SIMBOLI I TRËNDAFILIT - SAAD, NAIMI DHE POEZIA POPULLORE
SYMBOL OF THE ROSE - SAADIU, NAIM AND FOLK POETRY

Summary/Abstract: The romantic cult of the Orient in Albanian culture is linked with primeval references which lead to the source, to the Birth of East, to Persian humanism. Comparative studies especially recently have brought to perspective co sequences, analogies, impacts, and interferences between two cultures. In this context it’s relevant the observation of oriental poetics in the level of folk poetry, too. Semantics of main oriental symbols, the nightingale and the rose, the flower and the bird generally is noticed to be present in folk poetry. In this optics since N. Frashëri was a poet who first accompanied Sadi into Albanian world (three narrations of Sadi in prose, were refered by Naim to Albanian reader), it is worth to inquire the fact if the symbol of rose in folk poetry was derived as an oriental influence through Naim, or if it is derived earlier in some ignorant form. Has multi significance of this symbol arrived, thus that of source in our cultivated poetry as well as in folk one? A comparative approach of significance of this symbol would be relevant in these three levels: Saad-Naim-Folk poetry. Initially referring to the book “Gjylistani dhe Bostani” written by Sadi might be observed a polyvalent conception of the symbol of rose. Poly-semantics of poetic code levels of Gjylistan leads truly to a syncretism of conceptions: Gjylistan, Trëndafilishta, in its essence is the garden of perfection, virtues, splendor, kindness, moral, advice, and triumph of the goodness over evil. In this sense a several step symbolism is linked with perfection – goodness – splendor – illumination of feeling, reasoning, frankness – support of grieving (the one who grieves), sorrow. The rose in Saads symbolic crosses the notion of esthetic decorative symbol by being integrated in philosophical and didactical conceiving which are related to the verticality of Persian poetic code, with deepness of its mystique. At Naim is sensitive influence of Persian poetics evidenced especially in lyrical meditative discourse. The rose together with the nightingale are merged in lyrical organizations by becoming organic part in creation of symbolism in the function of philosophical meditations. Even though reality knew Naims Puritanism regarding the language, in poetry is observable poetic affection for oriental models which makes him give an euphemistic feature to orientalisms by suiting esthetical dimensions of their meanings.[...]

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