The poetry of Dritero Agolli has left deep traces in albanian tradition

 

Rovena VATA MIKELI

  

Abstract: The purpose of this study is to contextualize Dritëro Agolli’s poetic creativity within the remnants of the Albanian tradition, as well as his inclination to revisit traditional literature and folklore stones to bring them back to life in his poetry through creative means. In his poetic inventiveness, Agolli straddles the line between mission and emotion. His poetic verses about his return to the source symbolize a return to ancestors’ ideals, qualities, and roots.

The goal of the study is to locate, evaluate, and disseminate Agollian poetic lines in the context of literary analysis to raise awareness of their poetic qualities on a global scale through the power of verses that are devoted to many subjects, including nation, country, tradition, language, territory, homeland, and generation. The idea of folklore, which Agolli used as a source of inspiration to enhance his poetry and elevate it to the status of artful emotional experience in literature, unites all these components of Agollian poetic verse.

Methodology: To carry out this study, a fundamental combination of theoretical, qualitative, and analytical methodologies will be used, occasionally supplemented by historical data to incorporate the historical-cultural interpretative method.

Results: Dritëro Agolli, a personality of Albanian letters, naturally fused his poetic inspiration with traditions, documents, rites, cults, myths, rituals, ballads, and legends from the corpus of Albanian folklore. It was not without reason that Agolli traced deeply into the popular psychology of the Albanian nation, listening to and studying oral narratives, Albanian myths and legends, folk poetry and songs, and old Albanian tales and motifs, where he enriched the Albanian language through words and expressions. phraseology of his hometown, Devolli.

Discussion: Agolli lived and wrote at the time of socialist realization. He had the main merit that he ‘knew’ and ‘could’ go beyond the rules that this literature needed, going to man, nature, the earth or the spiritual states of the individual, being always ready to give the right advice for man and his people, whom he loved all his life. His escape from the framework of the literature of the time was through the use of motifs, ideas, themes and heroes, which Agolli took from the national historical memory and Albanian folklore.

Recommendations: Textual analysis and scientific research should be combined to investigate Dritëro Agolli’s lyrical inventiveness. Reading, discovering, debating, rereading, and drawing conclusions from textual analysis will guide us toward the accomplishment of our investigation into Dritëro Agolli’s poetic imagination.

Keywords: Dritëro Agolli, Albanian letters, Albanian folklore, poetry, Albanian literature.

 

Introduction

Dritëro Agolli’s inventions and the poetic patterns he established throughout the years in Albanian liter­ature are crucial to the definition of fulfilled Albanian poetics. However, who is Dritëro Agolli? With a long history in this subject, Dritëro Agolli is a significant figure in Albanian let­ters. He died in Tirana on February 3, 2017, after being born on October 13, 1931, in Menkulas of Devolli, close to Korça. His early education was in his hometown, he pursued his education at the Gjirokastra gymnasium, and eventually, he was allowed to attend St. Petersburg to study philology. He returned home in 1957 after complet­ing his studies, working for approxi­mately 15 years as an editor and jour­nalist at the newspaper “Zëri i popullit”, during which he penned a number of articles in the journalistic domain. Dritëro Agolli is a multital­ented writer who writes not only poet­ry but also prose and drama.

As a student, Agolli debuted Alba­nian literature through articles pub­lished in periodicals and newspapers such as “Voice of Youth” and “Pionieri”.

His closeness to his readers is evi­dent in his poetry, which marked his entry into Albanian literary history.

He sang of the love of his native country, the simplicity of the human race, the Albanian language, human communication in all its sincerity, spiritual sentiments and human virtues (love, faith, hope, kindness, joy, gen­erosity, passion, boredom, abandon­ment, loneliness), as well as the stages of a person’s own life, including childhood, youth, maturity, old age, and death.

Agolli primarily went to folk poet­ry to realize this new poem in Albani­an literature.

Agolli’s poetic landscape also en­compasses a mosaic of concepts and topics that depict life’s journey and the inner and outside worlds of the individual.

Because Dritëro Agolli character­izes the deepest human emotions as universal experiences, love in his po­ems thus becomes a cult. Agolli, his literary muse, can be found in every region of Albania. His poetry is con­sistently filled with spiritual coziness.

His ability to maintain the poem’s emotional resonance and artistic uniqueness even when he switches up his technique is impressive.

The presence of folklore culture in Agolli’s poetry

“I did not imitate other poets on my long way,/ Although I once valued more than myself;/ I treasured them like you, and after the tracks I fol­lowed Naim,/ He once conquered my soul and thought like a saint”¹. Agolli, Dritëro.

In Agollian poetic verses we find elements of history, folklore, geogra­phy, ethnography, pedagogy, philoso­phy, ethics and linguistics, where the lexicological and semantic aspect of the Albanian language is quite rich, which means that: “Ethnopoetics seen as an interweaving between poetry and anthropology, where the poet stands within the relations of lan­guage, communication and culture of his ethnicity”².

For Agolli, poetry was an inspiring muse, evocative lullaby and spiritual food, where among other things: “Popular literature has been the first school of many creators of great liter­ary works”³.

This is because poetry and the poet in Agolli have such a natural rapport with one another; they are supportive and comforting, give and receive, in­spire and abound in emotion-sometimes the poet is the poem, and other times the poem is the poet. Thus, “Agolli remains one of the peaks of Albanian literature”⁴ may be stated with confidence.

For millennia, “the relationship that the poet has with poetry, regard­less of genre or metrical forms” has been the focus of scholarly inquiry⁵.

The titles of his poems and poetic lines, such as “For poetry,” “The po­et’s song before death,” “Poet and death,” “Rebellious poet,” “Poetry,” “Poet and souls,” and “Hope of po­ets,” reveal this link with Agolli. “Two words to the poets who come” , “Wrath of the poet” , “Travel with the poets” , “Poetry hut” , “Old poet” , and so forth.

“I have eaten myself with my teeth many times, but I do not want to lie in agony in front of people. The poetry I have been searching for has been hidden beneath a heavy shield. However, when I have finally man­aged to lift the shield and find the hid­den poem, I have seen myself sweat­ing, and I have understood myself.”⁶.

In his statement, “For Dritëro Agolli, poetry is a song…”⁷. Kosovar researcher Ali Aliu makes an intri­guing claim about the impact of poet­ry on Agolli. Agolli himself expresses himself in verses such as this: “I know them all: the song, the pain, the sad­ness,/And I try to know them all more and more./I grow old-I grow old, we end the endless war”⁸.

Because of his intimate relation­ship with poetry, Agolli was able to go on a lengthy creative journey that resulted in more than 60 years of work in Albanian literature.

Agolli “…on the previous poetic tradition…” since he modeled his po­ems after Albanian poets⁹, primarily using its motifs. “Literature and my­thology in the history of the survival of myths and in the life of literature have been forced into a relationship with each other, primarily because fiction is the daughter of popular cul­ture in its most important types, while mythology, because of cultural devel­opments, mental evolution, technolo­gy had to survive”¹⁰.

The motif employed by Agolli is identified following the titles of these poems, as in the following cases: “Radonec Faucet-From an old song”, “Mike with gold in the throat-From the people”, “Pashë una beku-From the people”, “Starting-song with the chorus”, “Brother, how much wait!-Brotherly conversation”, “Rock‒landscape”, “Moon with the sea” -Fairytale”, “Lapidary-Ode”, “Moon with the sea” -Fairytale”, and “Moon with the sea” -Fairytale.

Dritëro Agolli adhered to tradi­tional literature in line with folklore culture, and his poetry reflected these literary influences. After examining the works of traditional writers such as Naim Frashëri, Lasgush Poradeci, Anton Zako Çajupi, and others, Shaban Sinani concludes that “Dritëro Agolli’s poetry has direct influences from popular poetry, from the art of Naim Frasheri and of Lasgushi”¹¹.

Nearly all of Albania’s writers have been drawn to the creative rich­ness of folklore culture, as “Albanian literature, in all stages of its develop­ment, has been characterized by the close connection with the tradition of folklore”¹².

Thus, the poems with the titles “Respect for the “Words of the Can­dle,” “Between the Tigris and the Eu­phrates,” “Frashëri,” and “The Paths” of the Law this thinking are the foun­dation of the new values that are em­bodied in the interior of Agollian po­etry. “Strong connections with Naimian poetry are clear and visible through these motifs and settings”¹³.

“Naimi and Migjeni night after night/The verses came to me/Naimi spoke: “The trip is long/Me and Migjeni will say this too!” wrote Agolli himself¹⁴.

In his work “Traditions, of course, but not stamps”¹⁵, Dritëro Agolli ex­pressed his critical viewpoint on the process of creating poetry or the meter of verses. Agolli, an expert on Albani­an literature, emphasized that “the poet must be innovative, he must al­ways seek and not use the same artis­tic tools that his predecessors used”¹⁶.

As a poet, he would use lines such as “And there comes a moment when you return,/And you sit full of longing in the hearth,/The house will open its wings,/So that you sit like a bird blue” to convey the same idea¹⁷.

In Agolli’s poetry, the “norms, practices, artifacts, and symbols that make up ethnicity” represent the val­ues of the Albanian tradition¹⁸.

His influence from this tradition is evident in the titles of several of his poems: “Fire-ballad,” “Trace,” “River,” “Call,” “Mountain,” “Sea,” “Song of the Earth,” “Hearts,” “As­sembly of stones,” “History docu­ment,” “Devoll, Devoll,” “Early trac­es,” “Tradition,” “Sacred stone,” “Stone clock,” “Wedding moment in Devoll,” “The Bride,” “Honor,” “The Call of the Homeland,” “The Awak­ening of the Ballads,” “Hospitality,” “The Foundations,” “Bread,” “The Pain of the Stone,” “In the Ancient City,” “Ballad of the Mountains,”, etc. In particular, Agolli writes: “I go to Grzeghe and wake up ballads,/And the ballads of the mountains remained alive,/Because they planted long roads,/History poured out in waves…”¹⁹.

It is important to note that begin­ning in the 1960s, folklore began to exert a new influence on cultivated poetic creativity. This development was influenced by the poet himself, who found purpose in the rich stone of Albanian folklore when he first began to create poetry.

Not without intent, Agollit’s early poetic creations were grounded in the rich tapestry of Albanian folklore.

He used commonplace themes in his poems. In the moments when this poetry was emancipated, Agolli’s po­etry was directly influenced by folk poetry, the art of Naim Frashëri Lasgush, Burns, and others. In a sense, literary thought was also stimu­lated by this competition²⁰.

In the verse “To think”, he states, “There are many curses for evil peo­ple,/As there are also congratulations for friends”²¹.

This is the point at which our poet­ry advances to a new, higher level of growth, distinguished by the deepen­ing of its artistic and ideological con­tent.

1. Frashëri’s poetry started a tradi­tion, but A. Z. Çajup, N. Mjeda, F. Noli, and L. Poradec’s poetry en­hanced it. A tradition was established by Migjeni’s poetry, but it was en­hanced by the poetry of the thirty-year-old generation²² and others.

By creating new forms of artistic expression, it has the chance to delve deeper into the phenomena and reali­ties of modern life, into the inner lives of our people, and into the endeavors to provide a more thorough and all-encompassing mirror of life. “Where did the cell go that sat like a bud on the couplet/And brought honor and peace between the rooms?”²³.

Folklore, where poets delivered the artistic wealth of the people from the perspective of the new demands, which were placed before them by time and the rise in the artistic level of the readers, was unquestionably one of the sources of enrichment and re­finement of poetic expressions. “He preserved one of the most accom­plished values ​​of traditional poetry—the folk spirit”²⁴.

“She was betrothed when she was born,/And she remained betrothed all her life./This great sad story,/Binajke can only have legend”²⁵.

This new phase of poetry devel­opment “gave way to the use of new elements of folklore”²⁶, where Agolli writes the poem “In my creases”: “An archaeologist digs in the creases/You will find the shells of legends from the grandparents eaten/On old tables, the legend was that the lute was cry­ing/Under the smell of a cemetery sprinkled by the moon”²⁷.

This was a widespread tendency during the first phase of the develop­ment of poetry.

One can clearly see Agolli’s influ­ence on Albanian songs and rituals in his creative poetry. Even the poet himself fails to achieve this when he writes these lines: “I imitated wed­dings, songs, joys and joys,/I imitated the deaths, the horrors, the pains, the lamentations.” We discover rites for death, rules and behavior for the birth ritual, and conventions for the wed­ding ceremony in his poetry²⁸.

As the ethnologist and researcher Mark Tirtra correctly noted, “Myths, rites and beliefs about death, about the dead, for the graves, for the afterlife,” for what we call the “Cult of the an­cestors” and “their connection with the fates of the living in rural commu­nities,” occupy a special and very sig­nificant place in the totality of the his­torical-cultural phenomena of the tra­dition, syncretized in the spiritual life of our people”²⁹.

Edlira Çerkeçi, a researcher, con­tinued, “The reports and the cult of the dead is one of the oldest cultures of humanity”³⁰.

The poet is able to portray the spir­itual culture passed down from gener­ation to generation with the aid of all these traditional Albanian elements.

The lines “Your verses are mixed with the crumbs of the earth/And it seems to us that they have merged with our being” are written by Agolli in the poem “Naim Frashëri”³¹.

In Agolli’s poems, folk psycholo­gy is clearly present. The mother lulls her child to sleep and desires for them to grow up and see the sea. Therefore, “Agolli maintained stable links with history and historical “myths”³².

One wonders whether Agolli was also a scholar or maybe a collector of folklore or whether these vivacious verses were the product of a fleeting inspiration.

“D. Agolli stands out for the strong connection with the national tradition, for the national type of thinking, for the popular spirit and healthy humor, for the clear expression and where the depth does not go to the detriment of the depth,” according to researcher Bardhosh Gaçe, describing Agolli’s relationship to the Albanian tradi­tion³³.

Agolli provides us with the follow­ing lines: “Only rarely does a fire sud­denly warm me,/From the holy hearth of poetry./And I say to myself like a hermit monk:/May this hearth that still emits a spark be blessed!”³⁴.

Since the wedding itself was for Agolli joy, happiness, motivated or­ganization, beautiful emotions, spir­itual and family connections, the pro­motion of Albanian music and dances, renewal, etc., Agollian lyrical poems also encourage the wedding ceremo­ny, a life-giving factor.

He describes the entire process of Albanian wedding development in the poem “Chast dasme in Devoll,” stop­ping at the dance and the dress: “Fif­teen dresses were opened on the ground,/Fifteen dresses rose between the floor and the ceiling,/Fifteen dresses fell on the ground again,/And the glasses on the table were grabbed and shouted!”³⁵.

It is impossible to overlook tradi­tional Albanian motifs or components connected to ethnicity, land, birth­place, village, nature, history, stories, food, and the poet’s deep love for the Albanian tradition in Dritëro Agolli’s creative creations.

The cult of the earth inspiration of Agollian poetry

       “Dear Earth,

       I want to know,

       I understand,

       I find myself in you”³⁶.

As “it is known that in the first pe­riods of the formation of any litera­ture, poetry prevailed as the main type, which was conceived much ear­lier than other types”³⁷, Dritëro Agolli began his creative process with verses of Albanian poetry. Agolli used these verses to express all the magic of his poetic words. In Dritëro Agolli’s poet­ry, the religion of the earth plays a significant role. As the researcher Agim Vinca correctly notes, “he trusts only one museum – the Muse of the Earth, which gives him inspiration, song, and poetry”³⁸.

“Agolli wrote poems that are per­meated by the cult of the birthplace, the land, the bread, the plow, the fami­ly, the parent, and the father.” He has performed to this cult more than any other poet from Albania³⁹.

Additionally, as noted by Albanian literary scholar Bashkim Kuçuku, “the earth is a metaphor for all kinds of puzzles, it is rather a geographical and historical-national puzzle that is re­vealed little by little”⁴⁰.

Through poetic hues and artistic phrases, Agolli has so masterfully expressed the cult of the earth, giving it a vibrant, vibrant sense of life. However, where was Agolli’s land? The earth appears as land, land, mud, wish for the earth, trace, name, plow, prayer, road, house, root, bread, be­loved, muse, stone, dream, puzzle, blood, motherland, depth, and hope throughout his lyrical verses. “Home­land, I feel you in every cell of my land”⁴¹.

Agolli, however, also saw the ground as a woman, stating in one of his writings, “The earth smells of wa­ter like a woman after a bath”⁴².

Agolli believed that the earthly worship was also associated with eternity; in the poem “Life,” he expe­rienced his death as a second coming. “What about me when I entered the ground,/When people gathered in the room,/I would like friends and com­rades to think:/He has gone with ser­vice and comes later…”⁴³.

We saw fields, meadows, oaks, plains, mountains, hills, plants, birds, trees, oaks, and everything else that was a part of the poet’s upbringing and early years inside the religion of the soil. “They all chew,/They chew everywhere: on the streets, in the gar­dens, in the fields”⁴⁴.

He considered himself to be the topic of the shepherd and the farmer, the peasant and the scholar, the climb­er and the thinker, in this poetry. He upheld the public spirit, one of the most accomplished qualities of tradi­tional poetry⁴⁵.

Agollian poetry titles like “Tears of the earth”, “Kurbatka”, “When it snows”, “Song of the earth”, “Devoll, Devoll”, “New Psalm for the Earth”, “In the fields after the rain”, “In my country”, “The call of the homeland”, “Work”, “O master work”, “Fires”, “Night in the fields”, and so on, all allude to the cult of the earth. In the Agollian verses, the cult of the earth is explained as follows: “The earth looks white and white,/The earth evokes the world of the fairy tale”⁴⁶.

“The poetry of Dritëro Agolli is an example of all Albanian poetry of all times, both in terms of quantity and quality, both in terms of form and content”⁴⁷.

Speaking to Devolli as though he were conversing with a friend, the author claims that because of this, Devolli’s dirt is carried about and even gets inside the woolen bag that Agolli always carries. “Your mud, your thick grass,/I’m your whole fold,/And a piece of uncarved rock”⁴⁸.

He demonstrates how his birth­place, his land, which they missed despite its filth, is constantly with him. “The religion of the birthplace, the land, the bread, the plow, the family, the parent, and the father permeates his poems. It is governed by the natu­ral world, the field, prosperity, holi­ness of nature, and spiritualization of the surroundings”⁴⁹.

“The gendarmes shot at the bird with rifles,/And the bird fell on the partisan’s gills./And they both re­mained on the frosty grass,/The great earth beneath them breathed” is how the poet described the world, believ­ing it to be alive and breathing just like a man⁵⁰.

In Agolli’s poems, the cult of the land also referred to his birthplace, to which he dedicated the most exquisite verses: “To speak, He planted the first sounds in my heart,/He made me a poet in books of verses. Here I meet you with my village Menkulas,/In front of the Rrahimi Stream and on the edge of Devolli”⁵¹.

Gjovalin Shkurtaj, an academic, would write “The most dense word, certainly the most beloved and the most representative, for this poet is clay: the clay of the fields, the beloved clay of his Devolli, the sweet clay of our Albania”⁵².

“The strong connection with the birthplace, mainly Devolli and Menkulas, has reflected also because of a strong relationship that the poet had with his family, where the mother and father stand out, for whom the poet has written emotional verses”⁵³.

The lines “I took the stone in my palm calmly,/And said tiredly, deep in thought:/I almost cursed you, O deso­late stone, If it were not from My hometown” illustrate the poet’s con­nection between the stone of his origin and the cult of the ground⁵⁴.

As his father had taught him, the poet never cursed the earth. “I like to go out before dawn./I like to go among the fields,/There comes such a good wind,/In the morning when the seed is thrown”⁵⁵.

“The poet brings a realistic reflec­tion about his father and his father’s generation, a generation that has car­ried great burdens on its shoulders, but has passed on to us an irreplacea­ble tradition and heritage”⁵⁶.

Two instruments that are used to work the soil and make it fertile and fruitful are the plow and the plow. The poem “Learn, biro, the alphabet,/All the alphabets,/Where the folds raise their backs,/After the plow and behind the oxen” is a result of the poet draw­ing inspiration from these tools⁵⁷.

“In Dritëro Agolli, the poetic clar­ity stands out through the internal message”⁵⁸.

The poet claims that his father taught him how to do his craft and that he also provided him with education and information. “He stayed with the earth day and night,/In the heat, wind and fog,/That is why from my de­scendants./He was looking for sweat and order”⁵⁹.

The benefit will vary depending on how it is handled. “My father loved the land very much,/As he loved a mother and a wife,/For the land he was tired and groaned,/And he sweat­ed and itched”⁶⁰. “Dritëro Agolli has created in his poetry, the symbol of the earth-woman on the ruins of a very early archetype, inherited from very distant archetypal depths, or what is called collective conscious­ness, to introduce a symbol into Alba­nian culture you are individual and unusual”⁶¹.

With love and longing, the earthly poet speaks and prays to her. “And he sat down on the ground to pray to the sea,/Like a dervish on the threshold of the masjid,/Under the olive trees a tear fell from the desert,/Under the olive trees a tear fell like dew,/And on the ground he sat down to pray to the sea”⁶².

Everybody has to submit to the ground since it is the source of all nourishment, the grain. “And the earth put on the dress again/Of the green wedding, /And took the lilac flow­er/Under the old shelter”⁶³.

Mankind should not become sick from humanity. “They found the earth sick/Filled with thorns and this­tles;/They had thrown stones on it,/It had wounds on its back”. (Agolli: 1987, p.245). “Dritëro Agolli is the poet of the proclamation of the human weakness of the creator for everything he experiences”⁶⁴.

“Oh Earth, do not freeze my fore­head, /Open me, please, your herbal book, /The only book I read without glasses,” the poet begged the planet while he was lost in meditation⁶⁵.

Since the earth provides you with food and needs to be treated with love, care, and attention, it was not insulted. “You see that I’m not so tranquil, dear earth. “Day by day, I strive to suffer, I battle with my lonely self, I battle with my friend, and I fight for you even when I’m not sure how to cook your dough”⁶⁶.

The poet claims to have learned human virtues such as work, kindness, dignity, ancestors’ roots, and love from the clay of the land. “What did I do for you? /I plowed./ I planted and reaped/ to comb you with a comb of nobility?/ With my hands like a comb I pulled out the evil roots/ I inhaled the steam of love from you”⁶⁷.

He claims to have called me the mouth of history, suggesting that ei­ther this may be Agolli’s time to fur­ther his studies or that he could defend his nation.

“I am a speck of the great earth,/ However, I create and discover every­thing…/In myself sleeps a worldly sto­ry full of noise,/ I walk, I do not stop, I transform…”⁶⁸.

Agolli intended to record the histo­ry of generations using the cult of the earth, precisely like the earth with its strata and the history of generations with the events that took place. “We will take the ashes of the history of the elders,/ Throw it to the fields, remove the excess acid from the soil”⁶⁹.

He even demonstrates how ceme­teries exist on the earth, but the soil tends to them as well; in fact, it even remembers that cashew flowers sprout on damp ones. “Tormentors! — a blood on foot, blood on foot in the Earth’s arteries:/ Strong, feeble, exhausted, red, and pale; with fingers behind the head and claws out; with full embraces, resent­ments, and curses;/ Protected and utterly desolate”⁷⁰.

Agolli addresses every subject, at­tempting to give everything an earthly beauty and resonance. “It rains and the earth moans like a woman with a burden”. As Ali Aliu noted⁷¹, “…the poetry of Dritëro Agolli is self-revealing”⁷².

The character of Agolli, his love of the country, his birthplace, the ances­tors’ roots, blood, the tribe, the moun­tain, the field, the oaks, the crops, and the Albanian nation’s name are all shown in these lyrics.

Conclusion

Upon concluding our investiga­tion, we can state that Dritëro Agolli continues to be a remarkable figure in Albanian culture and literature, recog­nized for his work as a poet, prose writer, essayist, publicist, and critic. His inventiveness spans a wide range of literary genres and forms; in Alba­nian literature and culture, he even founded an entire school of writing and aesthetics. He was also notable for his social and political involvement. Dritëro Agolli served as the president of the League of Writers and Artists of Albania from 1973 to 1992. He also served as a representative in the Alba­nian Parliament for more than 30 years.

Dritëro Agolli continues to be the dominant character in Albanian poetry in the latter part of the 20th century. He has been called one of the most significant members of the 1960s gen­eration. Dritëro Agolli is a member of the group known as the “Generation of the 60s” in the history of Albanian literature. This group, along with Ismail Kadare and Fatos Arapi, introduced a new literary spirit to Albanian litera­ture in the latter half of the 20th centu­ry. This spirit tended toward a higher quality of literature in terms of the artistic form’s elements as well as ex­panding the enrichment of literary themes.

We recall that during that time, so­cialist realism was the dominant liter­ary style in Albanian literature, giving works a stronger ideological and polit­ical bent. Nevertheless, despite these challenges, Agolli was able to infuse Albanian literature with true artistic and literary values. The future of Al­banian poetry was transformed by the innovative poetry of Dritëro Agolli.

Thus, Dritëro Agolli made his lit­erary debut in Albania, where he dis­tinguished himself as a poet who was intimately familiar with the reader and who integrated ordinary philosophy with the universal emotions of joy, anguish, and despair.

Dritëro Agolli, as a writer, embod­ies the finest creative tradition in Albania and adds authentic literary and cultural value to it. The land of his birth, the common man, the Albanian language, sincerity and human com­munication, spiritual feelings and hu­man virtues such as love, faith, hope, kindness, joy, generosity, passion, boredom, abandonment, and loneli­ness, as well as the stages of man’s life, childhood, youth, maturity, old age, and death, are all themes that Agolli sang about in his poems.

Agolli wrote his poetry in a subur­ban, or noncitizen, setting with the hamlet, the farmer, and the peasant serving as the main subjects of his verses. Agolli primarily relied on popular poetry to bring this new poet­ry to Albanian literature, drawing di­rect inspiration from traditional litera­ture, particularly works by Naim Frashëri, Lasgush Poradeci, and Anton Zako Çajupi.

His lyrical landscape was a patch­work of themes and ideas that depict­ed life’s journey and the inner and outer world of the individual, the common man, who subsisted on daily labor in fields, meadows, harvests, etc. Agolli saw poetry as his spiritual sus­tenance, evocative lullaby, and in­spired muse. His literary works’ phi­losophy and messages were intimately linked to his function, mission, and enthusiasm in the advancement of Albanian society.

As a poet, his attention was drawn to the remnants of Albanian culture, mostly drawn from national memory and Albanian folklore for inspiration on ideas, reasons, topics, and heroes. This allowed him to break out from the socialist realism literature.

The poetic verses of Dritëro Agolli, an Albanian writer, merge several fields within Albanian litera­ture, starting with archaeology and continuing with history, geography, ethnology, folklore, sociology, and cultural anthropology.

Agolli became a poet, employing new literary devices and adhering to the Albanian tradition. Agolli’s poetic imagination is bold, vibrant, and in­credibly motivating. The thoughts of a lyricist with an exquisite taste are por­trayed in his poetry lyrics, where the talent of a refined artist is evident and who feels obligated to elegantly en­grave the Albanian word.

Through poetic hues and artistic phrases, Agolli masterfully expressed the cult of the earth, giving it a vi­brant, vibrant sense of life. However, where was Agolli’s land?

For Agolli, the earth was made of dirt, land, muck, soil, name, trace, road, house, root, bread, lover, muse, stone, dream, riddle, blood, mother­land, depth, and hope. The Agollian lyrics contain a cult of soil that in­cludes fields, meadows, oaks, moun­tains, hills, plants, birds, trees, oaks, and everything else that existed during the poet’s early years.

According to the poet’s creative and spiritual vision, which lived and breathed similarly to that of man, the Earth was alive. The author claims that man and the earth are inextricably linked.

Under the influence of re­vivalists, the religion of the land in Agolli’s poetry entered Albanian liter­ature as a national symbolism, which the author connected to both the abundance of cultural allusions drawn from the dough of tradition and ethno-psych­ological symbolism. Thus, Dritëro Agolli transformed the earthly lang­uage into a poetic hymn through his poetic imagination.

Notes

• Agolli, „E thjeshtë, e vërtetë dhe e vështirë”, Vepra letrare, nr.11, marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 97.
• Jourdan, K. Tuite, Language, cul­ture, and society, University Press, Cambridge, 2006, p. 207.
• Syla, „Karakteri njohës dhe edukues i letërsisë popullore”, në: Gjurmime albanologjike-Folklor dhe etnologji, Instituti Albanologjik i Prishtinës, Prishtinë, 1982, p. 124.
• Aliu, Urtia e fjalës, Akademia e Shkencave dhe e Arteve e Kosovës, Botime të Veçanta CLXXI, Seksioni i Gjuhësisë dhe i Letërsisë, Libri 59, Prishtinë, 2018, p. 102.
• Coyle, P. Garside, M. Kelsall, J. Peck, Encyclopedia of Literature and Criticism, London, 1991, p. 7.
• Agolli, „Për poezinë”, Vepra letra­re, nr. 3-Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 85.
• Aliu, Urtia e fjalës, Akademia e Shkencave dhe e Arteve e Kosovës, Botime të Veçanta CLXXI, Seksioni i Gjuhësisë dhe i Letërsisë, Libri 59, Prishtinë, 2018, p. 101.
• Agolli, op.cit., p. 79.
• Ibidem.
• Çerkezi, Mitet dhe raportet me letërsinë artistike, Shtëpia botuese “Maluka”, Tiranë, 2024, p. 142.
• Sinani, Vepra e Dritëro Agollit dhe Brezi i viteve 1960, Akademia e Shkencave e Shqipërisë, Tiranë, 2019, p. 29.
• Koço, „Vëzhgime mbi ndikimin e folklorit në poezinë e sotme shqip­tare”, Letërsia dhe koha-Studime, Shtëpia botuese “Naim Frashëri”, Tiranë, 1982, p. 66.
• Gaçe, „Dritëro Agolli në udhëtimin e tij poetik si pelegrin”, Letërsia Bashkëkohore Shqiptare-Poezia, Shtëpia botuese “Maluka”, Tiranë, 2023, p. 94.
• Agolli, op.cit.,p. 44.
• [1] Idem, Arti dhe koha-artikuj kritikë, Shtëpia botuese “Naim Frashëri”, Tiranë, 1980, p. 121.
• Ibidem, p. 130.
• Idem, „Thirrje”, Vepra letrare, nr. 3-Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 129.
• Barker, The SAGE Dictionary of Cultural Studies, Thousand Oaks-New Delhi, SAGE Publications London, 2004.
• Agolli, „Zgjimi i baladave”, Vepra letrare, nr. 3-Fjala gdhend gurin, 1977, op.cit., p. 42.
• Gaçe, Dritëro Agolli në udhëtimin e tij poetik si pelegrin, në: “Letërsia Bashkëkohore Shqiptare-Poezia”, op.cit..
• Agolli, „Të mendohesh”, Vepra letrare, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1987, op.cit., p. 130.
• Idem, Arti dhe koha-artikuj kritikë, cit., p. 8.
• Idem, cit., p. 185.
• Sinan, Vepra e Dritëro Agollit dhe Brezi i viteve 1960, Akademia e Shkencave e Shqipërisë, Tiranë, 2019, p. 23.
• Agolli, „Baladë malesh”, Vepra letrare, nr. 3-Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 93.
• Koço, „Vëzhgime mbi ndikimin e folklorit në poezinë e sotme shqiptare”, Letërsia dhe koha-Studime, Shtëpia botuese “Naim Frashëri”, Tiranë, 1982, p. 66.
• Agolli, poezia: „Në rrudhat e mia”, Lutjet e Kambanës-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 212.
• Idem, “E thjeshtë, e vërtetë dhe e vështirë”, Vepra letrare, nr.11, marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë,1987, p. 97.
• [1] Tirta, Panteoni e simbolika-Doke e kode në etnokulturën shqiptare, Akademia e Shkencave e Shqipërisë, Instituti i Kulturës Popullore, Tiranë, 2007, p. 142.
• Çerkezi, Mitet dhe raportet me letërsinë artistike, Shtëpia botuese “Maluka”, Tiranë, 2024, p. 76.
• Agolli, „Naim Frashëri”, Lutjet e Kambanës”-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 263.
• Gaçe, op.cit., p. 92.
• Vinca, „Aspekte të poezisë së sotme shqipe. Mendimi kritik i rilindësve mbi letërsinë gojore”-, Studime dhe kritikë letrare, nga autorë shqiptarë të Kosovës, Maqedonisë e Malit të Zi, Shtëpia botuese “Naim Frashër”, Tiranë, 1983, p. 227.
• Agolli, „Vatrat”, “Lutjet e Kambanës”-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 268.
• Idem, „Çast dasme në Devoll”, Vepra letrare, nr. 11-Marr nga libri: “Udhëtoj i menduar” 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 170.
• [1] Idem, „Jeta”, Vepra letrare, nr. 3, Marr nga libri: Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 17.
• Bihiku, Probleme letrare, Shtëpia botuese “Naim Frashëri”, Tiranë, 1979, p. 122.
• Vinca, A., op.cit., p. 141.
• Gaçe, B., op.cit., p. 94.
• Kuçuku, Pasthënie në veprën: Dritëro Agolli, Lutjet e Kambanës-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 353.
• Agolli, „Atdhe”, Vepra letrare, nr. 11-Marr nga libri: “Udhëtoj i menduar” 1985, Naim Frashëri, Tiranë, 1987, p. 21.
• Idem, „Peizazh në fund të vjeshtës”, Vepra letrare, nr. 11-Marr nga libri: “Udhëtoj i menduar” 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 26.
• Idem, „Jeta”, Vepra letrare, nr. 3, Marr nga libri: Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 17.
• Idem, „Për stinën e mollëve në fshat”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 32.
• [1] Sinani, Sh., op.cit., p. 23.
• Agolli, „Kur bie dëborë”, Vepra letrare, nr. 1-Marr nga libri: “Hapat e mia në asphalt”, 1961, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 140.
• Avdyli, Vargu agollian-studimpër trajtat e vargut dhe të strofës në poezinë e Dritëro Agollit, Shtëpia botuese “Ma”, Prishtinë, 2010, p. 186.
• Agolli, „Devoll, Devoll”, Vepra letrare, nr. 1-Marr nga libri: “Shtigje malesh dhe trotuare”, 1965, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 261.
• [1] Sinani, op.cit., p. 31.
• Agolli, „Elegji për një partizan e për një zog”, Vepra letrare, nr. 11-Marr nga libri: “Udhëtoj i menduar, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 136.
• Idem, “Udhëtoj me poetët”, Vepra letrare, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 197.
• Sinani, op.cit., p. 133.
• Gaçe, op.cit., p. 94.
• Agolli, „Guri”, Vepra letrare, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 56.
• Idem, „Fara”, Vepra letrare, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 63.
• Gaçe, op.cit., p. 98.
• Agolli, „Kënga e parë”, Vepra letrare, nr. 11-Marr nga libri: “Poemë për babanë dhe për vete”, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 205.
• Aliu, Libri i jetës (Për 85 vjetorin e lindjes), Akademia e Shkencave dhe e Arteve e Kosovës, Botime të Veçanta CXCI, Seksioni i Gjuhësisë dhe i Letërsisë, Libri 72, Prishtinë, 2020, p. 111.
• Agolli, Kënga e parë, op.cit.,, p. 204.
• Ibidem, p. 203.
• Çapriqi, Simboli dhe rivalët e tij, Shtëpia botuese “Kosova Pen Center”, Prishtinë, 2005, p. 118.
• Agolli, „Kur më pushtoi malli për detin”, Vepra letrare, nr. 11-Marr nga libri Poemë për babanë dhe për vete, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 91.
• Ibidem, p. 245.
• Sinani, Vepra e Dritëro Agollit dhe Brezi i viteve 1960, Akademia e Shkencave e Shqipërisë, Tiranë, 2019, p. 33.
• Agolli, „Në mëngjes para lumit dhe pyllit”, “Lutjet e Kambanës”-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 230.
• Idem, „Psalm i ri për tokën”, “Lypësi i kohës”-Poezi, Shtëpia Botuese Enciklopedike, Tiranë, 1995, p. 203.
• Ibidem, p. 195.
• Idem, „Kënga e njeriut”, Vepra letrare, nr. 3-Marr nga libri Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 79.
• Idem, „Dreqi i dreqërve”, Lutjet e Kambanës-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, 1998, p. 29.
• Idem, „Lëvizja e madhe”, Lutjet e Kambanës-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, p. 3 4.
• Aliu, Libri i jetës (Për 85 vjetorin e lindjes), op.cit., p. 110.
• Agolli, „Psalm i ri për tokën”, Lypësi i kohës-Poezi, Shtëpia Botuese Enciklopedike, Tiranë, 1995, p. 37.

Bibliography

Books

AGOLLI, D.,  Arti dhe koha-artikuj kritikë, Shtëpia botuese “Naim Frashëri”, Tiranë, 1980.

ALIU, A., Urtia e fjalës, Akademia e Shkencave dhe e Arteve e Kosovës, Botime të Veçanta CLXXI, Seksioni i Gjuhësisë dhe i Letërsisë, Libri 59, Prishtinë, 2018.

IDEM, Urtia e fjalës, Akademia e Shkencave dhe e Arteve e Kosovës, Botime të Veçanta CLXXI, Seksioni i Gjuhësisë dhe i Letërsisë, Libri 59, Prishtinë, 2018.

IDEM, Libri i jetës (Për 85 vjetorin e lindjes), Akademia e Shkencave dhe e Arteve e Kosovës, Botime të Veçanta CXCI, Seksioni i Gjuhësisë dhe i Letërsisë, Libri 72, Prishtinë, 2020.

AVDYLI, M., Vargu agollian-studimpër trajtat e vargut dhe të strofës në poezinë e Dritëro Agollit, Shtëpia botuese “Ma”, Prishtinë, 2010.

BARKER, Ch., The SAGE Dictionary of Cultural Studies, Thousand Oaks-New Delhi, SAGE Publications London, 2004.

BIHIKU, K., Probleme letrare, Shtëpia botuese “Naim Frashëri”, Tiranë, 1979.

ÇAPRIQI, B., Simboli dhe rivalët e tij, Shtëpia botuese “Kosova Pen Center”, Prishtinë, 2005.

ÇERKEZI, E.,  Mitet dhe raportet me letërsinë artistike, Shtëpia botuese “Maluka”, Tiranë, 2024.

COYLE, M., GARSIDE, P., KELSALL, M., PECK, J., Encyclopedia of Literature and Criticism, London, 1991.

JOURDAN, Ch., TUITE, K., Language, culture, and society, University Press, Cambridge, 2006.

KOÇO, B., „Vëzhgime mbi ndikimin e folklorit në poezinë e sotme shqiptare”, Letërsia dhe koha-Studime, Shtëpia botuese “Naim Frashëri”, Tiranë, 1982, p. 66.

KUÇUKU, B., Pasthënie në veprën: “Dritëro Agolli, Lutjet e Kambanës-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998.

SINANI, Sh., Vepra e Dritëro Agollit dhe Brezi i viteve 1960, Akademia e Shkencave e Shqipërisë, Tiranë, 2019.

Articles and studies

AGOLLI, D.,  „Baladë malesh”,Vepra letrare, nr. 3-Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 93.

IDEM, „Devoll, Devoll”, Ibidem, nr. 1-Marr nga libri: “Shtigje malesh dhe trotuare”, 1965, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 261.

IDEM, „Jeta”, Ibidem, nr. 3, Marr nga libri: Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 17.

IDEM, „Kënga e njeriut”, Ibidem, nr. 3-Marr nga libri Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 79.

IDEM, „Kur bie dëborë”,  Ibidem, nr. 1-Marr nga libri: “Hapat e mia në asphalt”, 1961, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 140.

IDEM, „Për poezinë”, Ibidem, nr. 3-Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 85.

IDEM, „Shtigjet”,  Ibidem, nr. 1-Nga libri: “Në rrugë dola”, 1958, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 44.

IDEM, „Thirrje”,  Ibidem, nr. 3-Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 129.

IDEM, „Zgjimi i baladave”, Ibidem, nr. 3-Fjala gdhend gurin, 1977, Shtëpia botuese “Naim Frashëri”, Tiranë, 1981, p. 42.

IDEM, „E thjeshtë, e vërtetë dhe e vështirë”, Ibidem, nr.11, marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 97.

IDEM, „Udhëtoj me poetët”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 197.

IDEM, „Atdhe”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar” 1985, Naim Frashëri, Tiranë, 1987, p. 21.

IDEM, „Çast dasme në Devoll”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar” 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 170.

IDEM, „E thjeshtë, e vërtetë dhe e vështirë”, Ibidem, nr.11, marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, p. 97.

IDEM, „Elegji për një partizan e për një zog”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 136.

IDEM, „Fara”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 63.

IDEM, „Guri”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 56.

IDEM, „Kënga e parë”, Ibidem, nr. 11-Marr nga libri: “Poemë për babanë dhe për vete”, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 205.

IDEM, „Kënga e parë”,  Ibidem, nr. 11-Marr nga libri: “Poemë për babanë dhe për vete”, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 204.

IDEM, „Kënga e parë”,  Ibidem, nr. 11-Marr nga libri Poemë për babanë dhe për vete, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 203.

IDEM, „Kënga e tretë”, Ibidem, nr. 11-Marr nga libri Poemë për babanë dhe për vete, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 245.

IDEM, „Kur më pushtoi malli për detin”, Ibidem, nr. 11-Marr nga libri Poemë për babanë dhe për vete, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 91.

IDEM, „Peizazh në fund të vjeshtës”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar” 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 26.

IDEM, „Për stinën e mollëve në fshat”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 32.

IDEM, „Të mendohesh”, Ibidem, nr. 11-Marr nga libri: “Udhëtoj i menduar”, 1985, Shtëpia botuese “Naim Frashëri”, Tiranë, 1987, p. 130.

IDEM, „Psalm i ri për tokën”, “Lypësi i kohës”-Poezi, Shtëpia Botuese Enciklopedike, Tiranë, 1995, p. 203.

IDEM, „Psalm i ri për tokën”, “Lypësi i kohës”-Poezi, Shtëpia Botuese Enciklopedike, Tiranë, 1995, p. 195.

IDEM, „Dreqi i dreqërve”, Lutjet e Kambanës”-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 29.

IDEM, „Naim Frashëri”, Lutjet e Kambanës-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 263.

IDEM, „Në mëngjes para lumit dhe pyllit”, Lutjet e Kambanës”-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 230.

IDEM, „Në rrudhat e mia, në veprën”, Lutjet e Kambanës-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 212.

IDEM, „Qeleshja, në veprën”, Lutjet e Kambanës-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998, p. 185.

IDEM, „Vatrat”, Lutjet e Kambanës-Poezi të zgjedhura, Shtëpia botuese “Toena”, Tiranë, 1998.

GAÇE, B., „Dritëro Agolli në udhëtimin e tij poetik si pelegrin”, Letërsia Bashkëkohore Shqiptare-Poezia, Shtëpia botuese “Maluka”, Tiranë, 2023.

SYLA, F., „Karakteri njohës dhe edukues i letërsisë popullore”, Gjurmime albanologjike-Folklor dhe etnologji, Instituti Albanologjik i Prishtinës, Prishtinë, 1982, p. 124.

TIRTA, M., Panteoni e simbolika-Doke e kode në etnokulturën shqiptare, Akademia e Shkencave e Shqipërisë, Instituti i Kulturës Popullore, Tiranë, 2007.

VINCA, A., „Aspekte të poezisë së sotme shqipe”, Mendimi kritik i rilindësve mbi letërsinë gojore- Studime dhe kritikë letrare, nga autorë shqiptarë të Kosovës, Maqedonisë e Malit të Zi, Shtëpia botuese “Naim Frashëri”, Tiranë, 1983.