Naimi dhe Rumiu, në kontekstin e pranisë kulturore perso-iraniane në traditën shqiptare
Naim and Roumi in the context of the Persian culture presence on the Albanian tradition

Summary/Abstract: These researches became encouragement for the Albanian savants, scholars of Albanian literature and language, to find worthy explanations and scientifically proved on the intertwinement of the poetic codes of Eastern and Western versification in Naim’s work, in which are peacefully and easily melted the Eastern mysticism with the Western enlightenment. From these studies has already been decently and convincingly clarified that the conditioning of Naim Frashëri’s poems with that of Roumi are manifold: i) on the versification models; ii) on the types of typology; iii) on poetic codes; iv) on the pantheist world-outlook and in the life’s philosophy; v). on theosophy and mysticism, vi) on thematic plane and on the motives one. Musine Kokalari, that since 1940-1943 made the first research and discoveries about the connection of Naim’s poetry with the Moulana poetic work and thinking, was condemned as political opponent since 1946 and her study was forbidden to be published. Her theses, the first dedicated to Naim’s poetry is still unpublished and is preserved as manuscript at the National State Archive and in the National Library, besides the literary archive of “La Sapienza” University of Rome. Was exactly Musine Kokalari who e century earlier, while was concluding the graduate studies for literature in Rome, chooses the work of Naim Frasheri, and observed with sharpness the similarity between Naim’s poetry with that of Pir-Roumi. Expert of “masnavi” of the master of the Persian classical literature through the Italian translation, in her diploma theses dedicated to Naim Frashëri, when she graduated in Rome on 1943, she would wrote: “My greatest surprise was when I noticed that many verses of Naim result identical with those of the Persian poet Jalaluddin Roumi. In the book “Storia della poesia persiana” of Italo Pizzi, she had the possibility to read overall 11 poems of Moulana: five from “Spiritual Cobla” {“La Cobla spiritual) and six from the “Singing” (“Il Canzoniere”). To Musine Kokalari immediately attracted her attention the known poem “Nej”: “Ascolta flauto che parla e piange“ and - “Il mercante e il pappagallo, ovvero della necessita di liberarsi dal carcere della vita”. For Musine Kokalari was enough the Italian translation of a selection poems collection of Pir Moulana from the classic Persian literature to come to the conclusion that: 1. The two known Naim poems, “Fyelli” (from the volume “Lulet e verës”) and “Turtullesha” (from the “Paradise” cycle), are parallels, if not re-creations from Roumi’s poem “Nej”, published in Italian under the title “La Cobla spirituale”. The first poem has been compared with the introducing part of “La Cobla spirituale”. On the same poem, Musine Kokalari finds another reference, observing similarities with some of the verses from the fable “Tregtari dhe papagalli apo nevoja për të çliruar veten nga burgu i jetës” (“The merchant and the parrot or the need to free oneself from the prison of life”). On the second poem, “Turtullesha”, M. Kokalari approaches it with another Roumi’s masnavi, entitled “Tri këshillat e zogut” (“The bird's three advices”) - “I tre consigli dell augellino”. 2. Deepening the comparisons with the Persian classical literature, the graduated scholar Musine Kokalari, nonetheless the inter-text theory would show nearly half a century later, proves through the parallel reading that the poem “Ujët e bekuar” (“The holy water”) of Naim is a re-creation from “katrena” by the same title of Omar Khayyam, a Ruba’iyat dedicated to the spiritual inebriation with deep thought. As on the Khayyam “katrena”, Naim’s poetry is written on quadrisyllabic verses, with AAAB rime: “Shkel-e-shko zëmëra ime / Mos bjerë në hidhërime /E në breng ’e në mejtime / Mos të gënjenjë kjo jete” ^Ujët e bekuare”). On the book “La mia vita universitaria”, memories and diary preserved in the Italian archives and published two years ago in Rome, has many data about the personal recognition of Musine Kokalari with representatives of the latest generation of the Albanian Renaissance. “I am a pupil of Sami Frashëri”, she writes in her diary.

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