Shkodifikimi i mitit të murimit në urë në një roman të Kadaresë

Abstract

The article aims at treating the way in which I. Kadare treats the legend of stoning in the “The bridge with three arches”. The short-story is published as part of the trilogy with the same title in 1978. Next two works: “The Great Pashaliks” and “The Twilight of Steppe Gods”. The writer states that this placement is randomly made, but the reviewer M. Mandola, admits that this choice is not accidental. From this point of view it is also treated in the article (see item 2). This attempt implies an overall description of the whole historical epoch, in order for the reader to get a precise impression for an eternal Albania. That is the very reason of such an edition: there’s the Roman-Byzantium Albania, of Muslim-ottoman and soviet-communist described in all the 3 works composing the volume. Even the next reasoning of the writer itself, who has preferably published a major part of works as short-stories, in order to protect them from censure, is not enough. The work gets the original material from one of the most thrilling and old creational pieces from the ballad of stoning. Therefore, in the author’s mind, that has been a work conceived from the very beginning as an historic chronicle, interrelated with other types of narration, typical modern - like of the 20th century, an ars combinatoria, as the modern literature theory would have label it. Actually, the author stores a part of his idea and applies the chronicle form, but throughout the work’s explication content overcomes, getting the message across to the narration modernism. The only way of narration remaining is that of chronicle, where the narration takes on the chronicle’s person role by reinforcing the historical element (realistic).The chronicle way says that it’s an ordinary crime and not a sacrifice as it is said, and to prevent the mystification of the legend so that I marks an historic testimony in the course of centuries, decides to give us such a testimony. Even though the purpose is to confess the truth, before false legends are made up, in the bridge’s construction setting stands always firm the other well-known legend, that of Rozafa, which John, the monk never demythisize. On the contrary, it is very existence triggers a new immolation, sacrifice. The ballad of stoning a woman alive is found in Albanian regions in various versions, through objects construction whose ruins can be found even nowadays. According to the Albanian’s folklore statistics there are versions of sacrifice ballads known all over Albanian settlements and about 90 of them belong to stoning castles. Apparently, castle toning has been far more widespread than in other buildings. The stoning ballad is widespread all over the world, self-sacrifice originate from mythology and the bible (Christ) This ideal with the faith myth of the universe creation: in the first place, there was a giant who, by being sacrificed, several cosmic areal things took live from body parts. It is a well-known fact that cosmogonic myth is the foundation of myths and rites referring to a ‘work’ or ‘creation’ That’s why, so that a construction would have a longer life span it had to be animated, to become living soul. Therefore, it should take a life, a soul too. Although, the most popular ballad is regarded the ballad of Rozafa, and statistics give prior to the castle stoning, Kadare selects the bridge stoning version, on a précised purpose, giving way to symbolism and the key idea it requires to convey to the reader. In the meantime, the castle and it is symbolic notion. Kadare has strongly made use of in many other works. Even when it is not literally spoken of we come across it in the novel ‘The Castle’. In all cases the castle serves to the author as a double symbol: one time as a symbol of isolation and desolation. Reviewers reasonably emphasize in their research study about Kadare the following: “When the author wrote ‘The bridge with three arches’ he obviously implied the dilemma between the bridge and the castle”. This message is connected to those cycled novels and short stories, which Kadare has written with a clean purpose: to create the image of that other Albania, a missing Albania not existing anymore, growing isolated and losing real contacts with the civilized world, part of which once as. This western European belonging dating back to times when there once lived carls, dukes and scholars in Albania is the very reason why Kadare with a total artistic conscience chooses to describe the stoning, the greatest immolation on behalf of the bridge and not of the castle. The ancient legend of stoning of a human being inside of the building or a bridge foundation embodies all the features of a single symbol and Kadare reinforces there symbolic messages offered by the legend itself. Therefore Kadare takes this legend never explained at it is very bottom, not to reveal it, but to enrich it with other new meaningful explanations instead. The reader who seeks for the second meanings, abides in his cultural memories, in paradigmas inherited through generations s an inter knowledge and so finds the communication code. The reader that traces second meanings with this code cannot aim at a single meaning or a single-meaning analysis. This path leads to the allegorical reading. By timing the legend, by adding historical layering, Kadare provides the reader with more reliable historical views of a time in which Albania didn’t have historical records. That’s why Kadare has chosen a kind of narration that transforms the legend into history, historical chronicle shaped. Therefore, the real legend is being transformed into history but it still preserves constantly inside to narration structure it’s mystical status. So, the narrator is really the eye witness of the event but the viewpoint and the judgement of the case is carried out from the author’s time. The knowledge he passes became present centuries after, that’s why the narrator’s insights are far too beyond. The narrator itself warns us since the very start of the work for this positioning of his, for this mental transfer whose right observes it from the legend whose witness I will be in advance of our millennium. This time puzzling resembles greatly to the analogies transference through context, signs and symbols can be understood. So the article starting as a double-coding as a real chronicle witch early buzukian language evolves simultaneously with the tendency to let the mystery unlocked and to transmit to the attentive reader Kadare’s fear, leaving such a testimony that required sacrifice. Through the legend, the writer doesn’t escape from the reality but sues it instead. Escaping is purely aesthetic breaking of rules, codes of socio-realism narration.