Page 27 - L'Acqua Muta, l'Acqua Nuova, l'Acqua Rubata
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AMILITO NERÓ – UJËT E VJEDHUR – S’ABBA MUDA:
                       alcune testimonianze letterarie (Grecia, Arbëria, Sardegna)


            1. AMILITO NERÓ

            A questo  rito accenna  anche  il  grande  poeta  contemporaneo greco  Yannis  Ritsos
            nell’apertura della poesia Πείνα (Yannis Ritsos, Poems. Selected books, Translated by
            Manolis Aligizakis, Edited by Apryl Leaf):


            Πείνα
            Πέρασε η νύχτα μπουκωμένη αμίλητο νερό. Τά χαράματα
            έλαμψε ο ήλιος μουσκεμένος στά κουλουριασμένα καραβόσκοινα.
            Πρόσωπα-σκιές, κατάρτια-σκιές, ταξίδια—
            τάδαμε, δέν τάδαμε—δέ χόρτασε η πείνα μας.
            Κάποιος φώναξε πίσω απ’ τό βουνό, κάποιος άλλος
            πίσω απ’ τά δέντρα κι ένας άλλος κι άλλος
            σ’ όλο τό μάκρος τού δειλινού—πού νά τρέξουμε;
            Πού νά προφτάσουμε; Μήπως είμαστε εμείς πού φωνάζαμε; Καί
            τά βουνά γίνονταν πιό μεγάλα καί κοφτερά σάν τά δόντια τού πεινασμένου.

            Hunger
            The night passed its mouth stuffed by speechless water. At
            daybreak the sun shone wet on the coiled cables.
            Faces – shadows, masts – shadows, voyages –

            perhaps saw them, perhaps not – our hunger was never satisfied.
            Someone yelled behind the mountain, someone else
            behind the trees and yet another one
            all along the length of sundown – where should we run?
            Would we have enough time? Perhaps it is us yelling? And
            the mountains became bigger and sharper like the teeth of the hungry man.




            2. UJËT E VJEDHUR


                    Ujët e pafolur (‘l’acqua muta’), Ujët e re (‘l’acqua nuova’), Ujët e vjedhur
                    (‘l’acqua rubata’) nella letteratura arbëreshe


                   A.  GIROLAMO DE RADA

            Annota il De Rada nel suo poema di esordio in lingua albanese Canti di Milosao, edito
            a Napoli nel 1836, a proposito di questo insieme di ritualità associate alla veglia
            pasquale, che lui ci descrive parlando della sua Macchia, centro ideale delle azioni
            del  suo  poema  lirico,  ma dove oggi  non si  conserva  memoria  dell’acqua rubata  o

            dell’acqua nuova:
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