S\u00eb pari, shkurt\u00ebsia e k\u00ebtij romani \u2013 154 faqe n\u00eb botimin e par\u00eb \u2013 dhe thjesht\u00ebsia e paraqitjes s\u00eb tij \u2013 51 krer\u00eb t\u00eb vegj\u00ebl \u2013 b\u00ebjn\u00eb nj\u00eb kontrast t\u00eb qart\u00eb me gjer\u00ebsin\u00eb dhe struktur\u00ebn e p\u00ebrpunuar me t\u00eb cil\u00ebt jemi m\u00ebsuar t\u00eb identifikojm\u00eb \u201cformatin\u201d kunderian qysh nga Shakaja<\/em> (366 faqe,7 pjes\u00eb, 72 krer\u00eb), e m\u00eb shum\u00eb akoma Leht\u00ebsia e padurueshme e qenies<\/em> (302 faqe, 7 pjes\u00eb, 145 krer\u00eb) ose Pavdek\u00ebsia<\/em> (412 faqe, 7 pjes\u00eb, 113 krer\u00eb). N\u00ebse ka di\u00e7ka n\u00eb vepr\u00ebn e Kunder\u00ebs q\u00eb mund ta paralajm\u00ebronte disi k\u00ebt\u00eb lloj tkurrjeje, k\u00ebt\u00eb zhveshje relative t\u00eb paraqitjes, mund t\u00eb p\u00ebrmendnim novelat n\u00eb librin Dashuri qesharake<\/em> ose pjes\u00eb t\u00eb ndryshme t\u00eb Libri i t\u00eb qeshurit dhe harres\u00ebs<\/em>; por k\u00ebto novela dhe pjes\u00eb nuk ishin tregime t\u00eb pavarura dhe t\u00eb m\u00ebvet\u00ebsishme, ato mbeten t\u00eb nd\u00ebrthurura n\u00eb nj\u00eb struktur\u00eb m\u00eb t\u00eb gjer\u00eb, prej ku u vjen edhe nj\u00eb pjes\u00eb e r\u00ebnd\u00ebsishme e dometh\u00ebnies s\u00eb tyre. Me Ngadal\u00ebsin\u00eb<\/em>, Kundera cek p\u00ebr t\u00eb par\u00ebn her\u00eb nj\u00eb form\u00eb t\u00eb re, q\u00eb mund t\u00eb quhet roman i shkurt\u00ebr, estetika e t\u00eb cilit p\u00ebrafron shum\u00eb me at\u00eb t\u00eb novel\u00ebs, q\u00eb k\u00ebrkon p\u00ebrqendrim dhe \u201cshpejt\u00ebsi\u201d rr\u00ebfyese, por po ashtu, do t\u00eb largohej nga shp\u00ebrthimi dhe nj\u00eb lloj \u201cp\u00ebr\u00e7artjeje\u201d e kompozimit, n\u00eb t\u00eb cilin intrigat, personazhet dhe \u201cz\u00ebrat\u201d \u2013 tregim, ese, sh\u00ebnime \u201cautobiografike\u201d \u2013 p\u00ebrzihen dhe jehojn\u00eb pa nd\u00ebrprerje te nj\u00ebra-tjetra, brenda s\u00eb nj\u00ebjt\u00ebs hap\u00ebsir\u00eb nj\u00ebherazi unike dhe e shum\u00ebfisht\u00eb, e paraqitur k\u00ebtu nga k\u00ebshtjella-hotel dhe parku i rrethuar nga autostradat.<\/p>\n\n\n\n Tipari tjet\u00ebr q\u00eb i jep \u201cNgadal\u00ebsis\u00eb\u201d, nj\u00eb karakter dallues dhe \u201cp\u00ebrurues\u201d n\u00eb vepr\u00ebn e Kunder\u00ebs \u00ebsht\u00eb, pa dyshim, fakti q\u00eb ky roman \u00ebsht\u00eb shkruar drejtp\u00ebrs\u00ebdrejti n\u00eb fr\u00ebngjisht. Ky fakt do t\u00eb ngjall\u00eb doemos reagime mendjengushta, po k\u00ebto pak r\u00ebnd\u00ebsi kan\u00eb, krahasuar me vler\u00ebn e v\u00ebrtet\u00eb t\u00eb librit, vler\u00eb e cila \u00ebsht\u00eb e nj\u00eb niveli tjet\u00ebr, shum\u00eb m\u00eb dometh\u00ebn\u00ebse. N\u00eb t\u00eb v\u00ebrtet\u00eb, n\u00eb k\u00ebt\u00eb ndryshim t\u00eb gjuh\u00ebs, n\u00eb k\u00ebt\u00eb \u201cindiferenc\u00eb\u201d t\u00eb pakt\u00ebn teorike ndaj ligj\u00ebrimit, ka nj\u00eb pohim t\u00eb n\u00ebnkuptuar t\u00eb nj\u00eb koncepti t\u00eb romanit, q\u00eb s\u2019ka shum\u00eb t\u00eb b\u00ebj\u00eb me kultin aktual t\u00eb t\u00eb shkruarit.<\/p>\n\n\n\n Sipas k\u00ebtij kulti, sipas k\u00ebsaj idhujtarie, let\u00ebrsia \u2013 p\u00ebrfshi dhe romanin \u2013 do duhej t\u00eb ishte vet\u00ebm nj\u00eb lloj loje gjuh\u00ebsore, e sunduar her\u00eb nga l\u00ebnia n\u00eb dor\u00eb t\u00eb burimeve dhe \u201cpushteteve\u201d, t\u00eb pav\u00ebna n\u00eb dyshim t\u00eb gjuh\u00ebs, her\u00eb nga k\u00ebrkimi i shfrenuar i nj\u00eb \u201cstili\u201d, dometh\u00ebn\u00eb i nj\u00eb m\u00ebnyre q\u00eb pretendon t\u00eb jet\u00eb origjinale n\u00eb kombinimin e fjal\u00ebve dhe n\u00eb nd\u00ebrtimin e fjalive n\u00eb nj\u00eb tekst, i cili \u00ebsht\u00eb vet\u00eb edhe zanafill\u00eb edhe q\u00ebllim i vetvetes. N\u00eb shumic\u00ebn e rasteve ky stil prodhon romane lozonjare dhe boshe, ku, sigurisht, mund t\u00eb shoh\u00ebsh se si plot\u00ebsohet shkrimi dhe ku mund t\u00eb dallohet nj\u00eb \u201ctingull\u201d vetjak, po ku ky shkrim \u00ebsht\u00eb kaq i duksh\u00ebm dhe ai tingull b\u00ebn aq shum\u00eb zhurm\u00eb, sa q\u00eb s\u2019na l\u00ebn\u00eb t\u00eb shohim e as t\u00eb d\u00ebgjojm\u00eb tjet\u00ebr gj\u00eb. Merrni pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb romaneve t\u00eb shkruara n\u00eb fr\u00ebngjisht, zhvishini nga bukurirat e shkrimit dhe nga t\u00eb tjera \u201cguxime\u201d retorike, kthejini n\u00eb nj\u00eb proz\u00eb t\u00eb thjesht\u00eb, dhe do ta shihni.<\/p>\n\n\n\n Nd\u00ebrsa kjo \u201cproz\u00eb e thjesht\u00eb\u201d \u00ebsht\u00eb vet\u00eb gjuha n\u00eb t\u00eb cil\u00ebn \u201cNgadal\u00ebsia\u201d \u00ebsht\u00eb shkruar. Kjo proza k\u00ebtu, \u00ebsht\u00eb proza franceze m\u00eb e drejtp\u00ebrdrejt\u00eb, pa ojna, dhe n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb m\u00eb e lehta, e sidomos, m\u00eb e sakta. Personaliteti i saj, \u201cn\u00ebnshkrimi\u201d q\u00eb mban, nuk jan\u00eb m\u00eb pak t\u00eb forta: \u00ebsht\u00eb as m\u00eb shum\u00eb e as m\u00eb pak por nj\u00eb Kundera i v\u00ebrtet\u00eb, dhe lexuesi i \u201cJeta \u00ebsht\u00eb gjetiu\u201d (La vie est ailleurs) ose i \u201cLeht\u00ebsis\u00eb s\u00eb padurueshme t\u00eb qenies\u201d do ta gjej\u00eb veten n\u00eb nj\u00eb truall t\u00eb njohur stilistik dhe retorik. Bukuria e k\u00ebsaj proze \u2013 qoft\u00eb e p\u00ebrkthyer apo e shkruar bash n\u00eb fr\u00ebngjisht \u2013 q\u00ebndron n\u00eb radh\u00eb t\u00eb par\u00eb te thjesht\u00ebsia e saj, te hedhja posht\u00eb q\u00eb i b\u00ebn \u00e7do narcizismi, pra jo te k\u00ebrkimi i efekteve sip\u00ebrfaq\u00ebsore, p\u00ebrkundrazi, te p\u00ebrshtatja sa m\u00eb e madhe me universin dhe me personazhet e p\u00ebrmendura. Jan\u00eb personazhet, gjestet e tyre, ekzistenca e tyre dhe \u201caritmetika\u201de marr\u00ebdh\u00ebnieve t\u00eb tyre, q\u00eb ng\u00ebrthejn\u00eb l\u00ebnd\u00ebn e v\u00ebrtet\u00eb t\u00eb romanit. N\u00eb k\u00ebto kushte, gjuha dhe shkrimi (brenda t\u00eb cil\u00ebve ndodh gjith\u00e7ka) duhet t\u00eb fshihen, t\u00eb harrohen n\u00eb nj\u00eb far\u00eb m\u00ebnyre, pasi pik\u00ebrisht n\u00eb k\u00ebt\u00eb harres\u00eb, duke hequr dor\u00eb nga joshja e lexuesit drejt tyre, gjuha dhe shkrimi realizohen plot\u00ebsisht, mb\u00ebrrijn\u00eb n\u00eb cil\u00ebsin\u00eb e ep\u00ebrme: mas\u00ebn e duhur.<\/p>\n\n\n\n Sado befasues t\u00eb jen\u00eb, k\u00ebto dy tipare \u2013 proz\u00eb e shkurt\u00ebr dhe e shkruar n\u00eb fr\u00ebngjisht \u2013 mbeten gjithsesi dyt\u00ebsore. Risia e madhe e \u201cNgadal\u00ebsis\u00eb\u201d krahasuar me vepr\u00ebn e m\u00ebparshme t\u00eb Kunder\u00ebs, gjendet e p\u00ebrkufizuar qart\u00eb n\u00eb nj\u00eb nga vet\u00eb skenat e k\u00ebtij romani, kur Vera b\u00ebn zgjimin e par\u00eb dhe qorton t\u00eb shoqin:<\/p>\n\n\n\n \u201cTi m\u00eb ke th\u00ebn\u00eb shpesh se do t\u00eb doje q\u00eb nj\u00eb dit\u00eb t\u00eb shkruaje nj\u00eb roman, ku asnj\u00eb fjal\u00eb nuk do t\u00eb ishte serioze. Nj\u00eb Budallall\u00ebk t\u00eb Madh vet\u00ebm P\u00ebr Qejfin T\u00ebnd. Kam frik\u00eb se kjo koh\u00eb ka ardhur [\u2026]\u201d (kreu 26)<\/p>\n\n\n\n T\u00eb mbash hapat te ky fragment, do t\u00eb thot\u00eb t\u2019i qasesh nj\u00eb kuptimi thelb\u00ebsor jo vet\u00ebm t\u00eb \u201cNgadal\u00ebsis\u00eb\u201d, por t\u00eb t\u00eb gjith\u00eb vepr\u00ebs romaneske t\u00eb Kunder\u00ebs.<\/p>\n\n\n\n Si mund t\u00eb jet\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb nj\u00eb \u201croman ku asnj\u00eb fjal\u00eb nuk do t\u00eb ishte serioze\u201d, nj\u00eb roman q\u00eb nuk do t\u00eb ishte gj\u00eb tjet\u00ebr ve\u00e7 nj\u00eb \u201cNj\u00eb Budallall\u00ebk i Madh P\u00ebr Qejf\u201d?<\/p>\n\n\n\n Par\u00eb nga k\u00ebndv\u00ebshtrimi i \u201cteoris\u00eb\u201d kunderiane t\u00eb romanit (ashtu si\u00e7 del jo vet\u00ebm te \u201cArti i romanit\u201d dhe te \u201cTestamente t\u00eb tradhtuara\u201d, por edhe n\u00eb eset\u00eb e tjera q\u00eb sh\u00ebnjojn\u00eb romanet e Kunder\u00ebs), ky do t\u00eb ishte nj\u00eb roman absolut, nj\u00eb roman i past\u00ebr, i \u00e7liruar nga gjith\u00e7ka q\u00eb nuk \u00ebsht\u00eb vet\u00eb romani, nga gjith\u00e7ka q\u00eb nuk \u00ebsht\u00eb i llojit t\u00eb vet, dometh\u00ebn\u00eb i llojit t\u00eb proz\u00ebs, i llojit t\u00eb t\u00eb qeshurit dhe t\u00eb pasiguris\u00eb, i llojit satanik, si t\u00eb thuash. N\u00eb librin \u201cTestamente t\u00eb tradhtuara\u201d, Kundera e p\u00ebrshkruan romanin si nj\u00eb \u201cterritor ku gjykimi moral pezullohet\u201d; n\u00eb nj\u00eb kuptim m\u00eb t\u00eb gjer\u00eb, mund t\u00eb thuhet se \u00ebsht\u00eb kategoria e \u201cjoseriozes\u201d q\u00eb p\u00ebrcakton territorin e mir\u00ebfillt\u00eb t\u00eb romanit dhe pushtetin e tij zbulues: nj\u00eb territor ku \u201cseriozja\u201d \u00ebsht\u00eb pezulluar. N\u00eb at\u00eb truall, \u00e7do dele q\u00eb ndahet nga tufa, \u00e7do gj\u00eb q\u00eb shfaqet si e ve\u00e7ant\u00eb apo pafajshme, \u00e7do gj\u00eb q\u00eb m\u00ebton t\u00eb imponohet si e r\u00ebnd\u00ebsishme, tretet po aq shpejt, shembet, si t\u2019ia ket\u00eb th\u00ebrrmuar themelet ajri skajshm\u00ebrisht i leht\u00eb q\u00eb qarkullon n\u00eb to, ajri i mosbesimit dhe i p\u00ebrqeshjes; n\u00ebn figur\u00ebn e t\u00eb cilit ekzistenca, identiteti, ligj\u00ebrimet zhvishen nga maskat dhe zbulojn\u00eb prapaskenat, marifetet, keqkuptimet, t\u00eb v\u00ebrtetat sa qesharake aq edhe \u00e7liruese.<\/p>\n\n\n\n K\u00ebsisoj, romani \u00ebsht\u00eb jeta q\u00eb i n\u00ebnshtrohet sprov\u00ebs s\u00eb munges\u00ebs s\u00eb seriozitetit. Sprov\u00ebs, thash\u00eb. Sepse gj\u00ebrat joserioze, ndon\u00ebse t\u00eb lehta, jan\u00eb shum\u00eb mizore n\u00eb kuptimin q\u00eb shkundin vet\u00eb bazat mbi t\u00eb cilat jeta (jeta ime, jeta e k\u00ebtij apo atij personazhi) nd\u00ebrton kuptimin e vler\u00ebn e vet. Prandaj romani kunderian mbetet, n\u00eb fund t\u00eb fundit, rr\u00ebfim i nj\u00eb shpartallimi sa moral aq edhe metafizik. Ama ky shpartallim nuk ndodh pa luft\u00eb, dometh\u00ebn\u00eb pa q\u00ebndres\u00eb, p\u00ebrmes s\u00eb cil\u00ebs personazhi rreket t\u00eb shp\u00ebtoj\u00eb seriozen, q\u00eb ia ka kushtuar deri tani qenies s\u00eb vet, d\u00ebshirave, fatit t\u00eb tij tashm\u00eb t\u00eb rr\u00ebmbyer pjes\u00ebrisht, t\u00eb dob\u00ebsuar, t\u00eb k\u00ebrc\u00ebnuar me rr\u00ebnim nga era g\u00ebrryese e joseriozes. Personazhe si Ludviku, heroi i \u201cShakas\u00eb\u201d, Eduardi te \u201cEduardi dhe Per\u00ebndia\u201d(n\u00eb \u201cDashuri qesharake\u201d), ose Tamina, heroina e \u201cLibri i t\u00eb qeshurit dhe harres\u00ebs\u201d, jan\u00eb figura model.<\/p>\n\n\n\n \u00cbsht\u00eb jeta, jam un\u00eb, \u00ebsht\u00eb dashuria, poezia, historia, politika, jan\u00eb k\u00ebto gj\u00ebrat q\u00eb m\u00eb b\u00ebjn\u00eb t\u00eb besoj te vetja ime dhe te bota, t\u00eb gjitha k\u00ebto q\u00eb t\u00eb ekzistojn\u00eb, kan\u00eb nevoj\u00eb p\u00ebr seriozitet. Dhe p\u00ebr rrjedhoj\u00eb, t\u00eb gjitha k\u00ebto b\u00ebjn\u00eb q\u00ebndres\u00eb, kacavirren diku p\u00ebr t\u2019iu kund\u00ebrv\u00ebn\u00eb zhb\u00ebrjes. Aq sa nj\u00eb ekzistenc\u00eb q\u00eb nuk do t\u00eb ishte fare serioze duket si e pamundur, ose m\u00eb mir\u00eb: si nj\u00eb kufi i skajsh\u00ebm, si nj\u00eb horizont i nd\u00ebrgjegjes, negativ ama, dhe si \u00e7do horizont, po aq i af\u00ebrt sa dhe i larg\u00ebt, po aq i qart\u00eb sa dhe i paarritsh\u00ebm.<\/p>\n\n\n\n Mund t\u00eb thuhet e nj\u00ebjta gj\u00eb p\u00ebr \u201cromanin ku asnj\u00eb fjal\u00eb nuk do t\u00eb ishte serioze\u201d. Do t\u00eb ishte nj\u00eb roman absolut, nj\u00eb roman n\u00eb kufi, nj\u00eb ideal i romani<\/em>t, n\u00eb nj\u00ebfar\u00eb m\u00ebnyre, si\u00e7 ishte p\u00ebr Flaubert-in \u201clibri i asgj\u00ebs\u00eb, [\u2026] q\u00eb mbahej vet\u00eb n\u00eb k\u00ebmb\u00eb, me forc\u00ebn e stilit t\u00eb tij\u201d, ose, si\u00e7 ishte p\u00ebr Val\u00e9ry-n, \u201cpoezia e past\u00ebr, e brendshme e stilit t\u00eb tij\u201d. Nj\u00ebsoj sikur kjo poezi e kulluar t\u00eb ishte nj\u00eb poezi e paprekur nga \u00e7do gjurme proze, ashtu edhe n\u00eb romanin e kulluar sipas Kunder\u00ebs asgj\u00eb \u201cjoromaneske\u201d nuk do t\u00eb mbijetonte dot, dometh\u00ebn\u00eb asgj\u00eb \u201cserioze\u201d.<\/p>\n\n\n\n Mir\u00ebpo, si\u00e7 na e thot\u00eb edhe Vera, \u201cseriozja t\u00eb mbron\u201d; mbron shkrimtarin nga \u201cujq\u00ebrit\u201d q\u00eb e \u201cpresin\u201d; mbron at\u00eb, por mbron edhe ujq\u00ebrit vet\u00eb, lexuesit, nga romani dhe nga helmi fatal q\u00eb ai l\u00ebshon. K\u00ebtu na vete mendja te gjith\u00e7ka \u201ckafkologjike\u201dq\u00eb vet\u00eb Kundera ka th\u00ebn\u00eb, si dhe te p\u00ebrdredhjet e nj\u00ebfar\u00eb kritike tmerr\u00ebsisht serioze, q\u00eb \u00ebsht\u00eb l\u00ebshuar mbi veprat e Rabelais-s apo t\u00eb Hemingway-t\u2026 Po si q\u00ebndron puna e vet\u00eb romaneve t\u00eb Kunder\u00ebs? Deri k\u00ebtu, thot\u00eb Vera, \u201cserioziteti t\u00eb ka mbrojtur\u201d. Si duhet interpretuar kjo \u201ckritik\u00eb\u201d e librave q\u00eb i kan\u00eb paraprir\u00eb \u201cNgadal\u00ebsis\u00eb\u201d? Shakaja, Valsi i lamtumir\u00ebs, Leht\u00ebsia e padurueshme e qenies,<\/em> a ishin romane \u201cserioze\u201d?<\/p>\n\n\n\n N\u00eb fakt, v\u00ebrejtja e Ver\u00ebs duhet kuptuar n\u00eb m\u00ebnyr\u00eb ironike, pik\u00ebrisht joserioze: \u201cseriozja\u201d q\u00eb n\u00eb romanet e kaluara, mbronte nga \u201cujq\u00ebrit\u201d p\u00ebrb\u00ebnte at\u00eb lloj serioziteti q\u00eb do t\u00eb gjenin k\u00ebta t\u00eb fundit p\u00ebr t\u00eb shuar orekset e tyre, me pak fjal\u00eb, gjith\u00e7ka q\u00eb do t\u2019u sh\u00ebrbente si karrem dhe do t\u2019i \u00e7lironte k\u00ebsisoj nga dometh\u00ebnia thelb\u00ebsore, joserioze dhe, p\u00ebr pasoj\u00eb, e patolerueshme, e k\u00ebtyre romaneve. P\u00ebr shembull, deri te Libri i t\u00eb qeshurit dhe i harres\u00ebs<\/em>, madje edhe deri te Leht\u00ebsia e padurueshme e qenies<\/em>, ujq\u00ebrit ia dol\u00ebn t\u00eb kullosnin duke lexuar n\u00eb vepr\u00ebn kunderiane \u201cd\u00ebshmin\u00eb\u201d prek\u00ebse t\u00eb nj\u00eb disidenti politik; pastaj, te Pavdek\u00ebsia<\/em>, nj\u00eb tjet\u00ebr \u201cd\u00ebshmi\u201d kjo, por k\u00ebsaj radhe d\u00ebshmi e nj\u00eb disidenti politik t\u00eb neveritur nga veset e demokracive per\u00ebndimore. K\u00ebsisoj seriozja shp\u00ebtoi dhe, me t\u00eb bashk\u00eb, edhe nd\u00ebrgjegjja e past\u00ebr e ujq\u00ebrve.<\/p>\n\n\n\n Nd\u00ebrsa te \u201cNgadal\u00ebsia\u201d nj\u00eb karrem i till\u00eb nuk \u00ebsht\u00eb leht\u00ebsisht i duksh\u00ebm, se nuk ka \u201cide\u201d apo \u201cistikame\u201d, pas t\u00eb cilave mund t\u00eb kapesh. K\u00ebtu gjith\u00e7ka val\u00ebvitet n\u00eb uj\u00ebrat shp\u00eblar\u00ebse t\u00eb gazit e t\u00eb leht\u00ebsis\u00eb. Ka pak Rabelais, pak Diderot, teat\u00ebr kukullash dhe mjaft pantomim\u00eb. Jemi n\u00eb universin e gj\u00ebrave joserioze t\u00eb nxjerra lakuriq, ekstravagante e t\u00eb bukura, dhe triumfuese.<\/p>\n\n\n\n Me burime dhe mund\u00ebsi romaneske t\u00eb joseriozes, \u201cNgadal\u00ebsia\u201d na jep k\u00ebshtu, pas romaneve t\u00eb tjera t\u00eb Kunder\u00ebs, nj\u00eb ilustrim t\u00eb ri. Ve\u00e7an\u00ebrisht, ky roman luan me dy m\u00ebnyra t\u00eb fuqishme t\u00eb joseriozes, kombinimi kund\u00ebrv\u00ebn\u00ebs i t\u00eb cilave \u00ebsht\u00eb edhe nj\u00eb nga \u00e7el\u00ebsat e kompozimit t\u00eb tij. K\u00ebto dy m\u00ebnyra mund t\u2019i quajm\u00eb, nj\u00ebr\u00ebn, m\u00ebnyra parodike<\/em>, tjetr\u00ebn, m\u00ebnyra idilike<\/em>. Ato p\u00ebrkojn\u00eb me dy q\u00ebndrimet q\u00eb mbahen karshi joseriozes s\u00eb bot\u00ebs, ose, q\u00eb t\u00eb jemi m\u00eb t\u00eb sakt\u00eb, p\u00ebrkojn\u00eb me dy rrjedhojat e mundshme t\u00eb ekzistenc\u00ebs q\u00eb prodhon joseriozja.<\/p>\n\n\n\n E para \u00ebsht\u00eb edhe m\u00eb e dukshmja edhe m\u00eb e lezetshmja, sigurisht. Te \u201cNgadal\u00ebsia\u201d, m\u00ebnyra parodike karakterizon portretin dhe historin\u00eb e personazheve \u201cbashk\u00ebkohore\u201d t\u00eb mbledhur n\u00eb at\u00eb k\u00ebshtjell\u00eb-hotel, q\u00eb kthehet k\u00ebsisoj n\u00eb teatrin e nj\u00eb farse t\u00eb madhe mediatiko-erotike me ulje e ngritje, nj\u00ebra m\u00eb qesharake se tjetra. M\u00eb komikja k\u00ebtu zhvillohet rreth faktit se personazhet jan\u00eb t\u00eb pand\u00ebrgjegjsh\u00ebm, dometh\u00ebn\u00eb t\u00eb paditur p\u00ebr munges\u00ebn e seriozitetit n\u00eb t\u00eb cil\u00ebn ndodhen, por edhe p\u00ebr munges\u00ebn e seriozitetit t\u00eb fatit t\u00eb tyre. Nga Dyberku te shkenc\u00ebtari \u00e7ek, nga \u00e7ifti Berk dhe E pap\u00ebrlymja te \u00e7ifti Vinsent dhe Zhyli, t\u00eb gjith\u00eb i p\u00ebrkasin pak a shum\u00eb k\u00ebsaj galerie fantastike kunderiane t\u00eb personazheve t\u00eb pafajshme (Flaishman, Helena, Jaromil, Edvig, Laura), q\u00eb veprojn\u00eb e mendojn\u00eb sikur jeta dhe vetja e tyre t\u00eb kishte realisht ndonj\u00eb r\u00ebnd\u00ebsi t\u00eb madhe ose ndonj\u00eb dometh\u00ebnie kush e di se \u00e7\u00eb, \u00e7ka i detyron rregullisht \u2013 e n\u00eb m\u00ebnyr\u00eb qesharake \u2013 t\u00eb simulojn\u00eb p\u00ebr t\u00eb \u201cruajtur seriozitetin\u201d n\u00eb sy t\u00eb atyre vet\u00eb dhe n\u00eb sy t\u00eb t\u00eb tjer\u00ebve. \u201cK\u00ebrcimtar\u00eb\u201d, por edhe hileqar\u00eb jan\u00eb k\u00ebta personazhe, si puna e Vinsentit q\u00eb b\u00ebn sikur arrin orgazm\u00ebn, si E pap\u00ebrlymja q\u00eb b\u00ebn sikur vret veten, si Berku (por edhe Vinsenti s\u00ebrish) q\u00eb b\u00ebn thirrje p\u00ebr \u201crevolt\u00eb kund\u00ebr gjendjes njer\u00ebzore, q\u00eb nuk e kemi zgjedhur vet\u00eb\u201d. Por n\u00eb viset joserioze t\u00eb romanit, shtirjet e tyre jan\u00eb pashmangshm\u00ebrisht ilustrime t\u00eb mrekullueshme t\u00eb Gallat\u00ebs universale, fitoret m\u00eb t\u00eb shk\u00eblqyera t\u00eb marifeteve q\u00eb ve\u00e7 teveqel\u00ebt i g\u00eblltisin.<\/p>\n\n\n\n Megjithat\u00eb, parodia, nuk \u00ebsht\u00eb e vetmja fytyr\u00eb e joseriozes, madje, do t\u00eb thosha, as nuk \u00ebsht\u00eb fytyra m\u00eb e bukur e saj. Ajo ka nj\u00eb tjet\u00ebr fytyr\u00eb, po aq besnike q\u00eb, te \u201cNgadal\u00ebsia\u201d \u00ebsht\u00eb fytyra e madam\u00eb T. dhe e dashnorit t\u00eb saj p\u00ebr nj\u00eb nat\u00eb, kalor\u00ebsit, personazhe t\u00eb nxjerra nga novela e Vivant Denonit por q\u00eb edhe k\u00ebta i p\u00ebrkasin nj\u00eb s\u00ebre tipike kunderiane, ku gjejm\u00eb doktor Havelin (te \u201cDashuri qesharake\u201d), dyzetvje\u00e7arin (te \u201cJeta \u00ebsht\u00eb gjetiu\u201d) apo heronjt\u00eb \u201ce zhg\u00ebnjyer\u201d, q\u00eb mbeten t\u00eb till\u00eb n\u00eb fund t\u00eb historive t\u00eb tyre p\u00ebrkat\u00ebse, Ludvikun (te \u201cShakaja\u201d), Anjez\u00ebn (te \u201cPavdek\u00ebsia\u201d) apo Tomasin e shtrir\u00eb pran\u00eb qenit Karenin (te \u201cLeht\u00ebsia e padurueshme e qenies\u201d). Tipari i p\u00ebrbashk\u00ebt i k\u00ebtyre personazheve \u00ebsht\u00eb se t\u00eb gjith\u00eb ata, n\u00eb nj\u00ebfar\u00eb m\u00ebnyre, kan\u00eb kap\u00ebrcyer \u201ckufirin\u201d, kan\u00eb dezertuar, jan\u00eb pajtuar me padometh\u00ebnien e fatit t\u00eb tyre. Dhe t\u00eb zhveshur k\u00ebsisoj, ata banojn\u00eb n\u00eb universin e joseriozes, si t\u00eb ishte atdheu i tyre.<\/p>\n\n\n\n Ajo nat\u00eb e dashuris\u00eb, madam\u00eb T. dhe kalor\u00ebsi e dinin q\u00eb do t\u00eb ishte pa t\u00eb nes\u00ebrme dhe pa pesh\u00eb. Ata nuk d\u00ebshp\u00ebrohen dhe as nuk shkulin flok\u00ebt e t\u00eb b\u00ebrtasin kund\u00ebr gjendjes njer\u00ebzore. P\u00ebrkundrazi, ata i g\u00ebzohen edhe m\u00eb shum\u00eb takimit t\u00eb tyre, se nuk i lidh asgj\u00eb serioze, asgj\u00eb tjet\u00ebr ve\u00e7 \u00ebmb\u00eblsis\u00eb kalimtare t\u00eb atij takimi, ve\u00e7 koh\u00ebs men\u00e7urisht t\u00eb llogaritur n\u00eb t\u00eb cil\u00ebn rrjedh ai takim dhe k\u00ebnaq\u00ebsis\u00eb s\u00eb paharrueshme q\u00eb p\u00ebrftojn\u00eb prej tij. Jo vet\u00ebm q\u00eb nuk e cenojn\u00eb k\u00ebnaq\u00ebsin\u00eb, por mungesa e s\u00eb nes\u00ebrmes dhe mungesa e thell\u00ebsis\u00eb, e b\u00ebjn\u00eb at\u00eb edhe m\u00eb t\u00eb fort\u00eb dhe m\u00eb t\u00eb \u00e7muar.<\/p>\n\n\n\n Ja q\u00eb paska pra nj\u00eb paqe dhe nj\u00eb bukuri q\u00eb lidhen me joseriozen, e cila e pjell k\u00ebt\u00eb paqe e bukuri. K\u00ebto t\u00eb fundit nuk mund t\u00eb ekzistojn\u00eb pa t\u00eb dhe nuk jan\u00eb ngush\u00ebllim p\u00ebr joseriozen por, nj\u00eb nga shprehjet e privilegjuara t\u00eb artit si ato q\u00eb shohim n\u00eb tablot\u00eb e Watteau-s ose q\u00eb e d\u00ebgjojm\u00eb n\u00eb muzik\u00ebn e oper\u00ebs Don Zhuani<\/em>. K\u00ebt\u00eb shprehje, k\u00ebt\u00eb m\u00ebnyr\u00eb, un\u00eb e kam quajtur idilike p\u00ebr ta dalluar nga tjetra, p\u00ebr t\u00eb cil\u00ebn fol\u00ebm m\u00eb lart. Por kujdes nga fjalori i p\u00ebrdorur. Parodikja dhe idilikja nuk i kund\u00ebrvihen nj\u00ebra-tjetr\u00ebs si t\u00eb kund\u00ebrta; jan\u00eb m\u00eb shum\u00eb plot\u00ebsuese t\u00eb nj\u00ebra-tjetr\u00ebs, mb\u00ebshtesin nj\u00ebra-tjetr\u00ebn dhe mb\u00ebshteten nga e nj\u00ebjta frym\u00eb, nga e nj\u00ebjta nd\u00ebrgjegje, nga i nj\u00ebjti v\u00ebshtrim mbi joseriozen e bot\u00ebs dhe t\u00eb jet\u00ebve tona. N\u00eb nat\u00ebn magjike q\u00eb mb\u00ebshtjell madam\u00eb T. dhe kalor\u00ebsin e saj, n\u00eb m\u00ebrm\u00ebrim\u00ebn e lumit q\u00eb rrjedh n\u00eb k\u00ebmb\u00ebt e tyre, n\u00eb ledhatimet dhe puthjet e tyre, n\u00eb t\u00eb gjith\u00eb k\u00ebt\u00eb heshtje, n\u00eb t\u00eb gjith\u00eb k\u00ebt\u00eb ngadal\u00ebsi dhe bukuri, jehon e qeshura.<\/p>\n\n\n\n Nga pik\u00ebv\u00ebshtrimi tematik, \u201cNgadal\u00ebsia\u201d nd\u00ebrtohet mbi nj\u00eb seri kund\u00ebrv\u00ebniesh, tipike p\u00ebr stilin e Kunder\u00ebs. Pa hyr\u00eb n\u00eb holl\u00ebsi, mund t\u00eb thuhet se loja luhet midis dy ansambleve dalluesh\u00ebm t\u00eb kund\u00ebrta, nga nj\u00ebra an\u00eb, ngadal\u00ebsia, e shkuara, kalor\u00ebsi, t\u00eb trajtuar n\u00eb m\u00ebnyr\u00eb \u201cidilike\u201d, dhe, nga ana tjet\u00ebr, shpejt\u00ebsia, e tashmja, Vinsenti, t\u00eb gjith\u00eb objekte t\u00eb \u201cparodis\u00eb\u201d. Por ka dhe nj\u00eb kund\u00ebrv\u00ebnie tjet\u00ebr, ku ia vlen t\u00eb ndalemi p\u00ebr ta p\u00ebrmbyllur, sepse kjo ndri\u00e7on s\u00ebrish kategorin\u00eb kunderiane t\u00eb \u201cjoseriozes\u201d, \u00ebsht\u00eb kund\u00ebrv\u00ebnia midis publikes dhe privates.<\/p>\n\n\n\n N\u00eb fund fare t\u00eb romanit, kur kalor\u00ebsi, pas nat\u00ebs s\u00eb dashuris\u00eb me madam\u00eb T. dhe takimin e shkurt\u00ebr me Vinsentin, merr s\u00ebrish rrug\u00ebn ulur n\u00eb karrigen e markezit, lexojm\u00eb k\u00ebto fjal\u00eb, q\u00eb jan\u00eb titulli i novel\u00ebs s\u00eb Vivant Denon-it dhe q\u00eb p\u00ebrmbledhin gjith\u00e7ka u ndodhi dashnor\u00ebve: Pa t\u00eb nes\u00ebrme<\/em>. Por menj\u00ebher\u00eb pason fjalia tjet\u00ebr:<\/p>\n\n\n\n Pa publik<\/em>.<\/p>\n\n\n\n P\u00ebrsosm\u00ebria e aventur\u00ebs s\u00eb kalor\u00ebsit dhe madam\u00eb T., me fjal\u00eb t\u00eb tjera, nuk ka t\u00eb b\u00ebj\u00eb vet\u00ebm me faktin se ajo do t\u00eb mbetet pa pasoja, por edhe me natyr\u00ebn e saj ngusht\u00ebsisht private. Sigurisht, markezi di\u00e7ka di p\u00ebr at\u00eb gj\u00eb, si dhe vet\u00eb burri i madam\u00eb T.; ama, as njeri dhe as tjetri nuk mor\u00ebn vesh tamam se \u00e7far\u00eb ndodhi mes saj dhe kalor\u00ebsit. At\u00eb e din\u00eb vet\u00ebm dashnor\u00ebt, dhe ata e din\u00eb po aq, se s\u2019do t\u2019ia thon\u00eb askujt.<\/p>\n\n\n\n Nga shekulli XVIII te shekulli XX, nga bota e Pa t\u00eb nes\u00ebrme<\/em> te bota jon\u00eb, jo vet\u00ebm u kalua nga epoka e ngadal\u00ebsis\u00eb tek ajo e shpejt\u00ebsis\u00eb, por edhe nga epoka e t\u00eb fshehtave tek ajo e p\u00ebrhapjes s\u00eb lajmit dhe e shpalosjes s\u00eb tij, nga ajo e \u201ck\u00ebrcimit\u201d si art i t\u00eb fshehurit brenda rendit t\u00eb koh\u00ebs, t\u00eb gjesteve, t\u00eb fjal\u00ebve dhe madje edhe t\u00eb emocionit (sepse i till\u00eb \u00ebsht\u00eb rituali i nat\u00ebs s\u00eb madam\u00eb T.: nj\u00eb koreografi dashurie) tek ajo e \u201ck\u00ebrcimtarit\u201d si nj\u00eb gjestikulim i nj\u00eb uni me tepri, q\u00eb m\u00ebton t\u00eb n\u00ebnshtroj\u00eb bot\u00ebn. K\u00ebt\u00eb kalim, k\u00ebt\u00eb \u201crevolucion\u201d t\u00eb ekzistenc\u00ebs, asgj\u00eb nuk e p\u00ebrfaq\u00ebson m\u00eb mir\u00eb se vet\u00eb dekori i romanit: k\u00ebshtjella kthyer n\u00eb bujtin\u00eb, banesa private i hapet kujt kalon aty pari, vendi i intimitetit shnd\u00ebrrohet n\u00eb sall\u00eb kongresi. Madam\u00eb T. dhe kalor\u00ebsi, kur sh\u00ebtisin n\u00eb park dhe m\u00eb pas struken n\u00eb dhom\u00ebn e pasqyrave, i shp\u00ebtojn\u00eb \u00e7do syri: pa publik, pa d\u00ebshmitar\u00eb. Vinsenti dhe kongresist\u00ebt, p\u00ebrkundrazi, jan\u00eb aty n\u00eb k\u00ebrkim t\u00eb v\u00ebshtrimeve, sepse pa d\u00ebshmitar\u00eb jeta e tyre s\u2019ka kuptim.<\/p>\n\n\n\n Tani, nevoja p\u00ebr v\u00ebshtrime, dometh\u00ebn\u00eb nevoja p\u00ebr t\u00eb marr\u00eb nga tjetri miratim t\u00eb ekzistenc\u00ebs dhe t\u00eb vler\u00ebs s\u00eb vet, \u00ebsht\u00eb, as m\u00eb shum\u00eb e as m\u00eb pak, armik i joseriozes. Gabimi i par\u00eb i nj\u00eb njeriu t\u00eb madh dhe shenja m\u00eb e sigurt se ai nuk \u00ebsht\u00eb aspak i till\u00eb, thoshte pak a shum\u00eb monsinjor Test i Paul Val\u00e9ry-s, \u00ebsht\u00eb se ai e la veten t\u00eb b\u00ebhej i njohur. Sepse \u00e7do publicitet k\u00ebrkon q\u00eb un\u00eb ta l\u00eb veten n\u00eb duar t\u00eb ujq\u00ebrve dhe t\u2019u jap atyre t\u00eb vetmen kullot\u00eb q\u00eb ata duan: gj\u00ebrat serioze. Seriozja, q\u00eb duke m\u00eb detyruar t\u00eb b\u00ebj sikur besoj t\u00eb vetja, m\u00eb shtyn fatalisht drejt qesharakes.<\/p>\n\n\n\n N\u00eb thell\u00ebsi t\u00eb shekullit t\u00eb tyre t\u00eb zhdukur tashm\u00eb, madam\u00eb T. dhe kalor\u00ebsi as em\u00ebr nuk kan\u00eb. Ndoshta as unin s\u2019e kan\u00eb. Sidoqoft\u00eb, ata as kan\u00eb gj\u00eb p\u00ebr t\u00eb mbrojtur, as p\u00ebr t\u00eb provuar, dhe nuk k\u00ebrkojn\u00eb kurrfar\u00eb duartrokitjesh. T\u00eb vetmen vler\u00eb t\u00eb ve\u00e7ant\u00eb q\u00eb kan\u00eb e l\u00ebn\u00eb te k\u00ebnaq\u00ebsia e shk\u00ebmbyer n\u00eb fsheht\u00ebsi dhe me nd\u00ebrgjegjen ironike se loja e tyre dashurore i bindet nj\u00eb partiture q\u00eb rregullon k\u00ebrcimin e t\u00eb gjith\u00eb dashnor\u00ebve.<\/p>\n\n\n\n2<\/h2>\n\n\n\n
![\"\"](\"https:\/\/exlibris.al\/wp-content\/uploads\/2021\/03\/Ngadal%C3%ABsia-kopertina.jpg\")
<\/figure>\n\n\n\n3<\/h2>\n\n\n\n
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<\/figure>\n\n\n\n4<\/h2>\n\n\n\n