19 Facts About Migjeni

Migjeni is considered to have shifted from revolutionary romanticism to critical realism during his lifetime.

Migjeni was born on 13 October 1911 in the town of Shkoder at the southeastern coast of Lake of Shkoder.

Migjeni's surname derived from his grandfather Nikolla, who hailed from the region of Upper Reka from where he moved to Shkoder in the late 19th century where he practiced the trade of a bricklayer and later married Stake Milani from Kuci, Montenegro, with whom he had two sons: Gjergj and Kristo.

Migjeni's grandfather was one of the signatories of the congress for the establishment of the Albanian Orthodox Church in 1922.

Some scholars think that Migjeni had Serb origin further speculating that his first language was Serbo-Croatian.

Migjeni studied Old Church Slavonic, Russian, Greek, Latin and French.

Migjeni's name was written Milosh Nikolic in the passport dated 17 June 1932, then changed into Millosh Nikolla in the decree of appointment as teacher signed by Minister of Education Mirash Ivanaj dated 18 May 1933.

Migjeni arrived in Turin before Christmas Day where he hoped, after recovery, to register and study at the Faculty of Arts.

Migjeni made his debut as a prose writer, authoring about twenty-four short prose sketches which he published in periodicals mainly between 1933 and 1938.

The main theme of Migjeni was misery and suffering, a reflection of the life he saw and lived which was evident in Free verse.

Previous generations of poets had sung the beauties of the Albanian mountains and the sacred traditions of the nation, whereas Migjeni now opened his eyes to the harsh realities of life, to the appalling level of misery, disease, and poverty he discovered all around him.

In those works, Migjeni gives readers a precursor of socialist verse or rather, in fact, as the zenith of genuine socialist verse in Albanian letters, long before the so-called liberation and socialist period from 1944 to 1990.

Migjeni was, nonetheless, not a socialist or revolutionary poet in the political sense, despite the indignation and the occasional clenched fist he shows us.

Migjeni was a product of the 1930s, an age in which Albanian intellectuals, including Migjeni, were particularly fascinated by the West and in which, in Western Europe itself, the rival ideologies of communism and fascism were colliding for the first time in the Spanish Civil War.

Migjeni was not entirely uninfluenced by the nascent philosophy of the right either.

God for Migjeni was a giant with granite fists crushing the will of man.

In Kanga skandaloze, Migjeni expresses a morbid attraction to a pale nun and at the same time his defiance and rejection of her world.

Many have speculated as to what contribution Migjeni might have made to Albanian letters had he managed to live longer.

The fact that Migjeni did perish so young makes it difficult to provide a critical assessment of his work.