The unfinished drama about Skanderbeg

In the Archive of HAZU, in Zagreb, in the fund of manuscripts of Ivan Kukulević-Sakcinski, one of the most famous Croatian historians, archivists and bibliographers and one of the ideologues of the Croatian renaissance, a manuscript of a play dedicated to the hero is preserved Albanian national of the 23th century, Gjergj Kastriot-Skënderbeu. The manuscript is located in the signature: XV. 7/ C. II. – 1840. It dates from XNUMX. We find this data on the last page, written by Ivan Kukulević-Sakcinski's own hand.

By: Musa Ahmeti (article published for the first time in 1999, in the Albanian Political Weekly "Zëri")

Who is Sakcinski?

Ivan Kukulević-Sakcinski is one of the many Croatian researchers, who is engaged in the research of Albanian history, culture and tradition. Besides the manuscript of the drama about Skenderbeu, he occasionally dealt with the Albanian issue until the second half of the century. XIX, through literary and historical-informative writings, as well as the collection of various manuscripts and books, published over the centuries.

IK Sakcinski will return several times in his studies to Albanian historiography, and especially Skënderbeu. As a historian, archivist and bibliographer, collecting the archival material for the history of the Croats, he will necessarily come across documents, manuscripts and historical materials related to the Albanians. He made his trip in 1854, along the Adriatic coast, not by chance. Having information from various sources, such as from Pula to Corfu, there are important medieval cultural documents and monuments, as well as many unexplored and unknown inscriptions. He made a carefully studied itinerary. Even the exercise of 1856 was similar to the previous one, but now he had a lot of information and Albanian friends, with whom he would visit the Adriatic coast.

Sakcinski added a large number of original Albanian manuscripts, which he bought or collected in the field, to historiographical and archival research for the enrichment of HAZU's funds, with various documents. A part of these manuscripts will end up in the hands of well-known albanologists of the time such as: Shafarik, Jagiq, Miklosiq, Gajter, Shufflay, Jirecek, Truhellka, Bariq, Kovacec, etc., who will then study and process them. them, bringing to light numerous qualitative and quite correct studies in the field of Albanianology, but a good part of them is still preserved in various funds of the HAZU Archive, in Zagreb, and it is expected that researchers our to publish them.

A special credit goes to Sakcinski for the fact that during his travels through the Dalmatian cities, but also within Croatia, he recorded and announced about other manuscripts by Croatian and Albanian authors, which have a special importance for historiography and Albanian culture.

Skenderbeu, as one of the most famous leaders of the 15th century who faced the expansion of the Ottoman Empire in the Balkans, is ranked among the most honored heroes of the Croatian renaissance. He will be considered the most popular hero of the peoples of the Balkans, who fought not only for the rights and freedom of the Albanian people, but also for the other peoples of the Balkans and Europe. Most of the Croatian revivalists will raise the figure of Skanderbeg and his struggle in their literary works, but also in historical texts, special studies, numerous newspaper articles, etc. In it they see the rebellion, the resistance, the just and uncompromising struggle against the Ottoman expansion in the Balkans and the only way to oppose it, because at that time the Ottoman Empire was still current and the national and international union for a common goal - freedom and preservation of national identity! We can affirm that the figure of Skenderbeu has played a very positive role in the romantic historical flows of the awakening of consciousness and national awareness of the Croatian people.

The manuscript which is preserved in the HAZU Archive is a drama, which is considered unfinished, because it lacks some scenes of the first, third and fourth acts.

The manuscript offers a great cultural-historical value, precisely because it enriches the bibliography of literary-historical works written in Croatian about Skënderbeu. At the same time, it is a real indication of the interest of Croatian researchers and creators in the figure of Skënderbeu and the history of the Albanian people during the Middle Ages.

Unpublished manuscript

The story of the non-publication of this manuscript is also interesting. The first to announce T. Smiçiklasi, while from the Albanian researchers dr. Mr. Neziri. We have prepared the text of this manuscript for publication. We did the transcription, transliteration and translation into Albanian. We hope that it will soon see the light of publication as a separate monograph, both in Albanian and in Croatian.

The text of the play in its current state is written on 58 leaves of large format, 27,5 x 51.8 cm. At the beginning, the first eight pages have a smaller format, 22,5 x 35 cm, in which the preliminary notes about the life and work of Skënderbeu are given, according to the sources and authors with whom Sakcinski worked. Then, in continuation, we have 48 written sheets and two blank sheets. All these sheets are folded in two and the author wrote only on one side, ie on the "recto" page. The manuscript is generally well preserved. Some leaves, those of the third act and the last two are smeared with mud. Apparently, this is a consequence of the transportation of the manuscripts and the text in them is difficult to read.

In all likelihood, the manuscript was returned to the author several times for processing and completion, because on the side, in a distinctive color, there are later notes and improvements, whether of a spelling nature, text additions with new phrases, or even complete changes of monologues.

The text in which the first part of the drama is written extends over 13 plates. Each tray is marked with Roman numerals from I-IV; also, next to them are the Arabic numbers, from 1 to 4, while the other sheets are unnumbered.

All thirteen plates follow this numerical order: second act: II/1, II/2, II/3, II/4, the latter having a blank leaf; then the third act: III/1, III/2, III/3, III/4 and an unnumbered tray; fourth act: IV/3, IV/4. The other trays are unnumbered. If we follow the logical principle, then we can conclude that, from the first act, trays: I/1, I/2, I/3, I/4 and from the fourth act trays: IV/1, IV/2 have been lost.

One of the most sensitive and important problems is the issue of historical sources, which Sakcinski relied on, which must be clarified. In the preliminary notes, the author mentions three authors: Georg Marnaviq, Andrija Kaçic-Mioçiq and JB Hamer, but it is evident that Sakcinski has also used other sources and authors whom he does not mention, but from careful reading, we can notice which are those works and sources. Here, in the first place, we think of Marin Barletin "Historia de Vita et Gestis Scanderbegi, Epirotarum Principis," Zagreb, 1743; then for "Hungarische [Sibenbürgische] Moldau-Wallach/ Türch-Tartar-Persian und Venetianische", 1663, Frankfurt am Maynn; then for "Türchische-Tartarische-Persianische-Griechische Venetianische", 1665, Frankfurt am Maynn. It is interesting that Ivan Kukulević-Sakcinski does not record the titles of their works, but only the number of pages, which he consulted, in his manuscript of the drama about Skëndrbeu.

Building the drama

The basic action of the drama is based on some of the key moments of Skanderbeg's life, which are fully supported by documentary sources and published texts. In the first eight pages of the manuscript, Sakcinski wrote: biographical information about the life of Skënderbeu, some basic information about the main characters and the sources used, presenting us with a brief concept for everything he planned to write. The entire scene of the drama is divided into three periods:

- in Skenderbeu's decision to return to Albania and the preparations in this direction,

- at the time of Skanderbeg's return to Albania, and

– in one of his most famous battles, the first siege of Kruja.

Judging by the plan, at the beginning of the manuscript, we can say that the author did not plan to present the life of Gjergj Kastrioti-Skënderbeu in its entirety, but using various descriptive techniques, necessary for literary works, to elaborate only a part of this period historical, which would include approximately the time of Skanderbeg's return to his homeland until the first siege of Kruja. Metaphorically, this historical period would be explained by the birth of the dramatic conflict and its happy ending, which is Skacinski's main idea!

The source data, used by Marnaviqi, Kashiqi and Hamer, belong only to this period of Skanderbeg's life and those of the later years of his life are missing. This fact leads us to judge that he planned to end his drama about Skenderbeu with the marriage of the hero, respectively with the birth of Skenderbeu's son, Gjon, and with the betrayal of Hamza Kastriot, which would in some way explain the strong character and the determined Skanderbeg, in front of the weak one of Hamza, even though genealogically the blood ties, the two have in common, so here we would have the psychological elements and the human factor, as dominant in determining the destiny for the future of the homeland.

Drama acts

Ivan Kukulević-Sakcinski has conceived this part of Skanderbeg's life in four acts. From the manuscript we notice that only the second act and to some extent the third act is complete, while from the first act we have scenes 5-8, while from the fourth act we have the last scenes 7-15. The event mainly takes place in Edrene, in the Sultan's palace and Skanderbeg's room, then in his statue in the mountains of Dibra and in the mountains of Kruja.

The main characters of the text are: Skenderbeu, Arianiti, Moisi Golemi, Urani, Hamzai, Sultan Murati, Mustafa, Jusuf Pasha, Pal Maneshi, Stanish, Prelati, Gjoni, singer Bojani, Andrea Ëngjëlli, Gjergj Balsha, Donika - wife of Skenderbeu, Mara - the sister of Skenderbeu and the wife of Stefan Cërnojevic, Oblaçiqi - king of Bosnia, and other persons.

In the last four scenes of the first act, Skenderbeu, Count Urani and Hamzai take part. Through the conversation they have, we understand Count Uran's efforts to convince Skanderbeg to return to his homeland. In a part of the fourth act, only one monologue of Skanderbeg has been preserved. It perfectly describes the cunning personality of Sultan Murat. We mean that it is a continuation of the conversation with Hamza Kastrioti. This conversation is prompted by the death of Skenderbeu's brothers, among whom is Hamza's father. In the fifth scene, the prudence and wisdom of Skenderbeu is revealed through the monologue. He is intimately familiar with all the deeds of Sultan Murat, for which Hamza persistently invites him to revenge. In retrospect, in the sixth scene from Skanderbeg's conversation with Count Uranus, we learn of Skanderbeg's early childhood. We are informed of the death of Gjon Kastriot and his message to Gjergji. Count Urani hands him the ring of the kingdom and invites him to return to his homeland because the people are eagerly waiting for him.

This is one of the authentic descriptions taken from M. Barleti's book. Skenderbeu is burning inside his soul with the desire to return, but he is waiting for the most suitable moment. In the seventh scene, Hamzai is also included, who, after being introduced to Count Uran, continues to put pressure on Skenderbeu to return to his homeland. However, Skënderbeu, determined in his positions, orders Hamzai with the words: "Even your pain will have its turn". Hamzai, surprised by Skanderbeg's cold attitude, asks Count Urani to explain to him this great turn in Skanderbeg's personality, who turns from a fierce and strict warrior into a kind-hearted, gentle and completely kind man. calm down!

In the second act, in scenes 1-7, the event takes place partly in the palace of Sultan Murat and partly in Kruja, in the cemetery of the Kastriots. In the following scenes, the event takes place in Sultan Murat's palace, where we learn about the appointment of Sabeli Pasha as the ruler of Kruja and the testing of Skenderbeu's desire to return to Kruja, which was a cunning and malicious provocation on the part of of the Sultan. Here is the wisdom of Skenderbeu, who does not fall prey to the trap prepared by Murat. Not expressing ambitions for power in the Albanian principality, he wisely says before the Sultan: "What does an eagle need mountains, when he has hills and mists".

The second scene describes Skanderbeg's battles in Asia and the subjugation of Asian kingdoms, with which he gains authority and fame in the royal court, as well as very high military positions. The event in scenes three and four takes place in Skanderbeg's room. Here we can see Skenderbeu's willingness to return to his homeland, but at an opportune moment, comprehensively analyzing the situation and political circumstances. Next, the event takes place in the Kastriot cemetery. The fifth scene opens with Mara's lament over Gjon Kastriot's grave. It continues with the consolations of Donika - Arianiti's daughter and their departure from the cemetery. The framing of Arianit and Stefan Cernojevic, in the sixth scene, foregrounds the preparations for a quick uprising. Next, Pjetër Perlati, Gjoni in monk's robes, as a Bulgarian warrior, are framed. They inform Arianit that Dibra, Petrela and Svetigrad are ready for an uprising and are waiting for the first moment to take up arms. This act ends with the joint oath of those present on the grave of Gjon Kastriot for the protection of the homeland from the Ottomans and for recognizing Skanderbeg as their leader.

In the third act, scenes 1-9, Skanderbeg's preparation to return to his homeland is described. The first scene, Skanderbeg's decision to withdraw with his soldiers from the battlefield, the second scene, the cooperation with Huniad and the discovery of the secret of the war, namely the depletion of the Ottoman army. Then, in the fourth scene, the obligation of the secretary to sign the "ferman" for the appointment of Skenderbeg as the ruler of Kruja is described on behalf of the sultan. Killing the secretary for not revealing this ahead of time and a few other moments. Escorting Hamza as a vanguard to Kruja with the Sultan's "ferman" and preparing Skanderbeg's soldiers to return to their homeland. In the sixth scene, the celebration of Saint George near a monastery, thought to be Svetigrad in the Dibra Mountains, is depicted. The following take part in it: Prelate, Stanish, Gjoni, Vasha, shepherds, singer Bojani, who describes in his song the birth of Skenderbeu, Vojsava's dream before the birth of Skenderbeu, Skenderbeu's going as a hostage to Turkey and the rise of him in high military positions. At the end, the popular rhapsody heralds Skanderbeg's return. This scene ends with the appearance of the Turks in Svetigrad.

The seventh scene describes the dialogue between Cernojević and Oblačić, who eagerly await the arrival of the messenger, who would announce Skanderbeg's return, because for this purpose they had reached Dibër. Continuing, Cernojevic painfully describes the dire and very miserable condition of the population under Ottoman rule and the impossibility of a quick and successful solution without the help of Skanderbeg. The appearance of Hamzai in the ninth scene resolves the knot of Skanderbeg's waiting and the great joy caused by the news of his return to those present.

The scenes of the fourth act open with a dialogue between Donika and Arianitis, which is the end of the sixth scene. This fragment serves the author to reinforce Donika's manly and fighting personality. Such an effect is achieved when Donika asks her father, Arianit, for a knife, with the motivation that she needs it for self-defense. A strange, but very significant symbolism, in which many prejudices that Sakcinski himself feels for the moment are broken down. Meanwhile, in the seventh scene we have an idyllic love scene between Donika and Skenderbeu. In the eighth scene we have a dialogue between Mara and Donika and Mara's surprise at how Skenderbeu in such an atmosphere of war finds time to think about love and marriage. The ninth scene describes the arrival of Jusuf Pasha and Ali Pasha as delegates of Sultan Mehmet II, as observers of the terrain, for the signing of a possible peace in the future. In retrospect, through Ali Pasha's recollection, the terrible defeat of the Ottoman army in Mokre and Dibër is described, while their march to the mountains of Kruja is motivated as a request to sign peace with Skenderbeu.

In the tenth scene, also in retrospect, the dialogue between the Prelate, John and Stanis makes us understand the fall of Svetigrad in the hands of the Turks. The following describes the conclusion of an important battle: the impressions of Skanderbeg and Arianit after the withdrawal of the Ottoman army. From the subtext we understand that it is about the first siege of Kruja. In the twelfth scene, Count Urani is framed, who congratulates Skenderbeu on the victory and expresses the desire of the citizens of Kruja that, finally, it is time for their king to choose a maiden for marriage. Skanderbeg asks for the consent and blessing of Arianit, who gladly fulfills such a wish, giving him his daughter, Donika, as a bride. The thirteenth scene opens with the appearance of Hamzai and Mustafa dressed in Bulgarian clothes. Hamzai is severely reprimanded by Skenderbeu for the defeat of Drishti and Danja, which he compares to Murat's defeat in Kruja. The arrival of the Prelate, John, and Stanish opens the fourteenth scene. They report on the state of the war, which took place in the area of ​​Tirana. The inclusion of Jusuf Pasha in the role of the sultan's delegate and the betrayal of Hamza Kastriot describe the fifteenth scene. The manuscript ends with Hamza's conversation with Jusuf Pasha.

Finally, it must be said that this manuscript contains several important moments. It is written from the well-known pen of a distinguished historian, who breaks down the factual side into an engaging and easy-to-read narrative. The language used is simple, clear and very melodic. But, the most important thing is that the author has maintained impartiality, being careful to present the main characters in a positive light, but never more than they deserve. /Telegraph/