Barleti's work, the main source for the life of Skanderbeg!

By: Feride Papleka

Prominent humanist and historian, Marin Barleti is the first known author and one of the greatest of early Albanian literature. His work "The History of Skanderbeg" was written in Latin and, as F. Pall says, was translated into almost all European languages, because in fact the liberation war of the Arberians, led by Skanderbeg, according to the political opinion of the most clearly of the time, there was a European function, which found expression in the idea of ​​a broad anti-Ottoman front, which remained however on paper from the closed policy of some states. After about 500 years, in 1965, this work was also given to the Albanian public in the Albanian language, in the author's native language, with the masterful translation of Stefan I. Prifti.

Acquainting us with a glorious past, the work is also a fiery testimony of patriotism and Albanianism, the main source of a wide literature and artistic works in painting, sculpture, music and cinematography. Our identity and our national pride are connected with the name of Gjergj Katriot-Skënderbeu. His glory has always been a symbol of endurance in the long and difficult five-century years of Turkish captivity. His memory enlightened the renaissance for the realization of the epic of the national awakening for independence and historical emancipation. His name is an eternal symbol of inspiration.

Who was Marin Barleti?

There are not many data about his life, we learn them mainly through the works he published, in which when the occasion brings, he also talks about himself. Barleti was born in Shkodër. He affirms this at the beginning of his books, when he says: "Marin Barleti, Shkodran priest". In his early teens, he experienced the first siege of the city (1474). "Thus I remember that in the First Siege of Shkodra, the enemies appeared at the foot of the walls almost before we heard about them" (History of Skënderbeu, IV, 229). While in 1478-1479, during the second siege, he was part of the defense garrison of the castle. For this last bastion of Albanian resistance, he says that he fought with a weapon in hand, inspired by the glory of Skënderbeu to protect the homeland, "but without luck" (VI, 339). In the thirteenth chapter, or the thirteenth book according to Barleti, which is also the epilogue of the work Historia e Skënderbeu, he announces that he has also published a "booklet" about the Siege of Shkodra.

After the tragedy of the fall of Shkodra in 1479, which also marks the fall of all of Albania, the young Barleti took the paths of exile across the sea with the remaining warriors, keeping in his soul the memory of his parents who were killed during the siege and the names of those who had fallen in that unequal war. In 1479 and 1480, the entire population of the city, who could not bear to live in captivity, fled abroad. "Almost all of its inhabitants left" (History of Albania, Tirana 1973, p. 67). And, it is paradoxical when you hear any researcher in the field of medieval Albanian history who dares to assert that "the Turks were not conquerors, but administrators". This is outside the historical truth if we read in the Ottoman chronicles the countless murders, destructions and burnings to the point of desolation of the provinces where the conqueror stepped.

It is known that Skanderbeg won all the battles against the Ottoman armies, from Torviolli (June 1444) to Albulena (September 1457), from the first siege of Kruja (summer 1450) to the siege of its third (July 1467), a total of twenty-five battles, except that of Berat July (1455) in which, due to an unfortunate coincidence, Skënderbeu did not participate (the reason was an imposed truce); the loss there was so heavy that almost all the Albanian commanders were captured and massacred. Let's not forget that every victory has had its martyrs, irretrievable loss of life and great damage; at Torvioll alone, which is regarded as the battle with the fewest casualties, the death toll was 1,600 soldiers and commanders, which rose to 2,000 with 400 others seriously wounded and dying shortly afterwards. But all this lie is part of the strategic campaign to distort every truth, so that this people will never find peace and the infamous goal of undoing the Albanian national identity will be realized.

In Venice, Barleti carried out theological studies, understandably, helped economically to cope with life also by the fact that Shkodra had been a possession of the Republic of Venice and he enjoyed the right as its citizen. After graduation, he worked as a priest in the surroundings of the Republic. With deep knowledge of Greek and Latin literature and philosophy, he was equipped with humanist culture and mastered Latin so well that he managed to write his works in this language. Living together with the Albanian exiles, among whom there were also those who had been fellow soldiers of Skënderbeu, helped him to become widely acquainted with the memories of the hero and of the era of Albanian resistance against the Ottoman invaders, thus completing the work The History of Skënderbeu with facts. , which he then enriched with data from world history, literature and mythology.

Barleti claims that he strongly experienced both sieges of Shkodra, 1474 and 1478. For the second siege he wrote the work "The Siege of Shkodra", thus remaining the first Albanian historian to witness the sypama, as Noli translates the word "ocular ” of a war of a small army, with the army of one of the most powerful empires of the time. This book was published in 1504. Finally, the decisive date is the third work, which talks about the popes up to the year 1512. From this last data, it is known that he passed away approximately when the work for the biography stopped of the popes. It is thought that he was born around 1460 in Shkodër and died around 1512 or 1513 in Padua. According to the prominent linguist Eqrem Çabej, Barleti comes from the Albanian form Bardheci. Thalloczy also proves this in the book "Illyrian-Albanian Traces". Even in the first three editions of the book Encirclement of Shkodra, Barleci is mentioned.

Three works are known by Marin Barleti:

1. "De obsidione Scodrensi" (The Siege of Shkodra, Venice, 1504), in which the dramatic story of the life-or-death struggle of the inhabitants besieged by the Ottomans for a year is described. The work had three more reprints in 1576, 1578, and 1596. It was translated into Albanian in 1964 by Henrik Lacaj.

2. "Historia de vita et gestis Scanderbegi, Epirotarum principis" (History of the life and works of Scanderbeg, prince of the Epirotes, Rome, between the years 1508-1510), which has been made not only many reprints in the original language, Latin, but at the beginning of the 1533th century also reprints from translations in the main European languages ​​such as German (1554), Italian (1560, 1567), Portuguese (1569), Polish (1576), French (1582), Spanish (1965), English (at the end of the century)... The Albanian translation in 90 had three other reprints before '1990 as well as one reprint after XNUMX.

3. "Compendium vitarum summorum pontificum imperatorumque Romanorum" (A brief overview of the lives of the Roman popes and emperors, Rome, 1553), a work dedicated to Peter Angel, one of the main comrades of Gjergj Kastriot, who encouraged and helped the author to write a story about Skanderbeg.

Barleti's second and most important work as a historian is "Historia e Skenderbeu", which quickly became known almost throughout Europe through translations and resonated as a work with a high humanistic spirit. Its translator in Albanian accompanied the text with an admirable study of the work and its historical and stylistic values. He also provided it with explanatory notes for various events and figures, making it more understandable for today's reader: "Four hundred and fifty years ago, our Barlet wrote in the Latin language according to custom, his monumental work about Gjergj Kastriot, ' The history of Skanderbeg'. On the first page, the title is expanded with a subtitle: On the conduct of life and affairs, especially against the Turks, the deeds of George Kastriot, the excellent prince of the Epirotes, nicknamed Skanderbeg for his deeds, otherwise Alexander the Great. Written by Marin Barlet Shkodranit... (lat. De Vita Moribus Ac Rebus Praecipue Aduersus Turcas, Gestis, Georgii Castrioti, Clarissimi Epirotarum Principis, qui propter celeberrima facinora, Scanderbegus, hoc est, Alexander Magnus, cognominatus fuit, libri Tredecim, per Marinum Barletium Scodrensem conscripti...)"!

In the preface, Barleti introduces us to his correct concept of history as a science, which is based on truth. “[…] The rule and law of history is that, when many false things are mixed with truth, they are beaten and sifted well, in order that they may be purified as in the water of a stream, and remain fresh for those who they will read these our writings" (VII: 380). He thinks that it is very important not to judge the past with the eyes of the present, at the same time giving great importance to the data which must be "unquestionable" and "reliable", in order to be objective for the reader. . Such are what he has seen himself, that is, he has experienced and on which he relied in the first work The Siege of Shkodra, but he also calls reliable the indelible memories of those who were Skanderbeg's comrades-in-arms and on which he was supported to write the work "Historia e Skenderbeu". One of them was Pjetër Engjëlli, a participant in Skënderbeu's epic, who provided him with "many accurate data". His brother Pal Engjëlli, archbishop of Durrës and author of the circular "Baptism Formula" (1462) in the Albanian language, was at the same time Skenderbeu's collaborator on diplomatic matters. When the statements of Skanderbeg's comrades-in-arms match the conclusion of the events, the author is convinced that he has come close to the truth. In complicated cases he leaves the truth in the hand of the future reader, to his impartiality: "However, the impartiality of the readers […] let the whole truth be derived from the careful examination of the circumstances of the time" (III: 175) . He writes from the beginning "the burden that I have taken on weighs me down and scares me [...], unwittingly this desire has been grabbing me for a long time [...] I have been waiting with hope and fire in my heart for this such a wide subject to encourage someone writer [...] But no one until now has liked such a sacred world, although they do not stop publishing countless memories every day until they are wasted" (Preface: 59, 60). However, Barleti is convinced "that later there will be many who will try to enter the open road [...]" (Foreword: 61).

The work has 13 books. This time he dedicates it to Skanderbeg's grandson who had emigrated to Naples, "the very bright Prince of the Epirotes, Kastriotas Donferand" (57).

Feeling it as an obligation to leave the name and glory of Skanderbeg to future generations, Barleti thought to avoid the risk "that the deed of leadership will be covered by oblivion". Silence in such a case would be "a crime against the motherland, love for which is the greatest value of any work (Preface, I: 60).

In this discourse, first of all, he creates the figure of Skanderbeg alive and through it also gives the greatness of the Skanderbeg era. The work opens with Gjergji being sent as a hostage along with his brothers to the Sultan's court in Istanbul from an early age. Noli, based on newly discovered documents, in his book "The History of Skenderbeu" (Gjergj Kastriot), King of Albania, 1921, disputes this fact with arguments and says that he was taken hostage at a young age. Ottoman chronicles do not specify an exact age, but are content with the term "young". Gjergji was the son of the prince of Kruja, Gjon Kastrioti, and Vojsava, the daughter of the feudal family of Pollog. He was the youngest of nine children, five daughters: Mara, Jella, Angjelina, Vlajka, Mamica and four sons: Reposhi, Stanishi, Kostandini and Gjergji.

According to the concept of classical authors, Barleti's Skenderbeu, who is sometimes called Skenderbe, sometimes Epirot, and sometimes Kastrioti, embodies everything high, beautiful, powerful, and wonderful. Since he was little, he made big plans. At school, he stood out among his friends, while when he grew up, he gained fame with the bravery he showed. George in the Sultan's court changed his name and called him Iskander bey, thanks to the talents he displayed and which reminded him of Alexander the Great.

The text begins with his arrival in Kruja in 1443 and with its liberation, everyone talked about freedom. Everywhere roamed the sweet name of freedom (I: 89); with the raising of the red and black flag on November 28 over the Kruja castle; with the creation of the defense army; with the Treaty of Lezha on March 2, 1444, in which he gathered the Albanian princes for war against the Ottoman invaders; with successive victorious battles for the capture of castles; with the speeches he gives to the soldiers; with his marriage to Donika, daughter of George Arian Comnenus, another powerful prince of the time; with the worries and damages caused by the betrayal of Hamza Kastrioti and that of Gjergj Stres Balsha, respectively the son of Skenderbeu's brother and sister, up to Moisi Golemi or someone else; with facing the intrigues of some prince even to annihilate him; with the letters; with the arrangements of the lives of its citizens in times of peace; with the efforts of Ballaban pasha and Jakup Arnauti, two Albanian renegades who came to the head of the Ottoman armies, sworn to kill him by order of the sultan; with the three sieges of Kruja; with diplomatic alliances, etc.

From the first day he came to Kruja until he freed the kingdom "he hardly slept two hours every night, this is a miracle especially of a divine body and an inexhaustible bravery" (I: 98). Barleti has delivered the events with an engaging style that grabs you for the passion and the wider culture. About his work, Noli writes: "With his elegant Latin and his careful pillar (style), he won corners around the world and immortalized the memory of Skanderbeg in Europe." The work ends with the death of Skënderbeu in Lezhë when he was thinking of making a new assembly with the Albanian princes, with the mourning in the city of Lekë Dukagjin and with the magnificent and shocking burial in the great church of Saint Kolli (Saint Nicholas); by a happy coincidence, he died where he had proclaimed the Covenant. This work proves that the author was a high-level writer and historian who tries to build the correct framework of the hero's life. Despite the objective difficulties to secure the sources, it provides extensive knowledge about the XNUMXth century.

Despite the weaknesses related to some chronological inaccuracy and sometimes to the lack of reliable data for specific events, to the excesses in the laudatory (panegerical) spirit, which is characteristic of humanist historiography, which do not dilute the purpose of the discourse, Marin Barleti's history of Skenderbeu so far remains the first in the giant library that has created the name and history of the wars of Albanian leadership. According to Biemi, it is said that there is another author nicknamed Anonimi i Tivari, who wrote about Skenderbeu ten years after his death, but the original cannot be found. Regarding this problem, Father Athanas Gegaj writes: "Biemi's edition met roughly the same fate as the original from which it was inspired, without a doubt it has not been lost, but it remains unknown by many specialists in Balkan history."

Marin Barleti's work marks an achievement with great original value, it remains a first-hand and irreplaceable source for the history of 15th century Albania, as well as Southeast Europe. Kostantin Jireçek, co-author of the book Illyrian-Albanian Traces, has described it as the main source for the history of Skenderbeu's life and work. Comparison with today's documentary evidence refutes some of the negative assessments made in the past about the work.

There are many Ottoman, Venetian, Ragusian, anonymous chroniclers, there are many other authors who wrote about the battles of the Ottoman armies against Arberia or about the defensive battles of Skenderbeu. After Barleti, others have written, such as Gjon Muzaka, Dhimitër Frêngu, Frang Bardhi, Fan Noli, Athanas Gegaj (doctoral studies), Aurel Plasari... The well-known historian Kristo Frashëri in the study Skënderbeu, life and works, a work supported by documents and archival materials show Gjergj Kastriot not only the leader of the liberation wars in the Middle Ages, but also the initiator of the organized Albanian state. However, Barleti is, so to speak, the cornerstone, he was the first to erect a written monument to our national hero, so that he seems alive even now after five centuries. The history of Skanderbeg by Marin Barleti should be one of the most precious books in the library of every Albanian.

Barleti is a representative of humanism in the 94th and 95th centuries. Love for man, country and freedom and for everything good and beautiful are reflected with a deep spirit of optimism in all his work. Barleti's "Skenderbeu" is guided by high moral ideas. When he frees Kruja, he gives a fiery speech in front of the free citizens: "[…] Freedom was not brought by me, but I found it here. [...] I did not bring you the weapons, but I found you armed. I saw that you have freedom everywhere, on your chest, on your forehead, on your swords and on your shoulders" (I: 235, XNUMX). Skanderbeg demonstrates his perfect martial art with the tactics and strategy of battles, which are always new tactics, with which he always familiarizes his soldiers before the battle. This is how he speaks to the people of Sfetigrad before the battle of Sfetigrad: "[…] O people of Sfetigrad, […] So far we have fought for victory, for the honor of the kingdom, now you must fight for salvation, for freedom, for the walls of the homeland [...] ]” (IV: XNUMX).

His tactics that will be further unfolded, developed and enriched during defensive battles are: conviction in the purpose of battles, striking the enemy by surprise, speed in actions, acting according to circumstances and permanent physical tempering. Skenderbeu calls physical fitness, as well as discipline and moral purity crucial, that's why Barleti writes: "In these ways, perhaps, the kingdom was preserved and grew for years with so much glory and prosperity; with these they made the gods for themselves, who then gave them so much heart and sharpened their swords so hard" (IX: 470). Even the enemy knows Skanderbeg's skill and bravery. Sultan Murat II or Tyrant, as the author often names him in the book, calls him "untamed lion". The barbarians, that is, the Ottoman invaders after encountering Skanderbeg's counterattacks, are convinced that his and his soldiers' extraordinary bravery is the main obstacle preventing the Ottoman armies from advancing. They described him as "the greatest master of ambushes" (XI: 563). Apologizing before Sultan Mehmet II for the defeat, Ballaban Pasha says: "I hear many things being said, O enlightened leader, about Skenderbeu, things, about Hercules (the god), superhuman, that he is invincible in war, invincible in the weapon, which does not receive wounds from iron" (XI: 460). Barleti calls Skenderbeu "the miracle of the century" (II: 133).

Barleti writes that Skenderbeu was loved a lot for his natural and popular character, he was reasonable with the soldiers, went to them when they were injured, gave them encouragement, saved their lives when they were in danger. He always consulted with his comrades in arms and their prayers touched his heart even in difficult circumstances (VI: 336). Skanderbeg is brave, but also shrewd, with extensive and accurate knowledge; these appear especially in the letters he sends to Sultan Murat (III: 171) and Sultan Mehmet (XI: 567). He is measured and restrained even in difficult situations and stands out for his calm attitudes, as is the case when Vrana Konti reprimands him (V: 256), or when the enemy has surrendered. He spares the life of a defeated enemy, Hasan Bey, who takes courage and says: "Thus [...] you will have more glory from the triumphs of your gentleness, than from the triumphs of the armies and of the enemy's victories" (XI: 561 ). Barleti calls Skanderbeg's gentleness divine, especially when he describes the forgiveness of the repentant general Moses. The long speeches that Barlet puts in Skanderbeg's mouth before the battles are a means of revealing the author's humanistic ideas. On his deathbed, he instructed the Albanians that if they are united, no enemy can break them: "And truly, there is no state so powerful and so sound that it will not collapse sometime and don't be destroyed, when you give way to common grudges and quarrels, when you put personal benefit and benefit before the general good" (XIII: 650).

Barlet often gives explanations, justifying what he writes, as for example, when he shows why Skanderbeg gathered his soldiers so quickly (VII: 398), but he does not stay without reprimanding him when he is sometimes kidnapped, because Skanderbeg could not stay without acting immediately against the enemy. The people's faith in Skenderbeu was great and permanent: "The city had poured out from all sides and had come out everywhere to welcome them, because they believed that with the presence of Skenderbeu even the dead could be resurrected and come back" (VIII: 446). Skanderbeg's body does not receive wounds, because he is "divine" (VIII: 442), therefore when Mehmet II came "to Arbëri and Epirus to attack the city of Shkodra [...]", his soldiers opened Skanderbeg's grave and they took out the bones to make talismans to hang around their necks "as something divine, sacred and decisive for their fate" (XIII: 656, 657).

Skanderbeg embodies everything high and bright about his people, his burning desire for freedom, his most immortal dreams and ideals. He has played a big role in the unification of Albanians.

The name of Skenderbeu has been immortalized in Albania and in the world. Books on the Albanian prince began to appear at the beginning of the 500th century, because Barleti's work circulated in Western Europe after publication. The translation and publication of Barleti's work in Albanian on the occasion of the XNUMXth anniversary of the death of our national hero was also accompanied by a serious publication, a compilation of documents of the time, mainly Ottoman chronicles. Two statues on horseback have been erected to him in Tirana and Kruja. In Kruja, in the capital of Arberia at the time of Skanderbeg, there is a modern museum, which can be compared with many museums of that type in the world; fortunately, it is among the rare objects that escaped destruction in the name of the war against communism. The military school bears the name of Skenderbeu, many roads in Albania and in the world bear his name. The Arbëresh people of Italy have him present in many settlements with his bust and in many street names, in their songs and dances.

There are frequent cases when the figure and name of Skenderbeu have served as an example in various historical or philosophical works. Voltaire begins the Fall of Constantinople, making a genius comparison: "If the Greek emperors had acted like Skanderbeg, the empire of the East could still have been preserved"; Skenderbeu is a character in several tragedies of the 1718th century; poets and composers have been inspired by his struggle for freedom; Ronsard, a French poet of the 1763th century dedicated a poem to him, just as the American poet of the XNUMXth century Longfellow wrote a long poem about his figure; Skanderbeg and his brave warriors are also mentioned in Byron's poem "The Paths of the Boy Harold" and others; the Italian Antonio Vivaldi wrote the opera entitled "Skenderbeu" which was staged in XNUMX, while the Frenchman Fançois Francoeur's opera with the same title "Skenderbeu" was staged in XNUMX. Even Fan Noli wrote the music of an opera for Skanderbeg.

Many Albanian authors have been inspired by the work of Skënderbeu. We are mentioning only a few in the long list of creations dedicated to him or inspired by his name: "Skenderbeu the Pafan" (De Rada); "Bala's Sprasme Song" (Gavril Dara, the Younger); "History of Skenderbeu" (Jani Vreto); "History of Skanderbeg" (Naim Frashëri), "Castle" (Ismail Kadare); "Skenderbeu" (Sabri Godo) and others.

Skenderbeu has been described as a rare hero like Roland from the poem "The Song of Roland" in the French epic and like many other national heroes of countries with a history of liberation wars. Various historians and philosophers have considered Skenderbeu as one of the greatest people of the times, a military strategist and a scholar.

Marin Barleti is regarded as a very important author in the history of Albanian culture. He had the gift to convey the story of a life, but also to generalize an era. His work also has features of a literary biography. He represents the most advanced thinking of the time, the one that made Skenderbeu known in the European opinion and beyond. His work "The History of Skenderbeu", even after so many centuries, retains inalienable values.

Barlett's high conception of history establishes him as an outstanding thinker. His humanist ideas are a model of the triumph of free thought, in him the historian, the clergyman and the humanist merge into a single voice that sounds strongly for freedom and the homeland. History for him was the fruit of human action and not of divine powers. He thought of his own work as a memorial dedicated to the fight for the freedom of his homeland and his people; it would not have a purely aesthetic function, but would serve the truth, as a teacher of life, that would encourage people to "open their eyes and properly direct the affairs of humanity". Marin Barleti can be included with dignity in the pantheon of great names of the tradition that our country and our culture has produced.

The story of Skenderbeu and Barleti is always an inexhaustible source from which Albanian patriots have learned the history of our people's wars under the leadership of Skenderbeu and have been inspired in their efforts for the salvation and freedom of Albania. Barleti's fiery patriotism has written down the heroism of the Albanian people, immortalized the brave leader of the Albanians. Barleti's "Skënderbeu" is the greatest national symbol, the star of Albanian destiny that has arrived at the dawn of the 21st century with new challenges. Barleti has thus bequeathed to the generations a priceless gift, the immortality of Gjergj Kastriot-Skënderbeu.

Therefore, Marin Barleti had to have his statue in the middle of Tirana. His work is an honor for Albanian culture, but also for European culture. /milosao/