{"id":74864,"date":"2021-12-26T23:23:35","date_gmt":"2021-12-26T22:23:35","guid":{"rendered":"https:\/\/fjala.info\/?p=74864"},"modified":"2021-12-26T23:23:35","modified_gmt":"2021-12-26T22:23:35","slug":"kodi-artistik-i-bukurise-dhe-i-mbijeteses-shpirterore-te-shqiptareve","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/kodi-artistik-i-bukurise-dhe-i-mbijeteses-shpirterore-te-shqiptareve\/","title":{"rendered":"KODI ARTISTIK I BUKURIS\u00cb DHE I MBIJETES\u00cbS SHPIRT\u00cbRORE T\u00cb SHQIPTAR\u00cbVE"},"content":{"rendered":"

Prend BUZHALA<\/strong><\/p>\n

Anton Nik\u00eb Berisha, Frym\u00ebmarrje nate.<\/em> Roman. Sht\u00ebpia botuese Faik Konica, Prishtin\u00eb, Kuvendi Fran\u00e7eskan, Gjakov\u00eb, 2021.<\/p><\/blockquote>\n

\"Prend Romani \u201cFrym\u00ebmarrje nate\u201d i Anton Nik\u00eb Berish\u00ebs t\u00eb mban n\u00eb ethe e gjendje t\u00eb fort\u00eb emocionale me pesh\u00ebn e ngjarjeve, q\u00eb nga faqja e par\u00eb e deri te ajo e fundit. Ngjarjet jan\u00eb vendosur gjat\u00eb shekullit n\u00ebnt\u00ebmb\u00ebdhjet\u00eb n\u00eb disa mjedise rurale t\u00eb Rrafshit t\u00eb Dukagjinit e n\u00eb qytetet Prizren e Gjakov\u00eb e tutje deri n\u00eb Stamboll, n\u00eb koh\u00ebn e Perandoris\u00eb otomane. N\u00eb fund t\u00eb romanit, p\u00ebr ta krijuar p\u00ebrfytyrimin e t\u00eb v\u00ebrtet\u00ebs s\u00eb vepr\u00ebs, autori ka v\u00ebn\u00eb sh\u00ebnimin p\u00ebr burimet.<\/p>\n

Maria rr\u00ebmbehet nga njer\u00ebzit e Nazif Pash\u00ebs, p\u00ebr bukurin\u00eb q\u00eb ka. Ajo \u00ebsht\u00eb e krishter\u00eb, por me prind\u00ebr t\u00eb islamizuar. Brenda nj\u00eb rrjedhe rr\u00ebfimi, nd\u00ebrthuren bukuria, martesa, dashuria, dhuna, besimi, p\u00ebrplasje diplomatike, p\u00ebrplasje besimesh, intrigash dhe q\u00ebndrimesh. Flijimin dhe guximin e duan t\u00eb dy k\u00ebto p\u00ebrmasa t\u00eb qenies njer\u00ebzore, si\u00e7 jan\u00eb dashuria dhe besimi. Pa flijim, ato nuk p\u00ebrmbushen. Triumfon forca e madhe e dashuris\u00eb dhe e besimit edhe n\u00eb rrethanat m\u00eb t\u00eb egra.<\/p>\n

P\u00ebrmes k\u00ebtij metateksti romanor, duke u mb\u00ebshtetur edhe n\u00eb zhvillimin e mir\u00ebfillt\u00eb t\u00eb fatit t\u00eb Maris\u00eb e t\u00eb strukturave ligj\u00ebrimore, m\u00eb shtyn t\u00eb them q\u00eb kjo vep\u00ebr \u00ebsht\u00eb e shkruar n\u00eb frym\u00ebn e nj\u00eb realizmi t\u00eb mir\u00ebfillt\u00eb letrar, n\u00eb g\u00ebrshetim me realizmin magjik (elemente t\u00eb fantastikes q\u00eb nd\u00ebrthuren me ato t\u00eb fiksionit).<\/p>\n

    \n
  1. Procedimet romanore<\/strong><\/li>\n<\/ol>\n

    K\u00ebt\u00eb procedim e d\u00ebshmojn\u00eb portretizimet objektive t\u00eb personazheve, p\u00ebrshkrimet koncize, kuptimplote, me pesh\u00eb mendimi e thell\u00ebsie t\u00eb urt\u00ebsis\u00eb proverbiale e me th\u00ebnien racionale t\u00eb fraz\u00ebs, me mjediset e jet\u00ebs reale, historike e t\u00eb jet\u00ebs s\u00eb p\u00ebrditshme; kurse an\u00ebn e forc\u00ebs krijuese t\u00eb fjal\u00ebs e p\u00ebrfaq\u00ebson nj\u00eb stil lapidar, nj\u00eb frym\u00eb lirike e poetike, fine, e kthjell\u00ebt dhe e thell\u00eb. \u00cbsht\u00eb nj\u00eb fraz\u00eb sa e lexueshme aq edhe faktike, nxit\u00ebse, motivuese. K\u00ebsisoj, k\u00ebndv\u00ebshtrimet e kund\u00ebrta, racionalizmi e objektiviteti faktik i strukturave gjuh\u00ebsore – narrative, shkrihen me t\u00eb mbinatyrshmen, si\u00e7 jan\u00eb legjendat, vegimet, kall\u00ebzimet, t\u00eb motivuar nga rr\u00ebfimi i zhd\u00ebrvjellt\u00eb i vepr\u00ebs.<\/p>\n

    E zakonshmja shpesh merr p\u00ebrmas\u00ebn e t\u00eb magjishmes, lirizmit. \u00cbsht\u00eb ve\u00e7anti q\u00eb realizmi magjik p\u00ebrdor, pra, gjuh\u00eb t\u00eb figurshme, sado q\u00eb e ng\u00ebrthen brenda termit nj\u00eb kund\u00ebrth\u00ebnie (realizmi parap\u00eblqen rr\u00ebfimin, kurse nj\u00ebkoh\u00ebsisht e praktikon edhe pranin\u00eb e t\u00eb mrekullueshmes, magjis\u00eb, legjend\u00ebs, bes\u00ebtytnive, \u00e7r\u00ebndomt\u00ebsimit t\u00eb realitetit me an\u00eb t\u00eb gjuh\u00ebs s\u00eb figurshme). E r\u00ebndomta \u00e7on miq\u00ebsi me t\u00eb \u00e7uditshmen.<\/p>\n

    Sado q\u00eb i kemi par\u00eb k\u00ebto p\u00ebrvoja edhe te disa autor\u00eb t\u00eb tjer\u00eb t\u00eb let\u00ebrsis\u00eb son\u00eb, megjithat\u00eb te Anton Nik\u00eb Berisha g\u00ebrshetimin e till\u00eb e ngre n\u00eb parim t\u00eb nd\u00ebrgjegjsh\u00ebm krijues, p\u00ebr hir t\u00eb artit letrar. T\u00eb mos harrojm\u00eb: Anton N. Berisha \u00ebsht\u00eb edhe studiues i let\u00ebrsis\u00eb gojore, e kjo do t\u00eb thot\u00eb q\u00eb kultura e thurjes s\u00eb rr\u00ebfimit nuk vjen thjesht vet\u00ebm nga praktikat krijuese t\u00eb romanit evropian apo atij latino-amerikan, por edhe nga vet\u00ebdija mitike e tradit\u00ebs son\u00eb rr\u00ebfimore.<\/p>\n

    Racionalen e merr nga zhvillimet e proz\u00ebs narrative evropiane, t\u00eb par\u00ebndomt\u00ebn kategorin\u00eb e t\u00eb \u00e7uditshmes, mrekullis\u00eb, \u00e7r\u00ebndomt\u00ebsimit (term i Mihal Bahtinit), e merr nga tradita jon\u00eb; kategorin\u00eb e t\u00eb p\u00ebrshpirtshmes e asimilon nga t\u00eb dy p\u00ebrvojat: p\u00ebr t\u00eb shprehur aspekte jomateriale, jofizike, pra shpirt\u00ebrore, t\u00eb paprekshme, t\u00eb jet\u00ebs, sepse vet\u00eb jeta dhe realiteti i ng\u00ebrthejn\u00eb k\u00ebto mrekulli, k\u00ebto an\u00eb t\u00eb \u00e7uditshme, apo an\u00ebt e p\u00ebrshpirtshme. Do t\u00eb thot\u00eb: q\u00eb e kan\u00eb burimin n\u00eb vet\u00eb jet\u00ebn, n\u00eb vet\u00eb realitetin, ndryshe nga p\u00ebrvojat surrealiste q\u00eb t\u00eb \u00e7uditshmen, jorealen e k\u00ebrkojn\u00eb ekskluzivisht nga dukurit\u00eb e pavet\u00ebdijes, tek shajnit\u00eb dhe kllapit\u00eb shtremb\u00ebruese t\u00eb realitetit, apo tek pozita e pasigurt psikologjike dhe e luhatshme e personazhit, me \u00e7far\u00eb let\u00ebrsia jon\u00eb bashk\u00ebkohore ka me boll\u00ebk.<\/p>\n

    Ky roman \u00ebsht\u00eb i pasur, edhe me personazhe e p\u00ebrshkrimet e thuk\u00ebta t\u00eb tyre, edhe me ngjarje. Kur them: \u00ebsht\u00eb i pasur edhe me ngjarje e personazhe, edhe me bot\u00ebn e ideve, temave e motiveve, edhe me struktur\u00ebn fabulore e me shtresimet e shumta narrative, kam parasysh proz\u00ebn e ngjashme me pretendime moderne e postmoderne, e cila e redukton fabul\u00ebn dhe rr\u00ebfimin n\u00eb minimum, p\u00ebr t\u2019iu l\u00ebn\u00eb hap\u00ebsir\u00eb reminishencave dhe p\u00ebrimtimeve psiko-narrative, me personazhe q\u00eb vihen n\u00eb situata t\u00eb dor\u00ebzimit ndaj zhg\u00ebnjimit, pasiguris\u00eb, apatis\u00eb, pasivitetit, pritjes s\u00eb vdekjes, frik\u00ebs dhe absurdit, jet\u00ebs s\u00eb pakuptimt\u00eb e pa q\u00ebllime, preokupimet me vdekjen e me \u00e7astin e atyp\u00ebratysh\u00ebm ekzistencial. Edhe n\u00ebse ka di\u00e7ka nga k\u00ebto, te romani i Anton Berish\u00ebs vrujojn\u00eb q\u00ebllimet e larta n\u00eb jet\u00eb, sikund\u00ebr jan\u00eb flijimi dhe p\u00ebrkushtimi p\u00ebr dashurin\u00eb, p\u00ebr pasionin ndaj jet\u00ebs dhe t\u00eb bukur\u00ebs, p\u00ebr shpirtin rezistues ndaj s\u00eb keqes dhe p\u00ebr bot\u00ebn e pasur shpirt\u00ebrore.<\/p>\n

      \n
    1. Qen\u00ebsia artistike e bukuris\u00eb<\/strong><\/li>\n<\/ol>\n

      Ngjash\u00ebm me romantik\u00ebt evropian\u00eb q\u00eb e kishin tem\u00eb t\u00eb preferuar bukurin\u00eb fatale, dashuria dhe bukuria e Maris\u00eb te ky roman trajtohen me p\u00ebrmas\u00ebn e qen\u00ebsis\u00eb artistike dhe me at\u00eb t\u00eb p\u00ebrjetimit estetik. Bukuria fatale te romantik\u00ebt dhe te jo pak autor\u00eb modern\u00eb, fatkeq\u00ebsin\u00eb dhe kobin i konsiderojn\u00eb t\u00eb pashmangshme nga fati e me p\u00ebrfundime tragjike, te ky roman vuajtja \u00ebsht\u00eb e pashmangshme, por p\u00ebrkushtimi p\u00ebr triumfin e dashuris\u00eb \u00ebsht\u00eb spiritus movens<\/em> i jet\u00ebs, \u00ebsht\u00eb forca l\u00ebviz\u00ebse e saj, shpesh e shnd\u00ebrruar n\u00eb forc\u00eb l\u00ebviz\u00ebse t\u00eb historis\u00eb.<\/p>\n

      E bukura si kategori estetike dhe jet\u00ebsore, k\u00ebtu realizohet si shum\u00ebsi e cil\u00ebsive q\u00eb kundrohen e p\u00ebrjetohen s\u00eb jashtmi (natyra, pamja e njeriut, e femr\u00ebs etj.), por q\u00eb kundrohen e p\u00ebrjetohen sidomos s\u00eb brendshmi, si bukuri e v\u00ebrtet\u00eb, si qenie e bukur s\u00eb brendshmi. Ajo \u00ebsht\u00eb nj\u00eb fuqi q\u00eb \u00e7an p\u00ebrpara n\u00eb jet\u00eb, por q\u00eb t\u00ebrheq pas vetes edhe kobin e saj:<\/p>\n

      \u201c<\/em>Po, bukuria e saj, bashk\u00eb me kuror\u00ebzimin n\u00eb Kish\u00ebn e Gjakov\u00ebs, fsheh\u00ebn dhe kobin e saj!\u201d (…)<\/em><\/p>\n

      \u201cBukuria e Maris\u00eb dhe kuror\u00ebzimi n\u00eb Kish\u00ebn e Sh\u00ebn Ndout n\u00eb Gjakov\u00eb, nj\u00ebmend e b\u00ebn\u00eb dasm\u00ebn t\u00eb paharruar dhe sh\u00ebnuan kulmin e k\u00ebnaq\u00ebsis\u00eb, po e poll\u00ebn t\u00eb keqen.\u201d (…) <\/em><\/p>\n

      A ishte e mundur q\u00eb t\u2019ua ngroht\u00eb shtratin atyre q\u00eb ia shkat\u00ebrruan familjen? T\u2019ua fal\u00eb bukurin\u00eb e saj, dhurat\u00ebn e Hyjit?… P\u00ebr her\u00eb t\u00eb par\u00eb n\u00eb jet\u00ebn e vet Maria e mendoi bukurin\u00eb e saj si nj\u00eb kob!\u201d<\/em><\/p>\n

      K\u00ebshtu p\u00ebrsiat rr\u00ebfimtari i gjith\u00ebdijsh\u00ebm i vepr\u00ebs, p\u00ebr fatin e Maris\u00eb s\u00eb Mark Gurakut nga Fani i Mirdit\u00ebs, e cila martohet me mirditorin Prenk Ka\u00e7inarin, tashm\u00eb familje t\u00eb ngulitura n\u00eb P\u00eblqim\u00eb buz\u00eb Drinit t\u00eb Bardh\u00eb (fshat i sajuar nga romansieri). Madje, kapitulli i tret\u00eb mban titullin \u201cKobi i bukuris\u00eb\u201d. T\u00eb jesh me prind\u00ebr mysliman\u00eb dhe t\u00eb jesh e krishter\u00eb, \u00ebsht\u00eb nj\u00eb gj\u00eb e d\u00ebnueshme nga mend\u00ebsia perandorake e koh\u00ebs. P\u00ebrtej t\u00eb gjith\u00eb k\u00ebsaj, q\u00ebndron lakmia e Nazif Pashait p\u00ebr ta futur n\u00eb dor\u00eb Marin\u00eb e bukur. Nj\u00eb autore do t\u00eb shprehej se \u201cBukuria fillon n\u00eb momentin kur vendosni t\u00eb jeni vetvetja\u201d. Kurse romansierja amerikane Alice Malsenior Tallulah-Kate Walker do t\u00eb shtonte se \u201cSa her\u00eb q\u00eb krijoni dhe p\u00ebrhapni bukuri rreth jush, ju po riktheni shpirtin tuaj.\u201d Fjala \u00ebsht\u00eb p\u00ebr personalitetin e formuar moral t\u00eb Maris\u00eb, p\u00ebr bukurin\u00eb e saj q\u00eb lakmohet deri n\u00eb qendrat e sunduesit, si\u00e7 ishte Nazif Pashai, p\u00ebr dashurin\u00eb e pakufi q\u00eb ndien p\u00ebr Prenkun dhe p\u00ebr p\u00ebrkushtimin e saj ndaj Hyjit e besimit t\u00eb t\u00eb par\u00ebve t\u00eb saj.<\/p>\n

      E bukura spikatet edhe te shk\u00eblqimi i brendsh\u00ebm i shpirtit t\u00eb Maris\u00eb, edhe te e v\u00ebrteta dhe drejt\u00ebsia e jet\u00ebs s\u00eb saj, edhe te idealet jet\u00ebsore t\u00eb saj. Mendja dhe zemra e femr\u00ebs s\u00eb till\u00eb krahasohen me ato n\u00eb legjenda: (\u201cV\u00ebshtroi me kureshtje uj\u00ebt q\u00eb rridhte pa ndalur. Bukuria ia p\u00ebrndriti fytyr\u00ebn, mendjen. \u201c)<\/em>. E bukura k\u00ebrkohet edhe n\u00eb k\u00ebng\u00eb e legjenda, t\u00eb cilat te ky roman rikrijohen me frym\u00eb artistike (vargjet e K\u00ebng\u00ebs p\u00ebr T\u00eb Bukur\u00ebn dhe legjenda p\u00ebr Kshet\u00ebn e Drinit t\u00eb Bardh\u00eb).<\/p>\n

      Sado q\u00eb ngjarjet vendosen n\u00eb shekullin e n\u00ebnt\u00ebmb\u00ebdhjet\u00eb, megjithat\u00eb ideja e bukuris\u00eb \u00ebsht\u00eb e dhe e asaj kohe, ku spikatej bukuria e brendshme, edhe e koh\u00ebs son\u00eb, moderne, q\u00eb shpesh e shtremb\u00ebron konceptin p\u00ebr t\u00eb bukur\u00ebn, si striptiz dhe objekt p\u00ebr arg\u00ebtim, si p\u00ebrjetim nj\u00eb dimensional. E bukura haset edhe n\u00eb jet\u00ebn q\u00eb fsheh shum\u00eb thesare t\u00eb tilla p\u00ebrjetimi. Vet\u00eb situatat jet\u00ebsore, n\u00ebp\u00ebr t\u00eb cilat kalon Maria, e b\u00ebn at\u00eb edhe m\u00eb t\u00eb bukur, pik\u00ebrisht pse ajo \u00ebsht\u00eb edhe mish\u00ebrim i t\u00eb v\u00ebrtet\u00ebs, i pafaj\u00ebsis\u00eb s\u00eb saj, i ndershm\u00ebris\u00eb. E sh\u00ebmtuara personifikohet te arroganca e pushtuesit, te Nazif Pashai, i cili, ndryshe, mish\u00ebron eg\u00ebrsin\u00eb, mashtrimin, g\u00ebnjeshtr\u00ebn, intrig\u00ebn Maria \u00ebsht\u00eb e bukur e p\u00eblqehet, sepse p\u00ebrb\u00ebn shum\u00eb\u00e7ka fisnike.<\/p>\n

      Ka p\u00ebrplot p\u00ebrshkrime t\u00eb tilla t\u00eb natyr\u00ebs, ku feks e bukura:<\/p>\n

      \u201cNd\u00ebrsa po ecte buz\u00eb Drinit, asaj i shkrepi n\u00eb mendje k\u00ebnga p\u00ebr t\u00eb Bukur\u00ebn e lumit dhe t\u00eb liqenit:<\/em><\/p>\n

      Ti je e Bukura e lumit \u2013
      \n<\/em>dhe hijeshia mahnit\u00ebse e liqenit,
      \n<\/em>q\u00eb e zbukuron vall\u00ebzimin e val\u00ebve
      \n<\/em>kur n\u00eb qet\u00ebsi puthin nj\u00ebra \u2013 tjetr\u00ebn
      \n<\/em>ose p\u00ebrplasen me vrull, pa p\u00ebrmbajtsh\u00ebm,
      \n<\/em>ua zgjon etjen, gjakimin ua nxit;
      \n<\/em>lehtas i p\u00ebrkund n\u00eb djepin e \u00ebnd\u00ebrrimit,
      \n<\/em>ngjash\u00ebm me p\u00ebrfytyrimet apo vegimet,
      \n<\/em>ku zhb\u00ebhen kufijt\u00eb e veprimit,
      \n<\/em>ose i grish me zjarrin e dashuris\u00eb,
      \n<\/em>nd\u00ebrsa vet\u00eb l\u00ebshohesh n\u00eb notimin mahnit\u00ebs
      \n<\/em>me g\u00ebrshetat e shprishura si margaritar\u00eb
      \n<\/em>e vrunduj ndri\u00e7imi shkrepin nga flok\u00ebt e tu
      \n<\/em>si rrezet e diellit n\u00eb lindje t\u00eb dit\u00ebs
      \n<\/em>e shpirt\u00ebsi i japin l\u00ebvizjes s\u00eb ujit.
      \n<\/em>E Bukura e lumit je \u2013
      \n<\/em>E Bukura e mahnitshme e liqenit,
      \n<\/em>q\u00eb me bukuri \u2013
      \n<\/em>bukuri u fal njer\u00ebzve.\u201d<\/em><\/p>\n

      Pra, edhe te ky roman bukuria ka p\u00ebrmas\u00ebn e r\u00ebnd\u00ebsishme t\u00eb vlerave dhe t\u00eb sh\u00ebnjimeve jet\u00ebsore e qen\u00ebsore n\u00eb jet\u00eb, n\u00eb art e n\u00eb natyr\u00eb.<\/p>\n

      \u201cV\u00ebshtroi me kureshtje uj\u00ebt q\u00eb rridhte pa ndalur. Bukuria ia p\u00ebrndriti fytyr\u00ebn, mendjen. N\u00eb thell\u00ebsin\u00eb e shpirtit ndjeu se uj\u00ebt e t\u00ebrhiqte, e grishte n\u00eb zemr\u00ebn e tij.\u201d<\/em><\/p>\n

      Kjo bukuri, shpesh, sa \u00ebsht\u00eb ngush\u00eblluese, po aq \u00ebsht\u00eb edhe trazuese dhe q\u00eb ngjall shqet\u00ebsime, sa \u00ebsht\u00eb frym\u00ebzuese e emocionuese, po aq \u00ebsht\u00eb edhe e shenjt\u00eb dhe profane (dy konceptimet p\u00ebr jet\u00ebn e shpirt\u00ebsin\u00eb midis religjionit e tradit\u00ebs mitike q\u00eb rr\u00ebfehen n\u00eb k\u00ebt\u00eb vep\u00ebr). Nga \u00e7far\u00ebdo k\u00ebndi q\u00eb t\u00eb v\u00ebshtrohet dhe nga \u00e7far\u00ebdo p\u00ebrmase p\u00ebrjetimi q\u00eb zgjon mbresa t\u00eb fuqishme, e bukura nuk lejon kurrfar\u00eb indiference. Ajo nuk i l\u00eb indiferent as armiqt\u00eb as t\u00eb devotshmit, as njer\u00ebzit e thjesht\u00eb e as ata t\u00eb pushtetit. E bukura si kob, shoq\u00ebrohet, pra, me vuajtjen, shpesh me dhembjet e pafund t\u00eb shpirtit, me pritjet sfilit\u00ebse e rraskapit\u00ebse p\u00ebr shp\u00ebtim, me disfatat e humbjet jet\u00ebsore, por edhe me betejat k\u00ebmb\u00ebngul\u00ebse e me gjetjen e shtigjeve shp\u00ebtimtare.<\/p>\n

      E bukura ligj\u00ebron nga shum\u00eb z\u00ebra n\u00eb vep\u00ebr, ligj\u00ebron n\u00ebp\u00ebrmes natyr\u00ebs, personazheve, legjendave, kall\u00ebzimeve, religjioneve dhe p\u00ebr rr\u00ebmbimin a shp\u00ebtimin e saj vihen n\u00eb l\u00ebvizje qarqe sunduese, konsuj, klerik\u00eb, bajraktar\u00eb, familje t\u00eb thjeshta. Ajo sa e zgjeron rrethin e fatkeq\u00ebsis\u00eb, po aq e zgjeron edhe rrethin e shp\u00ebtimtar\u00ebve t\u00eb saj. Madje, autori sikur e \u201cgjen\u201d nj\u00eb kompromis: fjala kryesore i mbetet Perandoris\u00eb n\u00eb em\u00ebr t\u00eb liris\u00eb s\u00eb besimit dhe ligjeve perandorake. Ja si p\u00ebrfundon romani:<\/p>\n

      \u201c<\/em>Disa lot i ran\u00eb dhe e lag\u00ebn tok\u00ebn q\u00eb nuk e harroi dhe at\u00ebher\u00eb kur vdekjen e kishte af\u00ebr sa l\u00ebkur\u00ebn e trupit.<\/em><\/p>\n

      N\u00eb at\u00eb \u00e7ast e kujtoi urtin\u00eb: \u201cI mjer\u00eb ai q\u00eb heq dor\u00eb nga synimi q\u00eb t\u00eb jet\u00eb i p\u00ebrshpirtsh\u00ebm, i shenjt\u00eb! Jasht\u00eb k\u00ebsaj gjith\u00e7ka e jet\u00ebs \u00ebsht\u00eb e flashk\u00ebt dhe mashtruese!\u201d <\/em><\/p>\n

      Hapi duart drejt qiellit dhe ia blatoi t\u00eb gjitha dhembjet dhe vuajtjet: ai do t\u2019i ruaj\u00eb n\u00eb p\u00ebrjet\u00ebsi. <\/em><\/p>\n

      Pastaj, si nj\u00eb pul\u00ebbardh\u00eb, e priti Prenkun e saj n\u00eb nj\u00eb p\u00ebrqafim t\u00eb zjarrt\u00eb, q\u00eb iu b\u00eb se e ngrohu dhe Maj\u00ebn e Lepetenit t\u00eb lasht\u00eb.\u201d<\/em><\/p>\n

      N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, mot\u00ebr e pandashme e bukuris\u00eb, jan\u00eb urtia, kujdesi, veprimet, t\u00eb qen\u00ebt i p\u00ebrshpirtsh\u00ebm. \u00cbsht\u00eb nj\u00eb bot\u00eb e pasur e joshjes q\u00eb nxit ajo, q\u00eb e drejton dhe e v\u00eb n\u00eb l\u00ebvizje, q\u00eb nxit adhurim, ndjesi, nderimi. \u201cBukuria \u00ebsht\u00eb dor\u00ebshkrimi i Zotit\u201d thot\u00eb Ralph Waldo Emerson. Kjo bukuri (personifikim sidomos i Maris\u00eb dhe i vlerave t\u00eb qen\u00ebsishme) gjendet po ashtu n\u00eb shoq\u00ebri me heshtjen e me marr\u00ebdh\u00ebniet shpirt\u00ebrore q\u00eb krijon ajo. Ka faqe t\u00eb t\u00ebra e t\u00eb bukura te ky roman q\u00eb i kushtohen k\u00ebsaj bukurie t\u00eb heshtjes e q\u00eb jan\u00eb, pse jo, jehona tekstuale nga librat autorial\u00eb t\u00eb p\u00ebrparsh\u00ebm.<\/p>\n

      Me nj\u00eb fjal\u00eb, e bukura \u00ebsht\u00eb kuintesenc\u00eb e k\u00ebsaj vepre.<\/p>\n

        \n
      1. Sinteza e vizionit artistik: linjat narrative t\u00eb besimit<\/strong><\/li>\n<\/ol>\n

        N\u00eb k\u00ebt\u00eb roman nj\u00eb linj\u00eb tjet\u00ebr fabulore p\u00ebrb\u00ebjn\u00eb besimi, flijimi p\u00ebr besimin dhe v\u00ebllaz\u00ebria shqiptare e ngritur mbi besimet. K\u00ebshtu, kjo linj\u00eb e fabul\u00ebs s\u00eb romanit paraqitet si sintez\u00eb e historis\u00eb, e jet\u00ebs, e religjionit; sintez\u00eb e vizionit artistik me strukturat epiko-lirike e dramatike t\u00eb fateve jet\u00ebsore. Q\u00eb n\u00eb faqet e para lexuesi ndeshet me frym\u00ebn e nj\u00eb pashai dinak, t\u00eb eg\u00ebr e t\u00eb st\u00ebrvitur mir\u00eb, afishohet q\u00ebllimi tij p\u00ebr pushtet e pushtimin edhe n\u00eb em\u00ebr t\u00eb religjionit:<\/p>\n

        \u201cPerandoria jon\u00eb duhet t\u00eb forcohet n\u00eb em\u00ebr t\u00eb Allahut, atij i qofshim fal\u00eb. Feja e Muhametit \u00ebsht\u00eb bekim dhe shenjt\u00ebrim, shp\u00ebtim p\u00ebr secilin njeri; Allahu i Madh e m\u00ebshiron secilin q\u00eb beson dhe e d\u00ebshmon fen\u00eb e tij. Kjo fe ngrihet mbi \u00e7do fe tjet\u00ebr, edhe mbi at\u00eb t\u00eb Kryqit. Pra, fen\u00eb e Profetit Muhamet, duhet ta ruajm\u00eb e ta p\u00ebrhapin n\u00eb \u00e7do veprim tonin t\u00eb p\u00ebrditsh\u00ebm n\u00eb m\u00ebnyr\u00eb q\u00eb njer\u00ebzit t\u00eb jen\u00eb t\u00eb lumtur, sipas m\u00ebshir\u00ebs s\u00eb Tij. Ai q\u00eb nuk \u00ebsht\u00eb i gatsh\u00ebm t\u2019i kryej\u00eb k\u00ebto detyra, le t\u00eb thot\u00eb m\u00eb mir\u00eb qysh sot! Nes\u00ebr mund t\u00eb jet\u00eb von\u00eb!\u201d<\/em><\/p>\n

        N\u00eb k\u00ebt\u00eb p\u00ebrplasje q\u00ebndrim-besimesh, profilizohen disa pal\u00eb: njer\u00ebzit e pushtetit q\u00eb vijn\u00eb nga qendra e perandoris\u00eb, me ndihm\u00ebsit e tyre vendas, me bashk\u00ebpun\u00ebtor\u00ebt dhe sh\u00ebrb\u00ebtor\u00eb, me bajraktar\u00eb, p\u00ebrgjues e klerik\u00eb; njer\u00ebzit q\u00eb p\u00ebrndiqen e q\u00eb p\u00ebsojn\u00eb fate tragjike jet\u00ebsore p\u00ebr shkak t\u00eb besimit t\u00eb krishter\u00eb katolik; njer\u00ebzit q\u00eb p\u00ebsojn\u00eb dram\u00ebn e dilem\u00ebs s\u00eb brendshme kur gjenden midis dy zjarresh: p\u00ebrqafimit t\u00eb besimit t\u00eb p\u00ebrhapur nga pushtuesi dhe kujtes\u00ebs s\u00eb fort\u00eb p\u00ebr besimin e t\u00eb par\u00ebve; njer\u00ebz q\u00eb, pa marr\u00eb parasysh besimet, ndjekin traditat v\u00ebllaz\u00ebrore brenda-shqiptare, ndihmojn\u00eb nj\u00ebri-tjetrin dhe zbardhin t\u00eb v\u00ebrteta e mb\u00ebshtjella me mashtrime, intriga e eg\u00ebrsi; m\u00eb n\u00eb fund, edhe njer\u00ebz q\u00eb metaforikisht quhen merimanga t\u00eb zeza,<\/em> t\u00eb cil\u00ebt veprojn\u00eb tin\u00ebzisht p\u00ebr t\u00eb futur v\u00ebllavrasje mes shqiptar\u00ebve t\u00eb besimeve t\u00eb ndryshme, dhe fijet e tyre t\u00eb s\u00eb keqes dalin nga Manastiri i De\u00e7anit e, aty, n\u00eb k\u00ebto veprime, hyn edhe kleriku i lart\u00eb ortodoks serb, q\u00eb bashk\u00ebpunon me pushtetin dhe i p\u00ebrulet atij, p\u00ebr shfarosjen e shqiptar\u00ebve t\u00eb besimit katolik.<\/p>\n

        N\u00eb k\u00ebt\u00eb galeri personazhesh, dallohet kryeipeshkvi Bu\u00e7arelli (italian), i cili sh\u00ebrben jo vet\u00ebm si personazh e d\u00ebshmitar kohe (i njohur, pra, historikisht me d\u00ebshmin\u00eb e tij), por edhe si vet\u00ebdije \u201cneutrale\u201d, joshqiptare, por kishtare, p\u00ebr ta krijuar frym\u00ebn m\u00eb t\u00eb besueshme t\u00eb autenticitetit t\u00eb ngjarjeve e t\u00eb paanshm\u00ebris\u00eb s\u00eb tyre. Ai p\u00ebrfaq\u00ebson klerin e krishter\u00eb katolik, por edhe njeriun q\u00eb njihet me hallet, me intrigat e tragjedit\u00eb q\u00eb ndodhnin, e kund\u00ebr t\u00eb cilave atij i duhet t\u00eb ngrihet me urti e me besimin te Hyji.<\/p>\n

        Zaten, edhe autori p\u00ebrpiqet maksimalisht q\u00eb ta ruaj\u00eb k\u00ebt\u00eb frym\u00eb objektive, duke mos mbajtur q\u00ebndrim emocional apo tjet\u00ebrfare, por k\u00ebt\u00eb q\u00ebndrim e shpreh p\u00ebrmes personazheve dhe profilizimit t\u00eb tyre. Kah fundi i romanit bien n\u00eb marr\u00ebveshje p\u00ebr ta mbrojtur me ligj Marin\u00eb, edhe konsujt austro-hungarez\u00eb e rus\u00eb, edhe klerik\u00ebt e krishter\u00eb katolik\u00eb. N\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb dallohet vendimi i Port\u00ebs s\u00eb lart\u00eb, q\u00eb p\u00ebrthyhet p\u00ebrmes vet\u00ebdijes s\u00eb vet\u00eb pashait. N\u00eb ndihm\u00eb t\u00eb k\u00ebtij postulati krijues shkon edhe p\u00ebrfundimi i romanit:<\/p>\n

        \u00a0\u201cNazif Pashai ndjeu se shikimin dhe mendjen ia pushtoi nj\u00eb p\u00ebrkeq\u00ebsim q\u00eb e mbante n\u00eb ng\u00ebr\u00e7. (…)<\/em><\/p>\n

        Vendimi q\u00eb kishte marr\u00eb Porta e Lart\u00eb p\u00ebr Marin\u00eb ishte i kobsh\u00ebm p\u00ebr Pashain: i vinte njoll\u00eb t\u00eb zez\u00eb sundimit t\u00eb tij, po edhe nj\u00eb dyshim n\u00eb drejt\u00ebsin\u00eb e veprimeve q\u00eb b\u00ebnte. Porta e Lart\u00eb nuk ia fal gabimet askujt dhe pasojat jan\u00eb t\u00eb pashmangshme: mund t\u2019i kushtoj\u00eb edhe me fronin si i par\u00eb i Vilajetit t\u00eb Perzerendit.\u201d<\/em><\/p>\n

        Paradigmat e flijimit e t\u00eb golgot\u00ebs fetare jepen edhe n\u00ebp\u00ebrmes teksteve paralele, t\u00eb cilat m\u00eb par\u00eb i p\u00ebrkufizuam si struktura tekstuale t\u00eb retardimit, ngadal\u00ebsimit t\u00eb veprimit me tension. E till\u00eb \u00ebsht\u00eb paradigma tekstuale e kreut t\u00eb tremb\u00ebdhjet\u00eb \u201cRr\u00ebfimi trondit\u00ebs p\u00ebr martir\u00ebt\u201d, e rr\u00ebfyer p\u00ebrmes Diloshes, e cila e strehon Marin\u00eb. Besimin dymij\u00eb vje\u00e7ar nd\u00ebr shqiptar\u00eb e kan\u00eb p\u00ebrcjell\u00eb flijime t\u00eb pafund,<\/p>\n

        \u201cNuk do t\u00eb thot\u00eb t\u00eb jesh besimtare vet\u00ebm t\u00eb shkosh n\u00eb kish\u00eb, t\u00eb shoh\u00ebsh mesh\u00eb e t\u2019i lutesh Zotit. Feja n\u00ebnkupton edhe flijim… P\u00ebr ta d\u00ebshmuar fen\u00eb e tyre shum\u00eb vet\u00eb kan\u00eb shkuar gjurm\u00ebve t\u00eb Sh\u00eblbuesit: jan\u00eb flijuar. Natyrisht jo n\u00eb kryq, si\u00e7 ka ndodhur me T\u00eb, po n\u00eb forma t\u00eb ndryshme, her\u00eb \u2013 her\u00eb po aq t\u00eb tmerrshme.\u201d<\/em><\/p>\n

        * * *<\/p>\n

        \u201cNjer\u00ebzit e pushtetit b\u00ebn\u00eb \u00e7mos p\u00ebr t\u2019i detyruar q\u00eb ta nd\u00ebrrojn\u00eb fen\u00eb dhe t\u00eb kalojn\u00eb n\u00eb at\u00eb t\u00eb pushtuesit. Filluan me t\u00eb zot\u00ebt e sht\u00ebpive. S\u00eb pari i mor\u00ebn me t\u00eb mir\u00eb dhe u premtuan mbar\u00ebsi dhe dhurata, po asnj\u00ebri nuk pranoi. Pastaj filluan ta p\u00ebrdorin dhun\u00ebn: i rrah\u00ebn n\u00eb dhoma t\u00eb ve\u00e7anta e pastaj dhe n\u00eb pranin\u00eb e an\u00ebtar\u00ebve t\u00eb familjes. Ndonj\u00ebrit ia nxor\u00ebn edhe syt\u00eb p\u00ebr s\u00eb gjalli, po askush nuk pranoi ta nd\u00ebrronte fen\u00eb. Nj\u00ebrit ia ther\u00ebn me shpat\u00eb dy an\u00ebtar\u00eb t\u00eb familjes dhe ai prap\u00eb nuk i ra mohit fes\u00eb s\u00eb vet. <\/em><\/p>\n

        Kur u bind\u00ebn se as dhuna nuk solli at\u00eb q\u00eb pritnin, t\u00eb mllefosur, i mblodh\u00ebn me eg\u00ebrsi, i ngarkuan n\u00ebp\u00ebr qerre dhe i d\u00ebrguan n\u00eb Shkup. Aty i burgos\u00ebn dhe i mbajt\u00ebn p\u00ebr disa koh\u00eb. N\u00ebse s\u2019m\u00eb ka ikur nga mendja, martiri i par\u00eb n\u00eb burgun e Shkupit ishte Zefi i Stubll\u00ebs ose Zefi i Jahis\u00eb\u201d.<\/em><\/p>\n

        Diskursi i till\u00eb sikur merr trajt\u00ebn e nj\u00eb kronike narrative, nj\u00eb intertekstualitet me komunikim tekstesh t\u00eb ngjashme t\u00eb studimeve historike t\u00eb njohura, e t\u00eb cilat autori i citon n\u00eb fund t\u00eb librit. Kronikat me gjuh\u00ebn e rr\u00ebfimit t\u00eb till\u00eb, t\u00eb mir\u00ebfillt\u00eb, e japin at\u00eb q\u00eb nuk mund ta shqiptoj\u00eb gjuha dokumentare. K\u00ebsisoj, pra, let\u00ebrsia jep t\u00eb mundshmen, dokumenti jep t\u00eb ngjar\u00ebn, ku nd\u00ebrkomunikojn\u00eb e af\u00ebrta dhe e larg\u00ebta, bota e artit dhe dokumenti autentik p\u00ebr ato koh\u00eb p\u00ebrjetimesh aq t\u00eb trazuara, dhe ku kronika stilizohet, merr frym\u00eb e shpirt\u00ebzohet p\u00ebrmes mjeteve artistike.<\/p>\n

        M\u00eb shum\u00eb se sa besim, autori na e jep p\u00ebrmas\u00ebn e religjionit si kod kulture, etike e p\u00ebrshpirt\u00ebrie. Ndryshe, adhurimi i t\u00eb par\u00ebve n\u00eb besim, \u00ebsht\u00eb kod i mburoj\u00ebs s\u00eb identitetit shpirt\u00ebror. Nuk \u00ebsht\u00eb e rast\u00ebsishme p\u00ebrse n\u00eb vep\u00ebr gjenden shembuj e situata solidar\u00ebsie midis besimeve t\u00eb shqiptar\u00ebve me p\u00ebrkat\u00ebsi t\u00eb ndryshme besimi. \u00cbsht\u00eb kodi i mbijetes\u00ebs shqiptare.<\/p>\n

          \n
        1. Drama jet\u00ebsore e personazheve t\u00eb dilem\u00ebs<\/strong><\/li>\n<\/ol>\n

          Sado q\u00eb autori e jep burimin e t\u00eb dh\u00ebnave historike p\u00ebr k\u00ebt\u00eb roman nga dor\u00ebshkrimi i kryeipeshkvit t\u00eb Kryeipeshkvis\u00eb Shkup \u2013 Prizren, Dario Bucciarelli, megjithat\u00eb ngjarjet zhvillohen nga perspektiva e k\u00ebndv\u00ebshtrimi i nj\u00eb rr\u00ebfimtari t\u00eb gjith\u00ebdijsh\u00ebm, n\u00eb veten e tret\u00eb. Rr\u00ebfimi n\u00eb veten e par\u00eb ndodh n\u00eb format e shum\u00ebsis\u00eb tekstuale t\u00eb romanit: si n\u00eb letrat dhe monolog\u00ebt (nga perspektiva e rr\u00ebfimit t\u00eb Maris\u00eb), n\u00eb fjalimet (nga perspektiva e k\u00ebndv\u00ebshtrimit t\u00eb personazhit t\u00eb Nazif Pashait) etj. Ndonj\u00ebher\u00eb, perspektivat e tilla narrative paraqesin dram\u00ebn tensionuese t\u00eb individit, si\u00e7 \u00ebsht\u00eb ajo e Thatan Mal\u00ebs, me p\u00ebrplasjet e dilemat e tij: a t\u2019i sh\u00ebrbej\u00eb Pashait p\u00ebr t\u00eb ushtruar dhun\u00eb kund\u00ebr t\u00eb vet\u00ebve, p\u00ebr shkak t\u00eb besimit, apo ta ndjek\u00eb nj\u00eb z\u00eb tjet\u00ebr:<\/p>\n

          \u201cMes veprimit t\u00eb mir\u00eb dhe veprimit t\u00eb sh\u00ebmtuar mbase s\u2019ka ndonj\u00eb dallim? i tha z\u00ebri.
          \n<\/em>Si ta marr\u00ebsh. Disa thon\u00eb ka e disa t\u00eb tjer\u00eb s\u2019ka.
          \n<\/em>E un\u00eb si duhet t\u00eb them?<\/em><\/p>\n

          Thuaj si t\u00eb p\u00ebrshtatet ty. Kur futesh brenda s\u00eb keqes, veprimet nuk t\u00eb vin\u00eb t\u00eb ndryshme: i mir\u00eb ose i keq, jan\u00eb t\u00eb nj\u00ebjt\u00eb!
          \n<\/em>Dometh\u00ebn\u00eb ata i dallon vet\u00ebm q\u00ebllimi?
          \n<\/em>Q\u00ebllimi bashk\u00eb me njer\u00ebzit q\u00eb i b\u00ebjn\u00eb.<\/em><\/p>\n

          Mos po e lidh k\u00ebt\u00eb me delen e humbur, si\u00e7 p\u00ebrmendet n\u00eb Bib\u00ebl? Po mungoi kujdesi ndaj saj, ajo birret.
          \n<\/em>Po, puna e deles s\u00eb humbur mund t\u00eb lidhet me k\u00ebt\u00eb.
          \n<\/em>Ndarja nga tufa dometh\u00ebn\u00eb mund\u00ebsi e zhb\u00ebrjes s\u00eb saj dhe e vet\u00eb tuf\u00ebs. E mendon edhe ti k\u00ebshtu?<\/em><\/p>\n

          Nuk e di!?
          \n<\/em>Duhej ta kishe menduar at\u00eb…\u201d<\/em><\/p>\n

          \u201cDuhet t\u00eb jesh i vetvetes. Asnj\u00ebher\u00eb mos harro kush je dhe nga vjen! Veprimi yt q\u00eb b\u00ebn nuk duhet t\u00eb t\u00eb mohoj\u00eb. Ai q\u00eb ngrihet kund\u00ebr vetvetes b\u00ebhet i paqen\u00eb. Askush nuk mund t\u00eb t\u00eb shkat\u00ebrroj\u00eb m\u00eb shum\u00eb dhe m\u00eb keq sesa vetja! Shkat\u00ebrrimi ngjet p\u00ebrfundimisht kur mohon t\u00eb kaluar\u00ebn, rr\u00ebnj\u00ebt! K\u00ebt\u00eb e kan\u00eb th\u00ebn\u00eb sa e sa her\u00eb njer\u00ebzit e urt\u00eb.\u201d<\/em><\/p>\n

          Me k\u00ebso p\u00ebrmbajtjesh \u00ebsht\u00eb edhe kreu i gjasht\u00ebmb\u00ebdhjet\u00eb me titull \u201cDhimbja e fes\u00eb s\u00eb dyfisht\u00eb \u2013 rr\u00ebfimi p\u00ebr nj\u00eb po\u00e7ar\u201d. Personazhet e dilem\u00ebs, luhatjes midis p\u00ebrplasjeve bot\u00ebkuptimore, kulturore, historike e sidomos fetare, dalin t\u00eb realizuar e t\u00eb nuancuar n\u00eb profilizimet e tyre n\u00eb roman. Thelbi i k\u00ebsaj dileme \u00ebsht\u00eb t\u00eb shqiptoj\u00eb t\u00eb v\u00ebrtet\u00ebn e koh\u00ebs, madje t\u00eb v\u00ebrtet\u00ebn e koh\u00ebve: njer\u00ebzit priren ta pranojn\u00eb nj\u00eb t\u00eb v\u00ebrtet\u00eb, mandej evoluojn\u00eb dhe zbulojn\u00eb nj\u00eb tjet\u00ebr realitet, pasi nuk gjejn\u00eb m\u00ebnyr\u00eb p\u00ebr ta fshir\u00eb dilem\u00ebn, p\u00ebr t\u2019i zgjidhur kund\u00ebrth\u00ebniet sfilit\u00ebse q\u00eb i mundojn\u00eb, pra zgjidhjen e k\u00ebrkojn\u00eb kur flasin a rr\u00ebfehen diku p\u00ebr ta kap\u00ebrcyer humner\u00ebn, jet\u00ebn n\u00eb l\u00ebkundje. E kjo ndodh me po\u00e7arin, si laraman (laramania \u00ebsht\u00eb fenomen shqiptar q\u00eb vjen q\u00eb nga koh\u00ebt e pushtimit otoman).<\/p>\n

          \u201cBrenga ime \u00ebsht\u00eb se jetoj midis dy zjarresh: t\u00eb fes\u00eb sime t\u00eb v\u00ebrtet\u00eb, asaj t\u00eb Krishtit dhe t\u00eb fes\u00eb q\u00eb \u00ebsht\u00eb b\u00ebr\u00eb e domosdoshme. Qenka v\u00ebshtir\u00eb t\u00eb jetosh i dyzuar, ta kesh sht\u00ebpin\u00eb me dy hyrje. N\u00eb rastin tim, n\u00eb \u00e7\u2019mas\u00eb b\u00ebhet m\u00ebkati dhe a \u00ebsht\u00eb ky m\u00ebkat vdekatar ose i falsh\u00ebm? Po them k\u00ebshtu p\u00ebr arsye se k\u00ebt\u00eb veprim nuk e kam b\u00ebr\u00eb me d\u00ebshir\u00ebn time, me vullnetin tim, po nga nevoja. T\u00eb mos e b\u00ebja k\u00ebt\u00eb, do ta kisha p\u00ebrjetuar zjarrin e zhb\u00ebrjes!\u201d.<\/em><\/p>\n

          Gjendjet e tilla krijojn\u00eb pasiguri, hezitime frik\u00eb, shqet\u00ebsime; krijojn\u00eb pavendosm\u00ebri p\u00ebrplasjesh dhe nj\u00eb munges\u00eb bindjesh p\u00ebr t\u00eb v\u00ebrtet\u00ebn: \u201cDyshimi \u00ebsht\u00eb nj\u00eb dhimbje shum\u00eb e vetmuar p\u00ebr t\u00eb ditur se besimi \u00ebsht\u00eb v\u00ebllai i tij binjak\u201d (Khalil Gibran). T\u00eb jetuarit n\u00eb ankthin e pa rr\u00ebfyer e shpie personazhin ta gjykoj\u00eb veten r\u00ebnd\u00eb.<\/p>\n

          \u201cNdonj\u00ebher\u00eb m\u00eb b\u00ebhet se ha buk\u00ebn e turpit, ha mishin tim. Edhe pse jetoj me djers\u00ebn time, shpesh m\u00eb duket se vdekja \u00ebsht\u00eb m\u00eb e leht\u00eb se jeta q\u00eb b\u00ebj! Jam i vet\u00ebdijsh\u00ebm se tani p\u00ebr tani nuk mund t\u00eb nd\u00ebrroj asgj\u00eb, po desha t\u00eb di p\u00ebr m\u00ebkatin tim. Thon\u00eb se ta njoh\u00ebsh nj\u00eb gj\u00eb, ta kuptosh sa m\u00eb mir\u00eb at\u00eb, dometh\u00ebn\u00eb t\u00eb dish si ta p\u00ebrballosh.\u201d<\/em><\/p>\n

          Situatat e tilla n\u00eb roman sikur e luajn\u00eb rolin e nj\u00eb rr\u00ebfimi \u00e7lirues, terapeutik, nj\u00eb si logoterapi, si\u00e7 do ta p\u00ebrkufizonte Viktor Frank. Dhe kur ndodh t\u00eb folurit, hapja e till\u00eb, at\u00ebher\u00eb ndodh edhe ndryshimi, si\u00e7 \u00ebsht\u00eb hapja para Kryeipeshkvit e personazhit t\u00eb po\u00e7arit t\u00eb ndersh\u00ebm, q\u00eb jeton me djers\u00ebn e tij:<\/p>\n

          \u201cRr\u00ebfimi yt \u00ebsht\u00eb i sinqert\u00eb. Edhe v\u00ebzhgimi yt i drejt\u00eb. Duhej t\u00eb kishe menduar m\u00eb thell\u00eb para se t\u00eb ndodhin gj\u00ebrat, t\u00eb kishe ardhur ta b\u00ebnim k\u00ebt\u00eb bised\u00eb para se t\u00eb deg\u00ebzoheshe, t\u00eb ndahesh n\u00eb dysh, para s\u00eb t\u00eb filloje t\u00eb haje me dy lug\u00eb, si\u00e7 e the vet\u00eb. Megjithat\u00eb, t\u00eb m\u00ebsosh p\u00ebr t\u00eb v\u00ebrtet\u00ebn \u00ebsht\u00eb gj\u00eb hyjnore. Pastaj secili shkon rrug\u00ebs q\u00eb ka prirje dhe i p\u00eblqen m\u00eb shum\u00eb ose i duket m\u00eb e p\u00ebrfillshme, duke bartur mbi kurriz m\u00ebkatet e veta, qofshin t\u00eb lehta, qofshin vdekatare. Gjyqi i Hyjit \u00ebsht\u00eb vendimtar, p\u00ebrcakton me sakt\u00ebsi fatin e secilit prej nesh.\u201d<\/em><\/p>\n

            \n
          1. Disa ve\u00e7ori thelb\u00ebsore poetike t\u00eb romanit<\/strong><\/li>\n<\/ol>\n

            Dhe kur i dalim n\u00eb fund vepr\u00ebs, pyetja shtrohet natyrsh\u00ebm: a \u00ebsht\u00eb kjo vep\u00ebr nj\u00eb roman historik? E v\u00ebrteta \u00ebsht\u00eb se autori nuk ka pik\u00ebsynim ta krijoj\u00eb nj\u00eb roman t\u00eb till\u00eb, por ta krijoj\u00eb nj\u00eb roman t\u00eb mb\u00ebshtetur n\u00eb disa fakte q\u00eb i ka; nuk rind\u00ebrton ngjarje si historian, por dep\u00ebrton n\u00eb dram\u00ebn njer\u00ebzore shqiptare t\u00eb shekullit n\u00ebnt\u00ebmb\u00ebdhjet\u00eb si romansier p\u00ebrmes rikrijimit artistik t\u00eb faktit historik. Arketipi i till\u00eb i dram\u00ebs s\u00eb dashuris\u00eb dhe i dram\u00ebs s\u00eb besimit p\u00ebrs\u00ebritet edhe sot, si paradigm\u00eb historike e shqiptar\u00ebve q\u00eb p\u00ebrplasen n\u00eb udh\u00ebkryqet e historis\u00eb e t\u00eb koh\u00ebve midis Lindjes dhe Per\u00ebndimit.<\/p>\n

            Nj\u00ebr\u00ebn nd\u00ebr teknikat themelore narrative q\u00eb autori i p\u00ebrdor n\u00eb k\u00ebt\u00eb roman, p\u00ebr ta frenuar tensionin e ngjarjeve, \u00ebsht\u00eb ajo e retardacionit (vonimit, ngadal\u00ebsimit) t\u00eb ngjarjeve, nj\u00eb shtyrje e q\u00ebllimt\u00eb e rr\u00ebfimit dramatik e gjith\u00eb tension. Aristoteli p\u00ebr k\u00ebt\u00eb veprim krijues thot\u00eb q\u00eb i n\u00ebnshtrohet zhvillimit rr\u00ebfyes t\u00eb intrig\u00ebs. N\u00eb k\u00ebt\u00eb funksion, te ky roman, t\u00eb uljes dhe ngadal\u00ebsimit t\u00eb acarimit t\u00eb marr\u00ebdh\u00ebnieve nd\u00ebrmjet personazheve t\u00eb tabor\u00ebve t\u00eb kund\u00ebrt, sh\u00ebrbejn\u00eb rr\u00ebfimi i nj\u00eb legjende, k\u00ebndimi i nj\u00eb k\u00ebnge, evokimi i nj\u00eb ngjarjeje nga e kaluara e personazheve apo e vendit, \u00e7astet e p\u00ebrsiatjeve dhe t\u00eb monologut t\u00eb brendsh\u00ebm; p\u00ebrshkrimet, pjes\u00ebt lirike, episode p\u00ebrcjell\u00ebse apo qoft\u00eb edhe l\u00ebnda e pasur e p\u00ebrshkrimeve etnologjike dhe kulturore e historike: q\u00eb nga p\u00ebrshkrimi i kullave, i riteve, i dasmave, i vdekjeve, i ambienteve, i k\u00ebng\u00ebve etj. e deri te p\u00ebrballja e civilizimeve, e kulturave, e shpalimeve t\u00eb t\u00eb v\u00ebrtetave historike etj. Tekstet e tilla i japin nj\u00eb vesk bukurie k\u00ebtij romani.<\/p>\n

            Ato p\u00ebrcjellin nj\u00eb mesazh p\u00ebrvojash njer\u00ebzore, historike apo paradigmatike-mitike, nj\u00eb ide; \u00ebsht\u00eb nj\u00eb paraleliz\u00ebm tekstual i nuancuar dhe i pasur: si paraleliz\u00ebm lirik, paraleliz\u00ebm sintaksor, paraleliz\u00ebm figurativ-shpreh\u00ebs deri te ai antitetik, t\u00eb thurur nga perspektiva t\u00eb ndryshme, si teknik\u00eb e p\u00ebrforcimit njoh\u00ebs, ndri\u00e7ues t\u00eb situatave n\u00eb t\u00eb cilat gjenden personazhet. Sidomos jan\u00eb t\u00eb p\u00eblqyeshme shtresat lirike t\u00eb tekstit, ku p\u00ebrsiatjet dhe lirizmi nd\u00ebrthuren natyrsh\u00ebm e me mjesht\u00ebri t\u00eb rrall\u00eb. Jan\u00eb raste kur personazhet, si z\u00eb autorial\u00eb, bashk\u00ebbisedojn\u00eb me shpirtin e tyre, ashtu sikund\u00ebr arrin autori ta shqiptoj\u00eb mrekullisht rr\u00ebfimin e shpirtit n\u00eb heshtje e n\u00eb vetmi.<\/p>\n

            Pik\u00ebrisht n\u00eb \u00ebndrr\u00ebn e heshtjes ose n\u00eb heshtjen e \u00ebnd\u00ebrrt un\u00eb rri me ty, t\u00eb p\u00ebrk\u00ebdhel dhe ndiej frym\u00ebmarrjen t\u00ebnde q\u00eb kalon tek un\u00eb dhe m\u00eb ngroh; m\u00eb b\u00ebn t\u00eb mendoj, t\u00eb mendoj p\u00ebr ty, p\u00ebr bot\u00ebn e p\u00ebr fatin q\u00eb m\u00eb ngjizi n\u00eb k\u00ebt\u00eb gjendje dhe nuk dua t\u00eb rr\u00ebnohem si nj\u00eb lis kur e godet stuhia e fort\u00eb dhe e shkul bashk\u00eb me rr\u00ebnj\u00eb, e zhb\u00ebn sikur t\u00eb mos kishte qen\u00eb kurr\u00eb.<\/em><\/p>\n

            A i mjafton njeriut vet\u00ebm frym\u00ebmarrja, mendimet q\u00eb i shtjell\u00ebn vorbull dhe asnj\u00ebher\u00eb nuk mbarojn\u00eb? Po bukuria e saj e burgosur, \u00e7\u2019vler\u00eb kishte? At\u00eb mund ta hidhte n\u00eb mbeturina, si nj\u00eb di\u00e7ka q\u00eb nuk i hyn askujt n\u00eb pun\u00eb! (…) <\/em><\/p>\n

            \u201cFrym\u00ebmarrja ime ende nuk \u00ebsht\u00eb ndalur fal\u00eb kryeipeshkvit dhe tani konsullit, po un\u00eb jetoj pa ditur asgj\u00eb p\u00ebr njer\u00ebzit e mi! M\u00eb thon\u00eb gruaja e Prenkut, po un\u00eb s\u2019di n\u00ebse ai \u00ebsht\u00eb gjall\u00eb ose ha dh\u00e9 n\u00eb varr, nd\u00ebrsa un\u00eb p\u00ebrballoj gjendje t\u00eb rr\u00ebqethshme e vuajtje t\u00eb pafund q\u00eb t\u00eb bashkohem me t\u00eb!\u201d<\/em><\/p>\n

            * * *<\/p>\n

            Nata ishte mb\u00ebrthyer nga nj\u00eb terr i dendur q\u00eb sundonte gjith\u00e7ka dhe nuk shihej, si\u00e7 thuhet, as ta fut\u00ebsh gishtin n\u00eb sy. Edhe qet\u00ebsia ishte e pafund; nuk d\u00ebgjohej as z\u00ebri i ndonj\u00eb hok\u00ebze.<\/em><\/p>\n

            R\u00ebndom, \u00e7astet e tilla rr\u00ebfimtare, lirike e meditative, ndodhin n\u00eb situata t\u00eb skajshme e t\u00eb ankthshme, ashtu sikund\u00ebr ndodhin edhe n\u00eb situata t\u00eb p\u00ebrshpirtshme. Tekstet e tilla shqiptojn\u00eb nj\u00eb forc\u00eb emocionale, meditative dhe intelektuale t\u00eb thell\u00eb. Ndodh zbrazja e shpirtit n\u00eb rr\u00ebfim, e shpirtit t\u00eb hutuar a t\u00eb sfilitur; ndodh si rrjedhoj\u00eb e p\u00ebrvojave t\u00eb hidhura, kur personazhi shtegton drejt vetes, drejt zgjimit t\u00eb brendsh\u00ebm a drejt gjetjes s\u00eb nj\u00eb shtegu n\u00eb v\u00ebshtir\u00ebsi.<\/p>\n

            Ne vet\u00ebm mund ta p\u00ebrfytyrojm\u00eb gjendjen shpirt\u00ebrore t\u00eb t\u00eb rr\u00ebmbyer\u00ebs, Maris\u00eb, t\u00eb ngujuar n\u00eb kull\u00eb; gjendjen e saj duke shtegtuar n\u00ebn ankthin e ikjes nga syri i lukunis\u00eb s\u00eb p\u00ebrndjek\u00ebsve.<\/p>\n

            E p\u00ebrshpirtshmja p\u00ebrfaq\u00ebson p\u00ebrmas\u00ebn tjet\u00ebr t\u00eb k\u00ebtij romani, kur rr\u00ebnimtari i drejtohet vetvetes, Hyjit apo qenies njer\u00ebzore p\u00ebr nd\u00ebrgjegj\u00ebsim.<\/p>\n

            \u201cMe nj\u00eb fjal\u00eb: sh\u00eblbimi i shpirtit nuk lidhet me rrethanat e jashtme; lidhet me thell\u00ebsin\u00eb e p\u00ebrshpirtshm\u00ebris\u00eb, me pasurin\u00eb shpirt\u00ebrore dhe me d\u00ebshmimin e besnik\u00ebris\u00eb s\u00eb k\u00ebsaj pasurie p\u00ebrball\u00eb Hyjit.\u201d(…)<\/em><\/p>\n

            \u201cBesimet e ndryshme jan\u00eb pasuri; njer\u00ebzit i drejtohen Hyjit n\u00eb m\u00ebnyr\u00eb e n\u00eb gjuh\u00eb t\u00eb ndryshme; Hyji i ka krijuar ato p\u00ebr k\u00ebt\u00eb q\u00ebllim dhe ata ia kthejn\u00eb Atij me p\u00ebrshpirtshm\u00ebri e lutje.\u201d<\/em><\/p>\n

            Nuk \u00ebsht\u00eb e rastit p\u00ebrse kundruall k\u00ebsaj p\u00ebrshpirt\u00ebrie, autori thur tekstin antitetik paralel p\u00ebr t\u00eb zbuluar edhe nj\u00eb thelb tjet\u00ebr t\u00eb realitetit t\u00eb koh\u00ebs, at\u00eb t\u00eb p\u00ebrdorimit t\u00eb fes\u00eb p\u00ebr v\u00ebllavrasje, si\u00e7 b\u00ebjn\u00eb hijet e zeza t\u00eb manastirit t\u00eb De\u00e7anit, si dor\u00eb e zgjatur dhe e fsheht\u00eb e s\u00eb keqes dhe e sh\u00ebmtis\u00eb s\u00eb njeriut, pse jo dhe e pushtetarit.<\/p>\n

            Dhe kur Berisha i v\u00eb n\u00eb l\u00ebvizje e n\u00eb shtegtim personazhet e tij (ikja nga kulla deri n\u00eb Gjakov\u00eb e Maris\u00eb, shtegtimi i saj nga Gjakova p\u00ebr n\u00eb Prizren, udh\u00ebtimi p\u00ebr n\u00eb Shkod\u00ebr e prej andej p\u00ebr n\u00eb Stamboll), \u00ebsht\u00eb shkas p\u00ebr shpalime t\u00eb shumta legjendash e kall\u00ebzimesh q\u00eb lidhen me onomastik\u00ebn shqiptare, me ndodhi a p\u00ebrvoja jet\u00ebsore.<\/p>\n

            Autori \u00ebsht\u00eb i kujdessh\u00ebm q\u00eb praktik\u00ebn e till\u00eb krijuese t\u00eb retardimit e t\u00eb teksteve paralele (e p\u00ebrdorur edhe te romanet tjer\u00eb) t\u00eb mos ia mbivendos\u00eb fabul\u00ebs, p\u00ebr t\u00eb mos e penguar tekstin narrativ; ndryshe nga shum\u00eb autor\u00eb t\u00eb proz\u00ebs moderne q\u00eb e b\u00ebjn\u00eb t\u00eb kund\u00ebrt\u00ebn, duke e hequr t\u00ebr\u00ebsisht fabul\u00ebn, intrig\u00ebn apo qoft\u00eb edhe narracionin. Te e fundit, pa zhvillim t\u00eb rr\u00ebfimit s\u2019ka proz\u00eb t\u00eb mir\u00ebfillt\u00eb, s\u2019ka p\u00ebrjetim t\u00eb artit epik, si\u00e7 \u00ebsht\u00eb romani.<\/p>\n

            L\u00ebnda e till\u00eb, \u201cplot\u00ebsuese\u201d, duke e mbajtur pezull tensionin e ngjarjeve, na e jep po ashtu edhe dram\u00ebn e besimit, panoram\u00ebn e sakt\u00eb t\u00eb feve, t\u00eb kulturave, t\u00eb historive dhe t\u00eb traditave t\u00eb ndryshme. Aty parakalojn\u00eb klerik\u00eb t\u00eb besimit mysliman, atij ortodoks dhe katolik, parakalojn\u00eb konsuj e ambasador\u00eb me q\u00ebndrime e shprehi t\u00eb ndryshme e t\u00eb kund\u00ebrta q\u00eb p\u00ebrfaq\u00ebsojn\u00eb pushtete, shtete e perandori, por q\u00eb p\u00ebrfaq\u00ebsojn\u00eb edhe Lindjen dhe Per\u00ebndimin, parakalojn\u00eb edhe kombe, mjedise e rrethana politike, socio-historike e komb\u00ebtare.<\/p>\n

            T\u00eb gjitha k\u00ebto ndikojn\u00eb n\u00eb jet\u00ebn e personazheve dhe sh\u00ebrbejn\u00eb p\u00ebr ndri\u00e7imin e jet\u00ebs, t\u00eb fatit dhe t\u00eb b\u00ebmave t\u00eb tyre, aq sa shp\u00ebrbejn\u00eb p\u00ebr ta b\u00ebr\u00eb m\u00eb t\u00eb qart\u00eb edhe veprimin e tyre e t\u00eb ngjarjeve p\u00ebrgjith\u00ebsisht. Nga ky aspekt, k\u00ebto rrethana kaq komplekse t\u00eb koh\u00ebs, sikur na b\u00ebjn\u00eb t\u00eb ditur se personazhet jan\u00eb viktima t\u00eb tyre, si\u00e7 \u00ebsht\u00eb ai i fatkeq\u00ebsis\u00eb s\u00eb Maris\u00eb. N\u00eb sh\u00ebrbim t\u00eb p\u00ebrndri\u00e7imeve t\u00eb tilla sh\u00ebrbejn\u00eb edhe personazhet dyt\u00ebsor\u00eb, jo t\u00eb pakt\u00eb t\u00eb k\u00ebsaj vepre.<\/p>\n

            Kjo p\u00ebrb\u00ebn an\u00ebn epike, t\u00eb jashtme, t\u00eb vepr\u00ebs, si me tablot\u00eb e gjera t\u00eb jet\u00ebs e t\u00eb hap\u00ebsirave shoq\u00ebrore e historike, ashtu edhe me kundrimet e brendshme profilizuese t\u00eb bot\u00ebs s\u00eb personazheve.<\/p>\n

            Mbi t\u00eb gjitha, pasuria e strukturave ligj\u00ebrimore e narrative, fryma realiste dhe ajo e elementeve t\u00eb fantastikes, legjend\u00ebs e kall\u00ebzimeve, shkrirja e fiksionit me ndonj\u00eb aspekt t\u00eb kronik\u00ebs dokumentare, e b\u00ebn k\u00ebt\u00eb roman me natyr\u00eb t\u00eb nd\u00ebrliqshme artistike.<\/p>\n

            Pranver\u00eb, vjesht\u00eb 2021<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

            Prend BUZHALA Anton Nik\u00eb Berisha, Frym\u00ebmarrje nate. Roman. Sht\u00ebpia botuese Faik Konica, Prishtin\u00eb, Kuvendi Fran\u00e7eskan, Gjakov\u00eb, 2021. Romani \u201cFrym\u00ebmarrje nate\u201d i Anton Nik\u00eb Berish\u00ebs t\u00eb mban n\u00eb ethe e gjendje t\u00eb fort\u00eb emocionale me pesh\u00ebn e ngjarjeve, q\u00eb nga faqja e par\u00eb e deri te ajo e fundit. Ngjarjet jan\u00eb vendosur gjat\u00eb shekullit n\u00ebnt\u00ebmb\u00ebdhjet\u00eb n\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":74865,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,35,8],"tags":[],"class_list":["post-74864","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-kulture","category-letersi"],"yoast_head":"\nKODI ARTISTIK I BUKURIS\u00cb DHE I MBIJETES\u00cbS SHPIRT\u00cbRORE T\u00cb SHQIPTAR\u00cbVE - 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\/kodi-artistik-i-bukurise-dhe-i-mbijeteses-shpirterore-te-shqiptareve\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"KODI ARTISTIK I BUKURIS\u00cb DHE I MBIJETES\u00cbS SHPIRT\u00cbRORE T\u00cb SHQIPTAR\u00cbVE - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Prend BUZHALA Anton Nik\u00eb Berisha, Frym\u00ebmarrje nate. 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