Gjergj Kastrioti was the youngest son of Gjon Kastrioti and Princess Vojsava, the last child among 4 boys and 5 girls. It is believed that he was born on May 6, 1405 in Mat. He was taken hostage as a nizam after his father was overthrown by Sultan Murat in 1421 and was sent to the Sultan’s court in Adrianople. There, his intelligence and skill led Gjergj to the Sultan’s school (the Icogllans) that prepared commanders and officials. Nature had given him mental and physical gifts. There he took the name Iskender (Alexander). After graduating from school, Gjergj Kastrioti “(Skënder)” performed military duties in the Balkans and Asia Minor, distinguishing himself for his bravery and for this reason he was given the title bey which means prince or nobleman, so Skënderbeg means Alexander prince or nobleman. He did not forget his beloved country and eagerly awaited the opportunity to return to the land of his birth. With the death of his father, he hoped to take his place, but in fact the sultan appointed him sanjakbey outside the Albanian lands. Skanderbeg did not give up the idea of ​​returning to Albania to his father’s throne, until 1443 when he set out against Janos Hunyadi under the command of the beylerbey of Rumelia.

On November 3, 1443, near Niš, the two armies met. The Ottoman army was defeated and retreated in panic. Skanderbeg began to implement the plan of the uprising, together with 300 Albanian knights and with his nephew Hamza Kastrioti, he returned to Dibër, where the people welcomed him as a liberator. He took measures to strengthen the roads from which the Ottomans could come, and from there he headed for Kruja. With a false decree, he seized the city and the garrison, and on November 28, 1443, the restoration of the Kastriot principality was proclaimed. The flag with the black double-headed eagle of the Kastriots was raised over the castle of Kruja.
The uprising quickly spread to other regions and other feudal lords also rose up. During December, Central and Northern Albania was cleared of Ottoman forces, and the castles of this area were liberated one after another. Skanderbeg was the organizer of the Assembly of Arbër, in which he was elected as the leader of the Albanian League of Lezha. He married the daughter of Gjergj Arianiti, Donika Arianiti, to strengthen his ties with the other principalities.

In January 1468, Skanderbeg fell ill during the holding of an Assembly called by him, to which all Albanian princes were invited. He died on January 17, 1468 in Lezha. Covered in glory, he was buried in Lezha. The Albanians lost the glorious leader who led them for 25 consecutive years. His wife and son emigrated, as did part of the Albanian nobility, to Italy. There is an idea about the helmet that he wore in honor of Pyrrhus of Epirus, since he also wore the same helmet.

The Age of Skanderbeg in the Works of Albanian Authors

The Age of Skanderbeg of the 15th century and the figure of Gjergj Kastrioti – Skanderbeg himself strongly influenced the spiritual life of Albanians and the growth of their national consciousness. Inspired by them, prominent Albanian intellectuals reflected and experienced them in monumental historical works, in which Albanian historiography began its life.

It was Dhimiter Frângu (and not Dhimiter Frêngu) who first wrote the life of Skanderbeg, how it really unfolded, because Frângu was a companion of Skanderbeg’s entire life and wars, treasurer and companion on the travels of the Albanian Prince, unlike Marin Barleti who also has fictions. Frângu’s Latin writings from 1480, 12 years after Skanderbeg’s death, were unfortunately appropriated by others, and their translation and publication in Italian was made later, after Frângu’s death. Certainly, Barleti’s work, which was published in Latin at the beginning of the 16th century (1504) dedicated to the heroic struggle of the Arbërs for the defense of Shkodra, (the siege of Shkodra) had a great echo. But the work that elevated his figure as a humanist historian is “History of the Life and Deeds of Skanderbeg”, which he published in Italian in Rome around 1508-1510. This voluminous work has seen many reprints in different languages ​​and countries of Europe. The works of M. Barleti became the most important source where Albanian patriots learned the history of the legendary epic of the 15th century, when the work of Dhimiter Frâng had not been discovered and known. The period of Skanderbeg was also immortalized in other historical works by the hero’s contemporaries. As we said, one of Skanderbeg’s close associates, Dhimiter Frâng, wrote in Latin, in the spirit of the humanist ideas of the time, a work about the life of Skanderbeg.

Gjergj Kastrioti Skanderbeg – National Hero

Gjergj Kastrioti – Skanderbeg (May 6, 1405- January 17, 1468) synthesizes an entire historical era that took his name: the century-long war against the Ottoman occupation (late 14th century – late 15th century). Under his leadership, the Albanian war rose to a higher and more organized level and marked a decisive turning point in the political development of Albania.

Gjergj Kastrioti – Skanderbeg was the most consistent and prominent representative of the Albanian ruling elite who most resolutely led the front of the Albanian war against the Ottoman invaders. He realized the first unification of Albanians, the Albanian League of Lezha, which paved the way for the creation of an independent Albanian state, of which he himself became the founder. Skanderbeg paid special attention to preserving internal economic resources, on which the war was based. By strengthening the defense in the border belt, in the east and south, he enabled the inhabitants of the free areas to develop a somewhat normal economic activity.

In addition to defending the country, Skanderbeg paid attention to the liberation of the occupied areas, which influenced the further formation of ties with the inhabitants of these areas and the strengthening of the unity of the entire Albanian people. Skanderbeg’s skills as a statesman also stood out in relations with other countries. Being clear that the Ottoman threat could only be successfully faced with united forces, Skanderbeg constantly sought the participation of European countries in the war against the common enemy.

In the conditions of the pronounced inequality between the Ottoman and Albanian forces, Skanderbeg elaborated his combat strategy and tactics, based on the idea that victory could not depend on the number of soldiers. He kept the enemy on constant alert, waiting for reinforcements and, after trapping him, hitting him with powerful and surprise attacks.

Skanderbeg became a symbol of the fight for freedom and independence. He remained a beloved figure for Albanians even after his death. His memory remained alive in the songs, legends and numerous folk tales that gave him the features of a legendary figure.

Skanderbeg’s work and figure had European dimensions and importance. He was highly regarded by prominent European personalities of the time. This is also evidenced by the fact that a diverse literature has been written about Skanderbeg, consisting of hundreds of volumes, published in many languages, and in all four corners of the world. Among the Albanian authors are Marin Barleti, Fan Noli, Sabri Godo, Fatos Daci.

Legend

On one occasion, Ballaban Pasha sent Skanderbeg a gift: four Arabian horses along with a magnificent equipment to honor Skanderbeg as a commander, while Skanderbeg in response returned a gift consisting of a shepherd’s staff and a gun, making Ballaban Pasha understand that he would have been more honored to be a simple shepherd in his village, than to betray his country.
To the Albanian people, Skanderbeg performed miracles with his sword. It was believed that it took three men to lift his sword and that he could split rocks or pierce mountains with it. In another popular story, it is said that during peace negotiations, Sultan Mehmed II, who had heard about Skanderbeg’s sword, asked for it as an honor from Skanderbeg. Skanderbeg accepted and sent his sword as a gift to the sultan. Skanderbeg’s people after hearing the news were worried. They confronted Skanderbeg about their fears that he had surrendered his legendary sword, but Skanderbeg laughed and replied that he had surrendered his sword, but not his arm.
During a fierce battle against the Turks that lasted beyond dusk, Skanderbeg ordered some of his soldiers to find a herd of goats, tie flaming torches to their horns, and send them towards the ranks of the Turkish soldiers at night. The Turks believed that they were attacked by numerous Albanian troops and fled, thinking that they were defeated in numbers. For the important service received from these animals, our hero decided to adopt the image of the animal as his emblem, on his helmet.
Skanderbeg on his deathbed ordered his son to flee to Italy to escape Turkish revenge, he said that as soon as he landed in the plains, he should find a tree where he could tie his horse and sword, and that whenever the wind blew, the Turks should hear his sword in the air and the neighing of his horse, and for fear that they would not follow him.
Having spread the news of Skanderbeg’s death, the Turks decided to attack the Albanian forces as soon as possible to take advantage of the low morale that the event had produced. The Albanian commanders decided to use an unusual trick: they took the lifeless body of their leader from his deathbed and mounted him on his horse, urging him into battle with his entire army behind. The Turks, feeling deceived by the false news about his death, retreated.
Works about Skanderbeg painting, literature, music

Skanderbeg gained quite a reputation posthumously in Western Europe in the 16th and 17th centuries. With much of the Balkans under Ottoman rule and with the Turks at the gates of Vienna in 1683, nothing could have captivated readers in the West more than an action-packed tale of heroic Christian resistance to “Muslim hordes”.

Books about the Albanian prince began to appear in Western Europe in the early 16th century. One of the earliest of these histories to have circulated in Western Europe concerning Skanderbeg’s heroic deeds was Historia de Vita et gestis Scanderbegi, Epirotarum Principis (ca. Rome 1508–1510), published a mere four decades after Skanderbeg’s death. This History of the Life and Works of Skanderbeg, Prince of Epirote was written by the Albanian historian Scodrensis Marinus Barletit, known in Albanian as Marin Barleti, who after experiencing the Turkish occupation of his native Shkodra from personal experience, settled in Padua where he became rector of the parish church of St. Stephen. Barleti dedicates his work to Donferrante Kastrioti, (Skanderbeg’s grandson), and to his descendants. The book was first published in Latin.

In the sixteenth and seventeenth centuries Barleti’s book was translated into a number of foreign language versions: in German by Johan Pincianus (1533), in Italian by Pietro Rocca (1554, 1560), in Portuguese by Francisco D’Andrade (1567), in Polish by Ciprian Bazylik (1569), in French by Jaques De Lavardin, feudal lord Plessis du-Bourrot (French: Histoire de Georges Castriot Surnomé Skanderbeu, Roy d’Albanie, 1576), and in Spanish by Juan Ochoa de la Salde (1582). The English version was a translation from a French by De Lavardin and made by a gentleman Zachary Jones. It was published in the late 16th century, under the title, Histoire de George Castriot, surnomé Skanderbe, Mbré d’Albinie; contain his famous Actes, his Noble Deedes of Arms and memorable victories against the Turks for the Faith of Christ. Gibbon was not the first to notice that Barleti is sometimes inaccurate in favor of his hero, for example, Barleti claims that the Sultan had died of illness under the walls of Kruja. Portrait of Scanderbeg, ca. 1648. Castrioti’s biography was also written by Franciscus Blancus, a Catholic bishop born in Albania. His book “Georgius Castriotus, Epirensis vulgo Scanderbegh, Epirotarum Princeps Fortissimus” was published in Latin in 1636.

Voltaire begins his chapter “The Taking of Constantinople” with the phrase: “Had the Greek Emperors acted as Scanderbeg did, the Empire of the East might still have been preserved.”

Skanderbeg is the protagonist of three 18th-century British tragedies, William Havard’s Skanderbeg, a Tragedy (1733), George Lillo’s The Christian Hero (1735), and Thomas Whincop’s Skanderbeg, Or, Love and Liberty (1747). A number of poets and composers have also drawn inspiration from his military career. The 16th-century French poet Ronsard wrote a poem about him, as did the 19th-century American poet Henry Wadsworth Longfellow. For Gibbon, “John Hunyadi and Skanderbeg… are both worthy of our notice, since by their profession of Ottoman arms the ruins of the Greek empire were delayed.”

In 1855, Camille Paganel wrote Histoire de Skanderbeg, inspired by The Crimes of War.

In Childe Harold’s long poetic tale Pilgrimage (1812–1819), which Byron began to write while in Albania, Skanderbeg and his warrior people are described in the following terms: “Land of Albania! where Iskander rose, Young theme, and wise beacon, and he his namesake, Whom All-surprised foes diminished by his deeds of chivalry: Land of Albania! let me set mine eyes On thee, thou broken nurse of inimitable military In short! The cross descends, thy minarets rise, And the moon shines pale in the vale, Through the many cypresses within every city.” Canto II, XXXVIII. “Rough are the children of Albania, but they lack not virtues, were those virtues most ripe. Where is the enemy that ever saw behind them? Who can so toil and war endure? Their native fastnesses no more sure than they in troubled times of doubt must : their wrath as deadly ! Their friendship but sure, When gratitude or their offerings bleed unwavering valor rushes on where’er their chief may lead. ” Canto II, LXV.George Castriot, nicknamed Skanderbeg, King of Albania.

Ludvig Holberg, a Danish writer and philosopher, claimed that Skanderbeg is one of the greatest generals in history.[69] Sir William Temple considered Skanderbeg to be one of the seven greatest leaders without a crown, along with Belisarius, Flavius ​​Aetius, John Hunyadi, Gonzalo Fernández de Cordoba, Alexander Farnese, and William the Silent.

The Italian Baroque composer Antonio Vivaldi composed an opera entitled Skanderbeg (first performed 1718). Another opera titled Skanderbeg was composed by the 18th century French composer François Francœur (first performed 1763).

Skanderbeg in film

A film of the same name (Velikiy voin Albanii Skanderbeg) has been made about the life of Skanderbeg.

Acknowledgements

The First of Albanians
National Hero
Order of Skanderbeg
Works dedicated to Skanderbeg
Defender of Christianity
Athlete of Christ
The Figure of Skanderbeg in Art

Scanderbeg, opera by François Francoeur and François Rebel.
Scanderbeg, opera by Antonio Vivaldi.
The Italian-Albanian cultural project “A.C.C.I.A ARTE” organized on August 1, 2006 a scientific conference entitled “The Eagle and the Crescent”. In this session, Albanian and Italian scholars and teachers discussed the presence of the figure of the national hero Gjergj Kastriot Skanderbeg in literary and musical works, throughout the centuries. The speakers were linguist Gjovalin Shkurtaj, Mario Spedicato, lecturer at the University of Lecce, Alessandro Laporta, director of the Lecce Provincial Library, musicologists Luisa Cosi and Corrado De Bernart, and many others.

Source: https://sq.wikipedia.org/wiki/Sk%C3%ABnderbeu