R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I Albanian Franciscan and Jesuit Drama and Theatre Christian Literature and the Concept of Theatrum Mundi

Dr. ERENESTINA GJERGJI HALILI University of Tirana Email: [email protected] Tel: 00355699853428

Abstract The first Albanian drama, "Christmas Night" by Fr. Leonardo De Martino in 1880, although late compared to European sisters, marked the beginning of the Jesuit school of literature and thought by attributing to itself the qualities of a favorite genre, and initiating aesthetic, philosophical, philological, artistic, but also religious and national principles. To observe the interest of the Franciscan and Jesuit fathers on gender tragedy-drama-comedy as major dramatic categories, but also in other genres of its application, one must examine historical, cultural, educational, and social reasons, and even theories of reading and reception of literary work, specifically of the dramatic work, which are finally summed up in Christian theater, as the philosophy of the philosophical and aesthetic concept of Theatrum mundi.

Keywords: Albanian Franciscan and Jesuit drama, Theatrum Mundi, Tragedy, Drama, Comedy.

Introduction

It is commonly observed that Catholic dramatic authors proclaimed the need for organic collaboration between philosophical judgment and the Christian mimetic tradition, as to emphasize art's importance to human life. Starting from a cognitive and metaphysical interpretation of the Aristotelian mimesis and combining it with the doctrine of existence, the drama of the fathers litterati et sapientes seems to be a new mimesis in function of the Christian philosophy of the principles of existence, which are described by a common thread from God at the beginning, to extend similarly to all that exists.

Material and Methods

This article presents research made based on historical, chronological, exploratory (qualitative, or quantitative) scientific methods. The focus of the study is the dramatic Catholic production, with the relevant titles and authors identified in the article, consequently the Christian theater based on the theoretical concept of "Theatrum Mundi", which is based on the Catholic mimesis, as part of the dramatic poetics of "the theater of mercy” which is highly developed in Europe. This insight through the application of rhetorical concepts in work like ethos, pathos, and logos in dramatic discourse, gives the opportunity to deeply observe the Catholic paradigms of the time, but also of Albanian life in general, which is expressed in classical fiction as well.

Dramatic Contribution

The Franciscans deserve the credit of the first dramatic script, which was built on a pastoral fable, respectively "Christmas Night" by Fr. Leonardo De Martino, in 1880.

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R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I This is also proved by the chronicles of the time, which we refer to as the writing in Arber Flag. In Year I, No. 6 on May 30 1884, De Rada writes: Don Leonardo, the vicar of Troshan has written a sacred pastoral drama, full of truth, it is the first Albanian drama, which was performed by pupils of the popular school of the Friars Church of Shkodra, the night of Christmas in 1880( Arber Flag. 1884).

Through this admission, De Rada gives another clue. Apart from being considered as the first work of the Albanian dramatic genre, he has also dated the historical record of the first Albanian theater play in our country and the existence of theater groups. “… Christmas Night – The Human God - the real savior of the people. Drama barituer, performed by children of the popular schools, in the chapel of the little friars, in Shkodra, Christmas Night of 1880. ([da Greci] Martino, P. Leonardo de. L’arpa d’un Italo-Albanese.1881. p. 309-328. We must add here that De Rada got the source of the words from the author himself (de Martino), who presented the information like this: “Christmas Night - L’uomo Dio, Vero Salvatore de’ popoli; dramma pastorale, rappresentata da’ fanciulli delle scuole popolari nella chiesa de’ Frati Minori in Scutari la note di S. Natale, 1880” (ibid., p. 309).

Fr. Leonardo De Martino was considered as the initiator of the Franciscan literary school. His figure and activity were highly esteemed by our literary personalities like Ernest Koliqi, for whom he was the forerunner of that movement among our papers. At the same time, Filip Fishta considered him a teacher for his excellent students. Another consideration is expressed by Zef Pllumi, who believes himself to be the leader of the cultural formation of Albanian Franciscans.

The considerations that compose Franciscan culture are distinguished by three dimensions: 1) national, 2) Western cultural, and 3) universal religious; these are the considerations that we fully agree with and that support our arguments.

Jesuit Dom (Monsignor) Pashko Babbi (from the Original signing D.35, d.1881, ACA), is presented with "The Son of the Jewish", the first of which was translated by Fr. Zef Valentin. The full, original drama is now being researched and studied.

It is obvious that the first Albanian drama also marked the beginning of the Franciscan school of literature and thought by giving the attributes of the preferred gender to initiate aesthetic, philosophical, philological, artistic, but also religious and national principles, all in honor of the drama genre!

Observing the interest of the Franciscan and Jesuit fathers on the gender: tragedy-drama-comedy, as major dramatic categories, but also in other genres of its application, one must examine historical, cultural, educational, and social reasons, and even theories of reading and receiving literary work, specifically dramatic work.

The constellation of Franciscan and Jesuit fathers, the Catholic clergy in general, over the course of our history, marks a large number of contributing personalities in the field of artistic creation; it encompasses all areas of human thought and creation:

Fr. Leonardo De Martino (Arberesh) (1830-1923) poet, playwright. Dom Pashko Babi (1843-1905), translator, writer. Dom Ndue Bytyçi (1847-1917) poet, pedagogy scholar. Fr. Anton Xanoni (1863-1915) writer, textbook author, literary anthology compiler. Dom Ndoc Nikaj (1864-1951), historian and writer. Dom Ndré Mjedja (1866-1937), poet and philologist. Fr. Pashk Bardhi (1870-1948), writer. Fr. Gjergj Fishta, (1871-1940), poet, playwright, translator, publicist, etc. Fr. Shtjefjen Gjekov (1874-1948), ethnologist, researcher of customary law. Fr. Pal Dodaj (1880-1951) publicist. Fr. Marin Sirdani (1885-1962), writer and historian. ISSN 2309-0081 Halili (2019) 462

R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I Fr. Vincenc Prennushi (1885-1949), folklorist, poet, playwright, translator. Fr. Anton Harapi (1888-1946), speaker, publicist. Fr. Justin Rrota (1889-1964), linguist, writer. Dom Lazer Shantoja (1891-1945), poet, publicist, first Albanian Esperantist. Fr. Bernardin Palaj (1894-1949), ethnologist, poet and playwright. Fr. Donat Kurti (1903-1983), ethnologist, professor, translator. Fr. Benedikt Dema (1904-1960), writer and publicist. Fr. Gjon Shllaku (1907-1946), philosopher and educator. Fr. Daniel Dajani (1916-1947) publicist and so on, they are also real contributors to the establishment of Albanian schools, in the education of the population and the dissemination of knowledge.

With the motto of their apostolic-pastoral and patriotic Religion and Homeland, a task for the Franciscans and Jesuits was education, particularly in conditions of almost total illiteracy and deteriorated language after five centuries of occupation. In this picture, the return of attention was immediate in the traditions and significant figures of Albanian life, highlighting the parallels (mythical, legendary) and the historical- literary arsenal through the instrument of the native language. A great contribution was given to our classical literature, as it has been observed and continued, that the gender of drama was a preference for their creativity, and this bears the explanatory argument, due to the particularity of gender itself, but also of the extra-national panorama that we mentioned earlier.

It is widely known that drama as a gender, apart from the literary life referred to by its literary text, showcases the theatrical and stage life as bi-planned, representational text-theater. From the ancient theater, to masterpieces of ancient dramatic literature, the theater remains the fastest, most direct, most emotional and most communicative form to express authorial ideas and intentions, and to decode time intentions through the conventions of theatrical play. This has been a contemporaneous aim during the development of dramatic gender in the relevant times, but especially during the period of classicism, with which the theater assumes direct ideological and psychological significance, integrating with the author's dramatic subject matter, thereby realizing a common life literary-stage dramatic drama.

The logic of thought was paramount, the virtues and greatness as aesthetic concepts in the work of art took general forms, aiming at catharsis also through individual emotional tensions, or social groups in drama. Above all, drama through the theater serves as a prerequisite for promoting thought and speech. Considering drama as a moral institution and theater, as its artistic log, through the principle of pleasure that in concrete historical, social and cultural conditions were dominant, the Franciscan friars (well- educated and well-researched, also confident in their knowledge of laws and dramatic theories), captured this creativity through which it reached their patriotic and religious message, thanks to the passion of creation in the gender we are referencing.

Considered as one of the primary aims of dramatic gender, the decoding of text, its accurate reading, the dramatic structure as a semantic matter, through other contributors such as dramatic personas and the dramatic discourse itself, we note that the Franciscan authors and The Jesuits have known very well that drama and theater brought the people and the public together and also the cult objects themselves. This fact was another manifestation of the literary and artistic contribution of the fathers that, as noted, received inspiration from the expressive popular wealth.

Another dramatic text is evidenced: Ermira of Anton Santori, also a Franciscan frat, (first act published in Arber's Flag, in the newspaper supplement, year1883), which was fully published in 1886 and reprinted two more times. In 1912, Fr. Shtjefen K. Gjecov, translates and publishes Atil Reguli, the three-act play of Pietro Metastasio, Fr. Gjergj Fishta, publishes Saint Francis of Assisi, a melodrama in three acts. In the same year was published The known Zef , a play by Kola Thaçi, while in 1914 was published In front of the door of Heaven Sh. Peter, Skanderbeg, the Devil. Chat, Fr. Gjergj Fishta. Para deres s’Parrizit. Hylli i Dritës. ((1914.160 -162, (6), p.191-193).

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R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I Mice Trenches is another five-act play, written in Pistrine, translated by Fr.Anton Xanoni, published in 1915, Skanderbeg and the released by the Turks empire a five-act play, by Fr. Anton Xanoni, published in 1917(The calendar of 1916 year. p. 27-73).

Fr.Vincenc Prennushi's five-act drama The Betrayed in 1919, while 1923 marks the publication with the nickname Gheg Tosk Gjergj Fishta, the dramatic poem “The donkey of Babatas” and the “Tragedy of Judas Macabe”, D. Lazer Shantoja translates Shjor Puci, a melodramatic play in three acts of Giusepe Giannini, 1924. Year 1925 marks the publication of Bethlehem's Shepherds, a pastoral melodrama in two acts by Fr. Gjergj Fishta, which he publishes in 1927, the melodrama of Sh’ Luigi Gonzaga and the Civilized Albanian (in his fiftieth anniversary of their awake).

In 1930, the work of Ifigjenia n'Aulli (tragedy for women's institutes of Albanians) was published, then in 1931 The wicked for thoughts, (three-act comedy, translated by Fishta). In this year it was also documented the publication of Vincenc Prennushi's drama: From slavery to freedom, a five-act drama. During the same year was published Odyssey, a one-act melodrama, according to Homer by Fr. Gjergj Fishta, which was written in 1909. In 1937, Saul, a five-act tragedy, is published by Vittorio Alfieri, translated by Z.V & IZ (Zef Valentini & Injac Zamputti). Polieukti, is another tragedy in poetry, by Corneille, translated and published by Fr. Zef Valentini in 1937. This year also marks the publication of Damiani from Himara, the lyrical melodrama of 1536, a two acts prologue, and an epilogue, by Injac Zamputti.

The year 1940 was marked by a dramatic increase in the number of dramatic editions: Jerina the flower’s queen was published and republished three times by Fishta, the melodrama Rozafa was published by Don Ndré Zadeja (in three acts), while in 1942 was published Hajria tragedy, and also Judah Makabe and the Donkey of Babatasi were republished.

In 1943, the national-religious, historical melodrama (author's quote) Siege of Shkodra 1477-1478 (Halili Gjergji, E & Novaku, O. 2017), was published. Although this documentation covers only published and non-written works, (which we have listed in the preceding chapter) or translated for the purpose of staging, the Catholic clergy's interest in dramatic gender is clearly seen. But the dramatic text was also lauded as a literary inspiration by well-known secular figures who made valuable contributions to the genre.

Whereas “Albanian Literature, principles of Literature” of Fr. Justin Rrota's, for the lower grades of high schools, marked the first theoretical contribution in the field of drama gender, among other treatises of linguistic and poetic style in Albanian literature up until now. This study restores enriched and improved in 1934.

Earlier efforts are documented by Jesuit Fr. Anton Xanoni, with research in the field of rhetoric in the Gheg dialect, in his book Prisi in the gama of literature, in 1912. In "Albanian Literature" with didactic intention, treating the term "drafting" and also treating the dramatic theoretical and typological issues, defining genres and categories of gender, focusing on the more popular ones. This designation marks within dramatic poetry: tragedy, comedy, modern drama, pastoral drama, melodrama and farce.

It is found that dramatic poetry approaches the explanation that: the description that is invoked dramatically presents an action through a dialogue, and the actions of some people who participate talk and act as if everything was actually occurring. It has the nature of a dialogue, and most of the time was written like verses or like prose. If it is long, it is divided into parts that are called as acts, and these are also divided (Rrota, Fr. J. 2006).

Theoretical issues of tragedy, its structural form, the definition of protasis (prologue), the aesthetic principle, and the application of catharsis, are also addressed by being identified with examples from ancient literature. Comedy, too, is treated as a dramatic design that, through laughter, teases out the vices, weaknesses and rebukes the doctrines of society, not the physical deficiencies of a particular character,

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R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I which is understood to have been created while devoting itself to it. Meanwhile, it pays attention to language and style, which according to him, with the action, must be natural and humane.

The book also contains other definitions about dramatic genres, in which it takes care to identify examples from Albanian dramatic literature of that time.

"Albanian Literature", as an analysis of the literary system of artistic discourse, style, elements of poetry, tropes, definitions of epic, lyrical, dramatic and didactic poetry, is indicative of deep theoretical knowledge and didactic educational care to whom the latter names and deeds of our literature would be stored. The will and the contribution remain among others a concretized expression of the Franciscan motto.

Theatrum Mundi

The classical European tradition characterized by the fact that the reflection of political order was conceived simultaneously as an inquiry into moral character, was a sound conceptual support for the Jesuit and Franciscan dramatic creators. In classical tradition, the examination of the country's political and social life was inseparable from its assessment. This report was provided by early philosophical thought from Plato to Machiavelli, but in general, on the foundations of Christian philosophy and mainly of the Roman Catholic Church, remains the philosophical thinking of St. Augustine (Agostino, S.1984) and Thomas D'Aquino (D’Aquino, T. 1982).

St. Augustine in Contro Academicos, emphasizes that religion and reason are two forces that lead to the knowledge of God. "Believe to Understand and Understand to Believe," received the label of Augustinian formulas, which found materialization in other subsequent theses of Christian doctrine. "From the depths of the self, there springs the truth, from which reason arises," he postulates, which begins Le Confessioni.

While Thomas D'Aquini conceives the world and its functioning, in the form of a hierarchy to the Creator, the relative criterion of being is essential. So, for him the world is also a work of the Creator, who exists in pure, immaterial form, like the causa efficiens and the causa finale of the world, while it gives to the human soul the cognitive and emotional ability. Their insights into human dynamics, politics and other components of social life were also attempts to envision the foundations of good and evil life as philosophical, aesthetic, and doctrinal concepts.

St. Augustine defined three possible Christian scenes (remember the theater): 1) the spectacle of created nature; 2) the mental scene of prayer and meditation - the memory of the facts - the scriptures and the lives of the saints or martyrs; and 3) the theater of Christian life, made up of charitable acts. In other words, the Theater of Mercy considers man an actor in the drama of salvation following Christ, imitated according to the ancient mimesis.

Also, the thesis brought forward are the basis of Catholic liturgical and apostolic thought: Religion, Hope, and Love. Even in the appreciation of aesthetic concepts, the two great thinkers of the Church join in the Aristotelian appreciation of beauty, harmony, etc., aesthetic concepts, which drama has proclaimed in various typologies throughout its history, aesthetic criteria, of which dramatic textured structures have come to life.

Thus, the paradigmatic character of drama as gender provides even more support for our thesis with the creative activity of the Franciscans, and particularly with Theatrum Mundi, the concept of the world as a theater and the concept of God in drama as a great metaphorical concept in literature, we recall here the Allegory and the myth of Plato's cave, or ideas of the Baroque period, etc. The world is like a theatrical scene, even though the roles are cast by Fate, as the ancients believed, or, as in Baroque times, by the Christian Lord. [...] time and again, it is used in drama: in Lope de Vega, in Shakespeare, later in the opening prologue of Faust of Goethe (Schulte, Ph. 2009), etc.

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R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I The Augustinian definition breaks down the relation between absolute and divine perfection and corruption itself (imperfection), respectively the good as the highest act and corruption as the weakest human act. By nature, corruption is disintegrated as a deprivation of goodness, a denial of positivity, thus contributing to the discovery of the origin of imperfection through the ontological dimension

In many studies, European Jesuit drama, which influenced the door to the kabuki theater in Japan, has also been credited as the basis of the Baroque theater in Spain, Portugal, France, Italy and beyond (Chiabò. M. & Doglio F. 1995). Today, the efforts to catalog Jesuit dramas and theatrical contributions have been made into historiographical, disciplinary and multidisciplinary studies, catalogs of extensive titles, many of which are manuscripts.

In the case of Franciscan dramatic literature, it is not difficult to see in the chosen fables, favorite biblical pretexts, by incorporating the dramatic intrigue, but also in the dramatic people and their destinies, which also determine the dramatic solution, the antagonism between the law (the good from the divine) and evil, corruption, the attempt to corrupt the good (the evil from the human), wearing the universal trait.

The dramatic action that lives only at one time, in what is called Theatrum mundi, is an explanation of Christian philosophy that man is always an actor, while the author-spectator, who sees and judges with love, is God. In this perspective, the human is not considered far from the object of gaze, but remains the primary actor and performer, who includes the real individual experience, which is confirmed through action, utility and catharsis.

Consequently, the contours of the Christian theater are created as well as the differences from the ancient and modern theater. The theater of mercy does not refer to the same mimesis of the Aristotelian school, even though his philosophy was well-liked, but the kind of mimesis that connects incarnation and creation, where the Son reveals that all have been created by the imagination of the Father.

Here we come across other arguments that bring up the etymology and plurality of the meanings of the word imaginem, which are not merely imaginary productions nor a replica of reproduction. It is presented as a memory activity which reproduces it creatively. From this we notice that the image is closely related to mimesis (imitation) and poiesis (creation). Imagination is thus expressed as the site of theological and spiritual experiences with their clear epistemological and phenomenological status.

Christian doctrine introduces the classical model of man as the image of Dei. So, the man is the image of the Creator, God and vice versa. This dynamic, interacting image where movement is placed, the relationship between man and the divine and vice versa, approaches human vision as the image of the Creator, imitating the Greek model of mimesis, while the embodied image of man appears as a visual and verbal communication of God in the human being, based on the Christian model of imitation. It is said that Plato hid when he thought for the beauty of the God and when he spoke for Him he tried to pick out the most magnificent words; Sant Agostino was complaining that he had known too late as this consisted of his glory (Hylli i Dritës.1914). As it can be seen, in this extension of theological and spiritual experiences, which are at the same time very human, the image as a feature, and the imagination itself, is the source of human creative activity.

Consequently, imagination in its form, creates the poetic language and its process of communication. According to D'Aquino, the definition of imagination is the capacity of the human spirit and not a mere reproduction or external simulation, defined between the perception of the outer world and our consciousness (Stump, S. E. 2000).

The concept of imagery and imagination has often been dealt with differently. Consequently, the definitions have been perfected along literary history and criticism, up until modern times. We draw attention to

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R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I Barthes and to the hermeneutic designation of the imaginary as a whole of images whose indirect meaning must be revealed through the personal adoption of the cultural signs themselves and not only literary.

The great metaphor "Theatrum Mundi", conceptually evolved a large number of artistic and literary works from antiquity, which were refreshed to as motifs and topicals, especially in the so-called Baroque style. It is known that during the Middle Ages, especially in the VI-VIII century, there was mainly the developed literature with Christian spirit in our context: liturgical drama. The Church as an institution undertook the preservation of the classical tradition. Mostly monastic communities were transformed as the main centers of preservation, processing, and distribution of written text and the teaching of rhetoric, following the Greek and Latin models. It is also very important to note that this era was based on a final vision of transcendent conception of life, as a preparation for ultimate happiness, as the basis for the metaphysical philosophy of eternal life.

Art, in the fields of its distribution, took the form of the Neoplatonic concept, according to which the latter was considered the bridge between knowledge of the world, to reach God, and the form of its beauty and goodness. In this context, beauty was referring to goodness as a virtue, beauty being a very favorable concept and used in didactic and moral Christian purposes, contributing to the shaping of the principles of Christian morality and ethics in that era. From the Supreme Being, it is passed into the world of the archetypes of all things, through the interaction of the Holy Ghost, in space and time, in which man holds the primary role, like the synthesis of the cosmos and God united because of the soul as a substance. The human journey is embodied in Christ, as the way of man, to return to the origin of everything. As a result, new literary genres, as part of Christian culture, developed in accordance with the above principles. Documented collections, various hagiographies, religious treatises, etc. are documented for this purpose.

This event had a simulated model of Jesus Christ, whose life and work were artistically reproduced, relying on qualities such as human sacrifice, strength, resurrection from death, moral judgment, determination, love, humility, and deliverance on one's self, etc. Narrative styles, through acta (lat.), narrate the witness's passion, through the history of devotion and fantasy, expressed in paper in the forms of litigation, correspondence, theological brochures, autobiographies, confessions, lives of saints (vitae sanctorum) and their attributes of mercy, humility and tenderness, etc. This literary productivity in the works of authors is concretized e.g. by Dante Aligieri's designation to the poet, in Song XXVI, as a language technician and skilled craftsman of the word he knew in his literary workshop, to combine beauty with good (Aligieri, D. 2006, p. 334).

Whereas the Classical Renaissance, through Aristotle's theoretical path, as a reference, and Horace's "Ars Poetica" (Epistula ad Pisones), as a continuation of his path, to Boileau's "Poetic Art", identified three major literary categories: dramatic poetry, lyric poetry and epic poetry. Among the applied dramatic forms were: tragedy, comedy, drama, sacred representation, farce, pastoral drama, and melodrama, which later on were also examined by Fr. Justin Rrota, as we saw above. Returning to Aristotle and our argument, language presents a dual function: the ordinary, or the rhetorical function, to speak, to inform and to persuade, as well as the artistic or poetic one.

Acting as a defining element of drama, is the procession of events that follow one another, and the imaginative vision, which intervenes as a scenic space and not only is presented as a way of understanding space and time.

The imagery and imagination emerged as philosophical, logical, psychological and linguistic, metaphysical and religious to transcendent categories, creating dramatic hypertexts, which are reflected in dramatic subjects through symbols and dramatic performances, which are realized through symbolic and metaphorical figures and in many cases through analogy, by creating a wide range of semantics.

Human actions such as conflicts, joys, sorrows, deep suffering, predetermined destinies, and other sensory situations of life, reflected in drama, as aspects of expressing of its fictional artistic genius, are arguments ISSN 2309-0081 Halili (2019) 467

R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I that indeed human history and development show that they transcend, which means, they appear beyond the human and the vulnerable, the measurable. And in this excess, it seems clear that the imagination fulfills reason, giving it new dimensions, which increase the power of judgment as well as broaden the path of recognition.

Prosper Grech, co-founder of the Patristicum Augustinianum Institute, Rome, in a descriptive study Lo splendore della Gloria Celeste Estetica Teologica (The Splendor of Heavenly Glory, Theological Aesthetics), on the Apocalypse chapter, highlights the fact that in the biblical text (despite being written in old Greek), the way the author thinks and acts is Jewish, so it reflects a different feeling about beauty than the Greek one.

But what approaches our study is the fact that starting from this premise, the author mainly analyzes chapters III and IV, as if they were a theatrical representation, through the analysis of the dramatic composition, exactly to the Mystery of Judgment. Therefore, after the invitation, he and John (St. John) enter in the scene of the heavenly realm. We will think of the scenery, the lights and colors, the actors, the music and the songs, the performance of the events, until the solemn introduction of the Hero, with all the theological symbolism that such feelings want to mediate (Pontificia Academia Theologica 2005. 2 (4)).

After unraveling the whole composition and dramatic poetics of the proposed text, the author states that aesthetic pleasure does not come from admiring the scenery, music, and actors' ability in our capacity as spectators: the angelic voice also calls us to go up to the stage and participate in drama as actors, to be applauded by the Supreme Spectator and the Actor seated on the throne ( On the same: “…contempleremo la scenografia, le luci e i colori, gli attori, la musica e i canti, lo svolgimento degli avvenimenti, fino ad arrivare all’entrata solenne dell’Eroe, con tutto il simbolismo teologico che tali sensazioni ci vogliono mediare.”).

In this case, the imagination which is presented as the original and visual community (as an image) of symbols between the anthropological and sociological relation, is updated through epiphanic imagery, as a feeling that transcends man.

Even the nature of art and beauty as an aesthetic concept explains the Albanian tradition in art and other fields. According to them, the objects for the purpose of the First Cause, are likable and beautiful at the same time. But this quality is not associated with the beauty of art; the artwork is a creation, as which will be seen later, is something on its own (quid unicum), so an individual, a miracle in philosophical thought, and therefore the masterpieces will be called Miracula mundi: "the perfect perfection mass is found solely in God.

This is the reason why forms or prototype forms of objects are ab- aeterno - from eternity – from the beginning of the mind of the First Cause (Causa Prima) and would necessarily have something like infinity (quodaminodo quandam infinitatem) in itself; [...] the soul of the man, which is also the form of man, will be shining even more because we are united with the body of the man, since the soul is a simple substance and not restricted to obedience, as it is shown in Christian Philosophy. — So, The Beauty of Art, must be searched in prototype forms of things, not individual things created in nature and within the realm (Fishta [pseud. –a.]. 1933. Hylli i Dritës. IX, (1/10)).

D'Aquin's three basic concepts, or features of beauty as an aesthetic category, relate first to the completeness, perfection, integrity, as well as to Danko Gërliq ,'s notion of proportion, harmony, dimension, as the inevitable unity of beauty, as and the trait of brightness, clarity, light. The interpretation of beauty as clarity would be closer to Plato, while the interpretation of this category as luminosity identifies beauty with the divine height, with the metaphysical validity (Fishta [pseud. –a.]. 1933. Hylli i Dritës. IX, (1/10)).

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R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I Fr. Zef Pllumi notices that: "as a separate matter the man is not submissive to the power of the other but only to the one that has caused the world, God, and he is the Padron of the whole world "(Pllumi, Fr. Z. 2001. p.59).

As a result, according to the Christian philosophy, beauty as a concept contains the nature of art, is not all the beauty of the forms of things. In order the artwork to have a uniqueness in the world and not part of the world, the beauty of its form must transcend the beauty of individualized forms in nature, as form determines the nature of things. It is clearly seen here that the three most important features of the thing are: the power in the present, the future in the unconscious, the good in action (Pllumi, Fr. Z. 2001. p.59).

The drama of the Catholic fathers embodies the principles we mentioned, which concretize the essence of the notion Religion, which naturally in the Albanian context took on the features of the pace of social, educational, cultural, ethical and philosophical development, practically the approach to the notion of Atmé, ethnicity, for development of which was taken care by all the elite and fathers of the time.

The concept of Theatrum Mundi, like topos, still remains in dramatic study optics not only as chronology, but as a junction of the ancient origins of civilization, or the cosmos, with the human world as the polis of human life itself as bios, which has also appeared in thesis of philosophy, ethics, metaphysics, exploring the multiple nature of the concept: the textual, the philosophical and theatrical also in the Albanian dramatic Christian literature.

References

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ISSN 2309-0081 Halili (2019) 469