{"id":59747,"date":"2020-09-20T02:11:22","date_gmt":"2020-09-20T00:11:22","guid":{"rendered":"https:\/\/fjala.info\/?p=59747"},"modified":"2020-09-20T02:17:38","modified_gmt":"2020-09-20T00:17:38","slug":"zhan-batist-molieri","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/zhan-batist-molieri\/","title":{"rendered":"ZHAN-BATIST MOLIERI"},"content":{"rendered":"

Xhelal Zejneli<\/strong><\/p>\n

Zhan-Batist Pok\u00eblen <\/strong>(Jean-Baptiste Poquelin, Paris, 15 janar 1622 \u2013 Paris, 17 shkurt 1673) \u00ebsht\u00eb komediograf francez, aktor dhe drejtues teatri. \u00cbsht\u00eb nj\u00eb nga komediograf\u00ebt m\u00eb t\u00eb m\u00ebdhenj t\u00eb Franc\u00ebs dhe t\u00eb let\u00ebrsis\u00eb bot\u00ebrore. Shkroi komedi, farsa, tragjikomedi dhe komedi-balet. I takon epik\u00ebs s\u00eb klasicizmit<\/em><\/strong>. Pseudonimin Molier vet\u00eb ia vuri vetes. Lindi n\u00eb nj\u00eb familje tapiceri t\u00eb kamur t\u00eb mbretit. Kreu drejt\u00ebsin\u00eb. Hoqi dor\u00eb nga karriera e juristit dhe u b\u00eb aktor. N\u00eb Paris e themeloi shoq\u00ebrin\u00eb teatrore \u201cTeatri i lavdish\u00ebm\u201d<\/em> (L\u2019Illustre Th\u00e9<\/em>\u00e2<\/em>tre)<\/em> p\u00ebr t\u00eb cilin i p\u00ebrshtaste komedit\u00eb italiane.<\/p>\n

Me k\u00ebt\u00eb teat\u00ebr dymb\u00ebdhjet\u00eb vjet i p\u00ebrshkoi provincat e Franc\u00ebs. N\u00eb fillim shkruan farsa. Komedit\u00eb e para i ka n\u00eb vargje. Ka shkruar nj\u00eb mori pjes\u00ebsh n\u00eb proz\u00eb dhe n\u00eb vargje. \u00cbsht\u00eb p\u00ebrfaq\u00ebsues i klasicizmit<\/em><\/strong>. E qes\u00ebndisi shoq\u00ebrin\u00eb e at\u00ebhershme, paragjykimet e shtresave, \u00e7oroditjen e shtres\u00ebs fisnike dhe makut\u00ebrin\u00eb e borgjezis\u00eb. S\u2019i iku dot as d\u00ebnimit t\u00eb dyfytyr\u00ebsis\u00eb s\u00eb klerit katolik. Molieri, komedin\u00eb italiane t\u00eb intrig\u00ebs<\/em> e zhvilloi n\u00eb komedi shoq\u00ebrore<\/em> dhe n\u00eb komedi t\u00eb zakoneve<\/em> me prapavij\u00eb tragjikomike<\/em> n\u00eb t\u00eb cilat madh\u00ebsia e komikes arrin p\u00ebrmasat e tragjikes.<\/p>\n

N\u00eb vitin 1660 e mori teatrin mbret\u00ebror n\u00eb Paris. N\u00eb t\u00eb, bie n\u00eb sy ndikimi i komedis\u00eb erudite (commedia erudita)<\/strong><\/em>, i komedis\u00eb s\u00eb artit (commedia dell\u2019arte)<\/strong><\/em> si dhe ndikimi i komediograf\u00ebve antik\u00eb romak\u00eb, si p\u00ebr shembull i Plauti <\/strong>(Titus Maccius Plautus, 254\/251 \u2013 184 para K.).<\/p>\n

N\u00eb vitin 1643 Molieri i ri filloi ta mbaj\u00eb pseudonimin e tij dhe p\u00ebrfundimisht ia ktheu shpin\u00ebn karrier\u00ebs s\u00eb butlerit<\/em> dhe dekoruesit t\u00eb oborrit. Pas f\u00ebmij\u00ebris\u00eb dhe rinis\u00eb, t\u00eb kaluar n\u00eb Paris Molieri q\u00ebndroi nj\u00eb koh\u00eb t\u00eb gjat\u00eb n\u00eb Franc\u00ebn jugore dhe per\u00ebndimore. Aty u zhvillua gjeniu i tij komik. N\u00eb vitin 1658 u kthye n\u00eb Paris. Nj\u00eb viti m\u00eb von\u00eb korri sukses t\u00eb madh me komedin\u00eb \u201cPreciozet qesharake\u201d<\/em>. Ky sukses sh\u00ebnon edhe fillimin e fam\u00ebs s\u00eb tij. \u00cbsht\u00eb e para pjes\u00eb e r\u00ebnd\u00ebsishme e tij. Deri at\u00ebher\u00eb kishte shkruar vet\u00ebm disa farsa<\/em> pa ndonj\u00eb vler\u00eb t\u00eb madhe. Pas k\u00ebtij triumfi filloi n\u00eb t\u00eb v\u00ebrtet\u00eb periudha krijuese e Molierit. Me trup\u00ebn teatrore u vu n\u00ebn mbrojtjen e drejtp\u00ebrdrejt\u00eb t\u00eb oborrit<\/em> dhe realisht u b\u00eb komediograf mbret\u00ebror.<\/p>\n

Molieri ishte shkrimtar, regjisor dhe aktor. Ky mjesht\u00ebr i madh i t\u00eb qeshurit, mbase m\u00eb i madhi n\u00eb t\u00ebr\u00eb let\u00ebrsin\u00eb bot\u00ebrore, vdiste duke tallur s\u00ebmundjen, mjek\u00ebt, marr\u00ebzit\u00eb njer\u00ebzore madje edhe vdekjen. M\u00eb 17 shkurt 1673, para se perdja para tij t\u00eb l\u00ebshohej p\u00ebr s\u00eb fundi her\u00eb, atij ende i kishte mbetur forca e gjeniut t\u00eb tij t\u00eb jasht\u00ebzakonsh\u00ebm q\u00eb edhe me pamjen e zbeht\u00eb dhe me ng\u00ebr\u00e7et e fytyr\u00ebs, n\u00eb grahmat e fundit, t\u00eb \u00e7onte t\u00eb qesh\u00ebsh pa u p\u00ebrmbajtur.<\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

Lindi n\u00eb Paris m\u00eb 15 janar 1622. Ishte bir i Zhan Pok\u00eblenit <\/strong>(Jean Poqueilin, 1595-1669) dhe i Mari Krese <\/strong>(Marie Cress\u00e9, 1601-1632). N\u00ebna i vdiq kur ai ishte dhjet\u00eb vje\u00e7. Pas vdekjes t\u00eb s\u00eb \u00ebm\u00ebs jetoi me t\u00eb atin mbi \u201cPavillon des singes\u201d,<\/em> n\u00eb rrug\u00ebn \u201cSaint-Honor\u00e9\u201d n\u00eb pjes\u00ebn e pasur t\u00eb Parisit. Babi i tij ishte dekorues i oborrit dhe e kishte titullin e batlerit mbret\u00ebror. Molieri adhuronte let\u00ebrsin\u00eb dhe shkrimin. \u00cbsht\u00eb e mundur q\u00eb arsimimin ta ket\u00eb filluar n\u00eb shkollat fillore t\u00eb Parisit. Studioi drejt\u00ebsin\u00eb n\u00eb kolegjin prestigjioz jezuit Coll\u00e8ge de Clermont, <\/em>aktualisht \u201cLiceu Luigji i Madh\u201d (Lyc\u00e9e Louis-le-Grand).<\/em> K\u00ebt\u00eb shkoll\u00eb e frekuentonin djemt\u00eb e aristokrat\u00ebve. Ndoqi edhe m\u00ebsimet e filozofit, priftit katolik, astronomit dhe matematikanit francez Pjer\u00eb Gasendi<\/strong> (Pierre Gassendi, 1592-1655) i cili ishte udh\u00ebheq\u00ebs i nj\u00eb grupi intelektual\u00ebsh t\u00eb Parisit, me mendim t\u00eb lir\u00eb.<\/p>\n

N\u00eb vitin 1631 Zhan Pok\u00ebleni bleu prej mbretit Luigji XIII pozit\u00ebn \u201csh\u00ebrbyes i r\u00ebndomt\u00eb i mbretit dhe tapicier\u201d (valet de chambre ordinaire et tapissier du Roi).<\/em> M\u00eb 1641 t\u00eb nj\u00ebjt\u00ebn pozit\u00eb e mori edhe i biri. Titulli k\u00ebrkonte vet\u00ebm tre muaj pun\u00eb dhe nj\u00eb shpenzim fillestar prej 1200 livrash. T\u00eb hyrat vjetore nga kjo pun\u00eb arrinin nj\u00eb shum\u00eb prej 300 mij\u00eb livrash. Duke punuar n\u00eb k\u00ebt\u00eb mjedis ai mund t\u00eb lidhte nj\u00eb num\u00ebr t\u00eb konsideruesh\u00ebm kontratash fitimprur\u00ebse.<\/p>\n

Aty kah viti 1642 Zhan Pok\u00ebleni m\u00ebsoi p\u00ebr avokat province, mbase n\u00eb Orlean. Por nuk ka sh\u00ebnime ta ket\u00eb kryer shkollimin. Deri at\u00ebher\u00eb, Molieri e ndiqte planin e babait. N\u00eb Coll\u00e8ge de Clermont <\/em>shoq\u00ebrohej me fisnik\u00ebrin\u00eb dhe dukej sikur karriera e tij ishte paracaktuar n\u00eb zyr\u00eb.<\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

Tani do t\u00eb filloj\u00eb veprimtaria e tij n\u00eb teat\u00ebr. N\u00eb vitin 1643, n\u00eb mosh\u00ebn 21-vje\u00e7are, Molieri l\u00eb shtres\u00ebn sociale t\u00eb vet dhe p\u00ebrcaktohet p\u00ebr karrier\u00eb n\u00eb sken\u00eb. Me t\u2019u larguar nga i ati, lidhet me aktoren e shquar Madlen\u00eb Bezhar <\/strong>(Madeleine B\u00e9jart, 1618-1672), me t\u00eb cil\u00ebn m\u00eb 1643 themeloi Illustre Th\u00e9\u00e2tre (Teatri i Lavdish\u00ebm)<\/em>. M\u00eb von\u00eb k\u00ebtij teatri iu bashk\u00ebngjit\u00ebn edhe v\u00ebllai dhe motra e Madlen\u00ebs. N\u00eb vitin 1645 grupi i ri teatror bankrotoi<\/em>. P\u00ebr shkak t\u00eb aft\u00ebsive p\u00ebr aktrim dhe njohurive juridike, Molieri u b\u00eb udh\u00ebheq\u00ebs i grupit. P\u00ebr marrjen me qira t\u00eb teatrit, grupi u zhyt n\u00eb borxhe. Teatri ndodhej n\u00eb fush\u00ebn e sportit jeu de paume, <\/em>nj\u00eb sport i ngjash\u00ebm me tenisin.<\/p>\n

Pronarit t\u00eb teatrit i kishin nj\u00eb borxh prej 2000 livrash. P\u00ebr shkak t\u00eb borxhit Molieri u arrestua. Nuk dihet sakt\u00eb se kush i lau borxhet: babai i tij apo dashnori i nj\u00ebr\u00ebs prej aktoreve t\u00eb grupit. Sidoqoft\u00eb, pas nj\u00ebzet e kat\u00ebr or\u00ebve arresti me burg, u lirua dhe iu kthye grupit t\u00eb aktor\u00ebve. Tani filloi ta p\u00ebrdor\u00eb pseudonimin \u201cMolier\u201d. Supozohet se ka qen\u00eb i frym\u00ebzuar nga nj\u00eb fshat i vog\u00ebl me t\u00eb nj\u00ebjtin em\u00ebr n\u00eb Mid\u00eb \u2013 em\u00ebrtim kolokvial p\u00ebr Franc\u00ebn jugore, af\u00ebr vendbanimit Le Vigan. \u00cbsht\u00eb e mundur ta ket\u00eb nd\u00ebrruar emrin p\u00ebr ta mbrojtur baban\u00eb nga turpi se ka n\u00eb familje aktor.<\/p>\n

N\u00ebn sundimin e mbretit t\u00eb Franc\u00ebs Luigjit XIV<\/strong> (Louis XIV, 1638-1671) shteti m\u00eb nuk i n\u00ebn\u00e7monte aktor\u00ebt si dikur. Megjith\u00ebk\u00ebt\u00eb, vazhdoi t\u00eb ndalonte varrosjen e tyre \u00a0dit\u00ebn.<\/p>\n

Sh\u00ebnim: Luigji XIV sundoi n\u00eb vitet 1643-1715. E quanin Luigji i Madh<\/strong> (Louis le Grand) ose Mbreti i Diellit<\/strong> (Le Roi Soleil).<\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

Pas arrestimit, ai dhe Madlena, me grupin e ri teatror e filluan turneun n\u00ebp\u00ebr provinc\u00ebn e Franc\u00ebs. Atje luante role dhe filloi t\u00eb shkruaj\u00eb farsa<\/em> e komedi intrigash<\/em> sipas m\u00ebnyr\u00ebs italiane. Kjo zgjati 12-13 vjet. N\u00eb fillim t\u00eb k\u00ebtyre viteve u angazhua n\u00eb trup\u00ebn e Sharl Dyfrenit <\/strong>(Charles Dufresne, 1611-1684). M\u00eb von\u00eb e themeloi trup\u00ebn e vet. Duke korrur sukses me trup\u00ebn, Molieri siguroi sponsorimin e duk\u00ebs s\u00eb Orleanit, Filipit I <\/strong>(Philippe I, d\u2019Orl\u00e9ans, 1640-1701, v\u00eblla i Luigjit XIV). Nga ajo koh\u00eb jan\u00eb ruajtur disa shfaqje. M\u00eb t\u00eb r\u00ebnd\u00ebsishme jan\u00eb \u201c\u00c7amarroku ose \u00e7do gj\u00eb n\u00eb koh\u00ebn e vet\u201d (L\u2019\u00c9tourdi, ou le Contretemps) <\/em>dhe \u201cDoktori i dashuruar\u201d (Le Docteur amoureux)<\/em>. N\u00eb to Molieri u largua nga ndikimi i madh i improvizimit italian t\u00eb commedia dell\u2019arte*<\/sup><\/em><\/strong> dhe tregoi prirjen e vet p\u00ebr qes\u00ebndisje.<\/p>\n

Sh\u00ebnim<\/strong>: N\u00eb epok\u00ebn e<\/em> renesanc\u00ebs<\/em> shum\u00eb komedi u shkruan sipas modeleve klasike t\u00eb cilat respektoheshin me p\u00ebrpik\u00ebri. Kjo form\u00eb e komedis\u00eb diturake<\/em> dhe tradicionale<\/em> e quajtur comedia erudita<\/em><\/strong>, nuk i p\u00ebrgjigjej m\u00eb shoq\u00ebris\u00eb s\u00eb ndryshuar dhe njer\u00ebzve me pik\u00ebpamje krejt t\u00eb tjera. Si kund\u00ebrshti e komedis\u00eb s\u00eb till\u00eb dhe bazuar n\u00eb teatrin popullor<\/em> t\u00eb zhvilluar, zhvillohet n\u00eb Itali commedia dell\u2019arte<\/em><\/strong> e cila shtrihet n\u00eb shekujt XVI-XVIII. Ky lloj komedie ndikoi edhe te Molieri, Shekspiri etj.<\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

Gjat\u00eb udh\u00ebtimeve t\u00eb veta Molieri u takua me Armandin, princin Konti<\/strong> (Armand de Bourbon, prince de Conti, 1629-1666), guvernator i Langdokut, i cili u b\u00eb protektor (sponsor) i tij. Tani grupit ia vuri emrin e vet. Miq\u00ebsia midis tyre u nd\u00ebrpre kur Konti, i infektuar nga sifilisi, u p\u00ebrpoq t\u00eb mjekohet n\u00eb m\u00ebnyr\u00ebn religjioze<\/em>. K\u00ebshilltar\u00ebt fetar\u00eb i thoshin q\u00eb ta nd\u00ebrpres\u00eb mb\u00ebshtetjen financiare t\u00eb grupit teatror t\u00eb Molierit dhe t\u2019u bashk\u00ebngjitet rival\u00ebve t\u00eb tij, grupeve Parti des D\u00e9vots<\/em>\u00a0dhe\u00a0Compagnie de Saint Sacrement<\/em>.<\/p>\n

\u00a0<\/em>\u00a0 N\u00eb Lion iu bashkua grupit aktorja dhe balerina Zonjusha<\/strong> Du Park<\/strong> (Mademoiselle Du Parc apo Marquise-Th\u00e9r\u00e8se de Gorla, 1633-1668), e njohur si Markez\u00eb. Asaj i vardisej, por pa sukses, dramaturgu francez, p\u00ebrfaq\u00ebsues i tragjedis\u00eb klasiciste Pjer\u00eb Kornej <\/strong>(Pierre Corneille, 1606-1684). M\u00eb von\u00eb ajo u b\u00eb dashnore e dramaturgut francez Zhan Rasin <\/strong>(Jean Racine, 1639-1699) i cili n\u00eb tragjedit\u00eb e veta i shtjellonte sidomos personazhet femra.<\/p>\n

Zhan Rasini <\/strong>ia ofroi Molierit tragjedin\u00eb e vet Th\u00e9ag\u00e8ne et Charicl\u00e9e<\/em> q\u00eb \u00ebsht\u00eb nj\u00eb prej veprave t\u00eb tij t\u00eb para pas l\u00ebnies s\u00eb studimit t\u00eb teologjis\u00eb. Por Molieri nuk deshi ta shfaq\u00eb, edhe pse e mb\u00ebshteste Rasinin p\u00ebr ta vazhduar karrier\u00ebn artistike. Me t\u00eb m\u00ebsuar Molieri se Rasini tragjedin\u00eb ia kishte ofruar edhe grupit teatror H\u00f4tel de Bourgogne<\/em>, ishte zem\u00ebruar.<\/p>\n

N\u00eb vitin 1658, pasi b\u00ebri em\u00ebr, Molieri u kthye n\u00eb Paris. P\u00ebr ta promovuar veten n\u00eb radh\u00ebt e aristokracis\u00eb dhe p\u00ebr ta ngritur autoritetin e vet n\u00eb kryeqytet, disa jav\u00eb q\u00ebndroi jasht\u00eb qytetit. Pjes\u00ebt teatrore i shfaqte n\u00eb Luvr\u00eb me qira. Para mbretit e shfaqi tragjedin\u00eb \u201cNikomedi\u201d (Nicom\u00e8de) <\/em>dhe fars\u00ebn<\/em>*<\/sup> \u201cDoktori i dashuruar\u201d (Le Docteur amoureux)<\/em> t\u00eb Pjer\u00eb Korneit<\/strong>. Iu dha titulli \u201cTrupa e Zot\u00ebriut\u201d (Troupe de Monsieur)<\/em>. \u201cMonsieur\u201d ishte titull nderi i v\u00ebllait t\u00eb mbretit, Filipit I, Duk\u00eb i Orleanit. Me ndihm\u00ebn e Monsieur<\/em>–it<\/em> grupit t\u00eb tij iu lejua q\u00eb n\u00eb sall\u00ebn e madhe t\u00eb Petit-Burbon ta ndaj\u00eb teatrin me grupin e njohur italian Commedia dell’arte<\/em>,\u00a0Tiberio<\/a> Fioreli, t\u00eb quajtur\u00a0Scaramouche<\/em>, personazh i klounit n\u00eb shfaqjet italiane commedia dell’arte<\/em>. Grupet i shfaqnin pjes\u00ebt n\u00eb net t\u00eb ndryshme.<\/p>\n

Ndon\u00ebse i parap\u00eblqente tragjedit\u00eb t\u00eb cilat p\u00ebrpiqej t\u2019i p\u00ebrkryente me Illustre Th\u00e9\u00e2tre<\/em>, Molieri u b\u00eb i njohur me farsat <\/em><\/strong>e tij t\u00eb cilat r\u00ebndom jan\u00eb shkruar n\u00eb nj\u00eb akt dhe jan\u00eb shfaqur pas tragjedis\u00eb. Disa nga k\u00ebto farsa jan\u00eb shkruar vet\u00ebm pjes\u00ebrisht dhe jan\u00eb shfaqur n\u00eb stilin e commedia dell’arte<\/em> t\u00eb improvizuar, me kontur\u00eb t\u00eb shkurt\u00ebr t\u00eb thurjes (ital.\u00a0canovaccio<\/em>). Molieri ka shkruar edhe dy komedi n\u00eb vargje. Duke mos qen\u00eb aq t\u00eb suksesshme, ato nuk konsiderohen \u00a0\u00a0aq t\u00eb r\u00ebnd\u00ebsishme. M\u00eb von\u00eb iu p\u00ebrkushtua komedive muzikore<\/em> n\u00eb t\u00eb cilat dram\u00ebn e nd\u00ebrpret poezia ose vall\u00ebzimi.<\/p>\n

Suksesin e par\u00eb t\u00eb madh e arriti me komedin\u00eb \u201cPreciozet qesharake <\/em>ose Spitullaqet\u201d (Les Pr\u00e9cieuses ridicules<\/em>, 1659). <\/em>Premiera u shfaq n\u00eb Petit-Burbon m\u00eb 18 n\u00ebntor 1659. N\u00eb t\u00eb p\u00ebr her\u00eb t\u00eb par\u00eb i p\u00ebrdori mjetet e fars\u00ebs<\/em> p\u00ebr satir\u00ebn e zakoneve t\u00eb caktuara dhe t\u00eb moralit t\u00eb koh\u00ebs s\u00eb vet. P\u00ebrqesh shprehit\u00eb shoq\u00ebrore t\u00eb caktuara dhe raportet e at\u00ebhershme n\u00eb Franc\u00eb.<\/p>\n

Studiuesit thon\u00eb se veprimi i k\u00ebsaj komedie bazohet n\u00eb vepr\u00ebn \u201cRrethi i grave\u201d (Le Cercle des femmes<\/em>, 1656)<\/em> t\u00eb shkrimtarit francez Samyel Shapyzo <\/strong>(Samuel Chappuzeau, 1625-1701). Pik\u00ebs\u00ebpari Molieri p\u00ebrqesh Akademin\u00eb Franceze, grupin q\u00eb e kishte krijuar me dekretin mbret\u00ebror kardinali Rishelie <\/strong>(Armand Jean du Plessis de Richelieu, 1585-1642, burr\u00eb shteti francez), p\u00ebr t\u2019i p\u00ebrcaktuar rregullat e teatrit t\u00eb dob\u00ebt francez. Akademia rekomandonte nj\u00ebsin\u00eb e koh\u00ebs, t\u00eb veprimit dhe t\u00eb stilit t\u00eb vargut<\/em>. Molieri shpesh nd\u00ebrlidhet me shprehjen \u201ccastigat ridendo mores\u201d<\/em><\/strong> (kritiko n\u00ebp\u00ebrmjet humorit) <\/strong><\/em>q\u00eb e kishte krijuar bashk\u00ebkoh\u00ebsi i tij Zhan d\u00eb Santel<\/strong>. Kjo shprehje gabimisht \u00ebsht\u00eb konsideruar si fjal\u00eb e urt\u00eb apo proverb klasik latin. \u00a0\u00a0\u00a0<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong><\/p>\n

Sh\u00ebnim<\/strong>: Fars\u00eb<\/em> – shaka, hok\u00eb<\/em>; \u00ebsht\u00eb pjes\u00eb skenike n\u00eb vargje, <\/em>m\u00eb von\u00eb edhe n\u00eb proz\u00eb<\/em> n\u00eb t\u00eb cil\u00ebn trajtohet nj\u00eb tem\u00eb e r\u00ebndomt\u00eb lidhur me t\u00eb metat dhe me sjelljet e pazakonshme t\u00eb njer\u00ebzve. \u00cbsht\u00eb nj\u00eb komik\u00eb e lir\u00eb<\/em>, her\u00eb-her\u00eb edhe vulgare<\/em>. U paraqit n\u00eb mesjet\u00eb n\u00eb Franc\u00eb. Ishte i popullarizuar sidomos pjesa e v\u00ebllimshme me rreth 1600 vargje e autorit t\u00eb panjohur \u201cFars\u00eb p\u00ebr avokatin Pathelin\u201d <\/em>(rreth vitit 1465). N\u00eb kuptimin figurativ, fars\u00eb<\/em> do t\u00eb thot\u00eb fjal\u00eb<\/em> ose veprim<\/em> me karakter tall\u00ebs t\u00eb vrazhd\u00ebt dhe t\u00eb pahijsh\u00ebm<\/em>.<\/p>\n

Ske\u00e7<\/strong>: (angl. sketsc<\/em>) \u2013 dram\u00eb e shkurt\u00ebr, kryesisht me nj\u00eb akt, pjesa m\u00eb e madhe t\u00eb cil\u00ebs bazohet n\u00eb efektet skenike t\u00eb jashtme; pjes\u00eb teatrale, shfaqje teatrale; vep\u00ebr letrare e shkurt\u00ebr n\u00eb proz\u00eb; tregim i shkurt\u00ebr; pjes\u00eb muzikore e shkurt\u00ebr.<\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

N\u00eb vitin 1662, n\u00eb mosh\u00ebn 40-vje\u00e7are Molieri u martua me Armand\u00eb Bezhar<\/strong>, e mbiquajtur Zonjusha Molier (Armande B\u00e9jart, dite Mademoiselle Moli\u00e8re, emri i plot\u00eb\u00a0 Armande-Gr\u00e9sinde-Claire-\u00c9lisabeth B\u00e9jart, 1640 ose 1645 \u2013 30.11.1700). Ajo ishte aktore komedie n\u00eb periudh\u00ebn Grand si\u00e8cle*<\/sup><\/em><\/strong>. U martua me\u00a0Molierin n\u00eb mosh\u00ebn 17-vje\u00e7are. Nj\u00ebmb\u00ebdhjet\u00eb vjet ka qen\u00eb bashk\u00ebshorte e tij<\/a>. Kishin dy djem dhe nj\u00eb vajz\u00eb: Louis Pocquelin (19.01.1664 – 11.11.1664), vajza Marie-Madeleine Esprit Pocquelin (4.08.1665 – 23.05.1723) dhe Pierre Jean-Baptiste Armand Pocquelin de Moli\u00e8re (15.09.1672 – 1. 08.1672).<\/p>\n

Kumbar i djalit t\u00eb tyre t\u00eb par\u00eb q\u00eb u lindi n\u00eb vitin 1664\u00a0 e q\u00eb vdiq pa b\u00ebr\u00eb motmot, ishte mbreti Luigji XIV<\/strong>. Nuk dihet sakt\u00eb se kur dhe ku lindi ajo. S\u2019dihet n\u00eb ishte bij\u00eb apo mot\u00ebr e Mad\u00eblen\u00eb Bezhar<\/strong>-it (Madeleine B\u00e9jart<\/a>). Sipas disa t\u00eb dh\u00ebnave, n\u00ebn\u00eb e Armand\u00eb Bezhar-it \u00ebsht\u00eb Mad\u00eblen\u00eb Bezhar-i. Armand\u00eb Bezhar-i vdiq n\u00eb Paris m\u00eb 3 n\u00ebntor 1700 n\u00eb Rrug\u00ebn \u00ab\u00a0Turen\u00a0\u00bb (rue de Touraine).<\/p>\n

\u00a0<\/strong>Sh\u00ebnim<\/strong>: Grand Si\u00e8cle<\/em><\/strong> (Shekulli i Madh)<\/em> u quajt epoka e Luigjit XIV<\/strong>. \u00cbsht\u00eb periudh\u00eb e shk\u00eblqimit m\u00eb t\u00eb madh t\u00eb Franc\u00ebs, kur u b\u00eb fuqia sunduese e Evrop\u00ebs n\u00eb vend t\u00eb Spanj\u00ebs dhe doli n\u00eb krye n\u00eb fush\u00ebn e kultur\u00ebs. Me kardinalin Rishelie<\/strong> si kryeminist\u00ebr n\u00eb vitet 1624-1642, autoriteti i monarkis\u00eb u afirmua dhe u arrit nj\u00eb shkall\u00eb e lart\u00eb e unitetit t\u00eb brendsh\u00ebm. U krijua e para ushtri moderne e rregullt n\u00eb Evrop\u00eb. Shk\u00eblqimi dhe madh\u00ebshtia e oborrit t\u00eb Versaj\u00ebs mb\u00ebshtetej n\u00eb taksat e r\u00ebnda mbi shtresat e varfra. Pas vdekjes s\u00eb mbretit, n\u00eb shekullin XVIII pasoi nj\u00eb atmosfer\u00eb e trazuar.<\/p>\n

M\u00eb von\u00eb, Armand\u00eb Brzhar martohet me Isak-Fransua Gerin<\/strong>-in, zot\u00ebri i Estrishes\u00eb (<\/strong>Isaac-Fran\u00e7ois Gu\u00e9rin, sieur d’Estrich\u00e9). P\u00ebrpos tre f\u00ebmj\u00ebve q\u00eb i kishte me Molierin, ajo kishte dy f\u00ebmij\u00eb edhe me burrin e dyt\u00eb: Marie Poquelin dhe Nicolas-Armand-Martial Gu\u00e9rin.<\/p>\n

Molieri shkroi p\u00ebr Armand\u00ebn nj\u00eb num\u00ebr t\u00eb madh rolesh, p\u00ebrfshi edhe at\u00eb t\u00eb Selimen\u00ebs (C\u00e9lim\u00e8ne) te \u00abMizantropi\u00bb<\/em>\u00a0(<\/em>Le Misanthrope<\/em><\/a>)<\/em>. Talenti i saj, aq tragjik sa edhe komik, njihej nga shum\u00eb bashk\u00ebkoh\u00ebs t\u00eb saj. P\u00ebr personalitetin kund\u00ebrth\u00ebn\u00ebs dhe p\u00ebr jet\u00ebn e vet ajo flet n\u00eb nj\u00eb biografi t\u00eb romanizuar, \u00abAktorja e famshme e komedis\u00eb\u00bb (<\/em>La Fameuse Com\u00e9dienne<\/em><\/a>),<\/em> tejet helmues p\u00ebr vendin e saj, e shkruar me eleganc\u00eb dhe e ribotuar shum\u00eb her\u00eb, e q\u00eb paraqet r\u00ebnd\u00ebsi p\u00ebr\u00a0 shekujt n\u00eb vijim,<\/p>\n

Molieri l\u00ebngonte nga tuberkulozi<\/em><\/strong> n\u00eb mushk\u00ebri. Supozohet se \u00ebsht\u00eb infektuar n\u00eb burg q\u00eb i ri. Nj\u00eb prej \u00e7asteve m\u00eb t\u00eb njohura t\u00eb jet\u00ebs s\u00eb tij ka qen\u00eb ai i fundit, i shnd\u00ebrruar n\u00eb legjend\u00eb<\/em>. Gjat\u00eb realizimit t\u00eb shfaqjes s\u00eb tij t\u00eb fundit ka p\u00ebsuar kolaps<\/em> p\u00ebr shkak t\u00eb sulmit t\u00eb kollitjes. Me k\u00ebt\u00eb rast ka nxjerr\u00eb gjak nga goja (hemoptizia)<\/em>. Kjo komedi-balet<\/em> p\u00ebrmbante pika t\u00eb pasura vall\u00ebzimi t\u00eb p\u00ebrcjella me muzik\u00ebn e kompozitorit francez t\u00eb epok\u00ebs s\u00eb barokut<\/em><\/strong> Mark-Antoan Sharpentie <\/strong>(Marc-Antoine Charpentier, 1643-1704) e cila p\u00ebr ironi, quhej \u201cI s\u00ebmuri imagjinar\u201d (<\/em>Le Malade imaginaire)<\/em>. Molieri ka ngulur k\u00ebmb\u00eb ta p\u00ebrfundoj\u00eb rolin e vet. Por n\u00eb vazhdim p\u00ebrs\u00ebri p\u00ebson gjakderdhje dhe s\u00ebrish p\u00ebrjeton kolaps. E d\u00ebrgojn\u00eb n\u00eb sht\u00ebpi. Pas disa or\u00ebve, nat\u00ebn e 17 shkurtit 1673, pa iu dh\u00ebn\u00eb<\/em> bekimi,<\/em> vdes. Dy klerik\u00eb e refuzuan ftes\u00ebn p\u00ebr t\u2019i shkuar, nd\u00ebrsa i treti nuk mb\u00ebrriti n\u00eb koh\u00eb. Komediografi heretik, Molieri, p\u00ebr komedin\u00eb \u201cShkolla p\u00ebr gra\u201d (L\u2019\u00c9cole des femmes)<\/em> ishte akuzuar p\u00ebr blasfemi<\/em><\/strong> i cili shan\u00eb dhe fyen hyjnin\u00eb.<\/p>\n

Supersticioziteti apo bes\u00ebtytnia se ngjyra e gjelb\u00ebr<\/em> u sjell artist\u00ebve fatkeq\u00ebsi buron prej shfaqjes s\u00eb tij t\u00eb fundit gjat\u00eb s\u00eb cil\u00ebs Molieri mbante rroba t\u00eb gjelbra.<\/p>\n

Sipas ligjeve franceze t\u00eb asaj kohe artist\u00ebve nuk u lejohej t\u00eb varroseshin n\u00eb tok\u00ebn e shenjt\u00eb t\u00eb varrezave. Megjith\u00ebk\u00ebt\u00eb, e veja e Molierit, Armanda <\/strong>iu lut mbretit q\u00eb burrit t\u00eb saj t\u2019i mund\u00ebsohej varrim i r\u00ebndomt\u00eb. Mbreti u pajtua dhe Molierit u varros, por nat\u00ebn <\/strong>dhe pa sh\u00ebrbimin solemn, n\u00eb varrezat \u201cSh\u00ebn Jozef\u201c (Saint-Joseph),<\/em> n\u00eb pjes\u00ebn e destinuar p\u00ebr foshnjat e papag\u00ebzuara.<\/p>\n

N\u00eb vitin 1792 mbetjet mortore t\u00eb tij u mbart\u00ebn n\u00eb muze, nd\u00ebrsa n\u00eb vitin 1817 u varros n\u00eb varrezat P\u00e8re Lachaise<\/em>\u00a0t\u00eb Parisit, pran\u00eb varrit t\u00eb tregimtarit dhe poetit francez, t\u00eb mbrojtur prej personaliteteve aristokrate t\u00eb larta, Zhan d\u00eb<\/strong> La Fonten <\/strong>(Jean de La Fontaine, 1621-1695).<\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

Padroni i komedis\u00eb franceze ka shkruar: farsa dhe komedi, komedi satirike, komedi mitologjike, komedi-balet, komedi teatri, komedi zakonesh.<\/p>\n

N\u00eb komedin\u00eb \u201cShkolla p\u00ebr burra\u201d (L\u2019\u00c9cole des maris<\/em>, 1661)<\/em>, me mjete t\u00eb komedis\u00eb s\u00eb intrig\u00ebs<\/em> ballafaqon Sganarelin, si p\u00ebrfaq\u00ebsues t\u00eb moralit t\u00eb vjet\u00ebr shtr\u00ebngues, me Izabel\u00ebn, e cila rrept\u00ebsis\u00eb i p\u00ebrgjigjet duke i v\u00ebn\u00eb \u201cbrir\u00eb\u201d Sganarelit. Me k\u00ebt\u00eb Molieri filloi rr\u00ebnimin \u00a0e gjendjes komike stereotipe, me thirrjen e vet t\u00eb ngjyrosur me hedonizm\u00ebm libertin, <\/em>p\u00ebr ta respektuar dhe p\u00ebr ta pranuar natyr\u00ebn me men\u00e7uri. Shpejt pas k\u00ebsaj, ithtar\u00ebt e tij filluan t\u00eb flasin p\u00ebr natyrshm\u00ebrin\u00eb e pakap\u00ebrcyeshme t\u00eb tij e cila nuk buron aq nga karikimi i realitetit \u2013 si n\u00eb fars\u00eb<\/em> apo n\u00eb commedia dell\u2019arte <\/em>\u2013 sa nga t\u00eb qen\u00ebt karikatural\u00eb t\u00eb personazheve t\u00eb marra nga realiteti. Komikes s\u00eb tij nuk i nevojiten maska as teprime.<\/p>\n

Talljet m\u00eb spirituale nj\u00ebherazi jan\u00eb edhe m\u00eb t\u00eb natyrshme, jan\u00eb rezultat i v\u00ebzhgimit subtil (t\u00eb mpreht\u00eb) t\u00eb karakterit njer\u00ebzor n\u00eb t\u00eb gjitha nuancat e tij. P\u00ebr k\u00ebt\u00eb arsye, personazhet maniake t\u00eb Molierit, edhe kur mbajn\u00eb em\u00ebr t\u00eb nj\u00ebjt\u00eb (emri Sganarel shfaqet n\u00eb shtat\u00eb komedi), nuk krahasohen me tipat e komedis\u00eb dell\u2019arte<\/em>, por, ndon\u00ebse t\u00eb ngjashme, jan\u00eb karaktere me renditje t\u00eb ndryshme t\u00eb fiksimeve. K\u00ebta tipa gjithmon\u00eb i luante Molieri vet\u00eb, sikund\u00ebr i luante edhe variantet e tyre (Arnolfi, Orgoni, Harpagoni, Zhurdeni, Argani). Shpesh edhe i mbronte, p\u00ebrpos kur ishte fjala p\u00ebr fanatizmin<\/em> apo dyfytyr\u00ebsin\u00eb<\/em>. Ky lloj natyrshm\u00ebrie dhe kthjellt\u00ebsie p\u00ebrputhej me kultur\u00ebn galante t\u00eb at\u00ebhershme t\u00eb oborrit, t\u00eb oborreve aristokrate dhe t\u00eb salloneve t\u00eb Parisit.<\/p>\n

P\u00ebr k\u00ebt\u00eb q\u00ebllim dhe n\u00eb bashk\u00ebpunim me kompozitor\u00ebt e at\u00ebhersh\u00ebm, Molieri krijoi nj\u00eb lloj t\u00eb ri, komedin\u00eb-balet<\/em>. E para prej 12 komedive-balet<\/em>, \u201cNgat\u00ebrrestar\u00ebt\u201d (Les F\u00e2cheux, <\/em>1661)<\/em> u shfaq n\u00eb k\u00ebshtjell\u00ebn Vo (Vaux). Midis komedive-balet t\u00eb porositura nga Luigji XIV<\/strong>, m\u00eb e njohur \u00ebsht\u00eb \u201cBorgjezi fisnik\u201d (Le Bourgeois gentilhomme<\/em>, 1662)<\/em>.<\/p>\n

Krahas k\u00ebtyre veprave, Molieri nis t\u00eb shkruaj\u00eb komedi<\/em> t\u00eb m\u00ebdha karakteresh<\/em>. E para \u00ebsht\u00eb \u201cShkolla p\u00ebr gra\u201d (L\u2019\u00c9cole des femmes<\/em>, 1662)<\/em>. N\u00eb t\u00eb Anjesa e re, e shtyr\u00eb nga dashuria e v\u00ebrtet\u00eb, p\u00ebrjeton nj\u00eb metamorfoz\u00eb t\u00eb \u00e7uditshme n\u00eb prani t\u00eb Arnolfit t\u00eb rrept\u00eb dhe religjioz. Me k\u00ebt\u00eb komedi fillon beteja e r\u00ebnd\u00eb e Molierit me qarqet fetare.<\/p>\n

N\u00eb nj\u00eb atmosfer\u00eb t\u00eb till\u00eb lind \u201cTartufi\u201d<\/em><\/strong> (Tartuffe<\/em>, 1664)<\/em>. \u00cbsht\u00eb nj\u00eb komedi n\u00eb t\u00eb cil\u00ebn, krahas karaktereve tanim\u00eb t\u00eb njohura, shfaqet fetari i rrejsh\u00ebm<\/em> i cili p\u00ebr p\u00ebrfitim personal e nxit zotin e sht\u00ebpis\u00eb, pra mikprit\u00ebsin e vet Orgonin, p\u00ebr fanatiz\u00ebm fetar. Pas premier\u00ebs n\u00eb Versaj\u00eb (Versailles) qarqet bigote<\/em><\/strong> (fetar\u00eb fanatik\u00eb) ia dol\u00ebn t\u00eb imponojn\u00eb ndalimin e saj. Pas nj\u00eb s\u00ebr\u00eb korrigjimesh, lutjesh dhe bishtnimit pes\u00ebvje\u00e7ar t\u00eb mbretit, vet\u00ebm m\u00eb 1669 Molierit iu dha leja p\u00ebr ta shfaqur komedin\u00eb e vet m\u00eb t\u00eb famshme.<\/p>\n

Nd\u00ebrkoh\u00eb u shkruan dhe u shfaq\u00ebn edhe dy komedi t\u00eb m\u00ebdha: \u201cDon Zhuani\u201d<\/em><\/strong> (Dom Juan<\/em>, 1665)<\/em> dhe \u201cMizantropi\u201d <\/em><\/strong>(Le Misanthrope<\/em>, 1666)<\/em>. Edhe \u201cDon Zhuani\u201d<\/em> shkaktoi skandal dhe shpejt u \u00a0hoq nga repertori. Moralist\u00ebve t\u00eb rrept\u00eb nuk u p\u00eblqente q\u00eb n\u00eb vend t\u00eb Don Zhuanit t\u00eb shfrenuar dhe liberal, Molieri p\u00ebrqeshte Sganarelin fetar dhe t\u00eb kufizuar. Don Zhuanin e \u00e7on n\u00eb ferr vet\u00ebm pas m\u00ebkatit t\u00eb dyfytyr\u00ebsis\u00eb.<\/p>\n

\u201cMizantropi\u201d<\/em> \u00ebsht\u00eb komedi e lustruar salloni, \u00ebsht\u00eb dram\u00eb e mizantropit mendjempreht\u00eb Alcestit, i cili \u00ebsht\u00eb i dashuruar te nj\u00eb koket\u00eb (lozonjare, nazemadhe) po aq mendjemprehte, por t\u00eb sip\u00ebrfaqshme. Kjo komedi shkaktonte t\u00eb qeshurat fine q\u00eb vinin nga shpirti<\/em>. K\u00ebt\u00eb e kishin konstatuar qysh bashk\u00ebkoh\u00ebsit.<\/p>\n

\u201cMjek kund\u00ebr vullnetit\u201d (Le M\u00e9decine malgr\u00e9 lui<\/em>, 1666)<\/em>, \u201cAmfitrioni\u201d (Amphitryon<\/em>, 1668), \u201cZhorzh Danden\u201d (George Dandin<\/em>, 1668)<\/em>, \u201cKoprraci\u201d <\/em><\/strong>(L\u2019Avare<\/em>, 1668)<\/em>, \u201cDredhit\u00eb e Skapenit\u201d (Les Fourberies de Scapin<\/em>, 1671)<\/em>, \u201cGrat\u00eb e ditura\u201d (Les Femmes savantes, <\/em>1672)<\/em> jan\u00eb komedit\u00eb m\u00eb t\u00eb njohura q\u00eb i shkroi Molieri n\u00eb vitet e fundit t\u00eb jet\u00ebs, duke kombinuar edhe m\u00eb tej shum\u00eb lloje t\u00eb komikes.<\/p>\n

Komedia-balet<\/em> – N\u00eb vitin 1661, Molieri solli stilin e komedis\u00eb-balet <\/em>n\u00eb kontekstin e vepr\u00ebs \u201cNgat\u00ebrrestar\u00ebt\u201d (Les F\u00e2cheux)<\/em>. K\u00ebto balete ishin form\u00eb kalimtare e performansave t\u00eb vall\u00ebzimit midis baleteve t\u00eb oborrit<\/em> t\u00eb Luigjit XIV dhe artit t\u00eb teatrove profesional\u00eb q\u00eb u zhvillua gjat\u00eb faz\u00ebs zhvillimore t\u00eb p\u00ebrdorimit t\u00eb teatrit pro-skenik. Komedit\u00eb-balet u zhvilluan rast\u00ebsisht kur Molieri ishte i angazhuar p\u00ebr t\u00eb realizuar shfaqjen teatrore dhe baletin p\u00ebr nder t\u00eb Luigjit XIV, ndon\u00ebse nuk kishte trup\u00eb madh\u00ebsie t\u00eb duhur. P\u00ebr ta plot\u00ebsuar k\u00ebrkes\u00ebn, Molieri vendosi q\u00eb baletin ta kombinoj\u00eb me shfaqjen teatrore, derisa aktor\u00ebt pushonin pak dhe i hiqnin kostumet. Ky veprim plot rrezik doli i suksessh\u00ebm dhe Molierin deri n\u00eb fund t\u00eb jet\u00ebs e angazhuan t\u00eb krijoj\u00eb edhe dymb\u00ebdhjet\u00eb komedi-balete<\/em> t\u00eb tjera. Gjat\u00eb krijimit t\u00eb komedive-balet<\/em> Molieri bashk\u00ebpunoi me koreografin francez Pjer\u00eb Boshan <\/strong>(Pi\u00e8rre Beauchamp, 1631-1705). Boshani kodifikoi pes\u00eb pozicione baleti t\u00eb shputave dhe t\u00eb duarve dhe pjes\u00ebrisht ishte p\u00ebrgjegj\u00ebs p\u00ebr krijimin e notacionit (sistemit t\u00eb notave) t\u00eb vall\u00ebzimit Boshan-Fej<\/em>.<\/p>\n

Molieri bashk\u00ebpunonte edhe me vall\u00ebzuesin, koreografin dhe kompozitorin francez Zhan-Batist Lili <\/strong>(Jean-Baptiste Lully, 1632-1687; i lindur me emrin italian Giovnni Battista Lulli) i cili pes\u00ebmb\u00ebdhjet\u00eb vjet mbizot\u00ebroi n\u00eb oper\u00ebn<\/em> e Parisit. N\u00eb vitin 1661 themeloi me Lilin (Lully) komedin\u00eb-balet<\/em>. N\u00ebn komand\u00ebn e Lilit (Lully) baleti dhe opera ia dol\u00ebn t\u00eb b\u00ebhen arte profesionale. Komedit\u00eb-balet,<\/em> vall\u00ebzimin<\/em> e lidh\u00ebn ngusht\u00ebsisht me muzik\u00ebn<\/em>. Aksioni i tyre i shfaqjes teatrore dhe stili i vazhdim\u00ebsis\u00eb qartas i ndante nga shfaqjet e baleteve t\u00eb oborrit, t\u00eb asaj kohe. P\u00ebrve\u00e7 k\u00ebsaj, n\u00eb baletet e komedive, nga vall\u00ebzuesit dhe nga aktor\u00ebt pritej q\u00eb gjat\u00eb paraqitjes n\u00eb shfaqjen teatrore, t\u00eb ken\u00eb role t\u00eb r\u00ebnd\u00ebsishme. Po k\u00ebshtu, n\u00eb komedit\u00eb-balet jan\u00eb shoq\u00ebruar edhe vall\u00ebzuesit dhe oborrtar\u00ebt e st\u00ebrvitur n\u00eb m\u00ebnyr\u00eb profesionale.<\/p>\n

Madje n\u00eb komedin\u00eb \u201cMartes\u00eb me detyrim\u201d (Le Mariage forc\u00e9<\/em>, 1664) t\u00eb Molierit, Luigji XIV<\/strong> e ka luajtur rolin e egjiptianit. Edhe n\u00eb shfaqjen e fundit t\u00eb tij \u201cDashnor\u00ebt e mrekulluesh\u00ebm\u201d<\/em> (Les Amants magnifiques,<\/em>\u00a01670)<\/em> u paraqit si Neptuni dhe Apoloni.<\/p>\n

N\u00eb teatrin e vet, Molieri ishte shkrimtar, regjisor, drejtor dhe aktor i pasionuar. Shum\u00eb komedi t\u00eb faz\u00ebs s\u00eb tij t\u00eb par\u00eb gjat\u00eb rrug\u00ebtimit n\u00ebp\u00ebr provinc\u00ebn franceze, kan\u00eb humbur. Por 34 prej tyre jan\u00eb ruajtur. Vdiq pas repriz\u00ebs s\u00eb tret\u00eb t\u00eb komedis\u00eb s\u00eb vet t\u00eb fundit \u201cI s\u00ebmuri imagjinar\u201d (Le Malade imaginaire, <\/em>1673)<\/em> n\u00eb t\u00eb cil\u00ebn e luante rolin kryesor.<\/p>\n

U b\u00eb nj\u00eb prej miteve<\/em><\/strong> m\u00eb t\u00eb m\u00ebdhenj t\u00eb teatrit francez dhe atij bot\u00ebror. Brenda opusit tejet t\u00eb pasur dhe t\u00eb llojllojsh\u00ebm, krijoi komedin\u00eb e madhe klasiciste t\u00eb karaktereve<\/em><\/strong>. <\/em>Regjistrat e qeshjes n\u00eb shfaqjet e komedive t\u00eb tij jan\u00eb tejet t\u00eb pasur: nga qeshja popullore bu\u00e7it\u00ebse deri te ajo fine e brendshme.<\/p>\n

N\u00eb m\u00ebnyr\u00eb racionale kujdesej p\u00ebr rregullat n\u00eb fuqi t\u00eb<\/em><\/strong> klasicizmit<\/em><\/strong>. Njihte Plautin <\/strong>dhe Terencin<\/strong>, Aristotelin <\/strong>dhe Horacin<\/strong>.<\/p>\n

Sh\u00ebnim<\/strong>: Tit Makcie Plauti <\/strong>(Titus Maccius Plautus, midis 254 dhe 251 deri n\u00eb 184 para K.) komediograf romak; Publie Afer Terenc <\/strong>(Publius Terentius Afer, Kartagjen\u00eb, rreth 195 deri 159) komediograf romak; Aristoteli <\/strong>(384-322 para K.) filozof antik grek dhe teoricien letrar, nga Stagira e Maqedonis\u00eb antike, nx\u00ebn\u00ebs i Akademis\u00eb s\u00eb Platonit; Kuint Flak Horaci <\/strong>(Quintus Horatius Flaccus, 65 \u2013 8 para K.) poet romak.<\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

Edhe pse mendimtar\u00ebt konvencional\u00eb, lider\u00ebt religjioz\u00eb dhe ekspert\u00ebt mjek\u00ebsor\u00eb t\u00eb koh\u00ebs s\u00eb Molierit e kan\u00eb kritikuar pun\u00ebn e tij<\/em><\/strong>, idet\u00eb e tyre nuk kan\u00eb mundur ta zbehin suksesin e tij, gjer\u00ebsisht t\u00eb shtrir\u00eb n\u00eb publik. Dramaturg\u00ebt e tjer\u00eb dhe kompanit\u00eb n\u00eb Angli dhe n\u00eb Franc\u00eb filluan ta emulgojn\u00eb stilin e tij dramatik. Punimet e Molierit vazhduan t\u00eb b\u00ebjn\u00eb jehon\u00eb pozitive n\u00eb Anglin\u00eb e shekullit XVIII, ndon\u00ebse n\u00eb at\u00eb koh\u00eb<\/em> nuk jan\u00eb pritur mir\u00eb n\u00eb Franc\u00eb<\/em><\/strong>. Por, gjat\u00eb restaurimit francez n\u00eb shekullin XIX, komedit\u00eb e Molierit u popullarizuan edhe para publikut dhe kritik\u00ebs franceze.<\/p>\n

P\u00ebr individualizmin jokonvencional q\u00eb kan\u00eb portretizuar, romantik\u00ebt kan\u00eb qen\u00eb t\u00eb mahnitur me dramat e tij. Interesim p\u00ebr Molierin dhe p\u00ebr shfaqjet teatrore t\u00eb tij vazhduan t\u00eb tregojn\u00eb edhe dijetar\u00ebt e shekullit XX. Ata studiuan spektrin e gjer\u00eb t\u00eb \u00e7\u00ebshtjeve q\u00eb nd\u00ebrlidhen me t\u00eb. Shum\u00eb kritik\u00eb tani e l\u00ebvizin fokusin e v\u00ebmendjes s\u00eb tyre, nga implikimet filozofike, fetare dhe morale t\u00eb komedive t\u00eb tij n\u00eb hulumtimin m\u00eb objektiv t\u00eb qasjes s\u00eb tij ndaj komedis\u00eb.<\/p>\n

N\u00eb vitin 1714, punimet e Molierit i p\u00ebrktheu n\u00eb anglisht n\u00eb proz\u00eb, Xhon Ozel<\/strong>, nd\u00ebrsa Kurtis Hiden Pejxh <\/strong>ishte i pari q\u00eb p\u00ebrgatiti p\u00ebrkthimin e plot\u00eb n\u00eb anglisht t\u00eb vargjeve t\u00eb Molierit. N\u00eb vitin 1908 u p\u00ebrkthye n\u00eb anglisht \u201cTartufi\u201d (Tartuffe)<\/em>. Q\u00eb at\u00ebher\u00eb, p\u00ebrkthime t\u00eb \u00e7muara kan\u00eb b\u00ebr\u00eb poeti dhe p\u00ebrkthyesi letrar amerikan Ri\u00e7\u00ebrd Vilbur <\/strong>(Richard Wilbur, 1921-2017), Don\u00ebld M. Frejm <\/strong>e t\u00eb tjer\u00eb.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>N\u00eb kujtimet e veta me titull \u201cA Terrible Liar\u201d, <\/em>artisti kanadez Hjum Kronin <\/strong>(Hume Blake Cronyn, 1911-2003) shkruan se n\u00eb vitin 1962, artisti dhe regjisori anglez Lorens Olivie <\/strong>(Laurence Kerr Olivier, 1907-1989), n\u00eb nj\u00eb bised\u00eb me t\u00eb, e kishte kritikuar Molierin. Kronini i ka th\u00ebn\u00eb Olivies\u00eb se ka nd\u00ebrmend ta luaj\u00eb rolin kryesor n\u00eb \u201cThe Miser\u201d<\/em>. Ky ia kthen: \u201cMolieri? Qesharake sikur varri i hapur i nj\u00eb bebeje\u201d<\/em>. Lidhur me incidentin Kronin thot\u00eb: \u201cMund ta merrni me mend sesi u ndjeva. P\u00ebr fat t\u00eb mir\u00eb, doli se ai nuk kishte t\u00eb drejt\u00eb\u201d<\/em>.<\/p>\n

Molieri u kushtonte kujdes t\u00eb gjitha shijeve<\/em> t\u00eb koh\u00ebs s\u00eb vet: q\u00eb nga p\u00ebrdhesja popullore, n\u00ebp\u00ebr sallonin e Parisit deri te oborri mbret\u00ebror.<\/p>\n

N\u00eb komedit\u00eb e veta futi elemente t\u00eb fars\u00ebs popullore mesjetare, t\u00eb komikes <\/em>s\u00eb shkrimtarit francez, nj\u00eb nd\u00ebr p\u00ebrfaq\u00ebsuesit m\u00eb t\u00eb m\u00ebdhenj t\u00eb renesanc\u00ebs, Fransua Rable <\/strong>(Fran\u00e7ois Rabelais, 1494-1553), t\u00eb commedia dell\u2019arte<\/em> italiane, por edhe analiz\u00ebn e thelluar psikologjike dhe t\u00eb karakterit, karakteristike kjo p\u00ebr moralist\u00ebt e m\u00ebdhenj klasicist\u00eb t\u00eb koh\u00ebs s\u00eb tij.<\/p>\n

Veprat e Molierit, q\u00eb n\u00eb shekullin XVII jan\u00eb lexuar dhe jan\u00eb luajtur kudo n\u00eb Evrop\u00eb. \u00cbsht\u00eb i pranish\u00ebm edhe sot n\u00eb t\u00eb gjitha skenat teatrore t\u00eb bot\u00ebs.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0<\/strong><\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

Komedia \u201cTartufi\u201d<\/em><\/strong> denoncon hipokrizin\u00eb religjioze. B\u00ebhet fjal\u00eb p\u00ebr “klerikun” Tartuf, i cili kishte fituar besim t\u00eb madh nga Orgonit.\u00a0 N\u00eb t\u00eb v\u00ebrtet\u00eb, ai s’ishte ve\u00e7se nj\u00eb g\u00ebnjeshtar. Vepra fillon k\u00ebsisoj: Zonja Pernel\u00eb shkon p\u00ebr vizit\u00eb tek i biri. I kritikon t\u00eb gjith\u00eb an\u00ebtar\u00ebt e sht\u00ebpis\u00eb ngase nuk ia dinin vlerat Tartufit, i cili p\u00ebr t\u00eb ishte njeri i shenjt\u00eb dhe i zellsh\u00ebm. T\u00eb tjer\u00ebt nuk pajtoheshin me t\u00eb. P\u00ebr ta ai ishte nj\u00eb g\u00ebnjeshtar dhe dyfytyr\u00ebsh. Ajo nuk pajtohet me mendimin e tyre. Largohet duke u th\u00ebn\u00eb t’i ndjekin rregullat e Tartufit. Pas largimit t\u00eb zonj\u00ebs Pernel\u00eb, Kleanti dhe Dorina vijn\u00eb n\u00eb p\u00ebrfundim se Tartufi e kishte mashtruar Orgonin.<\/p>\n

Djali i Orgonit, Damisi d\u00ebshiron t\u00eb dij\u00eb n\u00ebse i ati vazhdon ta lejoj\u00eb martes\u00ebn e Marian\u00ebs\u00a0\u00a0 me Valerin, ngase edhe ai donte t\u00eb martohej me motr\u00ebn e tij. I k\u00ebrkon Kleantit q\u00eb ta pyes\u00eb Orgonin lidhur me premtimin q\u00eb kishte dh\u00ebn\u00eb p\u00ebr martes\u00ebn. Kur kthehet Orgoni n\u00eb sht\u00ebpi, Kleanti nuk i b\u00ebn dot asnj\u00eb pyetje p\u00ebr arsye se e kishte pyetur shum\u00eb her\u00eb p\u00ebr Tartufin, i cili ia kishte trullosur mendjen. Ai fare nuk interesohej p\u00ebr gruan e vet e cila at\u00eb dit\u00eb nuk ndjehej mir\u00eb dhe ende rrinte shtrir\u00eb. N\u00eb nj\u00eb rast t\u00eb volitsh\u00ebm Kleanti e pyet Orgonin lidhur me martes\u00ebn, por ai s\u2019i jep dot p\u00ebrgjigje dhe e nd\u00ebrron tem\u00ebn. Ai sjell nd\u00ebrmend di\u00e7ka. N\u00eb \u00e7\u2019m\u00ebnyr\u00eb do ta\u00a0 kishte Tartufin m\u00eb pran\u00eb vetes? Ta martonte me Marian\u00ebn. Lidhur me k\u00ebt\u00eb synim e njofton Marian\u00ebn. Ajo, ndon\u00ebse dashuron Valerin, nga respekti ndaj t\u00eb atit, nuk e kund\u00ebrshton at\u00eb.<\/p>\n

Pasi shkon Orgoni, Dorina e qorton Marian\u00ebn p\u00ebr moskund\u00ebrshtimin e t\u00eb atit. Vjen\u00a0 Valeri dhe fillon t\u00eb grindet me Marian\u00ebn p\u00ebr miratimin e martes\u00ebs. Sapo i d\u00ebgjon, Dorina\u00a0 afrohet dhe u thot\u00eb se do t\u00eb b\u00ebj\u00eb \u00e7mos p\u00ebr ta pamund\u00ebsuar k\u00ebt\u00eb martes\u00eb.<\/p>\n

Elmira kishte nj\u00eb plan tjet\u00ebr t\u00eb fsheht\u00eb. Shkon te Tartufi p\u00ebr t’i th\u00ebn\u00eb q\u00eb t\u00eb mos e pranoj\u00eb martes\u00ebn me Marian\u00ebn. Tartufi nd\u00ebrkaq fillon ta shpreh\u00eb dashurin\u00eb q\u00eb ndjente ndaj Elmir\u00ebs. I propozon t\u00eb jen\u00eb t\u00eb dashuruar fshehurazi. Rast\u00ebsisht i d\u00ebgjon Damisi dhe e qorton Tartufin.<\/p>\n

Kur vjen Orgoni, ia tregojn\u00eb ngjarjen q\u00eb kishte ndodhur. Ai n\u00eb vend q\u00eb t’i besoj\u00eb Damisit dhe Elmir\u00ebs, i beson Tartufit. Damisin e d\u00ebbon nga sht\u00ebpia, kurse t\u00ebr\u00eb pasurin\u00eb e vet ia l\u00eb n\u00eb dor\u00eb Tartufit. P\u00ebr t’ia d\u00ebshmuar t\u00eb v\u00ebrtet\u00ebn Orgonit, Elmira i thot\u00eb q\u00eb t\u00eb fshihet n\u00ebn tavolin\u00eb dhe t\u00eb d\u00ebgjonte. Ajo e th\u00ebrret Tartufin dhe hiqet sikur ishte penduar p\u00ebr refuzimin e propozimit t\u00eb tij. Tartufi ia fal\u00eb dhe p\u00ebrs\u00ebri fillon me fjal\u00ebt e dashuris\u00eb. Tanim\u00eb bie n\u00eb grack\u00eb.<\/p>\n

M\u00eb n\u00eb fund Orgoni i sheh gabimet e veta dhe pendohet. Del nga tavolina dhe i thot\u00eb Tartufit t\u00eb largohet nga sht\u00ebpia. Por Tartufi ia b\u00ebn me dije Orgonit se me n\u00ebnshkrimin q\u00eb kishte b\u00ebr\u00eb, pronar i vet\u00ebm i sht\u00ebpis\u00eb tani ishte vet\u00eb ai. M\u00eb von\u00eb Orgonit i kujtohet dhe i flet Elmir\u00ebs p\u00ebr disa dokumente q\u00eb ia kishte l\u00ebn\u00eb n\u00eb dispozicion Tartufit, duke shtuar se ato do t’ia ulnin autoritetin n\u00eb gjykat\u00eb. Kur vjen Tartufi me polic\u00ebt p\u00ebr ta arrestuar Orgonin, ndodh di\u00e7ka tjet\u00ebr.<\/p>\n

Mbreti e kishte kuptuar tashm\u00eb hipokrizin\u00eb e Tartufit dhe polic\u00ebt q\u00eb i kishte d\u00ebrguar ishin p\u00ebr t\u00eb dhe jo p\u00ebr Orgonin. Vjen edhe zonja Pernel\u00eb dhe bindet me t\u00eb v\u00ebrtet\u00ebn. K\u00ebsisoj t\u00ebr\u00eb pasuria s\u00ebrish i kthehet Orgonit.<\/p>\n

Personazhet: I zoti i sht\u00ebpis\u00eb, burri i Elmir\u00ebs, n\u00ebna e Orgonit, v\u00ebllai i Elmir\u00ebs, sh\u00ebrb\u00ebtorja e Marian\u00ebs, djali i Orgonit dhe Elmir\u00ebs, vajza e Orgonit dhe Elmir\u00ebs, i dashuri i Marian\u00ebs, bashk\u00ebshortja e Orgonit.<\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

Veprat: <\/strong><\/p>\n

Veprat m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb Molierit jan\u00eb Koprraci, Tartufi, Mizantropi, Don Zhuani<\/em><\/strong>. . \u00a0<\/em>\u00a0<\/strong><\/p>\n

\u201cMjeku fluturues\u201d (<\/em>Le M\u00e9decin volant, 1645), <\/em>fars\u00eb n\u00eb nj\u00eb akt n\u00eb proz\u00eb;<\/p>\n

\u201cXhelozia e Barbujes\u00eb\u201d (La Jalousie du Barbouill\u00e9, 1650)<\/em>, fars\u00eb n\u00eb nj\u00eb akt n\u00eb proz\u00eb;<\/p>\n

\u201c\u00c7amarroku ose \u00e7do gj\u00eb n\u00eb koh\u00ebn e vet\u201d (L’\u00c9tourdi ou les Contretemps, 1655), <\/em>komedi n\u00eb pes\u00eb akte, n\u00eb vargje;<\/p>\n

\u201cInati i t\u00eb dashuruarve\u201d (Le D\u00e9pit amoureux, 16.12.1656), <\/em>komedi n\u00eb pes\u00eb akte, n\u00eb vargje;<\/p>\n

\u00a0\u201cDoktori i dashuruar\u201d (Le Docteur amoureux, 24.10.1658), <\/em>komedi n\u00eb nj\u00eb akt, n\u00eb proz\u00eb;<\/p>\n

\u201cPreciozet qesharake\u201d (Les Pr\u00e9cieuses ridicules, 18.11.1659), <\/em>komedi n\u00eb nj\u00eb akt, n\u00eb proz\u00eb;<\/p>\n

\u201cBrinari imagjinar\u201d (Sganarelle ou le Cocu imaginaire, 28.5.1660), <\/em>komedi n\u00eb nj\u00eb akt, n\u00eb vargje;<\/p>\n

\u00a0\u201cDon Garsia i Navarit\u201d (Dom Garcie de Navarre ou le Prince jaloux, 4.2.1661), <\/em>komedi heroike n\u00eb pes\u00eb akte, n\u00eb vargje;<\/p>\n

\u201cShkolla p\u00ebr burra\u201d (L’\u00c9cole des maris, 24.6.1661), <\/em>komedi n\u00eb tre akte, n\u00eb vargje;<\/p>\n

\u201cNgat\u00ebrrestar\u00ebt\u201d (Les F\u00e2cheux, 17.8.1661), <\/em>komedi-balet n\u00eb tre akte, n\u00eb vargje;<\/p>\n

\u201cShkolla p\u00ebr gra\u201d (L’\u00c9cole des femmes, 26.12.1662), <\/em>komedi n\u00eb pes\u00eb akte, n\u00eb vargje;<\/p>\n

\u00a0\u201cXhelozia e Reneut t\u00eb Madh\u201d (La Jalousie du Gros-Ren\u00e9, 15.4.1663);<\/em><\/p>\n

\u201cKritika e shkoll\u00ebs s\u00eb femrave\u201d (La Critique de l’\u00e9cole des femmes, 1.6.1663), <\/em>komedi n\u00eb nj\u00eb akt, n\u00eb proz\u00eb;<\/p>\n

\u00a0\u201cImprovizime Versaje\u201d (L’Impromptu de Versailles, 14.10.1663), <\/em>komedi n\u00eb nj\u00eb akt, n\u00eb proz\u00eb;<\/p>\n

\u201cMartes\u00eb me detyrim\u201d (Le Mariage forc\u00e9, 29.1.1664), <\/em>komedi n\u00eb nj\u00eb akt, n\u00eb proz\u00eb;<\/p>\n

\u201cReneu i Madh, f\u00ebmij\u00eb i vog\u00ebl\u201d (Gros-Ren\u00e9, petit enfant, 27.4.1664);<\/em><\/p>\n

\u201cPrinceza e Elid\u00ebs\u201d (La Princesse d’\u00c9lide, 8.5.1664), <\/em>komedi galante n\u00eb pes\u00eb akte, n\u00eb vargje dhe n\u00eb proz\u00eb;<\/p>\n

\u201cTartufi\u201d (Tartuffe ou l’Imposteur, 12.5.1664), <\/em>komedi n\u00eb pes\u00eb akte, n\u00eb vargje;<\/p>\n

\u201cDon Zhuani\u201d (Dom Juan ou le Festin de pierre, 15.2.1665),<\/em> komedi n\u00eb pes\u00eb akte, n\u00eb proz\u00eb;<\/p>\n

\u201cDashuria e mjekut\u201d (L’Amour de m\u00e9decin, 15.9.1665), <\/em>komedi n\u00eb tre akte, n\u00eb proz\u00eb;<\/p>\n

\u201cMizantropi\u201d (Le Misanthrope ou l’Atrabilaire amoureux, 4.6.1666), <\/em>komedi n\u00eb pes\u00eb akte, n\u00eb vargje;<\/p>\n

\u201cMjek kund\u00ebr vullnetit\u201d (Le M\u00e9decin malgr\u00e9 lui, 6.8.1666), <\/em>komedi n\u00eb tre akte, n\u00eb proz\u00eb;<\/p>\n

\u201cMelisert\u201d (M\u00e9licerte, 2.12.1666), <\/em>komedi heroike pastorale n\u00eb dy akte, n\u00eb vargje,<\/p>\n

\u201cPastorale komike\u201d (Pastorale comique, 5.1.1667);<\/em><\/p>\n

\u201cSiciliani\u201d (Le Sicilien ou l’Amour peintre, 14.2.1667)<\/em>, komedi n\u00eb nj\u00eb akt, n\u00eb proz\u00eb;<\/p>\n

\u201cAmfitrioni\u201d (Amphitryon, 13.1.1668),<\/em> komedi n\u00eb tre akte, n\u00eb vargje;<\/p>\n

\u201cZhorzh Dandeni\u201d (George Dandin ou le Mari confondu, 18.7.1668), <\/em>komedi n\u00eb tre akte, n\u00eb proz\u00eb;<\/p>\n

\u201cKoprraci\u201d (L’Avare ou l’\u00c9cole du mensonge, 9.9.1668), <\/em>komedi n\u00eb pes\u00eb akte, n\u00eb proz\u00eb;<\/p>\n

\u201cZoti d\u00eb Pursenjak\u201d (Monsieur de Pourceaugnac, 6.10.1669), <\/em>komedi-balet n\u00eb tre akte, n\u00eb proz\u00eb;<\/p>\n

\u201cDashnor\u00eb t\u00eb \u00e7uditsh\u00ebm\u201d (Les Amants magnifiques, 4.2.1670), <\/em>komedi n\u00eb pes\u00eb akte, n\u00eb proz\u00eb;<\/p>\n

\u201cBorgjezi fisnik\u201d (Le Bourgeois gentilhomme, 14.10.1670)<\/em>, komedi-balet n\u00eb pes\u00eb akte, n\u00eb proz\u00eb;<\/p>\n

\u201cPsika\u201d (Psych\u00e9, 17.1.1671),<\/em> tragjedi-balet n\u00eb pes\u00eb akte, n\u00eb vargje;<\/p>\n

\u201cIntrigat e Skapenit\u201d (Les Fourberies de Scapin, 24.5.1671)<\/em>, komedi n\u00eb tre akte, n\u00eb proz\u00eb;<\/p>\n

\u201cKontesha e Eskarbanjasit\u201d (La Comtesse d’Escarbagnas, 2.12.1671), <\/em>komedi n\u00eb nj\u00eb akt, n\u00eb proz\u00eb;<\/p>\n

\u201cFemrat e ditura\u201d (Les Femmes savantes, 11.3.1672)<\/em>, komedi n\u00eb pes\u00eb akte, n\u00eb vargje,<\/p>\n

\u201cI s\u00ebmuri imagjinar\u201d (Le Malade imaginaire, 10.2.1673), <\/em>p\u00ebrzierje komike e muzik\u00ebs dhe e vall\u00ebzimit n\u00eb tre akte, n\u00eb proz\u00eb;<\/p>\n","protected":false},"excerpt":{"rendered":"

Xhelal Zejneli Zhan-Batist Pok\u00eblen (Jean-Baptiste Poquelin, Paris, 15 janar 1622 \u2013 Paris, 17 shkurt 1673) \u00ebsht\u00eb komediograf francez, aktor dhe drejtues teatri. \u00cbsht\u00eb nj\u00eb nga komediograf\u00ebt m\u00eb t\u00eb m\u00ebdhenj t\u00eb Franc\u00ebs dhe t\u00eb let\u00ebrsis\u00eb bot\u00ebrore. Shkroi komedi, farsa, tragjikomedi dhe komedi-balet. I takon epik\u00ebs s\u00eb klasicizmit. Pseudonimin Molier vet\u00eb ia vuri vetes. Lindi n\u00eb nj\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":59750,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,35],"tags":[],"class_list":["post-59747","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-histori","category-kulture"],"yoast_head":"\nZHAN-BATIST MOLIERI - 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\/zhan-batist-molieri\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ZHAN-BATIST MOLIERI - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Xhelal Zejneli Zhan-Batist Pok\u00eblen (Jean-Baptiste Poquelin, Paris, 15 janar 1622 \u2013 Paris, 17 shkurt 1673) \u00ebsht\u00eb komediograf francez, aktor dhe drejtues teatri. \u00cbsht\u00eb nj\u00eb nga komediograf\u00ebt m\u00eb t\u00eb m\u00ebdhenj t\u00eb Franc\u00ebs dhe t\u00eb let\u00ebrsis\u00eb bot\u00ebrore. 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Shkroi komedi, farsa, tragjikomedi dhe komedi-balet. I takon epik\u00ebs s\u00eb klasicizmit. Pseudonimin Molier vet\u00eb ia vuri vetes. 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