Academic literature on the topic 'Albanian Love poetry'

The motive of love, not only Kadare's poetry, but generally throughout the contemporary Albanian and world poetry, is one of the fundamental, general and extremely universal motifs. Such a motive has also prompted the poet Kadare to write poems that propose the aesthetics of one of the most general motives of man - the motive of love. The first and the first love in the verses of Kadare is described and emerges as a part of human life and as such comes out of special dimensions. Kadare, being a good builder of a full and complete poetry, would say, even if his poetry, if we can say erotic, we have a remarkable use of such signs, although in general the poetry of love does not occupy any remarkable place in Kadare's poetry, naturally in comparison to the poetry of other motifs, though it is quite manifested. But, however, love in Kadare's poetry marks, among other things, a particular poetic word in general, and even in this regard, it is also a multiple pluralist expression, using words, expressions and figures unused by others, also giving different words and meanings, from everyday life, to various functions, marking high aesthetic and literary uplift, but also figurative. He is a good builder of various artistic figures, an innovator of creating new words and expressions, and a sublimant of the ideas he poses and realizes in his poetry. Although it is a whole set of signs that Kadare uses in his poems, which are motivated by the feeling of love, we will in this case stop the signs he uses most, as well as those signs which make a special significance for his poetry. On this occasion, we will dwell on the signs, coinciding with the poetry, which appears as a poem of love, and which in Kadare occupies a place, though not deserved, we would say, like love, moon, flower, bride , the heart, the lips, the eyes, the cheeks, the throat, the heart, the soul. There are also a number of other signs that reinforce and sublimate the poetic ideas of Kadare's love motifs, but we believe that these are the signs that strengthen our conviction of the artistic achievement of his poetry as well as those that make up innovation in Albanian poetry generally, whether in terms of poetry, or in terms of the breadth of poetic figuration. Key words: Poetry, Kadare, Love, Signs, Figure, Poet, Structure, Verse, Aspect, Erosion, Devotion, Sublimation, Heart, Eyes, Soul, Flower, Wax.

Those who wrote about and introduced Heinrich Heine into Albanian literature and culture are the following distinguished Albanian intellectuals, researches and scholars: Javer Malo, Nexhip Gami, Vehbi Bala, Perikli Jorgoni, Pertef Kruja, Robert Shvarc, Petraq Kolevica, etc. However, no all-embracing articles or papers in English or German were written about Heinrich Heine’s presence, popularity and influence on Albanian literature. Therefore, through qualitative and comparative literature methods this article attempts to illuminate the presence, popularity and impact of Heine’s poetry on the poems of some of the most popular Albanian writers and poets, such as: Çajupi, Konica, Noli and Poradeci by focusing on the main similarities and differences of Heine’s poems with those of the aforementioned Albanian poets. The paper demonstrates and proves that it is beyond doubt that the poems of the aforesaid Albanian poets share strange and interesting similarities and a kind of concordance with the topics, motifs, messages and style of Heine’s poems and that he influenced those poets in different ways and to various degrees. The themes and motifs of politics, patriotism, social injustice, longing for motherland, freedom, brotherhood, nature, enthusiasm, love, hate, pain, sadness, disbelief, tradition, anticipation of future, dreams, etc. best connect the poems of Albanian poets to Heine’s.

It is about one of the literary works discussed numerous times and in many literary dimensions, both national and international, that looks into the efforts, phenomena, history, and naturalness of the Albanian popular culture in front of the great European cultures, particularly those of Balkan countries. The great writer Kadare, who had entered through the great gates in the most important national and historical events and had penetrated very deeply into the social life and the psychology of his people, indeed, would not happen to be by chance and unexpectedly in the rich field of Albanian folk creativity. In the process of research, popular creativity remains a life-force and inspiration passed down from one generation to another. As he puts it "When you browse folk poetry, you experience a sense of eternity, reality, space. You want to live, to love, to have children, to be a mother, to be a father, to be a son-in-law, to go to war, to return from her, even to die as in a song”. Culture, poetry and popular prose in Albanian literature are emphasized in these writings, in particular, in those that have a national character, and thereby even communicate freely and strongly with artistic literature like nowhere else.

Hafiz Ali Korça had singled Islamic mysticism and its poetics, the tasavvuf, Oriental Sufi literature of Omar Khayyam. Nezim Berati, author of the Divan, the names mutesavvif. The form and manner of spiritual cleansing, uplifting, lighting internal and external, in order to obtain the agreement of God and eternal bliss, has singled out the Eqrem Çabej to Naim Frashëri poetic beginnings. Religious feelings helped him strengthen ethnic sense. The Divan, in complex form of oriental supplied popular culture, written text spoken text (sung text). Paid the debt that had to Albanian oral literary culture. The study will argue that the Albanian literature is added value. Our history of the spiritual culture of literary monuments go 4. The Divan first Albanian has pure literary discourse. It is a way of being self-sufficient. The truth of gazellas, his kasidas possible. Marked what could happen. The event provided the writers figured through the process of story, description or image. Real size of fables not lose, time and space are not fantasy. Therefore this is not fantasy literature, but the tassavvuf. Its hero acts in the domain of spirituality. As a combination of spiritual requirements for completing their dream. It is poetry as a separate value and beauty. Austrian researcher Han author make antonymyzation Anakreont of Albania. The Divan in Albanian literature was a unified stylistic formation, which served the Islamic aesthetic purpose. Her literary theoretical codification is tasavvuf. Is more universal than the national poet, despite the trend towards national.

Abstract Browning’s and Serembe’s love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the ‘By the Fire-Side’, one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe’s ‘Song for Longing’, considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. ‘By the Fire-Side’ and ‘Song for Longing’ comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe’s poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper.

Love, respect and respect for our Prophet (pbuh) formed the cornerstone of the understanding of Muslims from the first days of Islam. The love of the Prophet, which adorned the personalities of the Ahl al-Bayt and the ashabı kiram, became a part of the religious, social and cultural life of the Muslims who came after them and took them as an example. Contrary to this, poetry, which is one of the best means of expressing love, has molded this love and caused it to spread to large masses of people. In the history of Islam, the love of the Prophet was especially emphasized in the Ottoman Empire, which was founded with spirituality and love. Mevlid is the product of this feeling and contemplation. Written by Suleyman Çelebi, the mevlid-i sharif with the title of “Vesîletü’n-Necât” is the one that spread and had the most influence in the Ottoman geography among many other mevlids. This mevlid-i sharif was also widely spread among the Albanians, who were a part of the Ottoman Empire and shared the Ottoman state and spirituality concept and made it a slogan, both with its original text, with its translation, and with specially written mevlids influenced by it. In this article, the mevlids written in Albanian will be emphasized and the influence of Süleyman Çelebi mevlid and the regions where it spread will be analyzed.