{"id":9673,"date":"2017-01-05T01:16:05","date_gmt":"2017-01-05T00:16:05","guid":{"rendered":"http:\/\/www.fjala.info\/?p=9673"},"modified":"2021-12-12T04:13:16","modified_gmt":"2021-12-12T03:13:16","slug":"analize-e-pergjithshme-e-romanit-skenderbeu-te-shkrimtarit-sabri-godo","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/analize-e-pergjithshme-e-romanit-skenderbeu-te-shkrimtarit-sabri-godo\/","title":{"rendered":"ANALIZ\u00cb E P\u00cbRGJITHSHME E ROMANIT \u201cSK\u00cbNDERBEU\u201d T\u00cb SHKRIMTARIT SABRI GODO"},"content":{"rendered":"

HYRJE <\/strong><\/p>\n

Vepra Sk\u00ebnderbeu e Sabri Godos<\/strong> sintetizon p\u00ebrvoj\u00ebn, modelet, mjetet dhe rezultatet e let\u00ebrsis\u00eb s\u00eb pasur, qoft\u00eb artistike, qoft\u00eb historiografike, q\u00eb u krijua p\u00ebr Sk\u00ebnderbeun. Si vep\u00ebr letrare, ajo p\u00ebrmbledh nd\u00ebrmarrjet e shumta artistike dhe historiografike p\u00ebr t\u00eb ndri\u00e7uar n\u00eb m\u00ebnyr\u00eb t\u00eb plot\u00eb dhe t\u00eb shumanshme personalitetin e madh t\u00eb Sk\u00ebnderbeut.<\/p>\n

Sado q\u00eb m\u00eb ve\u00e7orit\u00eb poetike dhe me struktur\u00ebn kompozicionale, Sk\u00ebnderbeu i Sabri Godos \u00ebsht\u00eb roman i personazhit, megjithat\u00eb, k\u00ebt\u00eb vep\u00ebr letrare duhet par\u00eb si nj\u00eb nd\u00ebrmarrje artistike p\u00ebr t\u00eb krijuar nj\u00eb \u2018\u2019roman epoke\u2019\u2019 p\u00ebr koh\u00ebn m\u00eb t\u00eb lavdishme t\u00eb mesjet\u00ebs shqiptare, nj\u00eb roman shum\u00ebplan\u00ebsh, me ngjarje, subjekte, karaktere dhe n\u00ebnshtresa t\u00eb shumta.<\/p>\n

Mir\u00ebpo, tendenc\u00ebn p\u00ebr t\u00eb krijuar nj\u00eb roman epoke e ka penguar besnik\u00ebria e madhe ndaj faktit historik, kufizimi i fiksionit artistik nga dokumenti historik dhe nga memorja e fort\u00eb historike.<\/p>\n

BESNIK\u00cbRIA E MADHE NDAJ FAKTIT HISTORIK<\/strong><\/p>\n

Autori b\u00ebmat e Sk\u00ebnderbeut i ka shikuar me besnik\u00ebrin\u00eb dhe me idealin e s\u00eb v\u00ebrtet\u00ebs prej historiani; ka ndjekur hap pas hapi kronik\u00ebn e luft\u00ebrave t\u00eb tij kund\u00ebr Perandoris\u00eb osmane, marr\u00ebdh\u00ebniet diplomatike me Venedikun dhe me fqinjt\u00eb e tjer\u00eb; ka p\u00ebrshkruar n\u00eb m\u00ebnyr\u00eb ekstensive organizimin ushtarak t\u00eb betejave t\u00eb ndryshme, shpeshher\u00eb, t\u00eb thuash, me gjuh\u00ebn e historianit. N\u00eb vep\u00ebr jan\u00eb t\u00eb shpeshta pasazhet e ligj\u00ebrat\u00ebs shkencore, si\u00e7 \u00ebsht\u00eb rasti me shembullin e m\u00ebposht\u00ebm:<\/p>\n

\u201cAristokracia e re, e rritur n\u00eb vitet e pushtimeve t\u00eb vrullshme, e dal\u00eb nga radh\u00ebt e rajave, p\u00ebr t\u00eb hyr\u00eb n\u00eb klas\u00ebn sunduese ushtarake t\u00eb spahinjve, e nganj\u00ebher\u00eb p\u00ebr t\u2019u ngjithur n\u00eb rangjet e gazinjve dhe t\u00eb oborrtar\u00ebve t\u00eb lart\u00eb, iI shihte luft\u00ebrat si nj\u00eb bekim t\u00eb zotit dhe k\u00ebrkonte gjithnj\u00eb e m\u00eb tep\u00ebr vend n\u00eb ushtri dhe n\u00eb pun\u00ebt e shtetit. Po vend nuk l\u00ebshonte fisnik\u00ebria e vjet\u00ebr, q\u00eb i donte t\u00eb gjitha p\u00ebr vete (Turqin\u00eb dhe \u00e7do p\u00ebll\u00ebmb\u00eb tok\u00eb q\u00eb pushtohej, ofiqet, pasurit\u00eb dhe koncesionet). Kjo p\u00ebrleshje n\u00ebn jorgan q\u00eb po shkallmonte shtetin, s\u2019mund t\u00eb rreshtej me t\u00eb but\u00eb e me dekrete\u201d.<\/p>\n

Kjo ligj\u00ebrat\u00eb do t\u2019i shkonte pen\u00ebs s\u00eb historianit, i cili, me mjetet, instrumentet dhe me nocionet e shkenc\u00ebs, do t\u00eb zbuloj\u00eb arsyet e ngritjes, t\u00eb lul\u00ebzimit dhe t\u00eb \u00e7thurjes shoq\u00ebrore dhe ekonomike t\u00eb Perandoris\u00eb osmane. I bindur p\u00ebr funksionin njoh\u00ebs t\u00eb let\u00ebrsis\u00eb si funksion i par\u00eb, shkrimtari i kushton r\u00ebnd\u00ebsi t\u00eb madhe faktit dhe dokumentit historik, q\u00eb e g\u00ebrsheton me fiksionin artistik.<\/p>\n

FIKSIONI ARTISTIK N\u00cb SH\u00cbRBIM T\u00cb FAKTIT HISTORIK <\/strong><\/p>\n

Trillimi artistik, q\u00eb buron nga vet\u00eb natyra e let\u00ebrsis\u00eb si art i fjal\u00ebs, i n\u00ebnshtrohet dokumentit historik dhe \u00ebsht\u00eb n\u00eb pozit\u00eb sh\u00ebrbyese ndaj tij. Jo nj\u00eb h\u00ebr\u00eb, fiksioni nuk ka funksion tjet\u00ebr, ve\u00e7 ilustrimit t\u00eb dokumentit historik, ve\u00e7 rikrijimit t\u00eb atmosfer\u00ebs n\u00eb t\u00eb cil\u00ebn ka ndodhur lufta dhe ngjarjet e tjera, q\u00eb i ka sh\u00ebnuar edhe kronika historike. Autori \u00ebsht\u00eb i bindur, po ashtu, se p\u00ebrvoja estetike ka r\u00ebnd\u00ebsi t\u00eb madhe p\u00ebr njohjen e realitetit historik.<\/p>\n

P\u00ebrvoj\u00ebn, gjuh\u00ebn, modelet dhe mjetet artistike i konsideron shkall\u00eb t\u00eb par\u00eb t\u00eb njohjes s\u00eb jet\u00ebs, t\u00eb cilat i paraprijn\u00eb njohjes racionale. Njohja racionale, n\u00eb an\u00ebn tjet\u00ebr, ka mund\u00ebsi dhe instrumente m\u00eb t\u00eb sigurta p\u00ebr zbulimin e s\u00eb v\u00ebrtet\u00ebs historike. P\u00ebr k\u00ebt\u00eb arsye, edhe tablot, detajet dhe skenat e ndryshme q\u00eb jan\u00eb prodhim i mir\u00ebfillt\u00eb i trillimit artistik u paraprijn\u00eb ose vijn\u00eb pas dokumentit dhe ngjarjeve t\u00eb ndryshme q\u00eb dihen si fakte t\u00eb kryera.<\/p>\n

Dokumenti historik, i cili ilustron skenat dhe pamjet e trilluara, kryen funksionin e fusnotave shpjeguese. Pavar\u00ebsisht nga fakti sa a u jep p\u00ebrpar\u00ebsi kategorive, modeleve dhe mjeteve artistike, apo kategorive, instrumenteve dhe mjeteve t\u00eb njohjes racionale t\u00eb realitetit historik, autori tregon vet\u00ebdije t\u00eb shquar estetike me vet\u00eb procedimet stilistike q\u00eb na e b\u00ebjn\u00eb t\u00eb ditur se autori-narrator ka bindjen se lexuesi i sot\u00ebm nuk i beson m\u00eb modelit didaktik-iluminist t\u00eb let\u00ebrsis\u00eb, trillimit t\u00eb pabazuar n\u00eb ligj\u00ebsit\u00eb e brendshme artistike dhe n\u00eb dokumentin historik, apo kulturor, aventur\u00ebs dhe loj\u00ebs s\u00eb lir\u00eb t\u00eb imagjinat\u00ebs s\u00eb shkrimtarit.<\/p>\n

Shkrimtari sikur \u00ebsht\u00eb i bindur se lexuesi i beson m\u00eb shum\u00eb dokumenit sesa trillimit t\u00ebrheq\u00ebs, m\u00eb shum\u00eb i beson faktit sesa ligj\u00ebrat\u00ebs patetike t\u00eb p\u00ebrsonazhit kryesor, qoft\u00eb ky edhe Sk\u00ebnderbeu. Autoriteti i shkrimtarit ruhet me thell\u00ebsin\u00eb e mendimit, me shkatht\u00ebsin\u00eb e prov\u00ebs dhe me gjuh\u00ebn pa patetik\u00eb dhe pa retorik\u00eb. Edhe pse i jep p\u00ebrpar\u00ebsi njohjes racionale t\u00eb bot\u00ebs, Sabri Godo beson n\u00eb mund\u00ebsit\u00eb e instrumenteve, t\u00eb modeleve dhe t\u00eb mjeteve t\u00eb artit. P\u00ebrvoja historike e njeriut, e cila gjithnj\u00eb vjen duke u pasuruar, nuk mund t\u00eb shprehet vet\u00ebm me kategorit\u00eb e dijes, sepse ajo p\u00ebrcillet brez pas brezi n\u00eb trajt\u00ebn e fillesave dhe t\u00eb p\u00ebrmbajtjeve mitologjike dhe artistike.<\/p>\n

ND\u00cbRTHURJA E FAKTIT, E MITIT DHE E TRILLIMIT ARTISTIK<\/strong><\/p>\n

Autori na e thot\u00eb se historia, jo nj\u00ebher\u00eb, ka vepruar si mit dhe se miti \u00ebsht\u00eb nj\u00eb form\u00eb e njohjes s\u00eb bot\u00ebs. P\u00ebr k\u00ebt\u00eb arsye, n\u00eb vepr\u00ebn e vet ai i nd\u00ebrthur dhe i g\u00ebrsheton faktin, mitin dhe trillimin artistik, i v\u00eb ball\u00eb p\u00ebr ball\u00eb me nj\u00ebri tjetrin dhe jep rezultatin e bashk\u00ebveprimit t\u00eb tyre. Miti ka baz\u00ebn e caktuar shoq\u00ebrore q\u00eb e prodhon dhe, kur ai merr trajt\u00ebn e vet t\u00eb plot\u00eb, merr vler\u00eb bind\u00ebse aq sa b\u00ebhet fuqi materiale. T\u00eb vet\u00ebdijsh\u00ebm p\u00ebr vler\u00ebn virtuale t\u00eb mitit, makinerit\u00eb ushtarake e shfryt\u00ebzojn\u00eb, e orientojn\u00eb dhe e kultivojn\u00eb edhe m\u00eb tej.<\/p>\n

N\u00eb romanin Sk\u00ebnderbeu t\u00eb Sabri Godos, funksionalizimin e mitit p\u00ebr nevojat e pushtuesit e shohim kur \u00ebsht\u00eb puna e paraqitjes s\u00eb moralit t\u00eb ushtris\u00eb s\u00eb Perandoris\u00eb osmane. Fillesat mitologjike q\u00eb i p\u00ebrpunon dhe i aktivizon makineria ushtarake turke kan\u00eb baz\u00ebn e tyre n\u00eb nocionet, n\u00eb idet\u00eb dhe n\u00eb sistemet abstrakte filozofike religjioze; ideja e Islamit, e kthimit t\u00eb kaurr\u00ebve n\u00eb udh\u00ebn e zotit, e qytet\u00ebrimit t\u00eb barbar\u00ebve, gjysm\u00ebh\u00ebna, e t\u00eb tjera, n\u00eb em\u00ebr t\u00eb t\u00eb cil\u00ebve pushtohen vendet e popujt e ndrysh\u00ebm. N\u00eb t\u00eb v\u00ebrtet\u00eb, n\u00eb fillesat dhe n\u00eb p\u00ebrmbajtjet mitologjike q\u00eb kan\u00eb karakter tejkohor dhe, t\u00eb cilat p\u00ebrb\u00ebjn\u00eb substratin jo vet\u00ebm t\u00eb vet\u00ebdijes gjuh\u00ebsore t\u00eb vepr\u00ebs, por edhe t\u00eb sistemit t\u00eb motivacionit t\u00eb personazheve, q\u00ebndron karakteri i hapur i realizmit t\u00eb romanit t\u00eb Sabri Godos.<\/p>\n

Autori na e thot\u00eb se historia nuk ka karakter ciklik, po disa forma p\u00ebrmes t\u00eb cilave materializohet p\u00ebrmbajtja e saj, p\u00ebrs\u00ebriten vazhdimisht. Q\u00eb nga koh\u00ebt e mo\u00e7me pushtimi i popujve t\u00eb ndrysh\u00ebm \u00ebsht\u00eb b\u00ebr\u00eb n\u00eb em\u00ebr t\u00eb ideve, t\u00eb filozofive, t\u00eb qytet\u00ebrimeve, t\u00eb feve dhe t\u00eb kulturave t\u00eb ndryshme. N\u00eb t\u00eb v\u00ebrtet\u00eb, n\u00eb fillesat dhe n\u00eb p\u00ebrmbajtjet e ndryshme mitologjike, autori sheh mund\u00ebsit\u00eb e komunikimit t\u00eb s\u00eb kaluar\u00ebs me t\u00eb sotmen, t\u00eb v\u00ebnies n\u00eb dukje t\u00eb p\u00ebrmbajtjeve historike dhe t\u00eb paralelizmave kohor\u00eb. Miti, sipas Jungut, \u00ebsht\u00eb form\u00eb e individualizimit t\u00eb njeriut. Fillesat dhe procesi i formimit t\u00eb tij shprehin procesin e strukturimit t\u00eb vet\u00ebdijes kolektive.<\/p>\n

Sabri Godo na e thot\u00eb shprehimisht baz\u00ebn materiale t\u00eb lindjes, t\u00eb formimit dhe t\u00eb veprimit t\u00eb mitit. Duke p\u00ebrshkruar ndryshimet e m\u00ebdha q\u00eb kishin ngjar\u00eb n\u00eb gjirin dhe n\u00eb psikologjin\u00eb e popullit n\u00eb koh\u00ebn e Sk\u00ebnderbeut, autori-narrator, q\u00eb nuk i p\u00ebrket bot\u00ebs letrare, thot\u00eb se “transformimi i tij i thell\u00eb (i popullit) kishte ardhur nga burime t\u00eb brendshme t\u00eb lashta, si edhe nga kushtet e koh\u00ebs q\u00eb i nxori lufta n\u00eb shesh.” Kushtet e koh\u00ebs diktojn\u00eb q\u00eb Sk\u00ebnderbeu t\u00eb vishet me aureol\u00ebn mitike. Prandaj, i nj\u00ebjti narrator thot\u00eb se “Sk\u00ebnderbeu habitej me holl\u00ebsit\u00eb q\u00eb dinin rreth pun\u00ebve dhe fjal\u00ebve t\u00eb tij edhe n\u00eb kullat m\u00eb t\u00eb larg\u00ebta.<\/p>\n

Sip\u00ebr vatrave shihte q\u00ebndisje e pun\u00eb dore, t\u00eb vetmet stoli t\u00eb banes\u00ebs, me shqipen e zez\u00eb t\u00eb Kastriot\u00ebve, me vet\u00eb Sk\u00ebnderbeun, tek shfaroste ushtrit\u00eb e pafundme t\u00eb armikut me shpat\u00ebn e zjarrt\u00eb t\u00eb Sh\u00ebngjergjit kryeengj\u00ebll, i shkelte k\u00ebto ushtri me potkonjt\u00eb e kalit, i ngrinte n\u00eb vend me rrufet\u00eb q\u00eb l\u00ebshonte nga syt\u00eb. Populli kishte filluar t\u00eb thurte p\u00ebr t\u00eb mrekulli t\u00eb paqena dhe ai mbetej keq kur duhej t\u2019i p\u00ebrgenjeshtronte ato, se njer\u00ebzit e shikonin me dyshim. Ata besonin at\u00eb q\u00eb kishin n\u00eb shpirt dhe ishin gati t\u00eb jepnin \u2018\u2019prova\u2019\u2019 atij vet\u00eb se ashtu kishte ngjar\u00eb dhe fyheshin kur kujtonin se ai nuk e tregonte t\u00eb v\u00ebrtet\u00ebn.”<\/p>\n

Me gjuh\u00eb diskursive Sabri Godo e shpjegon lindjen e mitit dhe fuqin\u00eb e tij vepruese. Ai, nga pozita thell\u00ebsisht shkencore, e konstaton karakterin iracional t\u00eb mitit. Miti, prandaj, konsiderohet vet\u00ebdije e shtremb\u00ebruar e njeriut, n\u00eb nj\u00ebr\u00ebn an\u00eb, dhe gjuh\u00eb e nj\u00eb modeli t\u00eb t\u00ebr\u00eb t\u00eb let\u00ebrsis\u00eb, n\u00eb an\u00ebn tjet\u00ebr. N\u00eb vepr\u00ebn e Sabri Godos miti \u00ebsht\u00eb humbje e ndjenj\u00ebs p\u00ebr t\u00eb v\u00ebrtet\u00ebn, projeksion ireal i d\u00ebshirave dhe i aspiratave t\u00eb popullit n\u00eb Iden\u00eb kolektive.<\/p>\n

I krijuar nj\u00ebher\u00eb, ai b\u00ebhet model i shikimit dhe i parafytyrimit t\u00eb realitetit dhe, si i till\u00eb, nuk pranon faktet pozitive e empirike. \u2018\u2019Ata besonin at\u00eb q\u00eb kishin n\u00eb shpirt, thot\u00eb autori-narrator, dhe ishin gati t\u2019i jepnin “prova” atij vet\u00eb (Sk\u00ebnderbeut) se ashtu kishte ngjar\u00eb dhe fyheshin kur kujtonin se ai nuk u tregonte t\u00eb v\u00ebrtet\u00ebn.\u2019\u2019 Struktura e vet\u00ebdijes mitike p\u00ebrcakton edhe struktur\u00ebn e p\u00ebrjetimit t\u00eb bot\u00ebs dhe b\u00ebhet, jo vet\u00ebm model i q\u00ebndrimit, por edhe i pranimit t\u00eb realitetit. N\u00eb kushtet e vet\u00ebdijes mitike, njeriu i mitizon t\u00eb gjitha kategorit\u00eb antropologjike. Prandaj Sk\u00ebnderbeu e kupton se \u2018\u2019tani pun\u00ebt kishin arritur n\u00eb nj\u00eb pik\u00eb, kur lidhjet e tij me k\u00ebt\u00eb popull k\u00ebrkonin medoemos nj\u00eb drejtimt\u00eb caktuar.”<\/p>\n

Filozof\u00ebt e thon\u00eb se n\u00eb mjedisin shoq\u00ebror n\u00eb t\u00eb cilin struktura mitike e vet\u00ebdijes \u00ebsht\u00eb q\u00ebndrim ndaj realitetit, realizmi \u00ebsht\u00eb profetizim.<\/p>\n

Q\u00cbNDRIMI REALIST I AUTORIT NDAJ T\u00cb KALUAR\u00cbS<\/strong><\/p>\n

Sk\u00ebnderbeu e kishte mjaft t\u00eb theksuar ndjenj\u00ebn e realitetit. Ai, si strateg dhe ushtarak, si kryezot dhe luft\u00ebtar, e ndjen pulsin e mas\u00ebs dhe i kupton rrethanat objektive n\u00eb t\u00eb cilat ai vepronte. Pas fitoreve t\u00eb m\u00ebdha kund\u00ebr Perandoris\u00eb osmane, Sk\u00ebnderbeu kishte fituar admirimin e Evrop\u00ebs s\u00eb krishter\u00eb, por shpresat q\u00eb kishte pasur se ajo do ta p\u00ebrkrahte iu rr\u00ebnuan si kullat prej letre. Ideja p\u00ebr aleanc\u00ebn e krishter\u00eb kund\u00ebr Turqis\u00eb osmane nuk u realizua kurr\u00eb.<\/p>\n

Sk\u00ebnderbeu ishte i vet\u00ebdijsh\u00ebm p\u00ebr forc\u00ebn ushtarake t\u00eb Perandoris\u00eb osmane, si\u00e7 ishte i vet\u00ebdijsh\u00ebm edhe p\u00ebr gjendjen e popullit t\u00eb tij. N\u00eb kushtet e luft\u00ebs s\u00eb vetmuar kund\u00ebr fuqis\u00eb m\u00eb t\u00eb madhe t\u00eb koh\u00ebs ai e dinte se ishte mjaft v\u00ebshtir\u00eb t\u00eb mbaje t\u00eb ndezur vazhdimisht entuziazmin dhe moralin luftarak t\u00eb popullit. Prandaj, e thot\u00eb vet\u00eb “se pun\u00ebt kishin arritur n\u00eb nj\u00eb pik\u00eb, kur lidhjet e tij me k\u00ebt\u00eb popull k\u00ebrkonin medoemos nj\u00eb drejtim t\u00eb caktuar”.<\/p>\n

P\u00ebr k\u00ebt\u00eb arsye, forc\u00ebn e vet e sheh n\u00eb popullin, n\u00eb t\u00eb cilin mb\u00ebshtetet plot\u00ebsisht. Sk\u00ebnderbeu n\u00eb vepr\u00ebn e Sabri Godos nuk \u00ebsht\u00eb gjysm\u00ebper\u00ebndi, i cili me nj\u00eb l\u00ebvizje t\u00eb krahut mund armikun dhe q\u00eb nuk di p\u00ebr ndjenj\u00ebn e humbjes, t\u00eb d\u00ebshp\u00ebrimit, t\u00eb zem\u00ebrimit, t\u00eb dashuris\u00eb, t\u00eb hakmarrjes e t\u00eb tjera. Sk\u00ebnderbeu \u00ebsht\u00eb njeri i r\u00ebndomt\u00eb, po t\u00eb cilin e shquajn\u00eb aft\u00ebsit\u00eb luftarake, ndjenja e realitetit dhe dashuria e madhe p\u00ebr popullin. Pas betej\u00ebs s\u00eb Beratit, n\u00eb goj\u00eb ndjen shijen e balt\u00ebs, ndonj\u00ebher\u00eb i duket vetja njeri gjysm\u00eb i vdekur i hipur n\u00eb kal\u00eb, apo nj\u00eb “Sk\u00ebnderbej tuhaf q\u00eb p\u00ebrdridhte shpat\u00ebn maj\u00eb kalit, nd\u00ebrsa anash kalonin njer\u00ebzit, lumenj fytyrash t\u00eb ky\u00e7ura q\u00eb rendin drejt fitores ose vdekjes, me nj\u00eb shpres\u00eb t\u00eb fshehur se nj\u00eb dit\u00eb ai do t\u00eb zbriste gjithnj\u00eb tek ata”.<\/p>\n

M\u00ebnyra e trajtimit t\u00eb Sk\u00ebnderbeut shpreh q\u00ebndrimin realist t\u00eb Sabri Godos ndaj t\u00eb kaluar\u00ebs historike. Sk\u00ebnderbeu i Godos \u00ebsht\u00eb nd\u00ebrmarrje artistike p\u00ebr ta zhveshur Sk\u00ebnderbeun nga autreola mitike, n\u00eb nj\u00ebr\u00ebn an\u00eb, dhe p\u00ebr t\u2019iu kund\u00ebrv\u00ebn\u00eb modelit didaktik-iluminist t\u00eb let\u00ebrsis\u00eb me tem\u00ebn historike, n\u00eb an\u00ebn tjet\u00ebr. Mir\u00ebpo, p\u00ebr arsye t\u00eb v\u00ebnies s\u00eb Sk\u00ebnderbeut n\u00eb qend\u00ebr t\u00eb interpretimit epik, shkrimtari nuk ka mundur ta realizoj\u00eb q\u00ebllimin q\u00eb i ka v\u00ebn\u00eb vetit. Si personazh kryesor q\u00eb \u00ebsht\u00eb, Sk\u00ebnderbeu \u00ebsht\u00eb ku ta k\u00ebrkosh, thuaja, n\u00eb t\u00eb gjitha episodet, tablot dhe detajet, bile edhe n\u00eb personazhet e tjera, dometh\u00ebn\u00eb edhe at\u00ebher\u00eb kur nuk flitet p\u00ebr t\u00eb. P\u00ebr k\u00ebt\u00eb arsye themi se Sk\u00ebnderbeu n\u00eb k\u00ebt\u00eb vep\u00ebr vepron n\u00eb dy m\u00ebnyra: si personazh konkret historik dhe si frym\u00eb, si ide, prej kah n\u00eb planin stilistiko-gjuh\u00ebsor, burojn\u00eb reminishencat stilistike-romantike, patois dhe thirrjet retorike.<\/p>\n

Jo vet\u00ebm n\u00eb nj\u00eb vend autori-narrator na e thot\u00eb se arb\u00ebri asokohe e ndjente veten dragua q\u00eb luftonte kund\u00ebr ku\u00e7edr\u00ebs aziatike. Kjo th\u00ebnie e narratorit nuk mund t\u00eb kuptohet si egzegez\u00eb poetologjike e struktur\u00ebs imtike t\u00eb vet\u00ebdijes s\u00eb njeriut, por edhe si shprehje e konceptimit t\u00eb Sk\u00ebnderbeut si personazh-ide, si frym\u00eb. Si ide Sk\u00ebnderbeu vepron edhe n\u00eb personazhet e taborrit armik, n\u00eb ushtar\u00ebt e thjesht\u00eb, n\u00eb kronist\u00ebt, n\u00eb K\u00ebshillin ushtarak t\u00eb luft\u00ebs, bile edhe n\u00eb vet\u00eb sulltanin. Shp\u00ebrndarja e personazhit t\u00eb Sk\u00ebnderbeut n\u00eb personazhet, n\u00eb detajet, dhe n\u00eb tablot e ndryshme t\u00eb tekstit, ekzistenca e tij in abstentia \u00ebsht\u00eb shprehje e idealit artistik t\u00eb shkrimtarit p\u00ebr ta paraqitur zulm\u00ebn e madhe t\u00eb heroit ton\u00eb komb\u00ebtar n\u00eb Evrop\u00eb dhe n\u00eb Azi, n\u00eb nj\u00ebr\u00ebn an\u00eb, dhe p\u00ebr t\u00eb treguar karakterin gjith\u00ebpopullor t\u00eb luft\u00ebs s\u00eb tij, n\u00eb an\u00ebn tjet\u00ebr.<\/p>\n

Jet\u00ebn e popullit nuk e p\u00ebrb\u00ebjn\u00eb vet\u00ebm luft\u00ebrat kund\u00ebr t\u00eb huajve, kolizionet historike midis udh\u00ebheq\u00ebsve t\u00eb tij, aktiviteti i tyre ushtarak dhe diplomatik, e t\u00eb tjera. Jeta e popullit, si\u00e7 nuk \u00ebsht\u00eb vet\u00ebm gjendje natyrore e ekzistenc\u00ebs, nuk \u00ebsht\u00eb as vet\u00ebm gjendje e zakonshme e luft\u00ebs, por \u00ebsht\u00eb shum\u00eb m\u00eb e gjer\u00eb dhe m\u00eb e p\u00ebrb\u00ebr\u00eb dhe shprehet p\u00ebrmes rasteve, dukurive dhe formave t\u00eb ndryshme. N\u00eb vep\u00ebr ka personazhe q\u00eb paraqesin dukuri, raste, forma t\u00eb ndryshme p\u00ebrmes t\u00eb cilave tregohet m\u00ebnyra e jetes\u00ebs s\u00eb popullit, por n\u00eb struktur\u00ebn receptuese t\u00eb lexuesit t\u00eb gjitha mbesin n\u00eb hijen e Sk\u00ebnderbeut si shemb\u00eblltyr\u00eb historike, si personazh-ide.<\/p>\n

G\u00cbRSHETIMI I GJUH\u00cbS S\u00cb ARTIT ME LIGJ\u00cbRAT\u00cbN SHKENCORE Objektivi i autorit p\u00ebr ta zhveshur Sk\u00ebnderbeun nga aureola mitike p\u00ebrmes gjuh\u00ebs s\u00eb artit letrar nuk ka mundur t\u00eb realizohet plot\u00ebsisht, p\u00ebr arsyen e thjesht\u00eb se edhe vepra letrare \u00ebsht\u00eb nj\u00eb form\u00eb e mitit, sidomos romani historik i cilitdo tip qoft\u00eb.<\/p>\n

Duke e ditur k\u00ebt\u00eb kund\u00ebrth\u00ebne, Sabri Godo n\u00eb vepr\u00ebn e vet ka g\u00ebrshetuar gjuh\u00ebn e artit me ligj\u00ebrat\u00ebn shkencore, teknikat, procedimet, modelet dhe mjetet e artit letrar dhe teknikat, instrumentet dhe mjetet e njohjes racionale. P\u00ebr k\u00ebt\u00eb arsye, shkrimtari th\u00ebrret n\u00eb ndihm\u00eb autoritetet e ndryshme t\u00eb dijes p\u00ebr t\u00eb provuar tezat, situatat dhe idet\u00eb e shprehura p\u00ebrmes autorit-narrator, apo p\u00ebrmes goj\u00ebs s\u00eb personazheve.<\/p>\n

Teknikat, procedimet, citatet dhe instrumentet e ndryshme t\u00eb ligj\u00ebrat\u00ebs shkencore autorit i hyjn\u00eb n\u00eb pun\u00eb p\u00ebr t\u00eb hequr paralelizma midis koh\u00ebve t\u00eb larg\u00ebta historike dhe midis shemb\u00eblltyrave t\u00eb ndryshme historike, midis Lek\u00ebs s\u00eb Madh dhe Sk\u00ebnderbeut, midis Pirros dhe Sk\u00ebnderbeut. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, krahasimi si mjet metodologjik b\u00ebhet model artistik i mitizimit t\u00eb figur\u00ebs s\u00eb Sk\u00ebnderbeut.<\/p>\n

CITATET, FUSNOTAT SHPJEGUESE, KOMENTET DHE T\u00cb FOLURIT E HUAJ <\/strong><\/p>\n

P\u00ebrdorimi i komentit, i fusnotave dhe i citateve p\u00ebrb\u00ebn nj\u00eb nga teknikat kryesore t\u00eb sistemit t\u00eb motivacionit t\u00eb let\u00ebrsis\u00eb s\u00eb sotme dokumentare. P\u00ebrmes tyre autori shpreh lirisht pik\u00ebpamjet e tij p\u00ebr koh\u00ebn dhe p\u00ebrmes goj\u00ebs s\u00eb personazheve q\u00eb marrin pjes\u00eb, ose edhe nuk kan\u00eb t\u00eb b\u00ebjn\u00eb me bot\u00ebn letrare t\u00eb vepr\u00ebs, por ekzistenca historike e t\u00eb cil\u00ebve p\u00ebr lexuesit \u00ebsht\u00eb e njohur, ose p\u00ebrpos personazheve q\u00eb p\u00ebrmenden n\u00eb kontekste, t\u00eb cilat sugjerojn\u00eb objektivitetin e th\u00ebnies, autori do t\u2019i l\u00ebr\u00eb p\u00ebrshtypje lexuesit se ngjarja ka ndodhur ashtu si\u00e7 p\u00ebrshkruhet, ose ka mundur t\u00eb ndodh\u00eb vet\u00ebm ashtu p\u00ebr arsye t\u00eb rrethanave t\u00eb caktuara historike, politike, diplomatike e t\u00eb tjera, apo madje edhe p\u00ebr shkaqe t\u00eb panjohura.<\/p>\n

P\u00ebr t\u00eb argumentuar idet\u00eb e tij, autori th\u00ebrret n\u00eb ndihm\u00eb autoritetet e ndryshme shkencore dhe kulturore, historian\u00ebt, kronist\u00ebt, bile edhe kuriozitetet e ndryshme , t\u00eb cilat s\u2019dihet se si p\u00ebrhapen. Ja nj\u00eb citat, me t\u00eb cilin fillon nj\u00eb t\u00ebr\u00ebsi semantike-artistike e tekstit:<\/p>\n

“Hydavendegjari, urdh\u00ebruesi i lart\u00eb, hoqi dor\u00eb nga d\u00ebshira p\u00ebr t\u00eb kapur nusen e fitores”, thot\u00eb historian Kemal Pasha zade p\u00ebr t\u00ebrheqjen e Muratit nga Kruja”.<\/p>\n

Th\u00ebnia q\u00eb i vihet n\u00eb goj\u00eb historianit Kemal Pasha Zade ka dy funksione retorike: 1. t\u2019i mund\u00ebsoj\u00eb lexuesit ta shoh\u00eb me syt\u00eb e kronistit turk disfat\u00ebn e sultan Muratit n\u00eb Kruj\u00eb dhe 2. t\u00eb paradizoj\u00eb ligj\u00ebrat\u00ebn e nj\u00eb modeli t\u00eb t\u00ebr\u00eb t\u00eb historiografis\u00eb dhe t\u00eb kronik\u00ebs turke t\u00eb koh\u00ebs. N\u00eb funksion t\u00eb parodizimit jan\u00eb edhe kuriozitetet e shpikura, trillimet qesharake q\u00eb i atribuohen t\u00eb folurit t\u00eb huaj, t\u00eb cilin teoricien\u00ebt e konsiderojn\u00eb trajt\u00eb t\u00eb argumentimit t\u00eb autorit, si\u00e7 \u00ebsht\u00eb puna me shembullin e m\u00ebposht\u00ebm; “N\u00eb Evrop\u00eb u p\u00ebrhap me shpejt\u00ebsi lajmi I habitsh\u00ebm se Sulltan Mehmeti po fryhej.<\/p>\n

At\u00eb e kishte kapur nj\u00eb trashje e panatyrshme e trupit. Asnj\u00ebri nuk e kishte par\u00eb sulltanin t\u00eb trashej e t\u00eb fryhej, por askush nuk e vinte n\u00eb dyshim se ashtu po ndodhte. Krisht\u00ebrimit iu ngrit zemra lart dhe n\u00eb kasha b\u00ebheshin lutje q\u00eb ky p\u00ebrbindsh t\u00eb trashej nj\u00eb centimet\u00ebr \u00e7do dit\u00eb dhe n\u00eb k\u00ebt\u00eb ishin varur shpresat”.<\/p>\n

T\u00eb folurit e huaj autori-narrator e shfryt\u00ebzon p\u00ebr t\u00eb v\u00ebn\u00eb n\u00eb tallje p\u00ebrpjekjet e Evrop\u00ebs p\u00ebr t\u2019i dal\u00eb p\u00ebrpara pushtimeve osmane, n\u00eb nj\u00ebr\u00ebn an\u00eb, dhe p\u00ebr t\u00eb ironizuar premtimet boshe se do ta p\u00ebrkrahte Sk\u00ebnderbeun, n\u00eb an\u00ebn tjet\u00ebr. N\u00eb citatet, n\u00eb fusnotat shpjeguese, n\u00eb komentet dhe n\u00eb t\u00eb folurit e huaj hetojm\u00eb pranin\u00eb dhe nj\u00ebsin\u00eb e vizionit t\u00eb shkrimtarit. Dekodimi semantik i k\u00ebtyre trajtave t\u00eb shprehjes letrare tregon modelin e kund\u00ebrt me let\u00ebrsin\u00eb didaktike-iluministe me tem\u00ebn historike. Dekodimi i tyre estetik v\u00eb n\u00eb dukje se autori i ironizon format e shkrimit romantik, mjetet e stilit dhe t\u00eb gjuh\u00ebs s\u00eb modelit didaktik-iluminist t\u00eb let\u00ebrsis\u00eb.<\/p>\n

Raporti q\u00eb shkrimtari v\u00eb me lexuesin \u00ebsht\u00eb raport i historianit me sensibilitet artistiko-letrar, apo i kronistit, i cili nuk interesohet vet\u00ebm p\u00ebr t\u00eb b\u00ebmat dhe p\u00ebr datat historike, por edhe p\u00ebr kompozicionin letrar, p\u00ebr fraz\u00ebn gjuh\u00ebsore dhe p\u00ebr vlerat ekspresive t\u00eb t\u00eb folurit poetik. Sabri Godo, prandaj, me mjetet e artit letrar dhe me instrumentet e dijes racionale ka krijuar ciklin e lindjes, t\u00eb vdekjes dhe t\u00eb rilindjes s\u00eb njeriut, q\u00eb \u00ebsht\u00eb q\u00ebllim kryesor i romanit historik p\u00ebrgjith\u00ebsisht. Ai ka ditur t\u00eb fiksoj\u00eb elementet themelore q\u00eb e p\u00ebrb\u00ebjn\u00eb k\u00ebt\u00eb cik\u00ebl dhe ka nxjerr\u00eb p\u00ebrgjith\u00ebsime nga situatat e ndryshme jet\u00ebsore.<\/p>\n

Mir\u00ebpo cikli jet\u00ebsor i krijuar n\u00eb vepr\u00ebn Sk\u00ebnderbeu ndonj\u00ebher\u00eb cop\u00ebzohet p\u00ebr arsye t\u00eb r\u00ebnies n\u00eb fotografim t\u00eb thjesht\u00eb t\u00eb realitetit, t\u00eb stivimit t\u00eb detajeve me t\u00eb nj\u00ebjtin funksion poetik.<\/p>\n

P\u00cbRSHKRIMI EKSTENSIV I NGJARJEVE<\/strong><\/p>\n

Disa her\u00eb jan\u00eb p\u00ebrshkruar n\u00eb m\u00ebnyr\u00eb ekstensive betejat e luft\u00ebs, organizimi i paravij\u00ebs dhe i prapavij\u00ebs, ndarja e luft\u00ebtar\u00ebve n\u00eb togje, taktika e luft\u00ebs e t\u00eb tjera, gj\u00eb q\u00eb \u00ebsht\u00eb e panevojshme artistikisht. P\u00ebrshkrimi ekstensiv i betejave nuk ka funksion tjet\u00ebr artistik ve\u00e7 krijimit t\u00eb situatave jet\u00ebsore q\u00eb paraqesin pika kritike t\u00eb ekzistenc\u00ebs s\u00eb njeriut. Me p\u00ebrshkrimin ekstensiv dhe t\u00eb gjer\u00eb t\u00eb betejave t\u00eb ndryshme luftarake shkrimtari sikur do t\u2019u konkurroj\u00eb strateg\u00ebve ushtarak\u00eb.<\/p>\n

Kjo pun\u00eb t\u00eb cil\u00ebn kurr\u00eb nuk do t\u00eb mund ta b\u00ebj\u00eb me suksesin e ushtarakut, nuk bie n\u00eb rrethin e interesimeve t\u00eb artit letrar. Situatat jet\u00ebsore, n\u00eb t\u00eb cilat njeriu gjendet rast\u00ebsisht ose domosdo t\u00ebrheqin v\u00ebmendjen e rr\u00ebfimit epik. Po t\u00eb l\u00ebm\u00eb anash p\u00ebrshkrimet e gjera ekstensive t\u00eb betejave t\u00eb luft\u00ebs, shkrimtari tregon invencion t\u00eb shquar artistik p\u00ebr rikrijimin e situatave jet\u00ebsore dhe t\u00eb rasteve t\u00eb ndryshme q\u00eb kan\u00eb vler\u00eb t\u00eb madhe p\u00ebrgjith\u00ebsuese.<\/p>\n

Jan\u00eb kuptimplote skenat q\u00eb krijon pas luft\u00ebs s\u00eb Beratit. P\u00ebrmes paraqitjes vizuele t\u00eb tablove t\u00eb ndryshme dhe t\u00eb pmjeve makabre, autori rikrijon artistikisht dram\u00ebn njer\u00ebzore t\u00eb Beratit. Fati individual i njeriut n\u00eb k\u00ebt\u00eb dram\u00eb \u00ebsht\u00eb i kusht\u00ebzuar nga logjika e domosdoshme e zhvillimit t\u00eb ngjarjeve dhe nga rast\u00ebsia. Mir\u00ebpo, rasti nuk \u00ebsht\u00eb segment vet\u00ebm i ligjeve t\u00eb domosdoshme, po edhe rezultat i arbitraritetit. Rasti, si rezultat i arbitraritetit t\u00eb arsyes, ndodh q\u00eb p\u00ebrcakton, jo vet\u00ebm fatin e nj\u00eb njeriu, por edhe t\u00eb nj\u00eb lufte t\u00eb t\u00ebr\u00eb, madje edhe t\u00eb rrjedh\u00ebs historike t\u00eb ngjarjeve. K\u00ebshtu, ndodhi me mbretin Vladislav dhe me fatin e luft\u00ebs s\u00eb polak\u00ebve:<\/p>\n

“Mbreti Vladislav, thot\u00eb narrator, u vra nga nj\u00eb jeni\u00e7er i thjesht\u00eb, q\u00eb e ngriti kok\u00ebn e tij n\u00eb nj\u00eb maj\u00eb shtize. Polak\u00ebt u praps\u00ebn t\u00eb tmerruar. Murati ktheu kalin dhe nisi sulmin. Ushtria e krishtere p\u00ebsoi katastrof\u00eb.”<\/p>\n

Ja se si ky narrator e komenton vrasjen e mbretit Vladislav dhe disfat\u00ebn e polak\u00ebve:
\n\u2018\u2019Kishte fluturuar nj\u00eb shtiz\u00eb dhe kishte rr\u00ebzuar nj\u00eb mbret dhe nga ajo kishte shp\u00ebtuar nj\u00eb perandori e ngritur mbi kontinente me njq\u00ebind vjet luft\u00ebra t\u00eb paprera.. Dhe, sikur ai mbret i krisur t\u00eb mos ishte v\u00ebrtitur p\u00ebrpjet\u00eb me kalin e tij t\u00eb bardh\u00eb, tani koka e nj\u00eb sulltani t\u00eb madh do t\u00eb kalbej maj\u00eb nj\u00eb huri.\u2019\u2019<\/p>\n

PERSONAZHET HISTORIK\u00cb DHE T\u00cb TRILLUARA
\nDHE LIDHJET E SK\u00cbNDERBEUT ME TO<\/strong><\/p>\n

Sk\u00ebnderbeu i Sabri Godos ka mjaft ve\u00e7ori poetike. N\u00eb raport vart\u00ebsie ndaj Sk\u00ebnderbeut jan\u00eb t\u00eb gjitha personazhet e tjera, qoft\u00eb t\u00eb trilluara, qoft\u00eb historike. Por, lidhjet e Sk\u00ebnderbeut me personazhet e tjera shprehin raporte t\u00eb njohura historike: me Mojsi Golemin, Vrana Kontin, Lek\u00eb Dukagjinin, Lek\u00eb Zaharin\u00eb, Gjergj Stres Balsh\u00ebn, Gjuraq Brankoviqin e t\u00eb tjer\u00eb. Mir\u00ebpo, raportet e Sk\u00ebnderbeut, ve\u00e7 lidhjeve intensive dhe t\u00eb larmishme me Mojsi Golemin, me personazhet e tjera jan\u00eb t\u00eb zbehta, t\u00eb pakarakterizuara dhe t\u00eb padistancuara estetikisht, jan\u00eb marr\u00ebdh\u00ebnie, n\u00eb radh\u00eb t\u00eb par\u00eb, ushtarak\u00ebsh dhe bashk\u00ebluft\u00ebtar\u00ebsh ofiqesh t\u00eb ndryshme, t\u00eb bazuara n\u00eb urdh\u00ebrin dhe n\u00eb kryerjen e detyr\u00ebs.<\/p>\n

Marr\u00ebdh\u00ebniet e Sk\u00ebnderbeut me Mojsiun nuk jan\u00eb raporte konvencionale bashk\u00ebluft\u00ebtar\u00ebsh, po t\u00eb gjithanshme dhe shprehen n\u00eb shum\u00eb plane, private dhe zyrtare; jan\u00eb t\u00eb mpleksura me ndjenj\u00ebn e respektit, t\u00eb frik\u00ebs dhe t\u00eb urrejtjes dhe, si t\u00eb tilla, shenjojn\u00eb situatat e m\u00ebkatit dhe t\u00eb d\u00ebnimit, t\u00eb fajit dhe faljes, t\u00eb xhelozis\u00eb dhe t\u00eb urrejtjes e t\u00eb tjera. Mojsi Golemi ishte krah i djatht\u00eb i Sk\u00ebnderbeut. Nga nami q\u00eb fitoi n\u00eb luft\u00ebrat kund\u00ebr turqve si luft\u00ebtar trim dhe i zhd\u00ebrvjellt\u00eb, i guximsh\u00ebm dhe i urt\u00eb, i shkatht\u00eb dhe i rr\u00ebmbyer, p\u00ebrfitoi dashurin\u00eb dhe respektin e Sk\u00ebnderbeut dhe t\u00eb popullit. \u00cbsht\u00eb p\u00ebr t\u00eb v\u00ebn\u00eb n\u00eb dukje se personazhet e vepr\u00ebs Sk\u00ebnderbeu t\u00eb Sabri Godos plot\u00ebsojn\u00eb nj\u00ebri-tjertrin: Mamica- Sk\u00ebnderbeun, nd\u00ebrsa Zanfina-Mojsiun.<\/p>\n

K\u00ebshtu, p\u00ebrmes Mamic\u00ebs manifestohen tiparet e karakterit dhe t\u00eb shpirtit t\u00eb Sk\u00ebnderbeut, t\u00eb plakut Gjon dhe t\u00eb der\u00ebs s\u00eb Kastriot\u00ebve p\u00ebrgjith\u00ebsisht. Mamica \u00ebsht\u00eb nj\u00eb personazh-tip dhe n\u00eb planin strukturor p\u00ebrmban t\u00eb gjitha elementet q\u00eb e p\u00ebrb\u00ebjn\u00eb tipin letrar. Por, Mojsiu, i nxitur nga Zanfina ziliqare, e tradh\u00ebton Sk\u00ebnderbeun. Nami q\u00eb kishte fituar Mojsiu, ambicia e tij e s\u00ebmur\u00eb p\u00ebr t\u00eb hipur n\u00eb fronin e kryezotit t\u00eb Arb\u00ebrit dhe brejtja e nd\u00ebrgjegj\u00ebs p\u00ebr aktin e tradhtis\u00eb jan\u00eb p\u00ebrshkruar me mjete ekstensive stilistike-gjuh\u00ebsore. \u00cbsht\u00eb mjaft shpreh\u00ebse skena e kthimit t\u00eb Mojsiut te Sk\u00ebnderbeu dhe pendesa p\u00ebr aktin e b\u00ebr\u00eb.<\/p>\n

Sk\u00ebnderbeu e fal n\u00eb m\u00ebnyr\u00eb t\u00eb natyrshme, si v\u00ebllai-v\u00ebllan\u00eb.<\/strong><\/p>\n

\u00cbsht\u00eb p\u00ebrshkruar n\u00eb m\u00ebnyr\u00eb plastike, sidomos q\u00ebndrimi i Mojsiut n\u00eb oborrin e sulltanit dhe gjendja e tij e mjer\u00eb n\u00eb ambientin e zhurmsh\u00ebm anadollak. Po ashtu, portreti i Mojsiut \u00ebsht\u00eb plot\u00ebsuar me Zanfin\u00ebn. N\u00eb paraqitjen e ambicies s\u00eb s\u00ebmur\u00eb dhe t\u00eb karakterit t\u00eb lig t\u00eb Zanfin\u00ebs autori-narrator ka shprehur gjith\u00eb m\u00ebrin\u00eb e tij subjektive, po jo si autor q\u00eb mund t\u00eb b\u00ebj\u00eb \u00e7\u2019t\u00eb doj\u00eb me personazhet e veta.<\/p>\n

M\u00ebria q\u00eb derdhet mbi Zanfin\u00ebn vjen nga goja e personazheve t\u00eb ndryshme, nga z\u00ebrat e shumt\u00eb dhe nga n\u00ebntekst i pasur alegorik. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb Zanfina b\u00ebhet mot\u00ebr e Pandor\u00ebs mitologjike, Dama e Zez\u00eb shqiptare, e cila njer\u00ebzit, nga rruga e zotit, i kthen n\u00eb udh\u00ebn e djallit. Ajo k\u00ebnaqet p\u00ebr trazimin shpirt\u00ebror t\u00eb Mojsiut, p\u00ebr ngjalljen e ambicies s\u00eb s\u00ebmur\u00eb p\u00ebr pushtet, p\u00ebr planet e fsherhta q\u00eb Mojsiu po thurte kund\u00ebr Sk\u00ebnderbeut.<\/p>\n

P\u00ebr t\u00eb krijuar karakterin e Zanfin\u00ebs, ve\u00e7 mmjeteve ekstensive tregimtare, autori ka aktivizuar edhe mjetet stilistike intensive, dialogun, aksionin, ligj\u00ebrat\u00ebn e drejt\u00eb, e t\u00eb tjera. Karakteri dhe fizionomia e saj morale dhe shpirt\u00ebrore b\u00ebhen m\u00eb t\u00eb qarta p\u00ebrmes v\u00ebnies n\u00eb pozita kund\u00ebrshtie me Mamic\u00ebn. N\u00eb qoft\u00eb se Zanfina me karakterin, me gjestet, me sjelljen, me veprimet e t\u00eb tjera \u00ebsht\u00eb mot\u00ebr e Pandor\u00ebs, apo nj\u00eb Erid\u00eb e Arb\u00ebrit, Mamica, me dinjitetin, graciozitetin, me past\u00ebrtin\u00eb e nderit dhe me devotshm\u00ebrin\u00eb ndaj atdheut dhe t\u00eb v\u00ebllai, kryezotit t\u00eb Arb\u00ebrit, do t\u00eb mund t\u00eb krahasohej me figur\u00ebn mitologjike t\u00eb Erinis\u00eb, e cila si per\u00ebndesh\u00eb e ekzekutimit t\u00eb drejt\u00ebsis\u00eb ndaj keqb\u00ebr\u00ebsve, d\u00ebnon t\u00eb keqen q\u00eb n\u00eb zanafill\u00eb, amoralitetin, meskinitetin dhe tradhtin\u00eb ndaj mikut dhe ndaj atdheut.<\/p>\n

P\u00ebr vizatimin e karakterrit t\u00eb saj me ngjurat m\u00eb t\u00eb mira, m\u00eb t\u00eb ndritshme dhe m\u00eb t\u00eb theksuara ka ndikuar etosi estetik, i cili \u00ebsht\u00eb shprehje e Erosit t\u00eb autorit karrshi figur\u00ebs s\u00eb sk\u00ebnderbeut: si mot\u00ebr e Sk\u00ebnderbeut, Mamica \u00ebsht\u00eb p\u00ebrplot\u00ebsim artistik i shemb\u00eblltyr\u00ebs s\u00eb heroit ton\u00eb komb\u00ebtar.<\/p>\n

Ajo ka t\u00eb gjitha vetit\u00eb e t\u00eb v\u00ebllait: guximin, nderin, ndjenjen e s\u00eb drejt\u00ebs, intuin\u00ebn e lasht\u00eb t\u00eb Kasrtiot\u00ebve, e t\u00eb tjera. Si mot\u00ebr e kryezotit t\u00eb Arb\u00ebrit, ajo nuk mund t\u00eb ket\u00eb asnj\u00eb ves, asnj\u00eb t\u00eb met\u00eb, qoft\u00eb edhe fizike. Si dhe i v\u00ebllai, ajo shquhet p\u00ebr bukurin\u00eb e pashoqe fem\u00ebrore dhe p\u00ebr intuit\u00ebn e pagabuar, p\u00ebr men\u00e7urin\u00eb dhe p\u00ebr zhd\u00ebrvjellt\u00ebsin\u00eb mashkullore. P\u00ebr tipizimin dhe individualizimin e pertsonazheve m\u00eb pak t\u00eb njohura historikisht shkrimtari p\u00ebrgjith\u00ebsisht tregon mjesht\u00ebri m\u00eb t\u00eb dukshme.<\/p>\n

Ndaj tyre ai tregon q\u00ebndrimin m\u00eb t\u00eb lir\u00eb dhe i trajton si kracione t\u00eb pavarura estetike. Derisa personazhet e trilluara modelohen, n\u00eb radh\u00eb t\u00eb par\u00eb, sipas teknologjis\u00eb s\u00eb struktur\u00ebs letrare, personazhet historike jan\u00eb n\u00eb funksion t\u00eb krijimit t\u00eb funksionit t\u00eb paraformuar p\u00ebr ta, t\u00eb tradit\u00ebs, n\u00eb nj\u00ebr\u00ebn an\u00eb, dhe t\u00eb argumentimit t\u00eb ngjarjeve dhe t\u00eb dokumentit historik, q\u00eb jepet n\u00eb form\u00eb t\u00eb fusnotave, t\u00eb citateve apo t\u00eb folurit t\u00eb huaj, n\u00eb an\u00ebn tjet\u00ebr.<\/p>\n

P\u00cbRFUNDIM<\/strong><\/p>\n

Sk\u00ebnderbeu hyn n\u00eb radh\u00ebn e romaneve t\u00eb personazhit, po dallohet nga ato p\u00ebr nga shkalla e realizimit artistik, p\u00ebr nga \u2018\u2019fotografia epike\u2019\u2019 q\u00eb krijon p\u00ebr Sk\u00ebnderbeun dhe p\u00ebr epok\u00ebn e tij, si dhe p\u00ebr pik\u00ebshikimin objektiv t\u00eb raportit t\u00eb prij\u00ebsit me popullin. Sabri Godo \u00ebsht\u00eb i bindur se vlera artistike e vepr\u00ebs letrare nuk q\u00ebndron as n\u00eb standarditetin, as n\u00eb modernitetin e tipit, por n\u00eb mund\u00ebsin\u00eb p\u00ebrgjith\u00ebsuese, n\u00eb shkall\u00ebn e sintetizimit artistik t\u00eb p\u00ebrvoj\u00ebs jet\u00ebsore dhe historike t\u00eb njeriut.<\/p>\n

E kaluara historike nuk mund t\u00eb trajtohet objektivisht me gjuh\u00ebn dhe me mjetet e modelit didaktik-iluminist t\u00eb let\u00ebrsis\u00eb. Lexuesi i sot\u00ebm i beson m\u00eb shum\u00eb dokumentit historik sesa thirrjeve patetike, ekspresivitetit koloristik dhe retorik\u00ebs s\u00eb ngritur. K\u00ebto ve\u00e7ori ideo-artistike Sk\u00ebnderbeun e Sabri Godos e radhisin nd\u00ebr romanet m\u00eb t\u00eb mira me tem\u00ebn historike n\u00eb let\u00ebrsin\u00eb ton\u00eb.<\/p>\n

\n

1. Sabri Godo, Sk\u00ebnderbeu, Naim Frash\u00ebri, Tiran\u00eb, 1976, faqe 73
\n2. Karl Jung, Njeriu dhe simbolet e tjera, Mladost, Zagreb, 1973, faqe 160
\n3. Sabri Godo, Sk\u00ebnderbeu, faqe 335.
\n4. Po aty, faqe 334
\n5. Po aty, faqe 334
\n6. Po aty, faqe 335
\n7. Po atu, faqe 334
\n8. Po aty, faqe 169
\n9. Po aty, faqe 363
\n10. Po aty, faqe 71
\n11. Po aty, faqe 72<\/p>\n","protected":false},"excerpt":{"rendered":"

HYRJE Vepra Sk\u00ebnderbeu e Sabri Godos sintetizon p\u00ebrvoj\u00ebn, modelet, mjetet dhe rezultatet e let\u00ebrsis\u00eb s\u00eb pasur, qoft\u00eb artistike, qoft\u00eb historiografike, q\u00eb u krijua p\u00ebr Sk\u00ebnderbeun. Si vep\u00ebr letrare, ajo p\u00ebrmbledh nd\u00ebrmarrjet e shumta artistike dhe historiografike p\u00ebr t\u00eb ndri\u00e7uar n\u00eb m\u00ebnyr\u00eb t\u00eb plot\u00eb dhe t\u00eb shumanshme personalitetin e madh t\u00eb Sk\u00ebnderbeut. Sado q\u00eb m\u00eb ve\u00e7orit\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":16256,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4],"tags":[],"class_list":["post-9673","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-histori"],"yoast_head":"\nANALIZ\u00cb E P\u00cbRGJITHSHME E ROMANIT \u201cSK\u00cbNDERBEU\u201d T\u00cb SHKRIMTARIT SABRI GODO - 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\/analize-e-pergjithshme-e-romanit-skenderbeu-te-shkrimtarit-sabri-godo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ANALIZ\u00cb E P\u00cbRGJITHSHME E ROMANIT \u201cSK\u00cbNDERBEU\u201d T\u00cb SHKRIMTARIT SABRI GODO - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"HYRJE Vepra Sk\u00ebnderbeu e Sabri Godos sintetizon p\u00ebrvoj\u00ebn, modelet, mjetet dhe rezultatet e let\u00ebrsis\u00eb s\u00eb pasur, qoft\u00eb artistike, qoft\u00eb historiografike, q\u00eb u krijua p\u00ebr Sk\u00ebnderbeun. Si vep\u00ebr letrare, ajo p\u00ebrmbledh nd\u00ebrmarrjet e shumta artistike dhe historiografike p\u00ebr t\u00eb ndri\u00e7uar n\u00eb m\u00ebnyr\u00eb t\u00eb plot\u00eb dhe t\u00eb shumanshme personalitetin e madh t\u00eb Sk\u00ebnderbeut. 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