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Nd\u00ebshkimi tragjik i tiranit-Rreth drames\u201dGenti\u201d te Sherif Delvines.-<\/strong><\/p>\n Nga Mexhit Pren\u00e7i<\/strong><\/p>\n \u2013\u00a0 STUDIM, p\u00ebr\u00a0 tragjedin\u00eb \u201dGENTI\u201d\u00a0shkruar nga historiani SHERIF DELVINA \u2013<\/em><\/strong><\/p>\n \u201cTragjedia, kjo form\u00eb superiore e gjinis\u00eb poetike, ka p\u00ebr objekt t\u00eb na tregoj\u00eb an\u00ebt\u00a0e tmerrshme t\u00eb jet\u00ebs, dhimbjet pa em\u00ebr, ankthet e njer\u00ebzimit, triumfin e t\u00eb liqve,\u00a0pushtetin e rast\u00ebsis\u00eb, d\u00ebshtimin e pagabuesh\u00ebm t\u00eb t\u00eb drejt\u00ebve e t\u00eb pafajsh\u00ebmve. Un\u00eb gjej aty simbolin kuptimplot\u00eb t\u00eb natyr\u00ebs s\u00eb bot\u00ebs dhe ekzistenc\u00ebs\u201d- ARTUR SHOPENHAUER<\/em><\/p>\n 1<\/strong><\/p>\n Tema historike ka qen\u00eb \u00ebsht\u00eb dhe\u00a0 do t\u00eb mbetet angazhim i p\u00ebrhersh\u00ebm i shkrimtar\u00ebve, dramaturg\u00ebve dhe artist\u00ebve, jo vet\u00ebm p\u00ebr arsye t\u00eb evokimit t\u00eb historis\u00eb s\u00eb \u00e7do kombit, por edhe p\u00ebr faktin se ajo i flet edhe t\u00eb sotmes e t\u00eb ardhmes.\u00a0 Historia \u00ebsht\u00eb nj\u00eb burim i pashtersh\u00ebm\u00a0 temash\u00a0 p\u00ebr t\u00eb madh\u00ebrishmen dhe t\u00eb ult\u00ebn, t\u00eb bukur\u00ebn e t\u00eb sh\u00ebmtuar\u00ebn; q\u00eb pershkohen nga dramatikja, tragjikja, komikja dhe lirikja dhe frym\u00ebzojn\u00eb\u00a0 autor\u00ebt e m\u00ebdhenj, t\u00eb k\u00ebrkojn\u00eb subjekte, konflikte, drama trondit\u00ebse me konflikte e ngjarje t\u00eb jasht\u00ebzakonshme nga realiteti jet\u00ebsor dhe\u00a0 historik,\u00a0 t\u00eb cilat\u00a0 shnd\u00ebrrohen n\u00eb realitet artistik. Shestimi i k\u00ebtij realiteti dhe personazheve tragjik\u00eb t\u00eb tij nga autori \u00ebsht\u00eb i orientuar\u00a0 nga vizioni i kthjell\u00ebt n\u00eb aplikimin e dy kritereve:\u00a0 at\u00eb t\u00eb personalizimit t\u00eb personazhit real ku i q\u00ebndrohet besnik historis\u00eb n\u00eb thelbin e p\u00ebrmbajtjes s\u00eb figur\u00ebs. Nd\u00ebrsa kriteri i dyt\u00eb nxit fantazin\u00eb krijuese t\u00eb ridimensionohen t\u00eb v\u00ebrtetat historike e jet\u00ebsore, pa shtremberuar\u00a0 t\u00eb v\u00ebrtetat e b\u00ebmave t\u00eb personazheve historik\u00eb e n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb duke dh\u00ebn\u00eb\u00a0 koloritin, atmosfer\u00ebn dhe\u00a0 frym\u00ebn e koh\u00ebs kur zhvillohen ngjarjet.\u00a0 Po gjithsesi n\u00eb t\u00eb dy rastet, mesazhi i dram\u00ebs historike \u00ebsht\u00eb universal, u flas bashk\u00ebkoh\u00ebsve dhe \u00e7do kohe, si nga pik\u00ebpamja historike e fitores ashtu edhe e humbjes, ve\u00e7an\u00ebrsiht n\u00eb situatat m\u00eb ky\u00e7e t\u00eb historis\u00eb, duke transmetuar kumte njer\u00ebzore, ringritjeje morale, q\u00eb e mira t\u00eb p\u00eblqehet dhe e keqja t\u00eb urrehet e t\u00eb refuzohet.<\/p>\n 2<\/strong><\/p>\n Kjo qasje e ka nxitur historianin Sherif Delvina t\u00eb provoj\u00eb pen\u00ebn e tij n\u00eb rrafshin e dramaturgjis\u00eb, i cili\u00a0 duke shkruar p\u00ebr b\u00ebmat e Mbretit t\u00eb Ardian\u00ebve, Gentin, me v\u00ebrtet\u00ebsi historike dhe mjesht\u00ebri artistike ka\u00a0 form\u00ebsuar figur\u00ebn e tij si\u00a0 tiran unik, p\u00ebr t\u00eb dh\u00ebn\u00eb mesazhin\u00a0 se si nd\u00ebshkohet ai q\u00eb egoja karieriste kriminale e fronit, ngrihet mbi \u00e7do ideal, madje edhe mbi idealin e liris\u00eb, demokracis\u00eb, drejt\u00ebsis\u00eb dhe te atdhetaris\u00eb. Jan\u00eb k\u00ebto idet\u00eb themelore te tragjedis\u00eb \u201cGenti\u201d q\u00eb i flet koh\u00ebs son\u00eb, adresuar tek ata aventurier\u00eb dhe gangster\u00eb politik\u00eb, t\u00eb pamoralsh\u00ebm, q\u00eb krijojn\u00eb konflikte dhe mbjellin frym\u00ebn e urrejtjes, duke braktisur dashurin\u00eb, mir\u00ebkuptimin, harmonin\u00eb; \u2013 jan\u00eb ata q\u00eb p\u00ebr t\u00eb hypur n\u00eb fron ose p\u00ebr ta mbajtur at\u00eb, p\u00ebrdorin \u00e7do mjet edhe duke djegur e shkat\u00ebrruar, duke mashtruar e duke vrar\u00eb, pa menduar se nj\u00eb dit\u00eb me diell, drejt\u00ebsia do t\u2019i nd\u00ebshkoj\u00eb tragjikisht.<\/p>\n K\u00ebto mesazhe jepen direkt dhe indirekt n\u00eb tragjedin\u00eb \u201dGenti\u201d, nj\u00eb vep\u00ebr e Delvin\u00ebs kjo,\u00a0 sa dramatike aq dhe tragjiko-historike, e shkruar me rrept\u00ebsin\u00eb e historianit dhe pasionin e dramaturgut, ndon\u00ebse \u00ebsht\u00eb vepra e par\u00eb dramaturgjike e tij.\u00a0 ndoshta dhe e fundit.<\/p>\n 3<\/strong><\/p>\n Rikardo Skrivano n\u00eb revist\u00ebn \u201cEksperienc\u00eb letrare\u201d e Universitetit t\u00eb Rom\u00ebs n\u00eb nr.2 1997, fq.21\u00a0 thot\u00eb: \u201cPa u ngat\u00ebrruar\u00a0 fare, nj\u00eb poet dhe historian mund t\u00eb gjenden n\u00eb t\u00eb nj\u00ebjtin njeri\u201d. Te Sherif Delvina duke gjykuar nga kjo tragjedi, gjenden bashk\u00eb poeti dramatik dhe historiani. Kjo ngjizje ka b\u00ebr\u00eb t\u00eb realizohet nj\u00eb tragjedi me vlera t\u00eb larta, si nj\u00eb vep\u00ebr e mir\u00ebfillt\u00eb letrare ku faktet dhe b\u00ebmat e personazheve historik\u00eb kan\u00eb sh\u00ebrbyer si l\u00ebnd\u00eb, me t\u00eb cil\u00ebn \u00ebsht\u00eb form\u00ebsuar tragjedia artistikisht. Njohja e historis\u00eb dhe v\u00ebrtet\u00ebsia e paraqitjes s\u00eb saj duke i mish\u00ebruar artistikisht, kan\u00eb qen\u00eb faktor\u00eb substancial\u00eb\u00a0 n\u00eb\u00a0 proceset e krijimit dhe strukturimit dramaturgjik.<\/p>\n 4<\/strong><\/p>\n Delvina n\u00eb krijimin artistik t\u00eb figur\u00ebs s\u00eb Gentit,\u00a0 \u00ebsht\u00eb mb\u00ebshtetur edhe n\u00eb historian\u00eb t\u00eb m\u00ebdhenj, grek\u00eb e romak\u00eb t\u00eb lasht\u00ebsis\u00eb. Ja \u00e7\u2019thot\u00eb Polibi, historian i madh grek n\u00eb Megalopol t\u00eb Arkadis\u00eb, aty nga viti 200 para er\u00ebs. son\u00eb: \u201cGenti, Mbreti i Iliri\u00ebve, p\u00ebr shkak se pinte shum\u00eb nat\u00eb e dit\u00eb ishte i dehur, b\u00ebnte veprime t\u00eb padenja n\u00eb jet\u00eb. Ai vrau v\u00ebllan\u00eb e tij, Platorin i cili do t\u00eb martohej me t\u00eb bij\u00ebn e Monunit dhe u martua vet\u00eb\u00a0 me t\u00eb fejuar\u00ebn e viktim\u00ebs s\u00eb tij.\u00a0 N\u00ebnshtetasit i trajtonte me eg\u00ebrsi t\u00eb ashp\u00ebr e t\u00eb madhe.\u201d (Polibi, historit\u00eb, libri XXIX,13).\u00a0 Nd\u00ebrsa Tit Livi, n\u00eb librin XLIV, \u201cNga themelimi i Rom\u00ebs s\u00eb lasht\u00eb\u201d thoshte: \u201cGenti, biri i Pleuratit, Mbretit t\u00eb Iliris\u00eb dhe i Erydik\u00ebs kishte dy v\u00ebllez\u00ebr: Platorin prej n\u00ebne e babe dhe Karavantin vet\u00ebm prej n\u00ebne. Duke mos dyshuar nga ky i fundit, sepse nuk ishte fisnnik nga i ati, vrau Platorin me dy miqt\u00eb e tij, Etritin dhe Epikardin, q\u00eb t\u00eb siguronte fronin me siguri\u2026\u201d<\/p>\n ***<\/p>\n N\u00eb k\u00ebt\u00eb studim nuk do t\u00eb shqyrtoj si \u00ebsht\u00eb trajtuar historia e Gentit dhe e koh\u00ebs ku zhvillohen ngjarjet, nga\u00a0 dramaturgu Delvina, jo vet\u00ebm p\u00ebr faktin se ai \u00ebsht\u00eb njoh\u00ebs serioz\u00a0 i historis\u00eb, por sipas meje nj\u00eb vep\u00ebr letrare, gjykohet dhe analizohet sipas kritereve, artistike, estetike dhe mesazhore, t\u00eb cilat jan\u00eb thelb\u00ebsore n\u00eb p\u00ebrcaktimin e vlerave dhe jovlerave.<\/p>\n 5<\/strong><\/p>\n Tragjedia \u201cGenti\u201d n\u00eb t\u00ebr\u00ebsi\u00a0 \u00ebsht\u00eb shkruar sipas rregullave klasike dhe realiste. \u00cbsht\u00eb strukturuar n\u00eb kat\u00ebr akte. \u00c7do akt \u00ebsht\u00eb ndar\u00eb n\u00eb skena. Akti i par\u00eb dhe i dyt\u00eb jan\u00eb form\u00ebsuar secili n\u00eb kat\u00ebr skena. I treti n\u00eb shtat\u00eb dhe akti i kat\u00ebrt n\u00eb gjasht\u00eb. Kjo struktur\u00eb nuk ka qen\u00eb strikte sipas rregullave rutin\u00eb, \u00ebsht\u00eb disi m\u00eb e \u00e7liruar, m\u00eb e lir\u00eb n\u00eb zhvillimin e subjektit, t\u00eb intensitetit dhe dinamik\u00ebs dramatike dhe form\u00ebsimit\u00a0 sipas ideve, situatave dhe ngjarjeve. N\u00eb ndonj\u00eb sken\u00eb shpjegohet vet\u00eb zhvillimi i ngjarjes para se t\u00eb ndodh\u00eb dhe jepet n\u00eb m\u00ebnyr\u00eb racionale. Nd\u00ebrsa n\u00eb nj\u00eb sken\u00eb tjet\u00ebr ngjarja \u00ebsht\u00eb befasuese\u00a0 dhe dramatike etj.<\/p>\n \u00cbsht\u00eb momenti t\u00eb thuhet se n\u00eb t\u00ebr\u00ebsi\u00a0 nuk shquaj\u00a0 nj\u00eb struktur\u00eb dramaturgjike t\u00eb p\u00ebrsosur t\u00eb k\u00ebsaj tragjedie;\u00a0 m\u00eb tep\u00ebr se organizim t\u00eb vet\u00ebdijsh\u00ebm strukturor, shoh nj\u00eb spontanitet\u00a0 t\u00eb vlert\u00eb q\u00eb buron prej b\u00ebmave\u00a0 t\u00eb personazheve,\u00a0 konfliktit dhe ideve q\u00eb b\u00ebhen menaxhere t\u00eb strukturimeve dramaturgjike. Kjo \u00ebsht\u00eb nj\u00eb ve\u00e7ori e k\u00ebsaj\u00a0 tragjedie q\u00eb e p\u00ebrshkon t\u00ebr\u00eb vepr\u00ebn, pa mohuar dhe dob\u00ebsin\u00eb q\u00eb sjell me vete.<\/p>\n 6<\/strong><\/p>\n N\u00eb k\u00ebt\u00eb tragjedi idet\u00eb e fuqishme jan\u00eb forc\u00eb l\u00ebviz\u00ebse t\u00eb vet\u00ebdijes krijuese t\u00eb autorit n\u00eb form\u00ebsimin e struktur\u00ebs s\u00eb ngjarjes, situat\u00ebs dhe karaktereve t\u00eb cilat zhvillohen sipas nj\u00eb procesi dramaturgjik t\u00eb natyrsh\u00ebm dhe gradual gjer n\u00eb shp\u00ebrthime dramatike e tragjike t\u00eb fuqishme..<\/p>\n Le t\u00eb kujtojm\u00eb dialogun Etuda-Neritan, n\u00eb sken\u00ebn e gjasht\u00eb t\u00eb aktit t\u00eb dyt\u00eb, kur Neritani ka ardhur me mision p\u00ebr t\u2019i dh\u00ebn\u00eb asaj lajmin e vdekjes s\u00eb Platorit. Q\u00eb n\u00eb takimin e par\u00eb sapo largohet\u00a0 Monuni, -NERITANI, duke par\u00eb portretin e zymt\u00eb t\u00eb Etud\u00ebs\u00a0 i thot\u00eb : T\u00eb shoh t\u00eb m\u00ebrzitur princesh\u00eb<\/em>. Etuda: E zeza un\u00eb, ku \u00ebsht\u00eb Platori<\/em>? NERITANI: Vajzat g\u00ebzohen shpejt, po p\u00ebr \u00e7udi hidh\u00ebrohen edhe shpejt<\/em>.\u00a0 ETUDA: Nuk kam nevoj\u00eb p\u00ebr fjal\u00eb t\u00eb tep\u00ebrta, ku \u00ebsht\u00eb Platori<\/em>? NERITANI: Qesh pak, vog\u00eblushe; n\u00eb jet\u00eb gjithkund ka pak tr\u00ebndafila, gazi \u00ebsht\u00eb i \u00e7astit, nd\u00ebrsa hidh\u00ebrimi i p\u00ebrjetsh\u00ebm. <\/em>ETUDA: Fol, fol \u00e7far\u00eb po m\u00eb fsheh<\/em>?\u2026 Ndonj\u00eb lajm t\u00eb keq p\u00ebr\u00a0 Platorin<\/em>?\u2026NERITANI:\u00a0 Fatkeq\u00ebsit\u00eb\u00a0 n\u00eb bot\u00eb jan\u00eb t\u00eb shumta, p\u00ebrpiqen me t\u00eb gjitha mjetet t\u00eb na p\u00ebrfshijn\u00eb n\u00eb shtjell\u00ebn e tyre dhe m\u00eb s\u00eb fundi ia arrijn\u00eb q\u00ebllimit duke m\u00ebrguar fatin larg, larg\u2026<\/em><\/p>\n K\u00ebshtu vazhdon dialogu\u00a0 i bukur, ekspresiv, emocional, me n\u00ebntekst t\u00eb admiruesh\u00ebm, q\u00eb p\u00ebrgatit \u00e7astin m\u00eb kulmor, lajmin e zi mashtrues,\u00a0 p\u00ebr Etud\u00ebn: \u201cNj\u00eb grup armiqsh t\u00eb panjohur\u00a0 i kan\u00eb rr\u00ebmbyer jet\u00ebn Platorit.\u201d<\/em><\/p>\n ***<\/p>\n Struktura hap\u00ebsinore dhe dramaturgjike krijon shtratin e nevojsh\u00ebm p\u00ebr zhvillimin e procesit psikologjik p\u00ebr p\u00ebrballimin e\u00a0 gj\u00ebm\u00ebs s\u00eb zez\u00eb, e cila bie si nj\u00eb lajm-farmak i Hadit, si\u00e7 thot\u00eb Etuda. Dhe pik\u00ebrisht pas k\u00ebsaj nis monologu i shkruar bukur, i dhimbjes dhe dashuris\u00eb, monologu i humbjes s\u00eb shpres\u00ebs, i mosekzistenc\u00ebs. Ajo nuk e do m\u00eb jet\u00ebn pa Platorin. Po monologu i saj merr dimensione akoma m\u00eb t\u00eb m\u00ebdha kur ajo thot\u00eb:<\/p>\n \u201cO hekur vrastar, q\u00eb p\u00ebrgjak Platorin! Tehu yt verbues vrau dhe Ilirin\u00eb\u2026 Ti shpove dy zemra nj\u00ebher\u00ebsh dhe varrose dy jet\u00eb.\u201d<\/em><\/p>\n Platori ishte mbrojt\u00ebsi\u00a0 dhe Lavdia e Iliris\u00eb. Me Vrasjen e Platorit, si\u00e7 thot\u00eb Etuda, v\u00ebrtet tirani varrosi dy jet\u00eb.<\/p>\n 7<\/strong><\/p>\n Kjo struktur\u00eb q\u00eb jo kurdoher\u00eb krijon mund\u00ebsira t\u00eb tilla shpreh\u00ebse, \u00ebsht\u00eb e pranishme edhe n\u00eb skena t\u00eb tjera; ka raste kur ngushtohet hap\u00ebsira strukturore p\u00ebr t\u2019u zhvilluar gradualisht procesi\u00a0 psikologjik i luft\u00ebs s\u00eb brendshme t\u00eb karaktereve, sidomos n\u00eb marrjen e vendimeve qoft\u00eb p\u00ebr t\u00eb pohuar di\u00e7ka apo p\u00ebr t\u00eb mohuar at\u00eb q\u00eb vet\u00eb ka pohuar. M\u00eb evidente kjo shfaqet n\u00eb sken\u00ebn e tret\u00eb t\u00eb aktit t\u00eb par\u00eb, kur Mbreti Gent, pasi ka marr\u00eb p\u00eblqimin e Neritanit q\u00eb t\u00eb motr\u00ebn e tij Anil\u00ebn ta fejoj\u00eb me t\u00eb v\u00ebllan\u00eb Platorin q\u00eb ta t\u00ebrheq\u00eb n\u00eb jet\u00ebn familjare, p\u00ebr t\u2019i zbutur vrullin e tij n\u00eb pun\u00ebt e mbret\u00ebris\u00eb \u00e7ka ia kan\u00eb rritur tep\u00ebr lavdin\u00eb duke zbehur t\u00eb tijn\u00eb; \u2013 e fton Platorin dhe papritur i thot\u00eb se d\u00ebshiron q\u00eb t\u00eb fejohet me Anil\u00ebn. Platori, befas, ashtu menj\u00ebher\u00eb i thot\u00eb: \u201cJo!\u201d.\u00a0 Mbreti : \u201cVajz\u00eb m\u00eb t\u00eb bukur, t\u00eb ndershme dhe t\u00eb mir\u00eb, n\u00eb Shkod\u00ebr, Lis, Rizon nuk ka.\u201d <\/em>Platori flet prer\u00eb: \u201cVajz\u00ebn do ta zgjedh vet\u00eb<\/em>.\u201d At\u00ebhere Genti i sjell argumentin e dyt\u00eb: \u201cAjo \u00ebsht\u00eb motra e Neritanit, v\u00ebllait tim t\u00eb kat\u00ebrt<\/em>\u201d.\u00a0 Pas p\u00ebrgjigjes s\u00eb Platorit se \u201cNeritani\u00a0 si keqb\u00ebr\u00ebs i ngjan shejtanit\u2019\u2019, Mreti i<\/em> thot\u00eb se po heq dor\u00eb nga ky propozim, megjith\u00ebse \u201cti nuk gjykon mir\u00eb p\u00ebr Neritanin\u201d. <\/em><\/p>\n Si\u00e7 shihet kemi nj\u00eb\u00a0 dialog racional, pa zhvillim dramaturgjik q\u00eb k\u00ebrkon vet\u00eb procesi i k\u00ebtij momenti dramatik q\u00eb ka t\u00eb b\u00ebj\u00eb me marrjen e vendimeve t\u00eb r\u00ebnd\u00ebsishme.<\/p>\n 8<\/strong><\/p>\n Struktura dramaturgjike t\u00eb paafta p\u00ebr t\u00eb p\u00ebrballuar densitetin, kompleksitetin dhe dramacitetin e zgjidhjeve konfliktuese t\u00eb drejtp\u00ebrdrejta, apo t\u00eb t\u00ebrthorta, gjen edhe n\u00eb ndonj\u00eb sken\u00eb tjet\u00ebr si psh n\u00eb sken\u00ebn e pest\u00eb t\u00eb aktit t\u00eb tret\u00eb, kur Neritani i jep Monunit lajmin e vrasjes s\u00eb dh\u00ebndrit\u00a0 t\u00eb tij Platorit, e, po aty edhe propozimin e Mbretit Gent p\u00ebr t\u2019u martuar me Etud\u00ebn.<\/p>\n Kjo \u00ebsht\u00eb nj\u00eb situat\u00eb tep\u00ebr emocionale, komplekse dhe dramatike, q\u00eb nuk mund t\u00eb kalohet leht\u00eb e n\u00eb m\u00ebnyr\u00eb telegrafike, p\u00ebrkundrazi\u00a0 k\u00ebrkon nj\u00eb zhvillim dramaturgjik psikologjik, t\u00eb\u00a0 till\u00eb, q\u00eb t\u2019u krijoj\u00eb personazheve dimensionet hap\u00ebsinore e kohore p\u00ebr t\u00eb shpalosur emocionet dhe luft\u00ebn e tyre t\u00eb brendshme.<\/p>\n Nd\u00ebr dob\u00ebsit\u00eb artistike q\u00eb shfaqen aty-k\u00ebtu n\u00eb vep\u00ebr, do t\u00eb p\u00ebrmendja edhe monologun e Gentit p\u00ebr t\u00eb vrar\u00eb Platorin, ku g\u00ebrshetohet monologu si struktur\u00eb dramatike me dialogun q\u00eb\u00a0 realizohet\u00a0 me thik\u00ebn. Ndoshta \u00ebsht\u00eb nd\u00ebr monolog\u00ebt e pak\u00ebt q\u00eb nuk q\u00ebndron artistikisht n\u00eb lart\u00ebsin\u00eb e monolog\u00ebve t\u00eb tjer\u00eb n\u00eb k\u00ebt\u00eb tragjedi t\u00eb cil\u00ebt jan\u00eb shkruar me pathos, kultur\u00eb, frym\u00ebmarrje t\u00eb gjer\u00eb, ku shpesh metafora dhe simboli, b\u00ebhen bart\u00ebse\u00a0 t\u00eb mendimeve dhe emocioneve t\u00eb fuqishme.<\/p>\n 9<\/strong><\/p>\n N\u00eb tragjedin\u00eb \u201cGenti\u201d, monolog\u00ebt kan\u00eb disa pamje: shqet\u00ebsim t\u00eb brendsh\u00ebm n\u00eb situata t\u00eb v\u00ebshtira kur ndodhesh midis dy alternativash dhe n\u00eb krah\u00ebt e dilem\u00ebs; monolog i dhimbjes, monolog i humbjes, i shkat\u00ebrrimit e n\u00ebn\u00ebshtrimit\u00a0 t\u00eb turpsh\u00ebm dhe monologu\u00a0 mashtrues i cili realizohet me mjesht\u00ebri sa djalli shnd\u00ebrrohet n\u00eb engj\u00ebll. Ja, si monologon Genti, pasi \u00ebsht\u00eb zbatuar urdhri i tij p\u00ebr vrasjen e t\u00eb v\u00ebllait, Platorit: \u201dO lajm, m\u00eb i hidhur e prek\u00ebs se vdekja! \/ kur<\/em> njeriu arrin ta ndiej\u00eb at\u00eb \/ Ti mbush me lot\u00eb syt\u00eb e Ilir\u00ebve\u00a0 \/ B\u00ebre t\u00eb lotoj\u00eb t\u00ebr\u00eb vendi\u00a0 \/\u00a0 T\u00eb hesht\u00eb\u00a0 fjal\u00ebzjarrti v\u00eblla \/ O humbje e r\u00ebnd\u00eb! O dhimbje e madhe! \/ A do t\u00eb t\u00eb p\u00ebrballojm\u00eb dot? \/ Pesha e zis\u00eb, ngash\u00ebrimi i vajit,\u00a0 \/ Mua do t\u00eb m\u00eb shoq\u00ebrojn\u00eb gjer n\u00eb varr. \/ S\u2019e mbaj dot veten. \/ O burr\u00eb mbi burrat!! \/ Iliria nj\u00ebher\u00eb ka lindur princ Plator. \/ Ndaj do t\u00eb ndrit\u00ebsh me shk\u00eblqim n\u00eb \u00e7do betej\u00eb.. \/ B\u00ebmat e tua do t\u00eb b\u00ebhen k\u00ebng\u00eb\u201d . <\/em><\/p>\n Ve\u00e7ori tjet\u00ebr e monolog\u00ebve \u00ebsht\u00eb se ato nuk jan\u00eb uniform\u00eb, por her\u00eb t\u00eb shkurt\u00ebr, her\u00eb t\u00eb gjat\u00eb e her\u00eb t\u00eb mes\u00ebm. Jo gjithnj\u00eb duke ruajtur sensin e mas\u00ebs, k\u00ebto struktura diktohen nga pesha e mendimeve\u00a0 t\u00eb personazheve dhe konfliktit brenda vetes.<\/p>\n ***<\/p>\n Krahas vlerave q\u00eb p\u00ebrmban monologu, q\u00ebndrojn\u00eb edhe vlerat e dialogut, dy mjetet kryesore te shprehjes s\u00eb gjuh\u00ebs s\u00eb tragjedis\u00eb. Dialogu nuk \u00ebsht\u00eb i r\u00ebndomt\u00eb, por kon\u00e7iz dhe ekspresiv, me kolorit, me intonacione t\u00eb pasura ku gjuha e figurshme, plot mendime n\u00eb stilin e tragjedis\u00eb, me sentenca, fjal\u00eb t\u00eb urta dhe her\u00eb-her\u00eb me nj\u00eb n\u00ebntekst t\u00eb thell\u00eb, krijojn\u00eb nj\u00eb aliazh shpreh\u00ebs estetik dhe mesazho-artistik .<\/p>\n 10<\/strong><\/p>\n Portretizimi i personazheve, me personale artistike te spikatur\u00a0\u00a0 realizohet, jo vet\u00ebm n\u00ebp\u00ebrmjet\u00a0 b\u00ebmave t\u00eb tyre, por edhe me an\u00eb t\u00eb pohimeve t\u00eb veta n\u00eb nj\u00eb gjendje p\u00ebrp\u00eblitjeje nd\u00ebrgjegjeje dhe nga fjala e kund\u00ebrshtar\u00ebve. Ja sesi\u00a0 e portretizon Etuda Gentin: \u201cJe m\u00eb i posht\u00ebr se posht\u00ebrsia \/ metamorfoza\u00a0 p\u00ebson\u00a0 tri here \/ b\u00ebhesh si tig\u00ebr kur p\u00ebrgjon viktim\u00ebn \/ p\u00ebr t\u2019iu hedhur pastaj e p\u00ebr ta shqyer,\u00a0 \/ her\u00eb si nep\u00ebrk\u00eb e strukur n\u00ebn shk\u00ebmb gati p\u00ebr t\u2019u hedhur kur e do nevoja, \/ her\u00eb si p\u00ebllumb i bardh\u00eb, a si qingj i but\u00eb, \/ me fytyr\u00eb njer\u00ebzore\/\u2026 Do t\u00eb t\u00eb vras, do t\u00eb t\u00eb vras, o Gent, pjell\u00eb e krimit!\u201d.<\/em><\/p>\n (Akoma pa e nxjerr\u00eb ajo thik\u00ebn Genti deklamon):<\/p>\n \u201cT\u00eb betohem p\u00ebr Per\u00ebndi, Etud\u00eb e urt\u00eb, \/ nuk jam fajtor p\u00ebr asgj\u00eb<\/em>.\u201d (Me thik\u00eb n\u00eb dor\u00eb Etuta v\u00ebrsulet): \u201cNuk t\u00eb besoj , o burim m\u00ebkatesh!\u2019\u2019. (<\/em>Genti n\u00eb \u00e7ast nxjerr thik\u00ebn dhe e \u00e7armatos). \u2018\u2019Merreni!\u2019\u2019<\/em> u th\u00ebrret vras\u00ebsve). Nuk ka argument m\u00eb t\u00eb forte nga\u00a0 ato q\u00eb tha Etuda p\u00ebr t\u00eb.<\/p>\n 11<\/strong><\/p>\n OR\u00cbT \u2013 mbrojt\u00ebsit e jet\u00ebs s\u00eb njer\u00ebzve dhe nd\u00ebshkuesit e vrasjeve\u00a0 pabesisht q\u00eb aplikon autori n\u00eb k\u00ebt\u00eb tragjedi, jan\u00eb\u00a0 mitik\u00eb\u00a0 e fantastik\u00eb, metaforik\u00eb e simbolik\u00eb sa t\u00eb r\u00ebnd\u00ebsish\u00ebm aq dhe shpreh\u00ebs, sa t\u00eb ve\u00e7ant\u00eb aq dhe origjinal\u00eb, sa skenik\u00eb aq dhe emocional\u00eb: Ora e Rozaf\u00ebs, Ora e Sharrit, Ora e Tomorrit. Si mjete figurative skenik\u00eb, or\u00ebt krijojn\u00eb hap\u00ebsira dhe mund\u00ebsira p\u00ebr t\u00eb rritur tensionin dramatik, intensitetin e veprimit, amplitud\u00ebn e emocionit dhe dramacitetin e situat\u00ebs. Ato shfaqen si personazhe ide, si hije, fantazm\u00eb, z\u00eb, zhurm\u00eb, tingull, ngjyr\u00eb dhe her\u00eb si di\u00e7ka e p\u00ebrzier\u00eb. Her\u00eb vihen n\u00eb rolin e prokurorit, her\u00eb n\u00eb at\u00eb t\u00eb avokatit. Jan\u00eb prokuror\u00eb kur akuzojn\u00eb Gentin p\u00ebr krimet e tij; shnd\u00ebrrohen\u00a0 n\u00eb avokat\u00ebr mbrojt\u00ebs n\u00eb situata t\u00eb tjera dhe n\u00eb trup gjykues q\u00eb jep drejt\u00ebsi.<\/p>\n 12<\/strong><\/p>\n Nj\u00eb gjyq i madh\u00a0 zhvillohet n\u00eb subkoshienc\u00ebn e Gentit ku ndeshet frika, ankthi dhe tmerri i l\u00ebshimit t\u00eb fronit, me shpres\u00ebn e ruajtjes s\u00eb tij. Kjo pik\u00eb lidh\u00ebse e gjith\u00eb zhvillimit t\u00eb tragjedis\u00eb, shfaqet me t\u00ebr\u00eb kompleksitetin e vet, gjithnj\u00eb n\u00eb ngjitje, sa arrin n\u00eb \u00e7astin e shp\u00ebrthimit, por tashm\u00eb e koncentruar n\u00eb luft\u00ebn e brendshme ekzistenciale dhe absurde t\u00eb Gentit, kur ka r\u00ebn\u00eb n\u00eb fund t\u00eb pusit t\u00eb zi. Pik\u00ebrisht n\u00eb k\u00ebt\u00eb situat\u00eb tragjikomike, krimineli i rr\u00ebzuar p\u00ebrdhe k\u00ebrkon p\u00ebrs\u00ebri zot\u00ebrimin e fronit, duke u shnd\u00ebrruar n\u00eb nj\u00eb monst\u00ebr labirintheve t\u00eb m\u00ebshir\u00ebs, sa krijon vet\u00ebm p\u00ebrbuzje dhe neveri. N\u00eb k\u00ebt\u00eb situat\u00eb tragjikomike shfaqen Or\u00ebt\u00a0 me t\u00ebr\u00eb vitalitetin e tyre, duke shpejtuar shkat\u00ebrrimin moral t\u00eb k\u00ebtij tirani, n\u00eb rrokullisjen tragjike p\u00ebr n\u00eb ferr. N\u00eb t\u00eb gjitha skenat kur Genti k\u00ebrkon m\u00ebshir\u00eb, shfaqen nj\u00ebher\u00ebsh tragjikja dhe komikja, her\u00eb si dukuri realiste, her\u00eb si absurde.<\/p>\n Rikardo Skrivano, <\/em>n\u00eb revist\u00ebn \u201cEksperienc\u00eb letrare\u201d <\/em>q\u00eb cituam m\u00eb lart, fq.19, thot\u00eb: \u2019\u2019Komedia njer\u00ebzore p\u00ebrkon vazhdimisht me tragjedin\u00eb\u2019\u2019.<\/em> K\u00ebt\u00eb t\u00eb v\u00ebrtet\u00eb, shprehur edhe nga filozof\u00ebt e vjet\u00ebr grek\u00eb q\u00eb para er\u00ebs.son\u00eb e shohim t\u00eb konkretizuar edhe n\u00eb k\u00ebt\u00eb tragjedi, sidomos n\u00eb skenat e m\u00ebshir\u00ebs si\u00e7 shfaqet k\u00ebtu, si dukuri tragjike, komike, dramatike dhe absude.<\/p>\n \u00cbsht\u00eb tragjike sepse Genti ndodhet vet\u00ebm p\u00ebrpara nj\u00eb alternative, \u2013 vet\u00ebvrasjes; \u00ebsht\u00eb komike sepse ai k\u00ebrkon m\u00ebshir\u00eb pa u penduar; \u00ebsht\u00eb tragjikomike sepse\u00a0 n\u00eb k\u00ebto rrethana, p\u00ebr t\u00eb shp\u00ebtuar kok\u00ebn dhe fronin do t\u00eb jap\u00eb t\u00ebr\u00eb lirin\u00eb duke pranuar skllav\u00ebrim t\u00eb plot\u00eb; \u00ebsht\u00eb absurde sepse krimet q\u00eb ai ka b\u00ebr\u00eb ndaj Ilir\u00ebve dhe Iliris\u00eb, gjakun q\u00eb \u00ebsht\u00eb derdhur, nuk e lan dot as oqeani. Asnj\u00eb \u00e7mim nuk e paguan dot.<\/p>\n 13<\/strong><\/p>\n Nga pik\u00ebpamja dramaturgjike do t\u00eb d\u00ebshiroja q\u00eb\u00a0 Or\u00ebt n\u00eb momentin para vrasjes s\u00eb Gentit, t\u2019i suleshin nga t\u00eb gjitha an\u00ebt e me t\u00eb gjitha mjetet: me z\u00ebrat, tingujt, ngjyrat, veprimet dhe atmosfer\u00ebn, sipas situatash q\u00eb t\u00eb vinin gjithnj\u00eb duke u ndezur, duke u k\u00ebrleshur, sa t\u00eb arrinte pika e vlimit, ku thika e dor\u00ebs vet\u00ebvras\u00ebse t\u00eb ngulej n\u00eb zemr\u00ebn barbare t\u00eb Gentit\u00a0 e t\u00eb zhytej n\u00eb pellgun e gjakut t\u00eb vet.<\/p>\n Gjithashtu do t\u00eb d\u00ebshiroja q\u00eb Genti t\u00eb trajtohej jo vet\u00ebm si nj\u00eb protagonist q\u00eb udh\u00ebton drejt gremin\u00ebs n\u00ebp\u00ebrmjet kurtheve t\u00eb krimit dhe vet\u00ebkurthit\u00a0 \u00eb nd\u00ebshkimit, por t\u00eb dep\u00ebrtohej edhe n\u00eb bot\u00ebn e mir\u00eb intime e njer\u00ebzore t\u00eb tij, qoft\u00eb edhe vet\u00ebm nj\u00eb rast. Sipas meje edhe tek krimineli, brenda tij ekziston di\u00e7ka njer\u00ebzore, n\u00ebse pramojm\u00eb q\u00eb te njeriu, ekziston dhe bashk\u00ebjeton djalli edhe engj\u00eblli, e mira edhe e keqja.\u00a0 N\u00eb situata t\u00eb caktura, b\u00ebhet pushtuese njera apo tjetra.<\/p>\n ***<\/p>\n Nd\u00ebrsa p\u00ebrsa u p\u00ebrket veprimeve psikofizike t\u00eb Gentit n\u00eb tragjedin\u00eb e Delvin\u00ebs, n\u00eb t\u00ebr\u00ebsi ato jan\u00eb t\u00eb motivuara dhe t\u00eb besueshme, \u00e7\u2019ka d\u00ebshmojn\u00eb vlera artistike. Do t\u00eb doja q\u00eb figura e Neritanit dhe ajo e Lek\u00ebs, t\u00eb ishin m\u00eb t\u00eb motivuara, mbasi nuk jepet e qart\u00eb se pse ata marrin pjes\u00eb n\u00eb k\u00ebto akte kriminale barbare. Nd\u00ebrsa p\u00ebrsa i p\u00ebrket\u00a0 portretit t\u00eb Neritanit autori ka krijuar fytyr\u00ebn e tij\u00a0 si mjesht\u00ebr i kurtheve dhe kriminel pas shpine.\u00a0<\/strong><\/p>\n 14<\/strong><\/p>\n Duke p\u00ebrfunduar do t\u00eb theksoj\u00a0 se tragjedia \u2018\u2019Genti\u2019\u2019 p\u00ebrcjell mesazhe shum\u00eb t\u00eb r\u00ebnd\u00ebsishme\u00a0 historike, aktuale dhe universal p\u00ebr \u00e7do tiran\u00a0 q\u00eb\u00a0 ngjitet n\u00eb fronin e lart\u00eb dhe q\u00ebndron mbi t\u00eb,\u00a0 n\u00ebp\u00ebrmjet rrug\u00ebs s\u00eb krimeve, kurtheve, intrigave, vrasjeve; eleminimit t\u00eb kund\u00ebrshtar\u00ebve, madje edhe t\u00eb njer\u00ebzve m\u00eb t\u00eb dashur. Lufta e p\u00ebrbindshme\u00a0 p\u00ebr interesat personale t\u00eb cilat ngrihen mbi idealet njer\u00ebzore dhe universale, t\u00eb liris\u00eb, demokracis\u00eb dhe drejtesin\u00eb, gjithnj\u00eb ka patur dhe do t\u00eb ket\u00eb nj\u00eb FUND TRAGJIK.<\/p>\n Kjo kuptim\u00ebsi bart vler\u00ebn m\u00eb t\u00eb lart\u00eb artistike dhe mesazhore t\u00eb tragjedis\u00eb \u201c GENTI \u201d\u00a0 dhe i flet indirekt, dhe n\u00eb m\u00ebnyr\u00eb provokative realitetit te sot\u00ebm\u00a0 n\u00eb Shqip\u00ebri,\u00a0 ku autoriteti i NJ\u00cbSHIT mbi Ligjin dhe t\u00eb kat\u00ebr pushtetet \u00ebsht\u00eb VET\u00cbKURTH I ND\u00cbSHKIMIT TRAGJIK.<\/p>\n","protected":false},"excerpt":{"rendered":" Nd\u00ebshkimi tragjik i tiranit-Rreth drames\u201dGenti\u201d te Sherif Delvines.- Nga Mexhit Pren\u00e7i \u2013\u00a0 STUDIM, p\u00ebr\u00a0 tragjedin\u00eb \u201dGENTI\u201d\u00a0shkruar nga historiani SHERIF DELVINA \u2013 \u201cTragjedia, kjo form\u00eb superiore e gjinis\u00eb poetike, ka p\u00ebr objekt t\u00eb na tregoj\u00eb an\u00ebt\u00a0e tmerrshme t\u00eb jet\u00ebs, dhimbjet pa em\u00ebr, ankthet e njer\u00ebzimit, triumfin e t\u00eb liqve,\u00a0pushtetin e rast\u00ebsis\u00eb, d\u00ebshtimin e pagabuesh\u00ebm t\u00eb t\u00eb […]<\/p>\n","protected":false},"author":9,"featured_media":11775,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[10,35],"tags":[],"class_list":["post-11774","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultura","category-shoqerore"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.shqiperia.com\/blog\/wp-content\/uploads\/2018\/09\/sherif-delvina-Copy.jpg?fit=394%2C285&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5Z6wp-33U","jetpack-related-posts":[{"id":103848,"url":"https:\/\/www.shqiperia.com\/blog\/sherif-bundo-politika-kunder-fshatit-a-po-gabojme-perseri\/","url_meta":{"origin":11774,"position":0},"title":"Sherif Bundo: – Politika kund\u00ebr fshatit. A po gabojm\u00eb p\u00ebrs\u00ebri?","author":"Kurt Farka","date":"August 5, 2026","format":false,"excerpt":"5 Gusht 2026 Nga Sherif BUNDO \u201cDymb\u00ebdhjet\u00eb vjet pas ndarjes s\u00eb vitit 2014, Shqip\u00ebria p\u00ebrballet me pyetjen n\u00ebse problemi q\u00ebndron te numri i bashkive apo te modeli i organizimit financiar dhe administrativ t\u00eb pushtetit vendor\u201d. 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Alarm global p\u00ebr virusin e Ebolas n\u00eb Afrik\u00eb, OBSH shpall emergjenc\u00eb nd\u00ebrkomb\u00ebtare","author":"Kurt Farka","date":"May 18, 2026","format":false,"excerpt":"18 Maji 2026 Dit\u00ebt e fundit, bota \u00ebsht\u00eb panikosur nga\u00a0 p\u00ebrhapja e pakontrolluar e virusit Ebola n\u00eb Republik\u00ebn Demokratike t\u00eb Kongos. Autoritetet sh\u00ebndet\u00ebsore paralajm\u00ebrojn\u00eb se p\u00ebrballimi i virusit \u00ebsht\u00eb b\u00ebr\u00eb tep\u00ebr i komplikuar, nd\u00ebrsa varianti aktual i Ebol\u00ebs konsiderohet i rrall\u00eb dhe me pak mund\u00ebsi trajtimi. Deri tani jan\u00eb raportuar\u2026","rel":"","context":"In "Njoftime Shtypi"","block_context":{"text":"Njoftime Shtypi","link":"https:\/\/www.shqiperia.com\/blog\/category\/njoftime-shtypi\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.shqiperia.com\/blog\/wp-content\/uploads\/2026\/05\/640-0-de89a9aecf94a8fd012c989b478f545c-1.jpg?fit=640%2C336&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.shqiperia.com\/blog\/wp-content\/uploads\/2026\/05\/640-0-de89a9aecf94a8fd012c989b478f545c-1.jpg?fit=640%2C336&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.shqiperia.com\/blog\/wp-content\/uploads\/2026\/05\/640-0-de89a9aecf94a8fd012c989b478f545c-1.jpg?fit=640%2C336&ssl=1&resize=525%2C300 1.5x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/posts\/11774","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/comments?post=11774"}],"version-history":[{"count":1,"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/posts\/11774\/revisions"}],"predecessor-version":[{"id":11777,"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/posts\/11774\/revisions\/11777"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/media\/11775"}],"wp:attachment":[{"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/media?parent=11774"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/categories?post=11774"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.shqiperia.com\/blog\/wp-json\/wp\/v2\/tags?post=11774"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/i0.wp.com\/www.shqiperia.com\/blog\/wp-content\/uploads\/2018\/09\/sherif-delvina-266x300.jpg?resize=266%2C300\")
<\/p>\nSherif Delvina.<\/pre>\n