{"id":48921,"date":"2019-12-15T14:57:59","date_gmt":"2019-12-15T13:57:59","guid":{"rendered":"https:\/\/fjala.info\/?p=48921"},"modified":"2019-12-15T15:20:16","modified_gmt":"2019-12-15T14:20:16","slug":"qyteti-i-fundit-i-petro-markos-nje-roman-modern-dhe-me-vlera-te-medha-poetike","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/qyteti-i-fundit-i-petro-markos-nje-roman-modern-dhe-me-vlera-te-medha-poetike\/","title":{"rendered":"\u201cQYTETI I FUNDIT\u201d I PETRO MARKOS NJ\u00cb ROMAN MODERN DHE ME VLERA T\u00cb M\u00cbDHA POETIKE"},"content":{"rendered":"\n

Anton Nik\u00eb Berisha<\/strong><\/p>\n\n\n\n

Vazhdim\u00ebsi e tradit\u00ebs s\u00eb proz\u00ebs s\u00eb lir\u00eb dhe artistike<\/p><\/blockquote>\n\n\n\n

Kush e lexon me v\u00ebmendje romanin e Petro Markos \u201cQyteti i fundit\u201d, t\u00eb botuar n\u00eb Tiran\u00eb m\u00eb 1960[1]<\/a>, dhe e njeh proz\u00ebn q\u00eb u botua para tij, nuk e ka v\u00ebshtir\u00eb t\u00eb thot\u00eb se kjo vep\u00ebr \u00ebsht\u00eb nj\u00eb vazhdim\u00ebsi e mir\u00ebfillt\u00eb e p\u00ebrftimit t\u00eb proz\u00ebs s\u00eb lir\u00eb dhe artistike,\nq\u00eb u zhvillua n\u00eb tradit\u00ebn shqiptare, duke filluar nga parath\u00ebniet dhe\npasth\u00ebniet e veprave t\u00eb Pjet\u00ebr Budi: \u201cDoktrina e krishter\u00eb\u201d (1618), \u201cPasqyra e t\u00eb rr\u00ebfyemit\u201d (1621) dhe \u201cRituali roman\u201d (1621), t\u00eb pjes\u00ebve t\u00eb proz\u00ebs n\u00eb dram\u00ebn \u201cEmira\u201d t\u00eb Fran\u00e7esk Anton Santorit, dhe mb\u00ebrriti nj\u00eb rrafsh t\u00eb lart\u00eb sidomos me tregimet dhe novelat e Mihail Gramenos, Ndoc Nikaj, Ernest Koliqit, Dhimit\u00ebr Paskos (Mitrush Kutelit), Migjenit etj. N\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb Koliqi dhe Kuteli e ngrit\u00ebn dhe e pasuruan proz\u00ebn ton\u00eb me p\u00ebrb\u00ebr\u00ebs t\u00eb qen\u00ebsish\u00ebm, t\u00eb cil\u00ebsuar me nj\u00eb frym\u00ebmarrje t\u00eb gjer\u00eb dhe me nj\u00eb art t\u00eb madh. N\u00eb k\u00ebt\u00eb rrjedh\u00eb duhet t\u00eb p\u00ebrmendet ve\u00e7mas romani \u201cLumi i vdekur\u201d i Jakov Xox\u00ebs, i botuar n\u00eb Tiran\u00eb m\u00eb 1965, nj\u00eb nga kryeveprat e proz\u00ebs shqiptare t\u00eb gjitha koh\u00ebve.<\/p>\n\n\n\n

Romanet \u201cQyteti i fundit\u201d i Petro Markos dhe \u201cLumi i vdekur\u201d i Jakov Xox\u00ebs p\u00ebrligjin nj\u00eb dallim t\u00eb madh brenda gjith\u00eb let\u00ebrsis\u00eb shqipe q\u00eb u krijua n\u00eb Shqip\u00ebri gjat\u00eb koh\u00ebs s\u00eb komunizmit ose, si thuhet r\u00ebndom, t\u00eb let\u00ebrsis\u00eb s\u00eb realizmit socialist.\nPo p\u00ebrmend k\u00ebtu dhe romanin e Ramadan Rexhepit \u201cUdh\u00ebkryqi\u201d, t\u00eb cilin autori\nfilloi ta shkruaj\u00eb nga viti 1957, po u botua m\u00eb von\u00eb n\u00eb Suedi. Mjerisht, ky\nroman komunikoi pak me lexuesin dhe n\u00eb qen\u00ebsi mbeti i panjohur dhe pa ndikim n\u00eb proz\u00ebn ton\u00eb. <\/p>\n\n\n\n

\"\" E kund\u00ebrta ndodhi me romanet \u201cQyteti i fundit\u201d dhe \u201cLumi i vdekur\u201d q\u00eb n\u00eb nj\u00eb periudh\u00eb p\u00ebrjetuan nj\u00eb komunikim t\u00eb madh dhe b\u00ebn\u00eb nj\u00eb ndikim t\u00eb duksh\u00ebm n\u00eb proz\u00ebn ton\u00eb shqipe n\u00eb p\u00ebrgjith\u00ebsi, p\u00ebrkund\u00ebr faktit q\u00eb kjo gj\u00eb u hesht dhe nuk u tha n\u00eb p\u00ebrmas\u00ebn e duhur p\u00ebr arsye se sistemi komunist \u2013 socialist propagandoi\nveprat q\u00eb i p\u00ebrfill\u00ebn dhe u dhan\u00eb jet\u00eb p\u00ebrcaktimeve dhe ideologjis\u00eb p\u00ebrkat\u00ebse dhe i lan\u00eb n\u00eb heshtje ose i vun\u00eb n\u00eb list\u00ebn e zez\u00eb veprat e tjera, q\u00eb n\u00ebnkuptoi mos komunikimin e tyre.<\/p>\n\n\n\n

Romanet e p\u00ebrmendura t\u00eb Markos dhe t\u00eb Xox\u00ebs p\u00ebrligjin largimin dhe shk\u00ebputjen m\u00eb t\u00eb mir\u00ebfillt\u00eb nga veprat letrare q\u00eb u krijuan n\u00eb Shqip\u00ebri gjat\u00eb gjith\u00eb koh\u00ebs s\u00eb komunizmit. Ato, para s\u00eb gjithash, i cil\u00ebson nj\u00eb frym\u00ebmarrje e gjer\u00eb, p\u00ebrkat\u00ebsisht nj\u00eb rr\u00ebfim i lir\u00eb dhe i deg\u00ebzuar, ku shp\u00ebrfillen gjedhet dhe kufizimet e shtjellimit dhe t\u00eb shqiptimit poetik t\u00eb dukurive p\u00ebrmes tekstit si struktur\u00eb gjuh\u00ebsore shpreh\u00ebse. <\/p>\n\n\n\n

Shqiptim i dram\u00ebs shpirt\u00ebrore dhe i dram\u00ebs shoq\u00ebrore politike <\/strong><\/p>\n\n\n\n

N\u00eb\nromanin \u201cQyteti i fundit\u201d shqiptohen dramat shpirt\u00ebrore t\u00eb nj\u00eb varg\npersonazheve dhe drama shoq\u00ebrore dhe politike n\u00eb Shqip\u00ebri n\u00eb mbarim t\u00eb Luft\u00ebs s\u00eb dyt\u00eb bot\u00ebrore, kur fashizmi n\u00eb Itali mori fund dhe qytetar\u00ebt italian\u00eb q\u00eb ishin vendosur n\u00eb Shqip\u00ebri presin (n\u00eb portin e Durr\u00ebsit) t\u00eb kthehen n\u00eb atdheun e tyre. Pra, Petro Marko b\u00ebri objekt trajtimi poetik nj\u00eb koh\u00eb historike plot drama e p\u00ebsime shpirt\u00ebrore, po gjith\u00eb kjo do t\u00eb mbetej nj\u00eb kronik\u00eb e r\u00ebndomt\u00eb sikur autori gjith\u00eb k\u00ebt\u00eb t\u00eb mos e shqiptonte p\u00ebrmes rr\u00ebfimit dhe struktur\u00ebs gjuh\u00ebsore shpreh\u00ebse t\u00eb menduar, t\u00eb mos i krijonte vet\u00eb ai dramat dhe p\u00ebsimet n\u00eb jet\u00eb dhe p\u00ebsimet shpirt\u00ebrore t\u00eb personazheve. Me pak fjal\u00eb, brenda dramave, kolektive e individuale, Petro Marko i p\u00ebrftoi dramat q\u00eb si t\u00eb tilla b\u00ebhen m\u00eb t\u00eb ve\u00e7anta e m\u00eb r\u00ebnd\u00ebsishme. Ai nuk \u00ebsht\u00eb p\u00ebrshkrues i asaj q\u00eb ndodh, po e krijon at\u00eb q\u00eb e shqipton, at\u00eb q\u00eb e rr\u00ebfen. <\/p>\n\n\n\n

Petro Marko niset nga konkretja, niset nga ngjarje q\u00eb shiheshin e p\u00ebrjetoheshin, q\u00eb mund t\u2019i ket\u00eb p\u00ebrjetuar dhe vet\u00eb autori, por ajo q\u00eb krijoi ai p\u00ebrmes tekstit \u00ebsht\u00eb fryt i mendjes dhe i bot\u00ebs s\u00eb tij t\u00eb brendshme, i asaj q\u00eb ndieu, i p\u00ebrfytyrimit dhe i imagjinat\u00ebs s\u00eb bot\u00ebs s\u00eb tij t\u00eb pasur. Nj\u00ebmend ai zgjodhi at\u00eb q\u00eb \u00ebsht\u00eb m\u00eb e r\u00ebnd\u00ebsishme dhe m\u00eb dramatike nga gjith\u00eb ajo q\u00eb ngjante n\u00eb rrjedh\u00eb e jet\u00ebs s\u00eb p\u00ebrditshme; i zgjodhi \u00e7astet m\u00eb dramatike dhe p\u00ebsimet m\u00eb t\u00eb m\u00ebdha shpirt\u00ebrore t\u00eb atyre q\u00eb kishin ardhur n\u00eb Shqip\u00ebri nga shtat\u00eb prilli i vitit 1939, bashk\u00eb me epror\u00ebt, me ushtar\u00ebt, ose kishin ardhur p\u00ebr q\u00ebllime t\u00eb pasurimit etj., po t\u00eb gjitha k\u00ebto marrin ngjyrimin dhe qen\u00ebsin\u00eb e bot\u00ebs s\u00eb brendshme e t\u00eb shpirtit t\u00eb autorit, i cili rr\u00ebfen p\u00ebr at\u00eb q\u00eb nj\u00ebherit \u00ebsht\u00eb edhe drama e shpirtit t\u00eb tij q\u00eb si e till\u00eb ndikon m\u00eb shum\u00eb n\u00eb marr\u00ebsin. Dhe ai q\u00eb e lexon me v\u00ebmendje romanin \u201cQyteti i fundit\u201d bindet se Petro Marko d\u00ebshmohet mjesht\u00ebr i madh rr\u00ebfimit, i fjal\u00ebs poetike.<\/p>\n\n\n\n

Strategjia e shqiptimit t\u00eb dram\u00ebs shpirt\u00ebrore dhe t\u00eb dram\u00ebs shoq\u00ebrore, d\u00ebshmohet edhe tek personazhet e tek p\u00ebsimet e tyre n\u00eb rrafshe t\u00eb ndryshme, jo vet\u00ebm t\u00eb italian\u00ebve: Karlo Perone (Arnoldo Massa), Ana Maria Monte, Ipaemri, Danillo, \u00c7ekatoni, Ugo, Xhuzepe, \u00e7ifti Gaetano dhe Franka Monti, Rodolfina dhe Xhordani etj., t\u00eb cil\u00ebt p\u00ebr t\u2019u kthyer n\u00eb atdhe, i presin anijet n\u00eb portin e Durr\u00ebsit, ku kan\u00eb nd\u00ebrtuar qytetin e fundit me tende, me batanije etj., po dhe t\u00eb shqiptar\u00ebve, ve\u00e7mas t\u00eb partizan\u00ebve Raqi, Bejko, Mara, Bedrija dhe t\u00eb epror\u00ebve t\u00eb tyre, majorit, Agronit dhe togerit, Lek\u00ebs.<\/p>\n\n\n\n

Romani t\u00eb\ntrondit para s\u00eb gjithash p\u00ebr shum\u00ebsin\u00eb e z\u00ebrave dhe e t\u00eb dyshimeve t\u00eb\nindivid\u00ebve, po dhe asaj q\u00eb ndodh brenda nj\u00eb njeriu. N\u00eb veprat e letrare q\u00eb u krijuan n\u00eb Shqip\u00ebri p\u00ebr gati gjysm\u00eb shekulli kjo ishte e huaj.<\/p>\n\n\n\n

N\u00eb\nkonceptimin e rr\u00ebfimit dhe t\u00eb sistemit shpreh\u00ebs poetik Petro Marko nj\u00ebson\nkoh\u00ebt, ngjarjet, p\u00ebsimet, tragjikat; n\u00eb shum\u00eb raste i jep jet\u00eb koh\u00ebs\nsubjektive, q\u00eb nuk i kund\u00ebrvihet asaj konkrete, po e thellon p\u00ebrmas\u00ebn e\nshqiptimit t\u00eb dyfisht\u00eb: shtrihet n\u00eb rrafshin vertikal dhe horizontal, pra i jep nj\u00eb gjer\u00ebsi dhe thell\u00ebsi gjith\u00eb asaj q\u00eb shprehet n\u00eb vep\u00ebr.<\/p>\n\n\n\n

Rr\u00ebfim i lir\u00eb dhe shum\u00eb shtresor<\/strong><\/p>\n\n\n\n

Ajo q\u00eb e\nb\u00ebn shum\u00ebfish t\u00eb r\u00ebnd\u00ebsish\u00ebm dhe artistikisht t\u00eb ngritur romanin \u201cQyteti i\nfundit\u201d t\u00eb Petro Markos \u00ebsht\u00eb m\u00ebnyra sesi autori u qaset dhe i shqipton\nngjarjet dhe dukurit\u00eb. Nuk \u00ebsht\u00eb as tematika, as aktualiteti i saj, as rr\u00ebfimi n\u00eb retrospektiv\u00eb (q\u00eb \u00ebsht\u00eb p\u00ebrmendur si \u00e7\u00ebshtje e r\u00ebnd\u00ebsishme e k\u00ebtij romani) q\u00eb e b\u00ebjn\u00eb t\u00eb vlefsh\u00ebm dhe modern k\u00ebt\u00eb roman t\u00eb Petro Markos, po sistemi i t\u00eb shprehurit, mesazhet dhe tablot\u00eb q\u00eb p\u00ebrftohen p\u00ebrmes tekstit, p\u00ebrmes shprehjeve me ngarkesa t\u00eb shumta kuptimore, q\u00eb nuk u p\u00ebrdor\u00ebn n\u00eb veprat letrare gjat\u00eb koh\u00ebs s\u00eb periudh\u00ebs s\u00eb t\u00eb ashtuquajturit realiz\u00ebm socialist n\u00eb Shqip\u00ebri. Pra, m\u00ebnyra e shqiptimit dhe gjuha q\u00eb p\u00ebrdor autori n\u00eb tekst, bashk\u00eb me rr\u00ebfimin shum\u00eb shtresor, t\u00eb deg\u00ebzuar n\u00eb rrafshe t\u00eb ndryshme, g\u00ebrshetimi me dialog\u00eb t\u00eb brendsh\u00ebm q\u00eb e p\u00ebrdorin personazhet, her\u00eb \u2013 her\u00eb me dialog t\u00eb dyfisht\u00eb si mjet i r\u00ebnd\u00ebsish\u00ebm p\u00ebr t\u00eb rr\u00ebfyer e p\u00ebr t\u00eb dep\u00ebrtuar n\u00eb dram\u00ebn e rrjedh\u00ebs s\u00eb jet\u00ebs e t\u00eb njer\u00ebzve, e b\u00ebjn\u00eb k\u00ebt\u00eb roman modern dhe me vlera t\u00eb m\u00ebdha poetike.<\/p>\n\n\n\n

Kjo strategji e shqiptimit mund\u00ebson q\u00eb t\u00eb dep\u00ebrtohet m\u00eb thell\u00eb n\u00eb qen\u00ebsin\u00eb e dukurive, t\u00eb ngjarjeve, t\u00eb fatit t\u00eb personazheve dhe n\u00eb ve\u00e7anti t\u00eb bot\u00ebs s\u00eb tyre t\u00eb brendshme; t\u2019i kund\u00ebrvihet nga thell\u00ebsia moralit zyrtar q\u00eb ishte shum\u00eb i pranish\u00ebm dhe i z\u00ebsh\u00ebm, po n\u00eb qen\u00ebsin\u00eb e tij rr\u00ebnues.<\/p>\n\n\n\n

Petro Marko nuk i kund\u00ebrvihet atij me fjal\u00eb t\u00eb m\u00ebdha t\u00eb karakterit retorik, si\u00e7 vepruan shum\u00eb shkrimtar\u00eb gjat\u00eb gjith\u00eb sistemit komunist, duke i kushtuar himne e lavdi k\u00ebtij morali t\u00eb shpifur dhe n\u00eb qen\u00ebsi t\u00eb d\u00ebmsh\u00ebm, po p\u00ebrmes nj\u00eb rr\u00ebfimi t\u00eb menduar, nj\u00eb gjuhe figurative, nj\u00eb sistemi t\u00eb t\u00eb shprehurit q\u00eb i cil\u00ebsojn\u00eb veprat e m\u00ebdha t\u00eb artit t\u00eb fjal\u00ebs. <\/p>\n\n\n\n

N\u00eb k\u00ebt\u00eb roman, si\u00e7 u tha, rr\u00ebfim \u00ebsht\u00eb i lir\u00eb, s\u2019ka kufizime tematike ose ideologjike. Autori rr\u00ebfen nj\u00ebsoj p\u00ebr dukuri t\u00eb bukura dhe t\u00eb sh\u00ebmtuara, p\u00ebr veprime t\u00eb mira ose t\u00eb k\u00ebqija, p\u00ebr personazhe pozitiv\u00eb dhe p\u00ebr personazhe negativ\u00eb. Ai nuk i zbukuron gj\u00ebrat, po i shpreh n\u00eb lakuriq\u00ebsin\u00eb e tyre; ndonj\u00ebher\u00eb e shpreh edhe at\u00eb q\u00eb p\u00ebr at\u00eb koh\u00eb ishte e \u201cpar\u00ebndomt\u00eb\u201d. Petro Marko t\u00eb zez\u00ebs i thot\u00eb e zez\u00eb dhe t\u00eb bardh\u00ebs i thot\u00eb e bardhe; i shqipton veset dhe virtytet jo vet\u00ebm t\u00eb personazheve t\u00eb ndryshme, po edhe brenda nj\u00eb personazhi: n\u00eb nj\u00eb rast dhe n\u00eb nj\u00eb veprim ai del i mir\u00eb, me plot virtyte, n\u00eb nj\u00eb rast tjet\u00ebr, d\u00ebshmon vese, t\u00eb keqen dhe eg\u00ebrsin\u00eb brenda tij, ashtu si\u00e7 ngjet dhe n\u00eb jet\u00ebn konkrete.<\/p>\n\n\n\n

Petro Marko i g\u00ebrsheton dhe i nd\u00ebrthur shtresimet e ndryshme t\u00eb rr\u00ebfimit: gjat\u00eb nj\u00eb rr\u00ebfimi ose dialogu autori (rr\u00ebfimtari \u2013 narratori kryesor) u kthehet atyre gj\u00ebrave q\u00eb personazhet duhet t\u2019ia thon\u00eb vet\u00ebm vetes ose kishin menduar se duhet t\u2019ia kishin th\u00ebn\u00eb; fut\u00ebn copa tekstesh q\u00eb e nd\u00ebrpresin p\u00ebr nj\u00eb \u00e7ast rr\u00ebfimin kryesor, po n\u00eb qen\u00ebsi e plot\u00ebsojn\u00eb dhe e b\u00ebjn\u00eb m\u00eb t\u00eb larmish\u00ebm, m\u00eb t\u00eb vlefsh\u00ebm dhe m\u00eb komunikues.<\/p>\n\n\n\n

D\u00ebshmimi i liris\u00eb personale si qen\u00ebsi<\/strong><\/p>\n\n\n\n

\u201cQyteti i fundit\u201d \u00ebsht\u00eb nj\u00eb nga veprat me personazhe m\u00eb komplekse (t\u00eb nd\u00ebrliqsh\u00ebm) t\u00eb proz\u00ebs son\u00eb romaneske t\u00eb krijuar gjat\u00eb gjith\u00eb koh\u00ebs s\u00eb sundimit komunist n\u00eb Shqip\u00ebri, e kund\u00ebrta e shqiptimit bardh e zi, q\u00eb u b\u00eb parimi kryesor p\u00ebr hartimin e veprave letrare dhe e zhveshi let\u00ebrsin\u00eb nga thelbi i saj artistik.\nPetro Marko d\u00ebshmohet gjurmues i rrall\u00eb i bot\u00ebs shpirt\u00ebrore t\u00eb personazheve dhe krijues i gjendjeve t\u00eb tendosura shpirt\u00ebrore, i dramave t\u00eb brendshme e t\u00eb jashtme dhe i shqiptimit t\u00eb tyre p\u00ebrmes nj\u00eb rr\u00ebfimi poetikisht t\u00eb ngritur.<\/p>\n\n\n\n

Pra, m\u00ebnyra e p\u00ebrftimit t\u00eb personazheve dhe shpalimi i dramave shpirt\u00ebrore n\u00eb forma t\u00eb ndryshme, po ashtu p\u00ebrligjin vler\u00ebn dhe modernitetin e romanit. Ata bartin n\u00eb vete shum\u00ebsi ve\u00e7orish dhe p\u00ebrligjin lirin\u00eb e pafund t\u00eb t\u00eb menduarit e t\u00eb veprimit; jan\u00eb t\u00eb vetvetes edhe kur shpalosin virtytet e mir\u00ebfillta, edhe kur rrjedha e jet\u00ebs i p\u00ebrplas n\u00ebp\u00ebr hulli t\u00eb err\u00ebt dhe t\u00eb nd\u00ebrliqsh\u00ebm dhe veprimi i tyre b\u00ebhet i d\u00ebmsh\u00ebm. Ata jan\u00eb t\u00eb moshave, t\u00eb shtresave dhe t\u00eb karaktereve t\u00eb ndryshme.<\/p>\n\n\n\n

N\u00eb pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb romanit personazhet b\u00ebjn\u00eb nj\u00eb dialog shum\u00ebsor para se gjithash me veten e tyre, po dhe me tjetrin. Brenda dialogut t\u00eb r\u00ebndomt\u00eb me tjetrin, kemi dhe at\u00eb q\u00eb shprehet me z\u00ebrin q\u00eb e d\u00ebgjon vet\u00ebm individi q\u00eb vepron ose flet (rr\u00ebfen); t\u00eb kujton tekstin e dramave q\u00eb shkruhen p\u00ebr t\u2019u v\u00ebn\u00eb n\u00eb sken\u00eb, ku kjo m\u00ebnyr\u00eb shqiptimi \u00ebsht\u00eb m\u00eb e pranishme, p\u00ebr t\u00eb mos th\u00ebn\u00eb e domosdoshme. Kjo mund\u00ebson shpalosjen e shtresave dhe t\u00eb p\u00ebrb\u00ebr\u00ebsve m\u00eb t\u00eb fsheht\u00eb t\u00eb bot\u00ebs shpirt\u00ebrore; gj\u00ebra q\u00eb p\u00ebrjetohen dhe i rr\u00ebfehen vet\u00ebm vetes, askujt tjet\u00ebr.<\/p>\n\n\n\n

Secili personazh p\u00ebrligj disa z\u00ebra, q\u00eb konkretizohen p\u00ebrmes veprimeve, po bota e tyre e brendshme shpaloset edhe p\u00ebrmes asaj q\u00eb ata thon\u00eb ose rr\u00ebfejn\u00eb; k\u00ebto z\u00ebra k\u00ebmbehen e nd\u00ebrthur\u00ebn n\u00eb m\u00ebnyrat nga m\u00eb t\u00eb ndryshmet, ashtu si\u00e7 ndryshojn\u00eb dhe gjendjet shpirt\u00ebrore ose rrethanat n\u00eb t\u00eb cilat gjenden. Gjith\u00eb kjo kusht\u00ebzon nj\u00eb shqiptim sa thell\u00ebsor aq dhe artistik t\u00eb dukurive dhe t\u00eb bot\u00ebs. Nj\u00eb rr\u00ebfim i r\u00ebndomt\u00eb nuk mund\u00ebson nj\u00eb gj\u00eb t\u00eb till\u00eb.<\/p>\n\n\n\n

Petro Marko nuk shpreh anim p\u00ebrball\u00eb personazheve: nderim ose urrejtjeje; ai g\u00ebrmon dhe e shpalos at\u00eb q\u00eb nj\u00eb krijuesi t\u00eb r\u00ebndomt\u00eb i shp\u00ebton. K\u00ebshtu, laviren dhe nj\u00ebherit bukuroshen e jasht\u00ebzakonshme, Ana Maria Montin, e nd\u00ebrton dhe e shpreh si nj\u00eb personazh t\u00eb nd\u00ebrliqsh\u00ebm, sa kund\u00ebrth\u00ebn\u00ebs, aq dhe me drejtpeshim, me parime dhe me ndjenja q\u00eb e cil\u00ebsojn\u00eb njeriun e ndersh\u00ebm; shpalos nj\u00eb moral sa t\u00eb p\u00ebrmbysur, t\u00eb nd\u00ebrtuar n\u00eb baz\u00eb t\u00eb interesit dhe t\u00eb k\u00ebnaq\u00ebsis\u00eb, po aq dhe veprimin e njeriut me parime dhe t\u00eb ndersh\u00ebm, q\u00eb d\u00ebshmohet ve\u00e7mas me dashurin\u00eb q\u00eb ndien ndaj Lek\u00ebs, eprorit partizan. Ajo ka nj\u00eb shkatht\u00ebsi t\u00eb pazakonshme t\u00eb mendjes: u n\u00ebnshtrohet rrethanave dhe p\u00ebsimeve p\u00ebr arsye se nuk kishte rrug\u00eb tjet\u00ebr: mashtrimin q\u00eb i ishte b\u00ebr\u00eb qysh n\u00eb Itali kur vendos t\u00eb niset me Karlo Peronin nuk mund ta zhb\u00ebnte dhe ishte e detyruar t\u00eb zhytej dhe t\u00eb luante loj\u00ebn e moralit t\u00eb atyre njer\u00ebzve. <\/p>\n\n\n\n

N\u00eb \u00e7astin kur ndien dashurin\u00eb e nj\u00eb partizani shqiptar \u2013 epror, ku gjen at\u00eb mir\u00ebsi dhe at\u00eb q\u00eb nuk e kishte gjetur tek asnj\u00eb burr\u00eb q\u00eb ia kishte shfryt\u00ebzuar trupin e saj t\u00eb bukur, ajo b\u00ebhet e vetvetes, ndihet e mir\u00ebfillt\u00eb, e plot\u00eb; shkel n\u00eb \u00e7do gj\u00eb t\u00eb ndyt\u00eb q\u00eb kishte b\u00ebr\u00eb dhe e vij\u00ebzon jet\u00ebn e saj, t\u00eb ardhmen e saj. Ana Maria Monti her\u00eb \u2013 her\u00eb d\u00ebshmon se \u00ebsht\u00eb e mir\u00eb, e drejt\u00eb, e denj\u00eb, nj\u00eb her\u00eb tjet\u00ebr t\u00eb kund\u00ebrt\u00ebn: \u201cTa kishte par\u00eb Leka n\u00eb k\u00ebto \u00e7aste Ana \u2013 Marin\u00eb, do t\u00eb ishte tmerruar. Si u kthye ajo bukuri n\u00eb nj\u00eb sh\u00ebmtim t\u00eb eg\u00ebr? Si nd\u00ebrruan ata sy t\u00eb \u00ebmb\u00ebl, q\u00eb ndillnin dashuri, n\u00eb nj\u00eb furtun\u00eb e th\u00ebllim t\u00eb eg\u00ebr, ku shprehej di\u00e7ka trondit\u00ebse\u201d (f. 95). Meqen\u00ebse nuk ia del ta plot\u00ebsoj\u00eb k\u00ebt\u00eb synim dhe k\u00ebt\u00eb gj\u00eb, i jep fund jet\u00ebs duke u hedhur n\u00eb det nga anija q\u00eb po nisej p\u00ebr t\u2019u kthyer (me prind\u00ebrit) n\u00eb Itali.<\/p>\n\n\n\n

Nj\u00eb personazh tjet\u00ebr mjaft i nd\u00ebrliqsh\u00ebm \u00ebsht\u00eb Karlo Perone (Arnoldo Massa). I mbytur n\u00eb vese dhe i drejtuar nga interesa t\u00eb shumta e t\u00eb ndyta p\u00ebr t\u2019u pasuruar dhe n\u00eb kushte t\u00eb luft\u00ebs (n\u00eb Shqip\u00ebri i mbyt bashkatdhetar\u00ebt italian\u00eb dhe kufomave ua mbush barkun me ar dhe i nis n\u00eb Itali), ai paraqitet me shum\u00eb fytyra; u b\u00ebn keq shqiptar\u00ebve dhe italian\u00ebve, e nd\u00ebrron edhe emrin dhe p\u00ebrkund\u00ebr p\u00ebrpjekjeve t\u00eb organeve p\u00ebrkat\u00ebse ia dalin t\u00eb zbulojn\u00eb vet\u00ebm n\u00eb portin e Durr\u00ebsit, pak para kthimit n\u00eb Itali; p\u00ebrshtatet sipas gjendjes n\u00eb t\u00eb cil\u00ebn ndodhet; her\u00eb e urr\u00ebn dhe b\u00ebn p\u00ebrpjekje ta zhduk\u00eb Ana Maria Montin q\u00eb t\u00eb mos i tregoj\u00eb veprimet kriminele q\u00eb kishte b\u00ebr\u00eb, her\u00eb i rishfaq dashurin\u00eb e tij t\u00eb zjarrt\u00eb; i afron dhe gjith\u00eb arin q\u00eb kishte nisur n\u00eb Itali p\u00ebrmes kufomave.\nPra, gjith\u00eb koh\u00ebn luan nj\u00eb loj\u00eb t\u00eb dyfisht\u00eb e t\u00eb trefisht\u00eb p\u00ebr t\u2019i p\u00ebrmbushur q\u00ebllimet e veta djall\u00ebzore.<\/p>\n\n\n\n

Edhe personazhi i togerit shqiptar, Lek\u00ebs, \u00ebsht\u00eb mjaft kompleks. Ai i p\u00ebrmbahet moralit partizan dhe kodit moral t\u00eb trash\u00ebguar nga t\u00eb par\u00ebt: nderimin e tjetrit edhe n\u00eb rrethana t\u00eb v\u00ebshtira, ruan gjakftoht\u00ebsin\u00eb edhe n\u00eb gjendje t\u00eb r\u00ebnduara, ndonj\u00ebher\u00eb ta pazakonshme; drejtpeshimin n\u00eb veprimet, qoft\u00eb p\u00ebrball\u00eb partizan\u00ebve, qoft\u00eb p\u00ebrball\u00eb italian\u00ebve n\u00eb portin e Durr\u00ebsit q\u00eb presin anijet t\u00eb kthehen n\u00eb atdhe; e kupton tjetrin n\u00eb g\u00ebzim dhe n\u00eb fatkeq\u00ebsi dhe synon t\u00eb jet\u00eb sa m\u00eb i af\u00ebrt dhe i drejt\u00eb me njer\u00ebzit. E kupton n\u00eb thell\u00ebsi tragjiken e lavires \u2013 bukuroshes, Ana – Maria Montit dhe bindet se \u00ebsht\u00eb viktim\u00eb e tjetrit, e rrethanave. Bindet se ajo e dashuron mir\u00ebfilli, po morali partizan nuk i lejon ta p\u00ebrmbush\u00eb d\u00ebshir\u00ebn e saj dhe d\u00ebshir\u00ebn e tij: fatkeq\u00ebsia mund t\u2019i bashkoj\u00eb dhe njer\u00ebzit me karaktere dhe pozita krejt t\u00eb ndryshme. Leka e p\u00ebrjeton dram\u00ebn e saj p\u00ebr arsye se ajo dram\u00eb b\u00ebhet edhe e tij. Ky personazh ka nj\u00eb bot\u00eb t\u00eb pasur shpirt\u00ebrore dhe kjo e shp\u00ebton n\u00eb vorbull\u00ebn e luft\u00ebs dhe t\u00eb dram\u00ebs q\u00eb shkakton ajo.<\/p>\n\n\n\n

Qen\u00ebsia e t\u00eb shprehurit poetik<\/strong><\/p>\n\n\n\n

\u00c7\u00ebshtja q\u00eb e b\u00ebn romanin \u201cQyteti i fundit\u201d me vlera t\u00eb m\u00ebdha poetike dhe n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb roman modern, q\u00eb si i till\u00eb hyn n\u00eb rrethim m\u00eb t\u00eb ngusht\u00eb t\u00eb romaneve m\u00eb me vler\u00eb t\u00eb shkruar n\u00eb gjuh\u00ebn ton\u00eb, \u00ebsht\u00eb sistemi i t\u00eb shprehurit, p\u00ebrkat\u00ebsisht teksti gjuh\u00ebsor poetik i p\u00ebrftuar me shum\u00eb p\u00ebrkushtim dhe dije. Pra, ajo q\u00eb p\u00ebrcakton qen\u00ebsin\u00eb e k\u00ebsaj vepre \u00ebsht\u00eb se Petro Markos p\u00ebrdor nj\u00eb shprehje krejt\u00ebsisht t\u00eb lir\u00eb, jasht\u00eb \u00e7do kufizimi shtjellues, tematik dhe kuptimor, thuajse vepra t\u00eb mos ishte shkruar dhe botuar m\u00eb 1960, po jan\u00eb arsye t\u00eb ve\u00e7anta q\u00eb kusht\u00ebzuan k\u00ebt\u00eb botim, si\u00e7 na thot\u00eb vet\u00eb autori: \u201c<\/em>Qyteti i fundit\u201d botohet pa asnj\u00eb nd\u00ebrhyrje nga redaktor\u00ebt dhe recensent\u00ebt, pra \u00ebsht\u00eb vep\u00ebr krejt\u00ebsisht e tij. K\u00ebshtu del n\u00eb librin \u201cIntervist\u00eb me vetveten. Ret\u00eb dhe gur\u00ebt\u201d:<\/p>\n\n\n\n

\u201cPetro Marko na ka d\u00ebrguar k\u00ebtu (n\u00eb N. Sh. Botimeve \u201cNaim Frash\u00ebri\u201d \u2013 v. ime) nj\u00eb roman me nj\u00eb natyraliz\u00ebm q\u00eb nuk i shkon realizmit socialist. Erdhi dhe e t\u00ebrhoqi romanin, se nuk i pranoi v\u00ebrejtjet q\u00eb i b\u00ebm\u00eb p\u00ebr t\u00eb mir\u00ebn e tij\u201d (thot\u00eb redaktori Spiro Xhai \u2013 v. ime).<\/em><\/p>\n\n\n\n

Mehmeti (Mehmet Shehu \u2013 v. ime), pasi e d\u00ebgjoi, qeshi dhe tha:<\/em>
– Ai nuk m\u00eb d\u00ebgjoi mua dhe jo t\u00eb t\u00eb d\u00ebgjoj\u00eb ty…Merrja romanin dhe botoja ashtu si\u00e7 e ka shkruar ai vet\u00eb.<\/em><\/p>\n\n\n\n

K\u00ebshtu q\u00eb romani \u201cQyteti i fundit\u201d u botua pa hequr asnj\u00eb\npresje, prandaj edhe \u00ebsht\u00eb romani m\u00eb i arritur nd\u00ebr romanet e mia[2]<\/strong><\/a>\u201d.<\/em><\/p>\n\n\n\n

Petro Marko ishte i vet\u00ebdijsh\u00ebm se m\u00ebvet\u00ebsia dhe burimsia e nj\u00eb vepre letrare p\u00ebrligjet nga m\u00ebnyra e shqiptimit t\u00eb dukurit\u00eb dhe t\u00eb p\u00ebrftimit t\u00eb struktur\u00ebs gjuh\u00ebsore shpreh\u00ebse. Pra, e r\u00ebnd\u00ebsishme p\u00ebr t\u00eb ishte si t\u00eb thuhet nj\u00eb dukuri, sesa \u00e7ka thuhet. Pik\u00ebrisht k\u00ebt\u00eb parim autori e zbatoi fund e krye romanit; shprehu di\u00e7ka t\u00eb ve\u00e7ant\u00eb; krijoi gjendje e tablo t\u00eb cilat sa nd\u00ebrlidhen me rrjedh\u00ebn e jet\u00ebs s\u00eb p\u00ebrditshme, po aq shmangen dhe largohen nga ato. N\u00eb qen\u00ebsi, Petro Marko krijoi di\u00e7ka q\u00eb i thot\u00eb m\u00eb shum\u00eb marr\u00ebsit, lexuesit, q\u00eb e pushton m\u00eb shum\u00eb dhe ndikon m\u00eb ndjesh\u00ebm n\u00eb t\u00eb. Brenda t\u00eb zakonshmes ai p\u00ebrfton t\u00eb pazakonshmen e ve\u00e7ant\u00ebn, po q\u00eb receptohet (pranohet) si e zakonshme. Shpreh at\u00eb q\u00eb \u00ebsht\u00eb e fshehta e t\u00eb zakonshmes dhe e cila e b\u00ebn t\u00eb zakonshmen m\u00eb t\u00eb pasur, m\u00eb t\u00eb r\u00ebnd\u00ebsishme. \n\nN\u00eb k\u00ebt\u00eb strategji krijuese, kumti poetik b\u00ebhet m\u00eb i qen\u00ebsish\u00ebm dhe m\u00eb i deg\u00ebzuar dhe i jep tekstit vler\u00eb, me \u00e7ka d\u00ebshmohet natyra dhe qen\u00ebsia e\nartit t\u00eb fjal\u00ebs: paan\u00ebsin\u00eb e kuptimit t\u00eb mesazheve; sa m\u00eb shum\u00eb q\u00eb t\u00eb rr\u00ebnohen kufijt\u00eb e shqiptimit t\u00eb t\u00eb r\u00ebndomt\u00ebs p\u00ebrball\u00eb p\u00ebrftimit t\u00eb realitetit t\u00eb ri, qoft\u00eb si p\u00ebrkim, qoft\u00eb si kund\u00ebrv\u00ebnie, aq m\u00eb shum\u00eb vepra letrare poetike b\u00ebhet m\u00eb me vler\u00eb dhe ndikon m\u00eb mir\u00ebfilli n\u00eb marr\u00ebsin, pa marr\u00eb parasysh mosh\u00ebn dhe koh\u00ebn.<\/p>\n\n\n\n

Petro Marko \u00ebsht\u00eb d\u00ebshmuar mjesht\u00ebr i madh n\u00eb nd\u00ebrthurjen e realitetit dhe t\u00eb p\u00ebrfytyrimit, p\u00ebrkat\u00ebsisht t\u00eb nj\u00ebmend\u00ebsis\u00eb s\u00eb p\u00ebrditshm\u00ebris\u00eb me nj\u00ebmend\u00ebsin\u00eb e imagjinuar. E para (nj\u00ebmend\u00ebsia e p\u00ebrditshm\u00ebris\u00eb) i sh\u00ebrben si nxitje, si nism\u00eb, e dyta (nj\u00ebmend\u00ebsia imagjinative) si qen\u00ebsi, si konkretizim n\u00eb tekstin letrar. Pik\u00ebrisht teksti i till\u00eb b\u00ebhet m\u00eb cil\u00ebsor dhe me mund\u00ebsi ndikimi estetik m\u00eb t\u00eb madh. Teksti q\u00eb synon kumtin e zakonsh\u00ebm, thjesht\u00ebsin\u00eb, qart\u00ebsin\u00eb e dukuris\u00eb, pra synon t\u00eb ket\u00eb vet\u00ebm nj\u00eb kuptim, \u00ebsht\u00eb i zhveshur nga cil\u00ebsit\u00eb e tekstit poetik, nuk mund t\u00eb b\u00ebj\u00eb ndikimin estetik tek marr\u00ebsi.<\/p>\n\n\n\n

Po sjell disa shembuj q\u00eb e p\u00ebrligjin qen\u00ebsin\u00eb e k\u00ebsaj m\u00ebnyre t\u00eb krijimit t\u00eb tekstit poetik e t\u00eb mund\u00ebsis\u00eb s\u00eb komunikimit dhe t\u00eb ndikimit estetik, p\u00ebr arsye se t\u00eb till\u00eb mund t\u00eb sillen t\u00eb thuash nga \u00e7do faqe e romanit.<\/p>\n\n\n\n

\u201c[…] I paemri shikonte nga shk\u00ebmbi i Kavaj\u00ebs, prej nga hera \u2013 her\u00ebs l\u00ebviznin si shkopinj t\u00eb gjat\u00eb zjarri dritat e automobilave. Yjet nisen t\u00eb dilnin dhe k\u00ebnga e leht\u00eb dhe monotone e val\u00ebs d\u00ebgjohej si e shuar\u201d (f. 5)<\/em><\/p>\n\n\n\n

\u201cSi\u00e7 duket, edhe nata ua kishte qar\u00eb hallin k\u00ebtyre familjeve q\u00eb kishin p\u00ebr dyshek g\u00ebrmadha moli dhe p\u00ebr mbules\u00eb qiellin blu e plot yje drit\u00eb t\u00eb Shqip\u00ebris\u00eb\u201d (f. 21).<\/em><\/p>\n\n\n\n

\u201c\u00c7\u00ebshtje or\u00ebsh \u00ebsht\u00eb! \u2013 i thoshte Leka Frank\u00ebs dhe shikonte shk\u00ebmbin, ku tani s\u2019ishte m\u00eb ajo perri e \u00e7uditshme, po n\u00eb vend t\u00eb saj nj\u00eb burr\u00eb q\u00eb s\u2019l\u00ebvizte. Dhe Leka ndjeu d\u00ebshir\u00ebn ta shikonte edhe nj\u00eb her\u00eb, se, sa luft\u00eb kishte ndezur n\u00eb vetvete: \u201c\u00cbnd\u00ebrr \u00ebsht\u00eb apo e v\u00ebrtet\u00eb? Dhe, n\u00ebse nuk ishte \u00ebnd\u00ebrr, ishte kaq e bukur, sa m\u2019u skalit n\u00eb kujtes\u00eb, apo h\u00ebna e kishte stolisur me petkun e art\u00eb t\u00eb bukuris\u00eb p\u00ebrrallore\u201d (f. 44)<\/em><\/p>\n\n\n\n

\u201cSa histori t\u00eb zgjatura, t\u00eb errta, t\u00eb f\u00eblliqura mund t\u00eb ken\u00eb shum\u00eb prej k\u00ebtyre njer\u00ebzve k\u00ebtu, si rruga e tyre e gjat\u00eb, e err\u00ebt, e f\u00eblliqur!\u201d Dhe ecte me hapa t\u00eb matur, duke u kujdesur se mos shkelte mbi ndonj\u00eb t\u00eb shtrir\u00eb. Nata ngrohej nga nj\u00eb frym\u00eb e vak\u00ebt dhe deti tej e tej sikur mendonte se si do ta priste h\u00ebn\u00ebn, q\u00eb ende dukej se stolisej prapa maleve, p\u00ebr t\u00eb dal\u00eb sa m\u00eb e veshur me petka t\u00eb arta, t\u00eb q\u00ebndisura me \u00ebndrra dhe kujtime\u201d f. 65)<\/em><\/p>\n\n\n\n

\u201cH\u00ebna u derdhte ngjyr\u00eb t\u00eb vdekuri n\u00eb shpin\u00eb\u201d (f. 72).<\/em><\/p>\n\n\n\n

\u201cDeti, pjes\u00eb \u2013 pjes\u00eb, b\u00ebhej me mornica nga mistrali i leht\u00eb q\u00eb nisi t\u2019i afrohej edhe bregut, kurse thell\u00eb era kafshonte leht\u00eb val\u00ebt q\u00eb nxirrnin vetulla t\u00eb holla t\u00eb bardha\u201d (f. 81).<\/em><\/p>\n\n\n\n

[…] humbiste edhe m\u00eb shum\u00eb nga nj\u00eb di\u00e7ka q\u00eb i kishte mb\u00ebrthyer zemr\u00ebn si nj\u00eb gaforre, dhe ia shtr\u00ebngonte e ia shtr\u00ebngonte gjersa, si\u00e7 duket, ndonj\u00eb kthet\u00ebr ia shpoi qesen e lot\u00ebve, q\u00eb nis\u00ebn t\u00eb buronin e t\u00eb rrokulliseshin pika \u2013 pika, duke ndjekur nj\u00ebri \u2013 tjetrin mbi faqe, e t\u00eb humbisnin n\u00eb gush\u00ebn e n\u00eb gjirin e saj, q\u00eb ulej e ngrihej si ndonj\u00eb vark\u00eb pul\u00ebbardh\u00eb n\u00eb furtun\u00eb. f. 263<\/em><\/p>\n\n\n\n

Lot\u00ebt i dilnin, i rr\u00ebmbente deti dhe i shkrinte n\u00eb zemr\u00ebn e tij t\u00eb madhe. \u00c7udi!Vet\u00ebm deti e dinte se Ana \u2013 Maria lotonte. Se, po ta shikonte njeri, do t\u00eb kujtonte se ishte e qet\u00eb dhe e g\u00ebzuar. Ndoshta edhe ajo vet\u00eb nuk e kishte ndier se syt\u00eb e saj pikonin lot. Kujtonte se nga qepallat rridhnin lot deti. Kujtonte se t\u00ebr\u00eb ky det ishte kupa e lot\u00ebve t\u00eb njer\u00ebzimit…f. 207<\/em><\/p>\n\n\n\n

\u201cHeshtje! Z\u00ebri i zem\u00ebruar i gruas duket se ishte z\u00ebri i\nfundit i asaj nate. Po sa z\u00ebra t\u00eb brendsh\u00ebm ende gum\u00ebzhinin tek ata q\u00eb me sy hapur flisnin me detin ose me h\u00ebn\u00ebn, me t\u00eb djeshmen e me t\u00eb nes\u00ebrmen\u201d (f. 121).<\/em><\/p>\n\n\n\n

P\u00ebr t\u00eb mos u ndalur te secili shembull ve\u00e7 e ve\u00e7), po e v\u00ebshtroj shkurtazi vet\u00ebm tekstin e fundit, shum\u00ebsin\u00eb kuptimore q\u00eb e cil\u00ebson dhe realitetin poetik q\u00eb krijohet p\u00ebrmes struktur\u00ebs gjuh\u00ebsore shpreh\u00ebse. Z\u00ebri i gruas \u00ebsht\u00eb z\u00ebri i zem\u00ebruar i nat\u00ebs; k\u00ebta z\u00ebra i japin nj\u00ebri \u2013 tjetrit dhe e kusht\u00ebzojn\u00eb tablon\u00eb e zem\u00ebrimit t\u00eb mb\u00ebrthyer n\u00eb terrin e nat\u00ebs. Pamja zgjerohet, pasurohet dhe thellohet edhe me z\u00ebrat e tjer\u00eb, t\u00eb atyre q\u00eb n\u00eb nat\u00eb flisnin me sy hapur dhe me sy hapur flisnin me detin dhe me h\u00ebn\u00ebn, po flisnin edhe me t\u00eb djeshmen e me t\u00eb nes\u00ebrmen, pa asnj\u00eb dyshim nj\u00eb pamje e pazakonshme, kuptimisht e pafund dhe me mund\u00ebsi ndikimi estetik t\u00eb madh. Tekste t\u00eb k\u00ebtilla nuk i gjen n\u00eb asnj\u00eb vep\u00ebr q\u00eb u botua para vitit 1960 e deri m\u00eb 1992, kur u p\u00ebrmbys sistemi komunist. <\/p>\n\n\n\n

Romani\n\u201cQyteti i fundit\u201d \u00ebsht\u00eb nj\u00eb kund\u00ebrv\u00ebnie e fuqishme dhe e pand\u00ebrmjeme gjith\u00eb\nasaj let\u00ebrsie q\u00eb u krijua dhe u b\u00eb mb\u00ebshtetje e p\u00ebrcaktimeve dhe e ideologjis\u00eb komuniste, e cila e ktheu let\u00ebrsin\u00eb n\u00eb nj\u00eb veg\u00ebl t\u00eb verb\u00ebr t\u00eb sistemit, duke e zhveshur nga arti i v\u00ebrtet\u00eb dhe nga mund\u00ebsia e ndikimit estetik q\u00eb \u00ebsht\u00eb q\u00ebllimi kryesor i \u00e7do vepre t\u00eb artit t\u00eb fjal\u00ebs. <\/p>\n\n\n\n

N\u00eb vijim po sjell dhe disa shembuj t\u00eb tjer\u00eb, q\u00eb e d\u00ebshmon n\u00eb m\u00ebnyr\u00eb bind\u00ebse vler\u00ebsimin e dh\u00ebn\u00eb m\u00eb lart p\u00ebr vlerat e m\u00ebdha poetike t\u00eb k\u00ebtij romani:<\/p>\n\n\n\n

M\u00eb p\u00eblqen rruga e h\u00ebn\u00ebs mbi det. f. 7<\/em><\/p>\n\n\n\n

Uli kok\u00ebn (personazhi Xhyzepe) dhe pran\u00eb k\u00ebpuc\u00ebve t\u00eb tij t\u00eb grisura pa k\u00ebsul\u00ebn e zez\u00eb q\u00eb nxinte si ndonj\u00eb sorr\u00eb e ngordhur. f. 15<\/em><\/p>\n\n\n\n

Po… po, – dhe p\u00ebrs\u00ebri buz\u00ebqeshi me pik\u00ebllim. f. 17<\/em><\/p>\n\n\n\n

E ndali frym\u00ebn dhe d\u00ebgjoi f\u00ebshf\u00ebrim\u00ebn e leht\u00eb t\u00eb val\u00ebs q\u00eb l\u00ebpinte faqet e thepisura t\u00eb blloqeve t\u00eb th\u00ebrrmuara, t\u00eb ushtonte si dallg\u00eb\nbrenda tij. f. 20<\/em><\/p>\n\n\n\n

Thon\u00eb se deti i ndezur t\u00eb ndez m\u00eb shum\u00eb dhe sidomos kur pran\u00eb ke nj\u00eb \u00ebnd\u00ebrr q\u00eb fle! f. 25.<\/em><\/p>\n\n\n\n

Qet\u00ebsi! Shtylla t\u00eb gjata t\u00eb molit t\u00eb shembur, si gjigant\u00eb q\u00eb dalin nga fundi i detit! M\u00eb tej drita e kuqe e fanarit q\u00eb zhdukej p\u00ebr nj\u00eb \u00e7ast e p\u00ebrs\u00ebri dilte, sikur donte t\u00eb dallohej n\u00eb at\u00eb miz\u00ebri perlash q\u00eb h\u00ebna i\nkishte falur si mbules\u00eb detit t\u00eb flinte. f. 26.<\/em><\/p>\n\n\n\n

M\u00eb dukej m\u00eb e bukur s\u00eb \u00ebndrrat. f. 45<\/em><\/p>\n\n\n\n

Ajo qepte e shqepte nj\u00eb \u00ebnd\u00ebrr q\u00eb e mundonte: Leka. f. 58<\/em><\/p>\n\n\n\n

Pastaj… mal m\u00eb mal e pyll m\u00eb pyll, kudo ku d\u00ebgjonim z\u00eb njeriu, sikur d\u00ebgjonim borin\u00eb e mortjes! f. 73<\/em><\/p>\n\n\n\n

[…] m\u00eb tha nj\u00eb dit\u00eb e shoqja e xha Hasanit, nj\u00eb n\u00ebn\u00eb e\np\u00ebrvuajtur, e that\u00eb dhe me dy sy ku shprehte detin e zem\u00ebrbadh\u00ebsis\u00eb. f. 76<\/em><\/p>\n\n\n\n

Ky, q\u00eb paloste e shpaloste nj\u00eb flet\u00eb gazete \u201cBashkimi\u201d, q\u00eb e b\u00ebnte pal\u00eb \u2013 pal\u00eb, si ata q\u00eb b\u00ebjn\u00eb fener\u00eb prej letre, d\u00ebgjonte Ana \u2013 Marin\u00eb dhe me sy t\u00eb ngulur n\u00eb buz\u00ebqeshjen e art\u00eb t\u00eb val\u00ebs, aty n\u00eb k\u00ebmb\u00ebt e varura\nt\u00eb vajz\u00ebs, shikonte ironin\u00eb e detit t\u00eb gjer\u00eb q\u00eb kushedi \u00e7far\u00eb fsheht\u00ebsish\nfshihte, tamam si kjo vajz\u00eb q\u00eb kishte pran\u00eb dhe s\u2019guxonte ta shikonte, se drita e h\u00ebn\u00ebs e vishte me petkun e nuseve t\u00eb detit. f. 78.<\/em><\/p>\n\n\n\n

Kurse era kafshonte. f. 81<\/em><\/p>\n\n\n\n

Ishte era q\u00eb frynte e till\u00eb! Ishte dhe t\u00ebr\u00eb larmia e epsheve q\u00eb zgjoheshin dhe shtoheshin n\u00eb k\u00ebt\u00eb qytet, ku burrat dhe grat\u00eb flinin\npran\u00eb e pran\u00eb, dhe sidomos nat\u00ebn, kur h\u00ebna i dehte me drit\u00eb dashurie. f. 93<\/em><\/p>\n\n\n\n

[…] kur nisi t\u00eb ngrihej flamuri i ankthit. f. 105<\/em><\/p>\n\n\n\n

Shekulli i vagabontazhit. f. 116<\/em><\/p>\n\n\n\n

K\u00ebshtu e ka kjo bot\u00eb e ndyr\u00eb f. 119<\/em><\/p>\n\n\n\n

Mesnata sikur trishtohej nga kjo k\u00ebng\u00eb. f. 120<\/em><\/p>\n\n\n\n

[…] dhe shikonte qiellin me yje t\u00eb rralluar nga urdhri i h\u00ebn\u00ebs. f. 120<\/em><\/p>\n\n\n\n

Mesnata sikur trishtohej nga kjo k\u00ebng\u00eb. Po m\u00eb shum\u00eb trishtoheshin ata q\u00eb e d\u00ebgjonin. f. 120<\/em><\/p>\n\n\n\n

Sa e \u00ebmb\u00ebl \u00ebsht\u00eb jeta kur s\u2019ka bubullima, kur d\u00ebgjohet rrahja e zemr\u00ebs s\u00eb val\u00ebve dhe kur k\u00ebnga e shoq\u00ebruar prej kitar\u00ebs zbulon kapakun\ne varrit t\u00eb kujtimeve dhe vdes \u00ebndrra e lig\u00eb p\u00ebr t\u00eb nes\u00ebrmen. f. 120<\/em><\/p>\n\n\n\n

[…] me sy hapur flisnin me detin ose me h\u00ebn\u00ebn. f. 121<\/em><\/p>\n\n\n\n

Leka e hodhi n\u00eb det (cigaren \u2013 v. ime) dhe nuk u d\u00ebgjua ajo \u201cxh\u00ebzt\u201d q\u00eb b\u00ebn zjarri kur bie n\u00eb uj\u00eb, se n\u00eb k\u00ebmb\u00ebt e tyre vala luante plot naze me shk\u00ebmbinjt\u00eb, q\u00eb dukeshin t\u00eb nxir\u00eb, pasi ende s\u2019i kishte vizituar syri i\nh\u00ebn\u00ebs. f. 123<\/em><\/p>\n\n\n\n

Dol\u00ebn t\u00eb qethur ndon\u00ebse erdh\u00ebn p\u00ebr lesh. f. 140<\/em><\/p>\n\n\n\n

Se, kur flet me ndonj\u00eb vajz\u00eb, gjuha detyrohet t\u00eb lyhet me mjaltin e g\u00ebnjeshtr\u00ebs. f. 161<\/em><\/p>\n\n\n\n

Fituam me thes mizerien. f. 170<\/em><\/p>\n\n\n\n

Dhe k\u00ebshtu n\u00eb mendjen e Mar\u00ebs, t\u00eb tjera lodra k\u00ebrcenin tani mbi litarin e imagjinat\u00ebs. f. 170<\/em><\/p>\n\n\n\n

Si erdh\u00ebn! U vendos\u00ebn k\u00ebtyre an\u00ebve dhe filluan t\u00eb g\u00ebrmonin hendek\u00eb p\u00ebr t\u00eb na mbytur neve, q\u00eb mbi kufomat tona stisnin kull\u00ebn e lumturis\u00eb s\u00eb tyre. f. 174<\/em><\/p>\n\n\n\n

Xhyzepja qeshi me vete, dhe qeshjen e tij, q\u00eb i ngjante nat\u00ebs, vet\u00ebm nata e pa. f. 177<\/em><\/p>\n\n\n\n

Ai q\u00eb s\u2019mendon asgj\u00eb, s\u2019jeton m\u00eb. f. 189<\/em><\/p>\n\n\n\n

Ajo mori nj\u00eb cigare dhe e mbajti n\u00eb goj\u00eb, gjersa Leka ia ndezi me \u00e7akmak. Megjith\u00ebse flaka qe jet\u00ebshkurt\u00ebr, Leka mundi ta shikonte mir\u00eb\n(Ana – Marin\u00eb v. ime) at\u00eb fytyr\u00eb q\u00eb dukej m\u00eb t\u00ebrheq\u00ebse nga flladi i trishtimit t\u00eb shpirtit t\u00eb saj dhe t\u00eb nat\u00ebs. f. 194<\/em><\/p>\n\n\n\n

Dhe pyeste syt\u00eb e saj n\u00eb pasqyr\u00eb: \u201c\u00c7\u2019\u00ebsht\u00eb sot?\u201d f. 195<\/em><\/p>\n\n\n\n

Z\u00ebri i korit t\u00eb suorave (motrave t\u00eb kish\u00ebs v. ime) ngrihen dal\u00ebngadal\u00eb dhe p\u00ebrhapej e shoq\u00ebrohej me psalmet monotone t\u00eb val\u00ebve, q\u00eb\nndoshta edhe ato \u00e7uditeshin me k\u00ebt\u00eb martes\u00eb. f. 201<\/em><\/p>\n\n\n\n

Tani q\u00eb ra nga \u00e7o deg\u00eb (pozit\u00eb v. ime) ku kishte hipur (Rodolfina v. ime)… tani q\u00eb s\u2019ka m\u00eb njeri… tani i dor\u00ebzohet si kufom\u00eb atij q\u00eb e dashuronte! f. 202<\/em><\/p>\n\n\n\n

E \u00e7\u2019g\u00ebzim solli n\u00eb k\u00ebt\u00eb qytet hidh\u00ebrimi dhe shqet\u00ebsimi kjo dasm\u00eb funebre? f. 202<\/em><\/p>\n\n\n\n

[…] q\u00eb g\u00ebrryente rr\u00ebnj\u00ebt e kalbura t\u00eb shpres\u00ebs f. 203<\/em><\/p>\n\n\n\n

Ishin kthyer nga dasma pa v\u00ebn\u00eb gj\u00eb n\u00eb goj\u00eb, po duke i hedhur edhe disa pika vreri m\u00eb shum\u00eb zemr\u00ebs s\u00eb tyre t\u00eb vrerosur. f. 203.<\/em><\/p>\n\n\n\n

Un\u00eb kam koh\u00eb q\u00eb s\u2019jam m\u00eb un\u00eb f. 207<\/em><\/p>\n\n\n\n

Zot\u00ebsi \u00ebsht\u00eb t\u00eb rrosh (n\u00eb ato rrethana). f. 219<\/em><\/p>\n\n\n\n

Zgjatnin kok\u00ebn dhe dukej se pinin drit\u00eb\u201d. f. 222<\/em><\/p>\n\n\n\n

Vet\u00ebm yjet qeshnin n\u00eb qiell, se edhe vala e lodhur, me sa mundim l\u00ebshonte ankimin e vetmis\u00eb s\u00eb saj, sikur thoshte: \u201cKu e ke Lek\u00ebn? f.\n231-232<\/em><\/p>\n\n\n\n

Kur u afrua te nd\u00ebrtesa e zyrave, pa dy dritare me drit\u00eb dhe der\u00ebn e poshtme si goj\u00eb e ndezur. f. 234<\/em><\/p>\n\n\n\n

– Ulu, Ana \u2013 Maria! Ulu… \u2013 dhe mij\u00ebra mendime digjeshin nga nj\u00eb dallg\u00eb flake dhe nuk arrinin t\u00eb merrnin form\u00ebn e tyre…f. 242<\/em><\/p>\n\n\n\n

Duart e \u00c7ekantonit s\u2019pushonin s\u00eb b\u00ebri not n\u00eb er\u00eb, sikur t\u00eb drejtonin k\u00ebt\u00eb plot tinguj, ku shfrynte d\u00ebshp\u00ebrimi. f. 253<\/em><\/p>\n\n\n\n

Vet\u00ebm deti ia shikonte at\u00eb fytyr\u00eb ku bukuria b\u00ebhej m\u00eb t\u00ebrheq\u00ebse nga veshja e melankolis\u00eb. f. 257<\/em><\/p>\n\n\n\n

Ti mbyte jet\u00ebn e mbytur q\u00eb ke b\u00ebr\u00eb. f. 257<\/em><\/p>\n\n\n\n

Ana \u2013 Maria mori frym\u00eb thell\u00eb, sikur donte t\u00eb p\u00ebrpinte t\u00ebr\u00eb dhembjen e saj t\u00eb madhe sa deti. f. 265<\/em><\/p>\n\n\n\n

Nd\u00ebrsa ulej, sikur i uleshin edhe p\u00eblhurat e frik\u00ebs. f. 272<\/em><\/p>\n\n\n\n

Karloja, me t\u00ebmtha n\u00eb duar, shikonte gisht\u00ebrinjt\u00eb e k\u00ebmb\u00ebve t\u00eb Gaetonos. \u00c7udi! I b\u00ebheshin si gardh hekuri… si ushtar\u00eb t\u00eb vaisur,\nsi gjigant\u00eb pa sy… f. 275<\/em><\/p>\n\n\n\n

K\u00ebnga p\u00ebrhapej mbi t\u00ebr\u00eb molin \u2013 g\u00ebrmadh\u00eb. Era e nat\u00ebs i jep m\u00eb fuqi dhe oshtima e detit e ul shushurim\u00ebn e saj prej isoje monotone. Ana\n\u2013 Maria sikur lundron n\u00eb ndonj\u00eb vark\u00eb \u2013 \u00ebnd\u00ebrr, e p\u00ebrqafuar nga Leka. f. 300<\/em><\/p>\n\n\n\n

Ana \u2013 Maria l\u00ebviz pak\u00ebz. Ai e ngre m\u00eb lart\u00eb thik\u00ebn q\u00eb ta shohin\nm\u00eb mir\u00eb yjet f. 301<\/em><\/p>\n\n\n\n

Ecte e leht\u00ebsuar dhe ata q\u00eb e shikonin k\u00ebshtu t\u00eb g\u00ebzuar, sikur hiqnin dhe nj\u00eb shtres\u00eb tjet\u00ebr t\u00eb zez\u00eb nga hija e tmerrit. f. 324<\/em><\/p>\n\n\n\n

Deti po at\u00eb gjuh\u00eb fliste (si t\u00eb Ugos me shok\u00eb v. ime) dhe dielli po at\u00eb sy t\u00eb nxeht\u00eb kishte. f. 324<\/em><\/p>\n\n\n\n

Zot, o Zot i madh, pse e b\u00ebr\u00eb k\u00ebshtu njeriun?! f. 338<\/em><\/p>\n\n\n\n

Shikimi i tij (i Lek\u00ebs v. ime) matet vet\u00ebm me forc\u00ebn e ngroht\u00ebsis\u00eb s\u00eb diellit! f. 338<\/em><\/p>\n\n\n\n

Pla\u00e7 ti atje, daulle e shpuar e jet\u00ebs! f. 341<\/em><\/p>\n\n\n\n

Sikur ia lyente fytyr\u00ebn me nxitim me drit\u00ebn e syve t\u00eb saj f. 345<\/em><\/p>\n\n\n\n

Qanin nga g\u00ebzimi. Qanin si f\u00ebmij\u00eb… Derdhin lot\u00ebt e fundit t\u00eb rrug\u00ebs s\u00eb lot\u00ebve. f. 359<\/em><\/p>\n\n\n\n

Vet\u00ebm zemrat u flisnin me gjuh\u00ebn e padurimit f. 364<\/em><\/p>\n\n\n\n

Ecte si mbi varrez\u00ebn e \u00ebndrrave t\u00eb saj. f. 369<\/em><\/p>\n\n\n\n

Q\u00ebndruan (Mario Bernardi, \u00c7ekantoni, Danillo v. ime) pran\u00eb Ana \u2013 Maris\u00eb s\u00eb heshtur, s\u00eb cil\u00ebs syt\u00eb ia kishte thithur deti. f. 371<\/em><\/p>\n\n\n\n

N\u00eb mbyllje t\u00eb k\u00ebtij punimi them se sikur Petro Marko t\u00eb mos kishte shkruar dhe botuar asnj\u00eb vep\u00ebr tjet\u00ebr letrare po vet\u00ebm romani \u201cQyteti i fundit\u201d me vlerat poetike dhe ve\u00e7antit\u00eb q\u00eb i ka, e b\u00ebn emrin e tij t\u00eb pavdeksh\u00ebm p\u00ebr sot e p\u00ebr nes\u00ebr dhe vet\u00ebm ata q\u00eb n\u00eb qen\u00ebsi nuk e njohin let\u00ebrsin\u00eb si art dhe si mund\u00ebsi komunikimi dhe ndikim artistik ose mb\u00ebshteten n\u00eb fakte jo letrare dhe jo poetike mund t\u00eb mos e vler\u00ebsojn\u00eb k\u00ebt\u00eb roman si nj\u00eb vep\u00ebr t\u00eb madhe t\u00eb proz\u00ebs son\u00eb q\u00eb u krijua n\u00eb koh\u00ebn e komunizmit n\u00eb Shqip\u00ebri.<\/p>\n\n\n\n

Prishtin\u00eb, n\u00ebntor \u2013 dhjetor 2019<\/em>
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[1]<\/a> Botim i N. Sh. Botimeve \u201cNaim Frash\u00ebri\u201d.
[2]<\/a> Petro Marko, Intervist\u00eb me vetveten (Ret\u00eb dhe gur\u00ebt).<\/em> Sht\u00ebpia botuese \u201cOMSCA\u201d, Tiran\u00eb 2000, f. 507.
Po e jap tekstin e plot\u00eb q\u00eb lidhet me botimin e romanit \u201cQyteti i fundit:
Pyetje:<\/em> – Po romani \u201cQyteti i fundit”?
P\u00ebrgjigje:<\/em> – Edhe romani i dyt\u00eb \u201cQyteti i fundit\u201d pati peripecit\u00eb e veta. E mbarova s\u00eb shkruari dhe ia dhash\u00eb ta lexonte p\u00ebrs\u00ebri: Mehmetit (Shehut), Sk\u00ebnder Laurasit dhe Zef Prel\u00ebs. Mehmeti m\u00eb tha:
– Hiqi ato fjal\u00eb e fjali banale dhe pornografike, se, po i le, djemt\u00eb e mi nuk do t\u2019i l\u00eb q\u00eb ta lexojn\u00eb.
– Po at\u00eb gjuh\u00eb kan\u00eb prostitutat, kontrabandist\u00ebt, gjitha ata italian\u00eb q\u00eb erdh\u00ebn t\u00eb b\u00ebheshin zot t\u00eb k\u00ebtij vendi, dhe u katandis\u00ebn t\u00eb ikin pa brek\u00eb.<\/p><\/blockquote>\n\n\n\n

E shpura n\u00eb Nd\u00ebrmarrjen e Botimeve. U b\u00ebn\u00eb re\u00e7ensat dhe me thirri drejtori, miku im Spiro Xhai. M\u00eb tha:
– Duhet t\u00eb heq\u00ebsh faqet me fjali banale dhe me natyraliz\u00ebm t\u00eb theksuar. Ne jemi t\u00eb realizmit socialist.
E t\u00ebrhoqa romani duke i th\u00ebn\u00eb:
Un\u00eb k\u00ebshtu shkruaj dhe nuk shkruaj gj\u00ebra donkishoteske!
Pas ca koh\u00ebsh, kryeministri Mehmet Shehu, si\u00e7 e kishte zakon ai q\u00eb u b\u00ebnte nga nj\u00eb vizit\u00eb nd\u00ebrmarrjeve, i b\u00ebri nj\u00eb vizit\u00eb dhe Nd\u00ebrmarrjes s\u00eb Botimeve. E priti drejtori Spiro Xhai dhe u p\u00ebrgjigjej pyetjeve q\u00eb i b\u00ebnte Mehmeti. Pastaj Mehmeti e pyeti n\u00ebse kishin ndonj\u00eb k\u00ebrkes\u00eb. Spiroja, pasi i foli p\u00ebr pun\u00ebt e nd\u00ebrmarrjes, i tha:
– Petro Marko na ka d\u00ebrguar…\u201d Shih Petro Marko, Intervist\u00eb me vetveten (Ret\u00eb dhe gur\u00ebt).<\/em> Sht\u00ebpia botuese \u201cOMSCA\u201d, Tiran\u00eb 2000, f. 506 \u2013 507.
Sipas Petro Markos Dalan Shapllo e kishte theksuar fatin se ky romani ishte nj\u00eb vep\u00ebr moderne: \u201cP\u00ebr k\u00ebt\u00eb roman kritiku dhe miku im Dalan Shapllo, me guxim, mbrojti mendimin se ky \u00ebsht\u00eb romani i par\u00eb modern shqiptar\u201d. <\/em>Po aty. f. 507.<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Anton Nik\u00eb Berisha Vazhdim\u00ebsi e tradit\u00ebs s\u00eb proz\u00ebs s\u00eb lir\u00eb dhe artistike Kush e lexon me v\u00ebmendje romanin e Petro Markos \u201cQyteti i fundit\u201d, t\u00eb botuar n\u00eb Tiran\u00eb m\u00eb 1960[1], dhe e njeh proz\u00ebn q\u00eb u botua para tij, nuk e ka v\u00ebshtir\u00eb t\u00eb thot\u00eb se kjo vep\u00ebr \u00ebsht\u00eb nj\u00eb vazhdim\u00ebsi e mir\u00ebfillt\u00eb e p\u00ebrftimit […]<\/p>\n","protected":false},"author":1,"featured_media":48922,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,8,11],"tags":[],"class_list":["post-48921","post","type-post","status-publish","format-standard","has-post-thumbnail","category-ese","category-letersi","category-roman"],"yoast_head":"\n\u201cQYTETI I FUNDIT\u201d I PETRO MARKOS NJ\u00cb ROMAN MODERN DHE ME VLERA T\u00cb M\u00cbDHA POETIKE - FJALA e LIR\u00cb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jehonashqiptare.al\/fjala\/qyteti-i-fundit-i-petro-markos-nje-roman-modern-dhe-me-vlera-te-medha-poetike\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cQYTETI I FUNDIT\u201d I PETRO MARKOS NJ\u00cb ROMAN MODERN DHE ME VLERA T\u00cb M\u00cbDHA POETIKE - 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