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Tomor Osmani. Udha e shkronjave shqipe. Shkodër: Idromeno, 1999. 576 p. ISBN 99927-623-1-4 (The History of the Albanian Alphabet)

Presented by Russana Beyleri. Etudes Balkanique. Sofia, 2003, Nr. 2, p. 153-154

 

Tomor Osmani’s most popular work is a scholarly history tracking the evolution of the Albanian graphics, which mirrors both his fascination with great figures of the past and his appurtenance to the Shkodra town intellectual society, vying with Tirana for the first place concerning the merits of the national cultural legacy.

This monograph offers a thorough study of the succession of various Albanian alphabets from the very first written evidence in Albanian, the “baptizing formulae” (1462), to the Monastery Congress (Bitola, 1908) when the problem of the Albanian alphabet was finally solved. The graphic system approved at that summit is still in function. There are 36 phonemes in modern Albanian. The seven vocals are represented by simple symbols, while the 29 consonants are reflected in 20 simple characters and 9 diagrams. But the “Path of the letters”, as the literal translation of the title reads, was long and diffuse. Some seventy five known alphabets of Albanian are methodically compared and graphics-based conclusions concerning the linguistic and historical situation are drawn.

The first chapter deals with the written Albanian during the period XIII - XV century and with facts that prove that Albanian was a popular language. N.V.Šufflay wrote in the Raguza document of 1285: “I heard a voice calling in Albanian.” Another proof is found in the work of the French clergyman Guillaume entitled “Adam-Adae” (1332) which reads in Latin “Licet Albaneses aliam omnino linguam habeant et diversam, tamen litteram latinam habent in uso et in omnis suis libris”. These and some other pieces of information has lead the author to think that written Albanian tradition had existed long before it was officially discovered. The author has analyzed in detail the first three documents in Albanian which were “The Baptizing formulae” (1462), the Vocabulary of Arnold Von Harff (1497) and “The Bible” of the XV c. Besides, an enigmatic writing found between the lines of “Bellifortis”, a handwritten work in Latin, is mentioned. If these lines could be transcribed in Albanian, than this document would be the oldest one available. The use of the Latin alphabet in writing Albanian names in the XV century Venice documents is described.

The second chapter deals with Albanian writings belonging to the XVII and XVIII centuries. It was precisely in that period that the first book in Albanian “Mëshari” (The Missal) by Gjon Buzuku was published. The most important problem concerning this work has been its graphics. The alphabet used is based on the Latin one, although other foreign influences are quite evident. Buzuku’s alphabet reflected the phonetic structure of the Albanian language of XVI century. His work not only paved the way for the writings to come, which made use of almost the same alphabet, but is considered an indirect proof of ancestral literary tradition of written Albanian. by, The oldest Arberesh (Italian-Albanian) writer Luca Matranga (Lekë Matrëngë) is the first one to distinguish the Albanian sound “ë”, denoted by him with the graphic combination “ae” in “E mpsuame e krështerë” (The Christian doctrine). Pjeter Budi used a simpler version of the Latin Alphabet than the Buzuku’s one. He omitted two letters and changed some others. Frang Bardhi, the first Albanian lexicographer with his “Dictionarium lation-epiroticum” (Latin-Albanian dictionary) published in Rome in 1635 based this and other works on Budi’s alphabet. Next Peter Bogdani introduced three Greek letters, which he explained as indispensable for the complete presentation of all the Albanian phonemes. His alphabet was well-received by his successors. The written documents from XVIII century, though small in number, witness according to the author, that the system of writing in Albanian was being consolidated.

The third chapter examines the attempts of Teodor Haxhifilipi (Dhaskal Todri), Koste Beratasi and Jani Vellarai at the beginning of the XIX century to create original Albanian alphabets. These alphabets could hardly reach the common people for material and technical reasons despite the endevours to make them widespread. Another reason was that some of them lacked of scientific conciseness and also practicality. Further attempts were made by N. Veqilharxhi (1844) and Hasan Tahsini (1874). The alphabets used and created in XIX century highly depended on the geographical region the writers or authors belonged to. So a new trend, that was writing in Albanian by employing the Greek Alphabet, appeared too, represented by Vangjel Meksi and Marko Boçari. The Islamic influence that prevailed in Kosovo and Monastery regions and also in the plains of Berat, Elbasan and Shkodra led to alphabetical versions using the means of the Arabic-Turkish alphabet. The author stresses that it’s beyond doubts that the authors using such alphabets were led by patriotic ideals (Nezim Frakulla, Hasan Zyko Kamberi, Myslym Hoxha, Ali Ulqinaku, Daut Boriçi etc.), but that was not in compliance with the Albanian national aspirations.

The forth chapter is dedicated to the written Albanian in the Arbëresh environment in Italy during the period XVII-XIX century. The diversity of writing systems adapted in different regions is presented. The Arbëresh writers in Sicily used Greek alphabet variants, while those coming from Calabria used the Latin one.

The fifth chapter is the most important from the point of view of unification of the alphabetic system during 1831-1881. The input of Naum Veqilharxhi, Konstantin Kristoforidhi, Pashko Vasa, Jani Vreto, Sami Frasheri, Jani Vaja dhe Zef Jubani is highlighted. A rather detailed description of the endeavors to compile the Stambolli alphabet (Istambull) is provided. This alphabet was approved by the Stambolli Association on October 12th,1879. Sami Frasheri, Vaso Pasha, Hasan Tahsini and Jani Vreto are recognized as the main authors of this alphabet. It’s appropriate to add here that the Sofia based Albanian immigrants and press used this alphabet for their publications before the united alphabet was adopted.

The sixth chapter outlines the activities of the “Bashkimi” (The Unification) association, founded in 1899 by Preng Dochi, Gjergj Fishta, Ndoc Nikaj and others. Certain data concerning the alphabet compiled by that society are exhibited. Next the “Agimi” association alphabet directed by Ndre Mjeda is analyzed,. An importat place has been given to the Albanian press of that time. The author has distinguished the following newspapers: “Shqitari” (The Albanian) of Bucharest (1888-1903), “Albania” of Faik Konica (1897-1899), “Besa” (The Oath) (1904-1905), “Pellazgu” (The Pelasgian) (1905), “Kombi” (The Nation) (1906-1908). The contribution of the foreign linguists dealing with the Albanian alphabet is revealed in this chapter too.

The last chapter dwells on the climax of attempts to compile a unique alphabet and namely the Monastery Congress which was organized from November 14th to November 22nd, 1908. The social conditions that led to the calling of this league are explained. The names of the thirty two delegates of the Congress are given. Mithad Frasheri was elected chairman of this congress. The commission in charge of compiling the alphabet set about its task on Nov. 17th, headed by Gjergj Fishta.  The discussions converged in one point: The alphabet had to be a new one based on Latin letters.

            The work ends with a chronological list of related to the topic events and a rudimentary bibliography. The volume provides a wealth of useful material on Albanian and should prove to be of great service to the interested public at large.