Phenomenon and characteristics of historical epics

By: Nevrije Ismaili

1.1 Characteristics of the epic

Various scholars of Albanian folklore have held certain positions regarding the gender definition of folklore, but we find the opinion that sees all folklore creations divided into three genders more correct: lyric, epic and epic-lyric apo lyrical-epic, depending on the dominance of lyricism or epicism. Such a division is made on the basis of the true nature of folkloric creations, based mainly on the nature of the poetic texts of these creations. Based on this meaning, when we practice the term Albanian historical songs, we mainly consider the texts of these creations. In lyric all those creations that convey or reflect the inner spiritual world, feelings and lyrical experiences are included. In epic are grouped all those folklore creations in which in their essence they narrate something or have a narrative nature. While in the creations epic-lyric apo lyrical-epic generally includes intermediate creations between the first two genres, that is, those creations in which, in addition to the narrative nature, we also have the reflection of inner lyrical feelings. Of course, the boundaries of these genres are not and cannot be cut like a knife, but it is important to keep in mind the essence of each creation during the various treatments, to include it in the genre in which it feels most comfortable.

For us, the creations of the epic genre are important. But since this genre can include both creations in poetry (of course, in the composition of a certain song), as well as creations in prose, it should be noted that only one of the divisions of epic creations in poetry will be considered in this text. It is about historical songs, which are one of the two major divisions of Albanian folk epic in verse. These designations themselves need to be developed, in terms of defining their meaning, since by setting the boundaries between them as sharply and clearly as possible, the nature of the songs of Albanian historical epic would become even clearer.

To move further into the concrete realization of the division of epic creations into poetry (of course bringing in the opinions of predecessors who have addressed these issues and maintaining, when necessary, a critical stance) it is necessary to look a little more broadly at some of the more general features of epic poetry. Epic is a word derived from Greek that generally means words, story, song. In this line, it should be said that, in addition to the narrative or narrative nature, epic songs are distinguished or distinguished for their heroic spirit, the strength and breadth of breathing, the objective narration of various events, in a laid-out manner and with internal strength, which appear or appear to be expressed externally. According to the researcher A. Xhagolli, all these conclusions are reached, "because the narrative is generally told in the third person, mostly, but also in the second person".[1] It is precisely on this basis that the same researcher sees one of the differences between epic creations and ballads, emphasizing that generally in the latter the narrative part is given in the first person.[2]

Different scholars at different times have tried to bring their thoughts regarding the internal differences in the poetic epic, bringing the features and characteristics of the two constituent types. It has been asserted that one part of the epic creations has in its essence a legendary nature or character, while the other part has as its main feature the reflection of historical consciousness. But it seems to us that the definition made for the way of distinguishing these two types on the basis of the type of poetic thought is one of the most correctly formulated and most acceptable.[3] A review of the criteria and concrete divisions of the Albanian folk epic would make it possible to better define the object of this study, to distinguish this folklore type that we will treat. It is generally accepted by Albanian folklorists that the Albanian historical epic is presented as a gradual transition or as a continuation of the legendary epic, of course, with other structural and artistic expressive means. Furthermore, E. Mehmeti, speaking about the relations between legendary and historical songs, among other things, states that "from the old epic song or legendary song comes the new epic song or epic song of the historical type which, with its pure form that it reached in the period of the National Renaissance, negates the epic song of the legendary type"[4]On this conceptual basis, which we accept as logical, we will precisely define the object of our study.

1.2 Differences
Legendary epic/Historical epic

It must be said at the outset that epic creations in poetry have early origins. Of course, this early creation has initially led to the dominant conception of events in an extraordinary way, mainly through operations with the fantastic, but also moving within the limits of probability or possibility. With general social developments, this type of reflection of a certain reality gradually began to be obtained no longer through forms or operations with the constituent elements of the extraordinary, but moved to more earthly, more realistic planes or levels. Generally, there were no longer extraordinary actions, events or characters, but they operated with truths that everyone knew or experienced. If in the songs of the legendary epic we are dealing with a socio-historical fund that is still not well defined, with figures of heroes still unindividualized and undifferentiated in the social aspect[5], it can be said with conviction that in historical songs we are dealing, first of all, with a very defined historical-social background, the characters are individualized and very concrete. As Q. Haxhihasani, one of the most prominent Albanian folklorists, states, speaking of historical songs, "There is nothing invented or invented in them, but events and situations that were actually lived. The folk song presents these, indeed according to the law of the artistic reflection of reality, but it does so by staying strictly within the limits of historical truth. It does not go outside the historical process, on the contrary, it arises as its demand and becomes, in a way, its documentation."[6].

It must be said that the beginnings were not so sharp as with a knife, so in the earliest creations of the Albanian historical epic there is also an element of the extraordinary. So, it must be accepted that it gradually passed from an imaginary mindset and thought, to a concrete, factual mindset and thought, always presented artistically. Realistically, we accept that at this very moment we have the transition from one type of song to another, that is, from the legendary epic to the historical epic, although both have coexisted until recently in different spaces of Albanian folkloric life. Regarding this opinion, we would agree with the correct conclusion of E. Mehmeti that "the legendary epic song, losing its function and mission, at least from the beginning of the nineteenth century ends its productive period. In new historical conditions and circumstances, from the second half of the eighteenth century and especially in the nineteenth century, the historical model of oral epic poetry culminates"[7].

A. Uçi rightly connects this transition with the change in the type of poetic thought, defining the legendary type of poetic thought as characteristic of the legendary epic, while for the historical epic, the type of historical poetic thought.[8] It seems clear that the transition from one type of song to another was accomplished by "The epic historical model of oral poetry in these circumstances (mentioned above – NI) knows how to better express the current demands and aspirations of the time"[9]. In this way, the very classification of epic poetic material has been made, so to speak, and the very criteria for classification have been determined. Furthermore, A. Uçi emphasizes: "Legendary thought and historical thought are two types of poetic thought, which differ both in the diachronic plan and in the different ways of reflecting the artistic appropriation of reality."[10].

But researchers have expanded this distinction between the two types of epic folk poetry even further, focusing on other features. Thus, E. Mehmeti emphasizes that "the character of the heroic in the folk song differs significantly from that of the epic song with historical lenses. The heroism of the folk song is distinguished from that of the historical song because it is individual, tribal, provincial and historically undefined heroism. Whereas the heroism of the historical song is not narrow, tribal, provincial and individual, but a general national and historically known heroism, a collective heroism of the broad popular masses or of the individual who sacrifices himself for collective national interests"[11]The same researcher also defines another difference. He states that "In historical songs, their realistic character inherently excludes hyperbole. But this does not mean in any way that the sublime is not present in this type of song."[12]Furthermore, he breaks down the manner of proceeding with the great in historical songs by saying that "it consists, in particular, of the heroic dedication of the protagonists to the aspirations and popular and national ideals for independence, for freedom and liberation from the invaders. Therefore, in the historical epic model, the great does not appear as an unlimited quantity as in the Kreshnik songs, which with its measure awakens the feeling of aesthetic experience. On the contrary, in the historical song the moral virtues of the heroes express the great"[13].

During this monographic study, the object of our work is precisely the second type of epic, songs of historical epics, by which we will understand all those folkloric creations where the type of historical poetic thought is operated. Of course, in addition to this more general definition, there are also a number of other characteristic elements of the historical epic, which in their entirety convey this type of song as special. Rightly, the folklorist Q. Haxhihasani, speaking of the historical songs of the Albanians, among other things, has pointed out that they have elaborated their own means of composition. He, bringing them in a generalized manner, specifically defines among these means: Artistic truthfulness, characteristic in the treatment of events, which permeates the entire architecture of the song; the crystallization of some special ways in the introductions of these songs, such as: determining the environment and time when the events occur; engraving the details of historical facts; giving the moral and combat profile of the heroes; passing into the course of events, giving their conclusions and consequences. The same researcher emphasizes that the internal characteristics of the artistic form of Albanian historical songs, such as: poetic figuration, verse structure, refrains, rhymes, etc., are built on this basis.[14]

Being in complete agreement with these conclusions, below we will briefly dwell on the presentation of precisely this unique type of Albanian folk epic, in order for further operation to be in a clearly predetermined framework.

1.3 Historical song
A special type of folk epic

Historical songs is a term widely used by scholars, mainly after World War II. Other terms have been used before. Among them, we note that in the Kieuti manuscript we find these songs named Songs of old age; At De Rada – Traditional song; to Mitko – Brave Albanian song; to Dozoni – War song; in "Visaret e Kombit" we find two names, Song of courage and Boy's song etc.[15] We also find certain names for this type of song among the people. According to different regions, there are also different names, such as: songs of brave men, captains, and warriors etc.

Essentially, despite the different names, all these folkloric creations have in common the fact that they deal with events, characters, concrete places and specific times, of a historical nature. In short, we can say that the creations of the historical epic convey a form of reflection of truths through artistic clothing, historically identified realities. As the main distinguishing feature of these songs, Koliqi emphasizes "realistic sense, precise and synthetic description"[16]. Q. Haxhihasani, regarding the definition of historical song as a type distinct from others, states that this type of thought has also defined its own means of composition. According to him “The artistic truth that characterizes the treatment of events permeates the entire architecture of the song. For example, some special ways have been crystallized in the introduction of these songs, where the historical environment in which the events take place is fixed. With the greatest details, the year, month, day, place, time, etc. when the events occur are often given here. With the same care, the details of historical facts, the moral and combative profile of the heroes, the course of events, their conclusion and consequences are engraved”[17]We think that this researcher has rightly concluded that precisely "On this basis, the internal characteristics of the artistic form are also built - poetic figuration, verse structure, refrains, rhymes, etc. These features give our historical song a special physiognomy that makes it clearly distinguishable from other types of songs within the national poetic fund."[18].

More or less in the same line is the opinion of A. Shmaus when he says about historical songs that in them "true events are sung, especially with a local character from the recent, even very recent, time"[19]Furthermore, the same author adds that these creations are based on objective reality. "This hand-written document is a faithful reflection of the political and social circumstances, and at the same time a reflection of the way Albanians think and how they judge its value."[20].

Here it is necessary to stop and present a phenomenon observed in historical songs, as an important element, on the basis of which we have realized our classification scheme throughout this study. Rightly, the researcher S. Fetiu, when speaking about the development of Albanian historical songs, pointed out that "Even in terms of compositional structure, Albanian historical songs vary depending on the specific historical period"[21]This means that the historical song, as a continuation of the legendary epic song, has maintained connections with it not only at the beginnings of these transitions, but also throughout history, creating special structures, in regional or broader relationships.

It is precisely such a support or continuity, we think, that really creates a certain difference within the type of historical epic of the Albanians. For example, in those areas where the Albanian heroic epic has circulated, it is more understandable to preserve the spirit of this folkloric type in the songs of the historical epic. The opposite happens in those areas where, based on the findings to date, the song of the legendary heroic epic has been absent, and in the absence of such an experience, it has passed into another structure, unaffected by the experience of the legendary heroic epic. By recognizing and accepting this reality, a supporting point is created or the classification differentiation of this folklore subject is enabled, in addition to the functioning and definition of other features.

From what has been said, it is clear that the legendary epic-historical epic connections, as well as the differences between them, are of different natures. But, among all these connections or differences, the most important for our study is to discover or determine the period of the beginnings of the historical epic, the time frame during which a new type of song was realized that, in any case, could not and did not completely separate from its predecessor. Not only that, but it must be affirmed that the acceptance of these connections is not only related to the beginnings of the transition from legendary epic to historical epic, but normally, in more subdued and reduced forms, the influences have continued for a long time, sometimes until our days.

1.4 The beginnings of the historical epic

Of course, for reasons already known, we lack concrete evidence (recordings of songs of historical epic in periods that exceed the time limit already known from the publications to date), which would shed full light on the beginnings of the Albanian historical epic. Therefore, different opinions have been expressed about the beginnings of the historical epic among the Albanians. Although one of the characteristics of historical songs is the direct, immediate reflection of the event, there are still cases in which it is clearly seen that there are historical songs that may not have been created at the same time as the event. This means that there is not always a temporal correspondence between the song and the event and, consequently, the event may be early, but the song does not coincide in conception and practice with the time when the event treated by the song occurred.

Perhaps, also based on such a reality, certain authors connect or bring to us the Albanian historical epic from a very early period, such as that of Byzantium. FM Rrapaj in one of the volumes published with folklore creations also includes creations that talk about Pyrrhus of the Illyrian period.[22]. F. Çaushi publishes a special study on an early song that, according to him, has traveled through the centuries[23]. D. Shala says that "Our folk historical epic is undoubtedly much older than the arrival of the Turks in the Balkans"[24]. Other authors, on the contrary, do not take the Albanian historical song further than the 18th century. For example, A. Shmausi, writing about the historical songs of the Albanians, claims that "These last, with their subjects and their patrons, until the 18th century. These accompany political events, especially those of local and tribal history around the 19th century; the newest ones are those that treat events between the two great world wars, and finally events of partisan fighting."[25]. The researcher PJ Ruches in his own publication states that the texts he analyzes cover a period of 227 years, starting with the year 1716. So, he leaves out of attention, we do not know the real reason, the Arbëresh songs about Skanderbeg, as well as the songs about the war of 1389. And it must be said that he makes the above statement in 1967.[26], while a considerable number of publications of these folkloric creations had been produced.

We believe that both of these positions that we mentioned are not entirely justified. Various reliable historical evidence, the folklore subject itself dictates that one should take a position to better shed light on the origins of the Albanian historical epic. We would not be of the opinion that Albanian historical songs originate from a very early stage of pre-Albanian society. This statement is related, among other things, to the fact asserted by various folklorists, who accept that the historical song cannot have a lifespan greater than 200-250 years maximum, and this is why new creations are born and included in the folklore circulation, which treat the accompanying events of that society. The predecessors themselves are used and serve as a folkloric creative tradition. A. Shmausi, speaking of the historical song, rightly states that "It follows historical events step by step and includes with the same intensity and awareness of the present both local events and broader events of general importance"[27]. Likewise, we think that a type of poetic thought generally exists with its own act of creation until another type of poetic thought has emerged. The very transition from legendary poetic thought to historical poetic thought implies, in addition to the avoidance of one, the reintroduction and revival of the other, of course, without claiming to separate them as if with a knife.

On the other hand, we cannot agree with the opinions that link the beginnings of Albanian historical songs only to the 18th century. Seen in this way, Albanian historical songs appear to have begun their practice very late. However, contrary to the above statement, we come across a number of historical testimonies that convincingly state that, at least, in the 15th century, historical songs circulated among Albanians. We bring to your attention testimonies of Skanderbeg's contemporaries or of a period very close to him, who claimed that they themselves had heard songs about the Albanian Hero. Likewise, the relevant folklore material itself convincingly proves our claim. The historical songs, recorded by the Arbëresh of Italy, could not be anything other than a takeover from the lands of migration and practice in the new conditions. Schmaus's doubt as to whether Albanians had bravery songs of the old type before the 18th century is not open to any discussion when it comes to historical songs. Among other things, he writes: "The Albanians then, i.e. in the 15th century, created their own epic against the great historical backdrop of the war against the Turks. For this, in my opinion, the folk poetry of the Arbreshvets is a good example."[28].

Based on these premises, at least starting with the period of Skanderbeg, the Albanian historical epic cannot be ruled out. We would also like to mention here the statement of S. Skënd, who, speaking about the relations of heroic songs between the South Slavs and the Albanians, claims that “no trace of Yugoslav heroic poetry is found before the sixteenth century. There are strong reasons to believe that the Albanian songs of the Arbëresh of Italy are the oldest. They deal with the resistance of the Albanians against the Turks in the fifteenth century and reveal a society of Christians and gentlemen of the country, characteristic of Albania of that period”[29]M. Lamberci also claims: "The most interesting among the folk songs of the Albanian colonies of Italy are those that mention the bravery of Kastrioti, those that exalt his heroic comrades, those that were inspired by hatred for the Turkish invader and by the worries of exile. These songs are very valuable for their antiquity and their historical value, because in addition to being the best production of Albanian folk literature, they are also true testimonies of that epic period that began with the war against the invasions of the Ottoman hordes in the Balkan Peninsula and ended with the painful exile"[30].

And, in fact, even from all the statements brought, of course incomplete and exhaustive, the most acceptable is the opinion that the historical songs of the Arbëresh of Italy are products of the heroic time, and, consequently, the beginnings of the Albanian historical epic as a whole can be linked precisely to this period. Let us bring as a reinforcement of this statement the judgment of the well-known Albanian scholar, E. Çabe. Among other things, this affirmed scholar claims: "The Arbëresh of Italy, displaced from various parts of Albania and the Morea during one of the most difficult times in Albanian history, carried with them and preserved the customs and traditions of their ancestors, keeping alive over the centuries their family surnames, costumes, beliefs, ancient songs, dances, and above all their language, a Tosk Albanian of the oldest type."[31].

However, the problem related to the determination of the beginnings of the Albanian historical epic is, in fact, also connected with another creation, precisely the one that speaks, in different variants, of the Battle of Kosovo in 1389. It is known that the clash between the Ottoman forces and those of the Balkan coalition is real, constitutes a historical fact. On the other hand, to this day it has not been questioned that the archetype of the song that speaks of the Battle of Fushë-Kosovo belongs to almost the same period as the event itself, regardless of its origins. Thus, Gj. Zheji, when speaking about the tonic system, which he considered as the earliest phase of verse in Albanian folklore in general, takes as an example precisely the song we are dealing with, expressing that it is "a song that should be contemporary with this battle and that was collected in 1912"[32].

Many other scholars also adhere to this opinion, accepting that the Albanian historical epic begins with the songs about the Kosovo War. Q. Haxhihasani, speaking of the Albanian songs about the Kosovo War, states that they "they constitute a testimony that speaks from its perspective about the antiquity of creation, as well as about the autochthonous nature of the Albanian populations in these regions"[33]A. Uçi defines the period of the 14th – 15th centuries as a new phase of development when "The era of wars against the Ottoman invasion constitutes the new historical-social context, within which the Albanian heroic historical epic was born"[34].

The definitions related to the beginnings of the Albanian historical epic are important, since in this way the object of treatment is precisely determined. Only after them can all types of classification of this song in general be realized. Not only the chronological criterion of classification, which necessitates a definition of the beginnings of the historical epic (since only in this way can the development or treatment of the relevant folklore subject really begin), but also the criterion that we have preferred for our study needs to operate in advance with this predetermination. Thus, light can be fully shed on that circle of problems that the Albanian historical epic itself encompasses in its entirety. But we believe that, first of all, it is necessary to illuminate something else. Realistically, all folklore creations are related to the history of the development of human society, they convey history in certain ways. But, for the historical epic, its relationship with historical fact is of a different nature, it is a more acceptable and more direct connection.

Although elements of another type of folklore, specifically the legendary epic, may continue to exist in the type of historical epic, this does not mean that they are the same thing. It would suffice to cite here the statements of A. Buda, the well-known Albanian historian, who, speaking of the legendary epic-historical epic relations, among other things, states that "It should not be forgotten, moreover, that archaic phenomena have a long life and, in the form of more or less extensive or isolated relics, survive to this day in coexistence with newer formations."[35].

From this conclusion that the esteemed professor has managed to express, we can say that the connections of folklore creativity with history can be both direct in time, as well as in complete or relative distance from it, of course taking into account the artistic character of this reflection. But when it comes to the songs of the historical epic, it should be borne in mind that for them the immediate proceeding or even a little more distanced in time is characteristic. The retellings of history, respectively of certain historical events or figures, to be treated by the Albanian historical song are only recent phenomena and not characteristic of them in continuity. As an illustration of this statement, let us recall that on the occasion of the 500th anniversary of the death of Skanderbeg, a number of new songs dedicated to him and the period he represented were created. But these new creations were generally not in the continuation of the creativity of the historical epic in general. Therefore, for all that we have said, light needs to be shed on these folklore connections, especially historical songs - history, as only after this would we be able to see the progress of historical songs.

1.5 Historical song and history

When talking about historical songs, of course, the mind naturally goes to the real relationships that exist between the folkloric creation of the historical epic and the actual historical fact itself. This is because the historical epic, as we expressed above, realizes the artistic reflection of the historical fact. In other words, we would mention that the historical song does not photograph the historical reality, of course, of its components, events or certain figures, but conveys them in the form of an artistic treatment. Albanian folklorists have rightly adhered to the opinion that "The historical song does not reproduce reality with the language of the historical document. Its relations with facts are of a special nature; it has as its specificity the reflection of life with artistic means"[36]. However, there have been and are cases where the historical song has been given other features, which connect or equate it with the historical document. Speaking about the original Albanian songs, S. Skëndi claims that "They are like a chronicle"[37].

We think it is true that the songs of the historical epic, since they are about concrete events, characters, places, of a truly historical nature, clearly defining their connection with a concrete, real time and with a clear space, not of an imaginary nature, reflect a reality identified from a historical point of view. In them there is generally a lot of evidence, mentions of names, facts, places, etc., which in their entirety give the historical song a somewhat less poetic nature, with a somewhat poorer figuration, if we compare it with the songs of the legendary heroic epic. We think that such a thing has to do with the very change in the type of poetic thought. "Historical consciousness, embodied in the historical epic, is presented as a reflection with historical-artistic truth of concrete, real historical events, situations, eras, and personalities."[38].

In addition, we would add that historical songs do not come as separate poetic texts, but in their artistic intertwining, fusion, coexistence with the corresponding melodies and have their existence precisely in this syncretism. Even when we are dealing with separate texts, which do not carry much poetic and artistic value, in reality if the community or society listens to them, likes them, appreciates them, it includes them in circulation, since in syncretism they sound completely different from what can be obtained simply in a reading of the text. Therefore historical song, as with all folklore, must be appreciated as such, in its syncretic entirety.

There is another problem related to the assessment or definition of the historical song, even figuratively, as an annal, historical chronicle, biography and autobiography of the history of the people. In all these definitions, which in a way also express a lack of conception of the historical song, along with other types of folklore, as a syncretic art, there is an inaccuracy that stems from the failure to take into account the laws of folklore itself. The historical song cannot be such, as it comes to us from the above definitions, since it is also dependent on and conditioned by the communities or communities, which include it in the folklore circulation. Such an acceptance of the life of folklore in general means, among other things, that for the same historical fact there can be a number of historical songs with disclosures or treatments from completely different or opposite perspectives.

Regarding this, A. Xhagolli rightly states that "The historical song selects those events, moments, and figures that relate to and reflect the interests of the community where folkloric creation is practiced"[39]Furthermore, the same researcher continues to dissect the historical fact-historical song relationship with the avoidance that the latter can make of certain historical facts, with a weight and significance in the life of a society as a whole. "So it happens that they (historical events – NI note)"even when they are of great importance in national history, do not take place or are incidental in the creations of historical epics. For example, the Congress of Lushnja (1920) constitutes a major event in Albanian national history, while historical epics appear almost uninterested"[40].

We would say that we completely agree with the realistic opinion of A. Xhagolli when it comes to the relationship between historical fact and historical song. Among other things, he states: "Every folkloric artistic representation is not simply a photocopy of reality. Folkloric art, as a syncretic phenomenon, in the entirety of its components is an artistic unit. This means that the collective author, in folkloric processes, after the act of individual creative initiation, accepts and includes in folkloric circulation those creations that he prefers, regardless of the importance and assessment of the point of view of the chronicler, participant or observer in the event, historical document"[41].

Finally, by making the above definitions and assessments, we do not deny or completely exclude the contribution of folklore in general and historical epic in particular to history or to the historian, especially in cases where evidence of the historical documentary level is lacking. We are of the opinion that especially in such cases, in the absence of genuine historical facts, the historian should take into account or rely on historical song as an important source of information, but always bearing in mind that we are dealing with phenomena that are not direct, but with artistic reflections.

Q. Haxhihasani rightly states, among other things, that, speaking specifically about the historical fact - historical song relationship: "The song does not reproduce reality with the language of a historical document. Its relations with facts are of a special nature; its specificity is the reflection of life with artistic means. However, for the very principles mentioned in its creation, the historical song provides so much information about the character and development of conflicts, the psychology and spiritual world of the characters, social relations, the economic, administrative, military system of the time, etc., that it makes it an interesting testimony in support of history."[42].

We believe that only with such conceptions can historical song be properly assessed, seeing it, first and foremost, as an artistic creation. Of course, the other values ​​of historical song, mainly their contribution to history, should not be ignored. Given that Albanians have been largely lacking written evidence or authentic sources of a historical nature, it must be acknowledged that historical song can also serve as a source of information about history itself.

We emphasized this scientific truth, since essentially on its basis the premises for the classification of historical epic songs are created, not simply starting from the chronological criterion of events or the actions of various historical figures, but also to see the possibility of the functioning of other classification criteria, starting precisely from the functioning of these creations as syncretic art.

1.6 Classification criteria for historical epics

As we have mentioned above, to date the classification of the folklore subject of historical epics has been carried out mainly on the basis of the chronological criterion of the ordering of each song, combined in certain cases with a general thematic division, regardless of the nature, character, structure, and mode of functioning. This finding is very evident even simply by looking at the criteria on the basis of which the entire subject has been organized in the volumes of the historical epic corpora that we mentioned above, published in Tirana and Prishtina. Thus, in the 3 volumes published in Tirana we find the ordering of historical songs according to this scheme: The first volume initially includes songs that, according to its author, convey earlier aspects of resistance against foreigners; then come songs about the anti-Ottoman resistance in the 1800th century; about events of the 1830th – XNUMXth centuries; about the period of the independent Albanian principalities; finally, songs about other events of the years XNUMX – XNUMX.

It is worth noting that with the intuition of a well-trained scholar, Q. Haxhihasani, the author of the volume, has combined the structure of the volume according to chronological order with combinations of creations according to thematic or area of ​​practice. We mention that in the second division of songs, which he titles Anti-Ottoman resistance in the 15th century, groups Arbëresh songs in a separate section. While in the fourth section, titled The period of independent Albanian principalities, brings two subdivisions, in which the songs for the Bushatas period and the songs for the period of Ali Pasha Tepelena are grouped. Generally, this respected researcher, together with the other co-authors in the other two volumes of the historical epic that Tirana published, brings the relevant songs of the historical epic according to the chronological criterion, combined with the thematic criterion in certain cases. It is enough to recall here the statement of Q. Haxhihasani in the introduction to the second volume that in this volume "includes songs about events from the period 1831 - 1912"[43]But, based on this criterion, we find the organization of this volume over 3 chapters, formulated at a thematic level.

More or less the same criteria was followed in the editions of the four volumes of the historical epic published in Prishtina, adding also the components of the structural construction of the songs. Dr. S. Fetiu in the preface to the first volume states that "The overall subject matter for these four volumes has been systematized based on certain scientific criteria, interweaving the components that mark the historical chronology with that theme, as well as with the components of the structural construction of the songs"[44].

Evaluating these publications as the best and most complete reflection of the Albanian historical epic, we emphasize that in the study aspect, following these criteria would be more or less formalized, without allowing the historical song to be seen in its entirety according to its typological features. In fact, the classification criteria may be of different natures, from different perspectives, but in their entirety they serve the most complete discovery of each folklore type where they are practiced. Therefore, in this study we have undertaken to, while respecting the tradition to date, valid also for scientific classifications at the archival level, see the historical song from another perspective, based on its typological features.

Starting from this conceptual basis, the first example of such a classification, even differently, was brought by Prof. E. Mehmeti, who in the scope of a paper has defined 5 main models of Albanian historical songs. Specifically, he has brought us these five main models of Albanian historical songs: songs of the Battle of Kosovo in 1389; Arbëresh songs; songs of the northern folklore areas; folk songs of the southern areas; mountain songs or Majëkrahu songs[45].

Of course, the aforementioned treatment itself has the merit of bringing for the first time the idea and realizing the structure of a new classification possibility of the Albanian historical epic. Being in complete agreement with my doctoral supervisor, I will try in this study, taking into account not only this communication of his, but also the advice, remarks and suggestions that he has continuously given me, during the drafting of this monograph, to bring my contribution, by examining the Albanian historical epic, its characteristics and peculiarities on this conceptual basis. We believe that in this way the structures with which this type of song operates, starting from the temporal and spatial extension, will be able to emerge clearer and more complete. Both of these dimensions that we mentioned are known to play a very important role in the folklore aspect, since they also determine the syncretic nature of the creations themselves.

These five models determined on the basis of the structure of historical songs in general, undoubtedly, come as a logical consequence of their nature during the act of folklore circulation. Albanians are familiar with the different ways of singing and dancing, which naturally play a very important role in the very structure of the folkloric creations of the historical epic in general. There is no way that one of the components of this folkloric type, such as the poetic text itself, can remain outside this influence. This statement has to do, first of all, with the fact that the texts themselves do not have a life or genuine folkloric practice outside their musical accompaniment, so the text cannot be separated from the “pressure” of the melody, or better said, with the harmonization, the fusion of text and melody. A certain way of singing allows for a lengthening of the corresponding accompanying text, while another way of singing does not allow for the length of the text to the same extent, so the text in the second way of singing will, of course, be shorter. The very acceptance of these well-known truths, based on the way of singing, in addition to other phenomena, such as the tradition of singing, epic narration, etc., also explains the differences in the texts of historical epics themselves, which are practiced in different Albanian spaces.

Let us take a more concrete look at the ways in which the songs of the historical epic function among the Albanians. It is understandable that the songs about the Battle of Kosovo (1389) come as creations in the transition from the legendary epic to the historical one. There is no way that the new creations of the historical epic, which were taking the first steps, did not have a continuity, or starting point from the preceding tradition, and this was precisely the song of the Kreshniks or more generally the legendary heroic epic. It is not for nothing that the songs about the Battle of Kosovo have generally been recorded in those areas where the songs of the legendary heroic epic have been most practiced. Being the only experience up to that time for epic creations, there was no way that the new historical song that was being born would not use the tools of the epic technique, would not take certain elements, among which are the presence of typical phenomena of the legendary epic, the way of musical accompaniment, the relatively large length of the sung verses, etc. These elements are typical and characterize more visibly and openly this first model of the new Albanian historical song. It comes to us as a type of transition from one folklore type to another.

While the historical epic songs of the Arbëresh of Italy form a second model of the Albanian historical song in general, since they follow a certain structure, from the earliest of our epic poetry. On the other hand, this type of song comes from the early period of the massive migrations of Albanians after the death of the hero Skanderbeg, as an honor, pride and respect for him and for his glorious period, so it generally came from generation to generation, preserved with fanaticism, without numerous additions and deletions, with an embedded and stable structure. We believe that this is one of the reasons that we generally find these songs as solidified from edition to edition, carried out by different collectors.

These creations of the Albanian historical epic constitute its authentic and earliest model in general, mostly stripped of the legendary character of the songs of the Battle of Kosovo (1389), but not completely. We also find in these creations certain elements, indicators of an antiquity of the creations themselves, from the mythological fund or a somewhat balladic spirit. Another phenomenon is characteristic of the Arbëresh historical song. According to a researcher who speaks of the Arbëresh songs, it turns out that in them "lyrical poetic narrative" appears as "an inseparable part of every creation", including historical songs[46]. However, these elements present are only indicative of the fact that in the new land where the Arbëresh settled and lived, they no longer had a dynamic of development, but only brought back somewhat hardened the heritage brought from the original soil. Even in terms of their structure, the Arbëresh songs appear more concise, and consequently, shorter, than the songs about the battle of Kosovo.

As Shmaus has also noted, in addition to brevity, "the calm narrative tone prevails and the very measured steps of the narrative are felt, even where we can assume the shortening of their first version"[47]. It is precisely on these distinctive grounds that this researcher defines the Arbëresh historical song as a special type of epic song. Moreover, he distinguishes this song not only from the Kreshnik songs, from the types of Albanian historical song, but also from the songs of bravery of the South Slavs, from the song of the Bulgarian thieves and the Greek Kleftine song.[48].

Thirdly, we would like to focus on two other models of historical songs among Albanians. We are specifically talking about historical songs practiced in the folklore areas of the North and in the folklore areas of the South. Their commonality is the general detachment from the somewhat legendary nature of the songs about the Battle of Kosovo or the Arbëresh songs, which we mentioned above. Despite this commonality, these two groupings constitute two separate models. We express ourselves in this way, since in general the songs of the grouping in the folklore areas of the North have as their characteristic the accompaniment with various musical instruments, while the historical songs of the folklore areas of the South are practiced sung only in polyphony. We stopped to emphasize this distinctive feature, because in fact the manner of singing is precisely the fundamental factor or one of the most important, which conditions or determines the structure of these songs, making them two separate models.

Fourth, we would briefly dwell on the fifth model of Albanian historical songs. This includes the so-called Majëkrahu or Malësorçe songs. They are folkloric creations with a spread that is not all-Albanian. They are practiced mostly in the Northern folklore areas and have their own identity, conditioned or determined by the very specifics of the way of practicing. As ethnomusicologist R. Munishi has expressly stated in his work.[49]

After we have given a general outline of the classification scheme that we will practice during our study and have summarized some of the main features and characteristics of the five models of Albanian historical song, we will continue with the concrete analysis of all these models that we mentioned. In addition to the theoretical treatments and arguments, a number of concrete analyses will also be carried out, in decomposition and in support of our conclusions. We believe that in this way, not as an end in itself, the spaces of this special Albanian folklore type will emerge even clearer, more complete and in a more general plan. /Revista “Akademia”/Telegrafi/

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[1] See A. Xhagolli, cited work, p. 222.

[2] Right there.

[3] See A. Uçi, The heroic epic and its role in Albanian folklore, Albanian folklore issues 2, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1986, p. 9.

[4] Enver Mehmeti, cited work, p. 150.

[5] See more A. Buda, Our epic and history, Albanian folklore issues 2, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1986, p. 48.

[6] Q. Haxhihasani, LOGIN, Historical epic 2, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1981, p. 8.

[7] E. Mehmeti, ibid.

[8] Right there.

[9] Right there.

[10] Right there.

[11] Ibid., p. 151-152.

[12] Ibid., p. 155.

[13] Right there.

[14] Q. Haxhihasani, LOGIN, Historical epic 1, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1983, pp. 6, 7.

[15] Cited by Historical epic I, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1983, p. 6.

[16] E. Koliqi, quoted according to A. Schmaus, Albanian epic poetry, Albanological research – Folklore and ethnology, Pristina, 1986, p. 115.

[17] Q. Haxhihasani, LOGIN, Historical epic 1, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1983, p. 7.

[18] Ibid., p. 7-8.

[19] A. Schmaus, cited paper, p. 116.

[20] Right there.

[21] S. Fetiu, Foreword, Historical folk song I, Institute of Albanology of Pristina, Pristina, 2007, p. 13.

[22] See e.g., FM Rrapaj, Folk song from Chameria, folklore collector 3, Institute of Popular Culture, Tirana, 1983, pp. 433-434.

[23] F. Çaushaj, The song that traveled through centuries, Toena, Tirana, 2006.

[24] D. Shala, On our folk historical epic, the Renaissance, Pristina, 1982, p. 16.

[25] A. Schmaus, cited paper.

[26] PJ Ruches, Albanian historical folk songs 1716-1943, Argonaut inc., Chicago, 1967, p. 1.

[27] A. Schmaus, Balkan perspectives in the Arbëresh folk epic, Albanological traces, Albanological Institute of Pristina, Pristina, 1968, pp. 9-20.

[28] A. Schmaus, cited paper, p. 125.

[29] S. Skëndi, Oral epic poetry of Albanians and South Slavs, Institute of Dialogue and Communication, Tirana, pp. 272-273.

[30] Quoted according to R. Sokol, The figure of Skanderbeg in music, 8 Nëntori, Tirana, 1978, p. 20.

[31] E. Cabej, Home and the world in De Rada's poetry, Tirana, 1965, p. 117.

[32] Mr. Zheji, The basics of Albanian verse, Renaissance, Pristina, 1990, p. 22-27.

[33] Q. Haxhihasani, LOGIN, Historical epic I, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1983, p. 22.

[34] A. Uçi, The heroic epic and its role in Albanian folklore, Albanian folklore issues 2, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, p. 30.

[35] A. Buddha, Our epic and history, Albanian folklore issues 2, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1986, p. 48.

[36] Ibid., p. 10.

[37] S. Skendi, cited work, pp. 124-125.

[38] See A. Uçi, cited paper, p. 13.

[39] A. Xhagolli, cited work, p. 247.

[40] Ibid., p. 247-248.

[41] A. Xhagolli, Historical fact and folkloric treatment (Great Highland Uprising, 1911), International Seminar “Shkodra through the centuries”, volume I, Historical Museum of Shkodra, Shkodra, 2005, pp. 213-214.

[42] Q. Haxhihasani, LOGIN, Historical epic 1, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1983, p. 10.

[43] Q. Haxhihasani, LOGIN, Historical epic 2, Albanian Academy of Sciences, Institute of Popular Culture, Tirana, 1981, p. 5.

[44] S. Fetiu, preface, Historical folk song I, Institute of Albanology of Pristina, Pristina, 2007, p. 11.

[45] E. Mehmeti, Typological features of historical songs, SNGJLKSH, no. 26/2, Prishtina, 2007, pp. 19-27.

[46] See more broadly, AN Berisha, Approach to the poetics of oral literature, Renaissance, Pristina, 1998, pp. 118-119.

[47] A. Schmaus, cited paper, p. 20.

[48] See further, ibid.

[49] R. Munishi, Albanian highland songs, Albanological Institute of Pristina, Pristina, 1987.