balkan peninsula, which has
baffled scholars from Herodotus to recent generations of history
students trying to sort out the Balkan wars.
The Albanian language
The Albanian language, now spoken by
about six million people in the Balkans, is divided into two
basic dialect groups: Geg (or Gheg) in the north and Tosk in
the south. The Shkumbin river in central Albania, flowing past
Elbasan into the Adriatic, forms the approximate border between
the two dialect groups. The Geg dialect group is characterized
by the presence of nasal vowels, by the retention of the older
n for Tosk r (e.g. venë wine for Tosk
verë, Shqypnia Albania for Tosk
Shqipëria) and by several distinct morphological
features. The modern literary language (gjuha letrare),
agreed upon, though not without political pressure, in 1972,
is a combination of the two dialects groups, but based - about
80% on Tosk. It is now a widely-accepted standard both in Albania,
Kosovo and Macedonia.
In addition to three million speakers
in Albania itself, the Albanian language is also spoken by two
to three million individuals in what was once Yugoslavia, where
it is second only to Serbo-Croatian. The Albanian population
is to be found primarily in Kosovo (Alb. Kosova) with
its capital Prishtinë. With the disintegration of Yugoslavia,
the people of the once autonomous region proclaimed the Republic
of Kosovo, though they are still de facto under harsh Serbian
political and military control. In Kosovo, the Albanians now
make up about 90% of the population, the other ca. 10% being
primarily Serbian and Turkish speakers. The three languages were
until recently all officially recognized and in full use in every
sphere of life in the politically and economically troubled region.
The mother tongue of most Kosovo Albanians is the northeastern
Geg dialect referred to above, though virtually all publications
here, as in Albania, are now in standard literary Albanian. Radio
and television broadcasting and schooling from kindergarten to
university also took place in standard literary Albanian until
the Serbian military takeover put an end to all broadcasting.
The Albanians have an extremely high birthrate and their proportion
of the population in Kosovo and in Macedonia is increasing year
by year. The southern Republic of Macedonia has an Albanian-speaking
minority of at least a quarter of the total population. Skopje
(Alb. Shkup) which, much to the distress of the Macedonians,
is ironically said to have the largest Albanian population of
any city on earth, serves as a secondary centre for Albanian
publishing and culture, though it is far less important than
Prishtinë itself, which can now vie with Tiranë in
every way as a focal point of Albanian literary and cultural
activity and as a publishing centre for Albanian literature.
A substantial minority of Albanian speakers (ca. 10%) is also
to be found in Montenegro, mostly along the Albanian border,
e.g. in the regions of Guci and Plavë in the mountains,
Tuz south of Podgorica (Titograd) and Ulcinj on the southern
Yugoslav coast. There are, in addition, Albanian speakers throughout
southern Serbia and indeed in virtually all other regions of
the disintegrating Yugoslav federation, many of whom having fled
from the economically destitute Kosovo region to the more affluent
northern republics (Croatia and Slovenia) in search of freedom,
jobs and a better standard of living. Numerous Kosovo Albanians
are also to be found among the migrant workers of western Europe,
in particular in Switzerland and in Germany.
A surprise to many is the existence of
an Albanian minority in southern Italy, the so-called Arbëresh.
They are the descendants of refugees who fled Albania after the
death of Scanderbeg in 1468. Due to a more favourable social
and political environment than that existing in the Balkans,
the Arbëresh were able to make a decisive contribution to
the evolution of Albanian literature and to the nationalist movement
in the nineteenth century. Older Albanian literature is indeed
to a large extent Arbëresh literature. As a linguistic minority,
the Arbëresh now consist of about 90,000 speakers, most
of whom live in the mountain villages of Cosenza in Calabria
and in the vicinity of Palermo in Sicily. Their language, which
still does not benefit from the official status accorded to other
national minorities in Italy (German, French, Slovenian etc.)
is moribund due to the strong cultural influence of Italian and
to economic emigration. It is extremely archaic and differs substantially
from the Albanian now spoken in the Balkans. Communication is
difficult if Arbëresh speakers are not familiar with standard
literary Albanian.
In Greece, the sizeable stratum of Albanians
who populated much of central and southern Greece in the Middle
Ages has been largely assimilated. The Albanian language there,
known in Greek as Arvanitika, can nonetheless still be
heard in about 320 villages, primarily those of Boeotia (especially
around Levadhia), southern Euboea, Attica, Corinth and the Peloponnese,
and northern Andros. No official statistics exist as to the number
of speakers since the language does not enjoy any official status.
Arvanitika, which is dying out rapidly, is thought to
be the most archaic form of Albanian spoken today.
A large Albanian community still exists
in Turkey (Istanbul and elsewhere). The ranks of these Turkish
Albanians were swelled by an estimated 230,000 Yugoslav Albanians
who were unjustly expelled from their native land between 1953
and 1966 and forced to emigrate to Turkey.
Finally, Albanian speakers in varying
numbers are to be encountered in countries of immigration such
as the United States (Boston, New York, Detroit), Australia,
Canada and Argentina.
Albanian literature
Compared to the other national languages
of Europe, Albanian does not enjoy a long literary tradition.
In fact, it was the last national language of Europe to be recorded.
Nor has the establishment of a literary culture in Albania ever
been an easy task, though not for want of artistic endeavour
and creative impulses. All too often the tempestuous course of
Albanian history has nipped the flowers of Albanian literature
in the bud and severed the roots of intellectual culture.
Early Albanian literature of the sixteenth
and seventeenth centuries with its primarily religious focus
(biblical translations and devotional texts), beginning with
the Missal of Gjon Buzuku in 1555, might have provided
a foundation for literary creativity in the age of the Counter-Reformation
under the somewhat ambiguous patronage of the Catholic church,
had not the banners of Islam soon been unfurled on the eastern
horizons and tiny Albania been destined to bear the full brunt
of the Turkish invasion. The Ottoman colonization of Albania
which had begun as early as 1385 was to split the country into
three spheres of culture, all virtually independent of one another:
(1) the cosmopolitan traditions of the Islamic Orient using initially
Turkish, Persian and Arabic as their media of literary expression
and later Albanian in a stylized Aljamiado literature, the so-called
poetry of the Bejtexhinj, (2) the lingering Byzantine
heritage of Greek Orthodoxy in southern Albania which produced
a number of religious and scholarly works in Greek script in
the 18th century, and (3) the awakening culture and literature
of the Arbëresh (Italo-Albanians) in southern Italy, nourished
by a more favourable social, political and economic climate and
by the fertile intellectual soil of Italian civilization.
The stable foundations of an Albanian
national literature were finally laid in the second half of the
nineteenth century with the rise of the nationalist movement
striving for independence from a decaying Ottoman Empire. The
literature of this so-called Rilindja period of national
awakening was one of romantic nationalism and provides an excellent
key to an understanding of the Albanian mentality even today.
As so often in the history of Albanian literature, writing in
Albanian, by its very existence, constituted an act of defiance
against the foreign powers ruling the country or dominating it
culturally. Indeed, the Sublime Porte rightly regarded most Albanian
cultural and educational activity as subversive, and as such,
saw fit to ban Albanian-language schools and the publication
of all books and periodicals in Albanian. With no access to education
in their own language, only a small minority of Albanians could
hope to break through the barriers to intellectual thought and
literary creativity.
At the beginning of the twentieth century,
the Catholic education facilities set up by the Jesuits and Franciscans
in Shkodër (Scutari) under the auspices of the Kultusprotektorat
paved the way for the creation of an intellectual elite in Albania
which in turn produced the rudiments of a more sophisticated
literature that expressed itself primarily in verse. The culmination
of Albanian literature before the Second World War can be seen
in the works of the talented Franciscan pater Gjergj Fishta (1871-1940),
once lauded as the national poet of Albania, though from 1945
to 1990, for reasons more political than literary, he was ostracized
from the Albanian Parnassus.
The flourishing literature of pre-war
Albania was swept away by the political revolution which took
place in the country during and after the Second World War, to
be replaced by a radically proletarian and socialist literature
in its infancy. This literature was to remain undeveloped, however,
since the terror exerted upon writers and intellectuals by the
Stalinist regime which came to power in 1944 created a cultural
vacuum that lasted for over two decades. The results of this
period of fear and stagnation can still be felt today.
With the coming to power of the communists
led by Enver Hoxha (1908-1985), substantial efforts were nonetheless
made for the first time to provide the broad masses of the population
with basic education. The post-war mass literacy campaign which
was concluded fairly recently, constituted a revolution in itself,
and paved the way for a real national literature that could encompass
all strata of society. In order to appreciate the reasons for
the comparatively late blossoming of a written literature in
Albania, one must also keep in mind the fact that up to the not
so distant 1950s, eighty percent of the population of the country,
including virtually all the women, were de facto illiterate.
The twentieth century arrived late in Albania.
Poetry has always been the élan
vital of Albanian literature; original prose is a newer genre,
and professional theatre, the prerogative of an urban society,
was virtually unknown in Albania until recent times. The earliest
recorded poem in Albanian, written by the Sicilian cleric Luca
Matranga (Alb. Lekë Matrënga), dates from 1592.
With the exception of Pjetër Budi (1566-1622), an interest
in verse among other early Christian authors remained sporadic.
The Moslem culture of seventeenth and eighteenth century Albania
however produced a substantial amount of oriental verse in Albanian,
written in Arabic script, the poetry of the Bejtexhinj,
much of which remains to be discovered. The romantic nationalism
characteristic of verse of the Rilindja period of the
late nineteenth century, when Albania was struggling for its
independence, lasted well into the first decades of the twentieth
century.
Modern Albanian poetry can be said to
date from the 1930s. It begins its course with two poets in particular:
Migjeni (1911-1938) and Lasgush Poradeci (1899-1987). Migjeni
(acronym of Millosh Gjergj Nikolla) from Shkodër, who died
of tuberculosis at the tender age of twenty-six, was one of the
first poets to abandon the long-standing tradition of romantic
nationalism in Albanian verse. His poetry, collected in the slender
volume Free Verse, is characterized by a strong social
ethic, not of pity for the poor, but of outrage against injustice
and oppression. Lasgush Poradeci from the town of Pogradec on
Lake Ohrid, on the other hand, who had very little in common
with his contemporaries - the romantic Asdreni (1872-1947), the
political Fan Noli (1882-1965) or the messianic Migjeni - imbued
Albanian letters with an exotic element of pantheistic mysticism,
introducing what he called the metaphysics of creative harmony.
An eclectic child of his age, Poradeci was and remains one of
the many paradoxes of southeastern European literature. Kosovo
critic Rexhep Qosja notes aptly that he felt like a Romantic,
thought like a Classic, was as solitary and spiritually hermetic
as a Symbolist and as formally precise as a Parnassist. Although
he remained an outsider, his stylistic finesse was decisive in
enriching and diversifying Albanian poetic metres.
Literature of the fifties and early sixties
saw the pervasion in Albania of the doctrine of socialist realism
which encouraged a definite social and political message, not
only in prose but also in verse. The link between literature
and Marxist politics was firmly cemented. In a preface to Anthologie
de la poésie albanaise (Tiranë 1983), conservative
critic Dalan Shapllo defined the mission of poetry in socialist
realism as serving the masses, giving them spiritual sustenance
and emotional satisfaction. It was a mission destined from
the very start to failure. All writers in Albania came under
the critical guidance of the Party of Labour, a surveillance
more attuned to a socialist surrealism. Prose writers were encouraged
to concentrate their creative energies on specific themes such
as the partisan struggle of the national liberation war
and on the building of socialism. Subjects devoid of any redeeming
educational value in Marxist terms were considered alien and
taboo. Socialist realism gave writers the tools with which to
create but, as an absolute value, it allowed them no alternatives.
A turning point came in the stormy year
of 1961 which on the one hand, marked the dramatic political
break with the Soviet Union and thus with Soviet literary models,
and on the other hand witnessed the publication of a number of
trend-setting volumes of verse: Shekulli im (My century)
by Ismail Kadare (1936-), Hapat e mija në asfalt
(My steps on the pavement) by Dritëro Agolli (1931-), and
in the following year Shtigje poetike (Poetic paths) by
Fatos Arapi (1930-). The attempt made by this generation of intellectuals
educated in the eastern bloc to exploit the break with the Soviet
Union in order to broaden the literary horizon led to a vigorous
literary controversy at a meeting of the Albanian Union of Writers
and Artists in Tiranë on 11 July 1961. It pitted writers
of the older generation such as Andrea Varfi (1914-), Luan Qafëzezi
(1922-) and Mark Gurakuqi (1922-1977), who voiced their support
for fixed poetic standards and the solid traditions of Albanian
literature and who opposed new elements such as free verse as
un-Albanian, against a new generation led by Ismail Kadare, Dritëro
Agolli, Fatos Arapi and Dhori Qiriazi (1933-) who favoured a
literary renewal and a broadening of the stylistic and thematic
horizon. The road to renewal was given the green light by Enver
Hoxha himself who saw that the situation was untenable.
Though it constituted no radical change
of course, and no liberalization or political thaw
in the Soviet sense, 1961 set the stage for a quarter of a century
of trial and error, which led to much greater sophistication
in Albanian literature. Despite the terror waged against intellectuals
during Enver Hoxhas 1973 campaign against liberalism and
foreign influences, themes and styles did diversify and more
attention was gradually paid to formal literary criteria and
to the question of individuality. Fortunately, the assigned mission
of the poet was soon combined with enough creativity and talent
to save contemporary Albanian lyrics from the sterile panegyrics
which party dogmatists usually long for.
The Albanian literature of Kosovo was
late to develop. The extreme political divergence between Yugoslavia
and Albania which erupted in 1948 made it evident to Kosovo Albanians
from the start that they could not look to Tiranë for more
than moral support in culture and education. The preservation
and fostering of Albanian culture in Yugoslavia under often hostile
conditions was of necessity to be the concern of Yugoslav Albanians
themselves. The formidable problems posed by widespread illiteracy
and dire poverty among the Albanians in Kosovo, as in Albania,
were compounded substantially by an unwillingness on the part
of the Serbian authorities in Belgrade for many years to give
the Albanians access to education and cultural facilities in
their own language. Full cultural autonomy was first achieved
after much delay under the constitution of 1974, though only
in Kosovo itself. In 1989/1990, however, Kosovo de facto lost
its limited autonomy and freedom and was placed under direct
Serbian military occupation. Immediately after the dissolution
of the Kosovo parliament in the summer of 1990, the only Albanian-language
daily newspaper was banned as was all Albanian radio and television
broadcasting in Kosovo. In the autumn of 1991 teaching at the
University of Prishtinë was suspended with the exception
of classes reserved for the small Serbian minority. The situation
has been particularly dire for Albanian writers and intellectuals
there.
Nonetheless, the rapidly developing literature
of the Kosovo Albanians, though lacking the rich literary traditions
of Slovenian, Serbian and Croatian, can now easily keep pace.
By the next century, the Albanian language will no doubt be the
second most important vehicle of literary expression in what
was once the Yugoslav federation. The modern literature of Kosovo
is just as dynamic as that of Albania proper and, with regard
to the diversity and expressiveness of its poetry, often surpasses
that of the motherland. Without the ideological constraints which
were imposed on literature and culture in Tiranë, the literature
of Kosovo was able to flourish free of dogma. It is thus more
experimental and offers the reader a wider range of styles, subject
matter and ideas.
Is there a poet slumbering in every Albanian?
Publishing statistics would certainly indicate a strong preference
for verse over prose. In Tiranë about 40% of literary publications
over the past few years have been poetry, and in Prishtinë
up to 70%, something quite unimaginable in the rational West.
Albanian literature is young and dynamic,
reflecting a culture quite unique in Europe. But perhaps no European
literature has been so neglected by Western readers, a neglect
fostered by the lack of available translations, the lack of specialists
in Albanian, and over the last half a century by Albanias
political isolation. If Edward Gibbons remark about Albania
is still valid, the real terra incognita is Albanian literature.
The present anthology is but a first
step to introduce Albanian literature to the English-speaking
reader. By including selections from the best known poets of
Albania, of the Albanian population of Kosovo and Macedonia and
of the diaspora, it endeavours to be representative of modern
Albanian verse production as a whole, though it is obvious that
many more volumes would be needed to provide comprehensive coverage
of all modern Albanian literature.
In conclusion, I should like to thank
all those who have helped and encouraged me in this project,
including my friends and colleagues of the Albanian Writers
Union (Tiranë), the University of Prishtinë, the Albanological
Institute (Prishtinë) and the Writers Union of Kosovo
(Prishtinë). Particular thanks also go to Barbara Schultz
(Ottawa) for her excellent assistance with the manuscript.
Robert
Elsie
Olzheim/Eifel, Germany, spring 1992
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