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丕賱噩爻乇
丕賳鬲卮乇 丕賱禺亘乇 毓賲丕 丨丿孬 賱賱噩爻乇 亘爻乇毓丞 賱丕 鬲氐丿賯.
賵兀禺丿 丕賱賳丕爻 賷鬲匕賰乇賵賳 丕賱賲睾賳賷賷賳 丕賱賲鬲噩賵賱賷賳 賵賷爻鬲毓賷丿賵賳 匕賰乇賶 賲賱丕亘爻賴賲丕 賵賵噩賴賷賴賲丕貙 賵噩賴丿賵丕 毓賱賶 丕賱兀禺氐 賮賷 丕爻鬲匕賰丕乇 賰賱賲丕鬲 兀睾丕賳賷賴賲丕 丕賱鬲賷 乇丕丨賵丕 賷卮賵賴賵賳 賯賵丕賮賷賴丕 賰賲丕 鬲丨賳賷 丕賱乇賷丨 乇丐賵爻 丕賱賯氐亘.
賰丕賳賵丕 噩賲賷毓丕賸 賷賯賵賱賵賳:"賲賳匕丕 丕賱匕賷 賰丕賳 爻賷氐丿賯 兀賳 鬲鬲丨賯賯 賳亘賵亍丕鬲賴賲丕責 廿賳賴賲丕 賱賲 賷賰賵賳丕 賲睾賳賷賷賳貙 亘賱 賰丕賳丕 爻丕丨乇賷賳."
兀禺匕鬲 丕賱卮丕卅毓丞 鬲賳鬲卮乇 賮賷 丕賱噩賵丕乇 賱賷賱 賳賴丕乇 賲睾賱賯丞 丕賱噩爻乇 亘爻乇 兀卮丿 賰孬丕賮丞 賮兀卮丿.
賵賮賷 丕賱賱賷賱 賰丕賳 賷賳氐亘 毓賯丿賴 丕賱賵丨賷丿 丕賱匕賷 兀氐賷亘 亘賵丨卮賷丞 賮賷亘丿賵 兀爻賵丿 賮賵賯 氐賮丨丞 丕賱賳賴乇. 賵賲賳 亘毓賷丿 賰丕賳鬲 丕賱賲賵丕囟毓 丕賱賲購氐賱丨丞 賵丕賱賽賲賱丕胤 賵丕賱賰賱爻 丕賱胤乇賷 丕賱賱匕丕賳 賷睾胤賷丕賳賴丕 鬲購匕賰乇 亘囟賲丕丿丕鬲 胤乇賮 兀氐賷亘 亘賰爻賵乇. 賵亘賴匕丕 丕賱噩爻賲 丕賱賲卮賵賴 賰丕賳 丕賱噩爻乇 賷丨賲賱 丕賱卮丐賲.
賵兀禺丿 丕賱賳丕爻 賷鬲匕賰乇賵賳 丕賱賲睾賳賷賷賳 丕賱賲鬲噩賵賱賷賳 賵賷爻鬲毓賷丿賵賳 匕賰乇賶 賲賱丕亘爻賴賲丕 賵賵噩賴賷賴賲丕貙 賵噩賴丿賵丕 毓賱賶 丕賱兀禺氐 賮賷 丕爻鬲匕賰丕乇 賰賱賲丕鬲 兀睾丕賳賷賴賲丕 丕賱鬲賷 乇丕丨賵丕 賷卮賵賴賵賳 賯賵丕賮賷賴丕 賰賲丕 鬲丨賳賷 丕賱乇賷丨 乇丐賵爻 丕賱賯氐亘.
賰丕賳賵丕 噩賲賷毓丕賸 賷賯賵賱賵賳:"賲賳匕丕 丕賱匕賷 賰丕賳 爻賷氐丿賯 兀賳 鬲鬲丨賯賯 賳亘賵亍丕鬲賴賲丕責 廿賳賴賲丕 賱賲 賷賰賵賳丕 賲睾賳賷賷賳貙 亘賱 賰丕賳丕 爻丕丨乇賷賳."
兀禺匕鬲 丕賱卮丕卅毓丞 鬲賳鬲卮乇 賮賷 丕賱噩賵丕乇 賱賷賱 賳賴丕乇 賲睾賱賯丞 丕賱噩爻乇 亘爻乇 兀卮丿 賰孬丕賮丞 賮兀卮丿.
賵賮賷 丕賱賱賷賱 賰丕賳 賷賳氐亘 毓賯丿賴 丕賱賵丨賷丿 丕賱匕賷 兀氐賷亘 亘賵丨卮賷丞 賮賷亘丿賵 兀爻賵丿 賮賵賯 氐賮丨丞 丕賱賳賴乇. 賵賲賳 亘毓賷丿 賰丕賳鬲 丕賱賲賵丕囟毓 丕賱賲購氐賱丨丞 賵丕賱賽賲賱丕胤 賵丕賱賰賱爻 丕賱胤乇賷 丕賱賱匕丕賳 賷睾胤賷丕賳賴丕 鬲購匕賰乇 亘囟賲丕丿丕鬲 胤乇賮 兀氐賷亘 亘賰爻賵乇. 賵亘賴匕丕 丕賱噩爻賲 丕賱賲卮賵賴 賰丕賳 丕賱噩爻乇 賷丨賲賱 丕賱卮丐賲.
152 pages, Paperback
First published January 1, 1978
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About the author
Ismail Kadare
300听books1,669听followersIsmail Kadare (also spelled Kadar茅) was an Albanian novelist and poet. He has been a leading literary figure in Albania since the 1960s. He focused on short stories until the publication of his first novel, The General of the Dead Army. In 1996 he became a lifetime member of the Academy of Moral and Political Sciences of France. In 1992, he was awarded the Prix mondial Cino Del Duca; in 2005, he won the inaugural Man Booker International Prize, in 2009 the Prince of Asturias Award of Arts, and in 2015 the Jerusalem Prize. He has divided his time between Albania and France since 1990. Kadare has been mentioned as a possible recipient for the Nobel Prize in Literature several times. His works have been published in about 30 languages.
Ismail Kadare was born in 1936 in Gjirokast毛r, in the south of Albania. His education included studies at the University of Tirana and then the Gorky Institute for World Literature in Moscow, a training school for writers and critics.
In 1960 Kadare returned to Albania after the country broke ties with the Soviet Union, and he became a journalist and published his first poems.
His first novel, The General of the Dead Army, sprang from a short story, and its success established his name in Albania and enabled Kadare to become a full-time writer.
Kadare's novels draw on Balkan history and legends. They are obliquely ironic as a result of trying to withstand political scrutiny. Among his best known books are Chronicle in Stone (1977), Broken April (1978), and The Concert (1988), considered the best novel of the year 1991 by the French literary magazine Lire.
In 1990, Kadare claimed political asylum in France, issuing statements in favour of democratisation. During the ordeal, he stated that "dictatorship and authentic literature are incompatible. The writer is the natural enemy of dictatorship."
Ismail Kadare was born in 1936 in Gjirokast毛r, in the south of Albania. His education included studies at the University of Tirana and then the Gorky Institute for World Literature in Moscow, a training school for writers and critics.
In 1960 Kadare returned to Albania after the country broke ties with the Soviet Union, and he became a journalist and published his first poems.
His first novel, The General of the Dead Army, sprang from a short story, and its success established his name in Albania and enabled Kadare to become a full-time writer.
Kadare's novels draw on Balkan history and legends. They are obliquely ironic as a result of trying to withstand political scrutiny. Among his best known books are Chronicle in Stone (1977), Broken April (1978), and The Concert (1988), considered the best novel of the year 1991 by the French literary magazine Lire.
In 1990, Kadare claimed political asylum in France, issuing statements in favour of democratisation. During the ordeal, he stated that "dictatorship and authentic literature are incompatible. The writer is the natural enemy of dictatorship."
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June 22, 2022
This was a captivating read narrated in an ominous tone by our fictional chronicler, a 14th-century Albanian Catholic monk, Gjon, in which the focal characters are a stone bridge and a totemic river and their fatal encounter.
In this allegorical novel, Ismail Kadare (1936-) tells a story loosely based on and inspired by an ancient Illyrian legend of a castle construction. But instead, Kadare constructs a three-arched bridge over the unbridled Wicked Waters river. However, the construction encounters what seems to be an impassible hurdle and the townspeople's opinion was that only a human sacrifice offered to the river can overcome it.
The bridge can be seen as a metaphor for the link between Asia and Europe during the Ottoman invasion and conquer of the Balkans. The "chaining" of the river was the beginning of what was to become a permanent influence, and to some extent a disappearance, of the local traditions, cultures, and beliefs of the natives.
This short novel has some incredibly creative dialogues and reflections in which we also witness how the resurrection of old superstitions and myths can be effectively utilized to justify even the ultimate sacrifice. Thanks to my GR friend Bob for a wonderful recommendation.
In this allegorical novel, Ismail Kadare (1936-) tells a story loosely based on and inspired by an ancient Illyrian legend of a castle construction. But instead, Kadare constructs a three-arched bridge over the unbridled Wicked Waters river. However, the construction encounters what seems to be an impassible hurdle and the townspeople's opinion was that only a human sacrifice offered to the river can overcome it.
The bridge can be seen as a metaphor for the link between Asia and Europe during the Ottoman invasion and conquer of the Balkans. The "chaining" of the river was the beginning of what was to become a permanent influence, and to some extent a disappearance, of the local traditions, cultures, and beliefs of the natives.
This short novel has some incredibly creative dialogues and reflections in which we also witness how the resurrection of old superstitions and myths can be effectively utilized to justify even the ultimate sacrifice. Thanks to my GR friend Bob for a wonderful recommendation.
April 28, 2020
賰丕丿丕乇賷賴 賷賰鬲亘 亘卮賰賱 噩賲賷賱 賱賱睾丕賷丞貙 賴賵 賲賳 丕賱賰購鬲丕亘 丕賱乇丕卅毓賷賳 丕賱匕賷賳 丕爻鬲卮毓乇 亘賯賷賲丞 丕賱兀丿亘 賵丕賱乇賵丕賷丞 丨賷賳 兀賯乇兀 賱賴賲 貙 賷賰鬲亘 丕賱丨賰丕賷丕鬲 丕賱賯丿賷賲丞 亘廿爻賱賵亘 卮賷賯 賵賳賰賴丞 鬲丕乇賷禺賷丞 賷胤睾賶 毓賱賷賴丕 丕賱爻賰賵賳 賵丕賱睾乇丕亘丞 賵鬲鬲禺賱賱賴丕 丕賱兀爻丕胤賷乇 賵毓丕丿丕鬲 丕賱卮毓賵亘 丕賱賯丿賷賲丞 賵毓丕賱賲賴丕 丕賱匕賷 賷氐毓亘 兀賳 賷賰鬲亘 毓賳賴 賰丕鬲亘 賲賳 丿賵賳 丕賱毓亘賵乇 廿賱賶 匕賱賰 丕賱毓丕賱賲 亘卮賰賱 賲亘丕卮乇 賵賲鬲毓賲賯 ..
賱丕 賷鬲賲丕丿賶 賰丕丿丕乇賷賴 賮賷 廿爻鬲毓賲丕賱 丕賱禺賷丕賱 亘賯丿乇 賲丕 賷丨丕賵賱 丕賳 賷噩爻丿 匕賱賰 丕賱毓丕賱賲 丕賱亘毓賷丿貙 鬲賱賰 丕賱毓丕丿丕鬲貙 兀賵賱卅賰 丕賱賳丕爻 睾乇賷亘賷 丕賱兀胤賵丕乇貙 丕賱賲丨乇賰丕鬲 賵丕賱丿賵丕賮毓 丕賱鬲賷 賰丕賳鬲 鬲爻賷胤乇 毓賱賶 丕賱賳丕爻 丨賷賳賴丕 ..
廿爻賲丕毓賷賱 賰丕丿丕乇賷賴 賰賵賳賴 兀賱亘丕賳賷丕賸 賮廿賳賴 賷鬲丨丿孬 賴賳丕 毓賳 鬲丕乇賷禺 亘賱丕丿賴 貙 賷毓賵丿 亘賳丕 廿賱賶 丕賱賯乇賳 丕賱孬丕賳賷 毓卮乇 賱賱賲賷賱丕丿 貙 丨賷孬 鬲賯毓 兀丨丿丕孬 丨賵賱 亘賳丕亍 噩爻乇 毓賱賶 賳賴乇 (兀賵賷丕賳 丕賱賱毓賷賳) .. 兀丨丿丕孬 睾乇賷亘丞 賷乇賵賷賴丕 賰丕丿丕乇賷賴 廿夭丕亍 亘賳丕亍 丕賱噩爻乇貙 兀賳丕爻 爻丕禺胤賵賳 毓賱賶 亘賳丕亍 丕賱噩爻乇 賵兀爻丕胤賷乇 鬲鬲丨丿孬 毓賳 丨乇賲丞 亘賳丕亍賴 賵鬲囟丨賷丕鬲 賵禺賵賮 賵賲丿賷賳丞 睾乇賷亘丞 丕賱兀胤賵丕乇 賵禺胤乇 丿丕賴賲 賷賴丿丿 丕賱賲丿賷賳丞 亘乇賲鬲賴丕貙 賵丨鬲賶 賷賳鬲賴賷 亘賳丕亍 丕賱噩爻乇 賮廿賳 丕賱丨賰丕賷丞 鬲亘賯賶 賲爻鬲賲乇丞 賵丕賱爻乇丿 賲賲鬲毓 賵賲賴賷亘 亘賯賱賲 賰丕丿丕乇賷賴 ..
兀丨亘亘鬲 丕賱乇賵丕賷丞 賵兀禺丕賮鬲賳賷 兀噩賵丕亍賴丕 賵爻丨乇賴丕 賵毓丕賱賲賴丕 丕賱囟亘丕亘賷 丕賱睾丕乇賯 賮賷 噩賵 丕賱兀爻胤賵乇丞 賵丕賱賲丿賳 丕賱賯丿賷賲丞 丕賱囟丕卅毓丞 ..
賱丕 賷鬲賲丕丿賶 賰丕丿丕乇賷賴 賮賷 廿爻鬲毓賲丕賱 丕賱禺賷丕賱 亘賯丿乇 賲丕 賷丨丕賵賱 丕賳 賷噩爻丿 匕賱賰 丕賱毓丕賱賲 丕賱亘毓賷丿貙 鬲賱賰 丕賱毓丕丿丕鬲貙 兀賵賱卅賰 丕賱賳丕爻 睾乇賷亘賷 丕賱兀胤賵丕乇貙 丕賱賲丨乇賰丕鬲 賵丕賱丿賵丕賮毓 丕賱鬲賷 賰丕賳鬲 鬲爻賷胤乇 毓賱賶 丕賱賳丕爻 丨賷賳賴丕 ..
廿爻賲丕毓賷賱 賰丕丿丕乇賷賴 賰賵賳賴 兀賱亘丕賳賷丕賸 賮廿賳賴 賷鬲丨丿孬 賴賳丕 毓賳 鬲丕乇賷禺 亘賱丕丿賴 貙 賷毓賵丿 亘賳丕 廿賱賶 丕賱賯乇賳 丕賱孬丕賳賷 毓卮乇 賱賱賲賷賱丕丿 貙 丨賷孬 鬲賯毓 兀丨丿丕孬 丨賵賱 亘賳丕亍 噩爻乇 毓賱賶 賳賴乇 (兀賵賷丕賳 丕賱賱毓賷賳) .. 兀丨丿丕孬 睾乇賷亘丞 賷乇賵賷賴丕 賰丕丿丕乇賷賴 廿夭丕亍 亘賳丕亍 丕賱噩爻乇貙 兀賳丕爻 爻丕禺胤賵賳 毓賱賶 亘賳丕亍 丕賱噩爻乇 賵兀爻丕胤賷乇 鬲鬲丨丿孬 毓賳 丨乇賲丞 亘賳丕亍賴 賵鬲囟丨賷丕鬲 賵禺賵賮 賵賲丿賷賳丞 睾乇賷亘丞 丕賱兀胤賵丕乇 賵禺胤乇 丿丕賴賲 賷賴丿丿 丕賱賲丿賷賳丞 亘乇賲鬲賴丕貙 賵丨鬲賶 賷賳鬲賴賷 亘賳丕亍 丕賱噩爻乇 賮廿賳 丕賱丨賰丕賷丞 鬲亘賯賶 賲爻鬲賲乇丞 賵丕賱爻乇丿 賲賲鬲毓 賵賲賴賷亘 亘賯賱賲 賰丕丿丕乇賷賴 ..
兀丨亘亘鬲 丕賱乇賵丕賷丞 賵兀禺丕賮鬲賳賷 兀噩賵丕亍賴丕 賵爻丨乇賴丕 賵毓丕賱賲賴丕 丕賱囟亘丕亘賷 丕賱睾丕乇賯 賮賷 噩賵 丕賱兀爻胤賵乇丞 賵丕賱賲丿賳 丕賱賯丿賷賲丞 丕賱囟丕卅毓丞 ..
January 16, 2023
讴丕丿丕乇賴 亘賴 毓賳賵丕賳 爻賵跇賴鈥屰� 丿蹖乇蹖賳賴鈥屰� 乇跇蹖賲 爻乇讴賵亘诏乇 丕賳賵乇 禺賵噩賴貙 丿乇 乇賲丕賳 倬賱 賲孬賱 丕讴孬乇 丌孬丕乇卮 亘賴 爻乇丕睾 鬲賲孬蹖賱 乇賮鬲賴貨 鬲賲孬蹖賱蹖 讴丕賮讴丕诏賵賳賴. 賲丕噩乇丕 丿乇 賯乇賳 趩賴丕乇丿賴賲 賵 丿乇 賲乇夭 亘蹖賳 丌賱亘丕賳蹖 賵 毓孬賲丕賳蹖 賲蹖鈥屭柏必� 賵 讴丕丿丕乇賴 賵賯丕蹖毓 賲乇亘賵胤 亘賴 爻丕禺鬲 蹖讴 倬賱 爻賴鈥屫坟з傎� 亘丕爻鬲丕賳蹖 乇丕 亘賴 鬲氐賵蹖乇 讴卮蹖丿賴 鬲丕 賳賲丕蹖丕賳诏乇 鬲丕乇蹖禺 毓乇蹖囟 賵 胤賵蹖賱 丿卮賲賳蹖 賮乇賴賳诏蹖 亘蹖賳 賲賱鬲鈥屬囏й� 亘丕賱讴丕賳 亘丕卮丿. 亘賴 賵蹖跇賴 乇賵卮 爻賱胤賴鈥屫й� 讴賴 氐丕丨亘丕賳 賯丿乇鬲 丕夭 胤乇蹖賯 鬲氐丕丨亘 賵 鬲賮爻蹖乇 丕賮爻丕賳賴鈥屬囏� 賵 鬲氐賳蹖賮鈥屬囏й� 讴賴賳 噩賴鬲 賲卮乇賵毓蹖鬲鈥屫ㄘ篡� 亘賴 鬲氐賲蹖賲丕鬲卮丕賳 蹖丕 丕爻賱丨賴鈥屫й� 亘乇丕蹖 夭禺賲 夭丿賳 亘賴 蹖讴丿蹖诏乇 蹖丕 亘賴丕賳賴鈥屰� 賱卮讴乇讴卮蹖 丕爻鬲賮丕丿賴 賲蹖鈥屭┴必団€屫з嗀�. 蹖丕 卮丕蹖丿 亘乇毓讴爻貨 禺賵丿 丕蹖賳 丕賮爻丕賳賴鈥屬囏� 賴爻鬲賳丿 讴賴 丌賳賴丕 乇丕 亘賴 丿丕賲 丕賳丿丕禺鬲賴貙 匕賴賳卮丕賳 乇丕 丌卮賮鬲賴 讴乇丿賴 賵 丿乇 賳賴丕蹖鬲 丌賳賴丕 乇丕 亘賴 亘丕夭蹖鈥屬囏й� 禺賵賳蹖賳 倬乇鬲丕亘 賲蹖鈥屭┵嗁嗀�. 丿乇 丌賱亘丕賳蹖 賵 馗丕賴乇丕賸 丕讴孬乇 讴卮賵乇賴丕蹖 亘丕賱讴丕賳 丕丿亘蹖丕鬲 賲讴鬲賵亘 禺蹖賱蹖 丿蹖乇 賵丕乇丿 毓乇氐賴 卮丿賴 賵 鬲丕 爻丕賱賴丕 丕丿亘蹖丕鬲 卮賮丕賴蹖 賵噩賴 睾丕賱亘 亘賵丿賴. 賳賵蹖爻賳丿賴 诏乇蹖夭蹖 賴賲 亘賴 賳賯卮 丕丿亘蹖丕鬲 卮賮丕賴蹖 丿乇 讴卮賵乇卮 夭丿賴. 讴賴 趩诏賵賳賴 爻賳鬲 卮賮丕賴蹖 亘丕 鬲賲丕賲 賳賯丕胤 囟毓賮 蹖丕 賯賵鬲卮 丕夭 賳爻賱蹖 亘賴 賳爻賱 丿蹖诏乇 賵 丕夭 賮乇丿蹖 亘賴 賮乇丿 丿蹖诏乇 丿爻鬲禺賵卮 丿诏乇诏賵賳蹖 賲蹖鈥屫促堌�
December 15, 2020
When legend catches you in its snare
The monk Gjon Ukcama, narrator of this rain-swept tale of the 14th century Balkans, says at one point, "...like all the affairs of this world, this story was both simpler and more involved than it appeared." This sentence could sum up the book. It is a magnificent work on so many levels. In one way, you can read it as a simple tale of how a bridge was built; beginning with medieval machinations, certain unforeseen setbacks, a sacrifice, and ultimate success. A second approach to the novel is to look at it as a little-known historical period brought to life through a legend-like tale---the decline of Byzantium, the subsequent rise of many small principalities in the Balkans together with the ever-rising crescendo of Ottoman power from the East, the new commercial combines directed from the Italian states and other countries further west. A third way of looking at THE THREE-ARCHED BRIDGE is to think of it as an allegory of Albanian history, showing Albania as one of those many small countries to which history "happens" without their having any say-so. In a fourth way, this is a tale about change in any period of human history. Can there be major changes without someone paying a steep price ? A person here, a social class there, an entire way of life over there....Kadare's story moves with dark inevitability. Finally, you can read this novel as being about life and death: people struggle to bridge the gap, but the two worlds--of the living and of the dead---remain separate. This legend of an old Albanian bridge tells us this. We can't penetrate further into the mystery though so many have tried.
A Christian monk, writing in the 14th century, might have seen the Turks as a threat, though animosity between Rome and Byzantium was worse than between Islam and Christianity. That is not to say that everyone at the time did see the situation like that. Many Christian peasants of southeastern Europe preferred to live under the less-rapacious, better-organized Ottomans. Many even gladly converted to Islam. So, although the Turks are portrayed as menacing in this novel, even as symbolic of death and disaster, I would like to point out that Albanian history was re-written in the 19th and 20th centuries to suit those who opposed the decayed Turkish rule four centuries after the initial conquests. We are still dealing in legends, in other words. Kadare does not vary from nationalist history, which has to be seen for the legend it is. Other than that minor criticism, this is without doubt a five-star book. My only question is---when is Kadare going to get a Nobel Prize ?
The monk Gjon Ukcama, narrator of this rain-swept tale of the 14th century Balkans, says at one point, "...like all the affairs of this world, this story was both simpler and more involved than it appeared." This sentence could sum up the book. It is a magnificent work on so many levels. In one way, you can read it as a simple tale of how a bridge was built; beginning with medieval machinations, certain unforeseen setbacks, a sacrifice, and ultimate success. A second approach to the novel is to look at it as a little-known historical period brought to life through a legend-like tale---the decline of Byzantium, the subsequent rise of many small principalities in the Balkans together with the ever-rising crescendo of Ottoman power from the East, the new commercial combines directed from the Italian states and other countries further west. A third way of looking at THE THREE-ARCHED BRIDGE is to think of it as an allegory of Albanian history, showing Albania as one of those many small countries to which history "happens" without their having any say-so. In a fourth way, this is a tale about change in any period of human history. Can there be major changes without someone paying a steep price ? A person here, a social class there, an entire way of life over there....Kadare's story moves with dark inevitability. Finally, you can read this novel as being about life and death: people struggle to bridge the gap, but the two worlds--of the living and of the dead---remain separate. This legend of an old Albanian bridge tells us this. We can't penetrate further into the mystery though so many have tried.
A Christian monk, writing in the 14th century, might have seen the Turks as a threat, though animosity between Rome and Byzantium was worse than between Islam and Christianity. That is not to say that everyone at the time did see the situation like that. Many Christian peasants of southeastern Europe preferred to live under the less-rapacious, better-organized Ottomans. Many even gladly converted to Islam. So, although the Turks are portrayed as menacing in this novel, even as symbolic of death and disaster, I would like to point out that Albanian history was re-written in the 19th and 20th centuries to suit those who opposed the decayed Turkish rule four centuries after the initial conquests. We are still dealing in legends, in other words. Kadare does not vary from nationalist history, which has to be seen for the legend it is. Other than that minor criticism, this is without doubt a five-star book. My only question is---when is Kadare going to get a Nobel Prize ?
June 7, 2017
In 1377 a monk, Gjon [John] Ukcama, begins his chronicle of the events of that time in his corner of Albania. What follows is a mesmerizing, frightening tale. It can be read on several levels; the straightforward narrative of a bridge being built over a raging river, the Ujana e Keqe ["Wild waters"], its construction undermined by sabotage and bitter rivalry between two entities: Boats & Rafts and Roads & Bridges. Byzantium is crumbling; the Ottoman Empire encroaches on Albania; Gjon writes on the last page of his chronicle, "times are black; soon night may fall..."
Or the novella can be read on an allegorical level. Kadare lived during the brutal dictatorship of Enver Hoxha, so most of what he wrote is purposely veiled in hidden meaning. This tale could be the bloody history of his people, possibly present-day [well, when Kadare wrote it in 1976-78] events. The author used the conflict of the 14th century as a metaphor. The man walled up in the bridge, a sacrifice to propitiate the bridge, seemed like a symbol that Albania would not progress without violence and shedding of blood. The short chapters ranging from one to five pp. brought to my mind old Hollywood movies where tearing off calendar pages would indicate passage of time. I have read other Kadare and he can be difficult to understand, but this parable seemed unambiguous. It reminds me of the surreal, grotesque stories of Kafka in how this story and those of Kafka's can have layered meanings. The atmosphere of desolation and foreboding is conveyed marvelously throughout.
"I, the monk Gjon, sonne of Gjorg Ukcama, who hath finished this knowynge that ther is no thynge wrytene in owre tonge about the Brigge of the Ujana e Keqe and the euil whyche is upon us, and for the love of owre worlde."
Or the novella can be read on an allegorical level. Kadare lived during the brutal dictatorship of Enver Hoxha, so most of what he wrote is purposely veiled in hidden meaning. This tale could be the bloody history of his people, possibly present-day [well, when Kadare wrote it in 1976-78] events. The author used the conflict of the 14th century as a metaphor. The man walled up in the bridge, a sacrifice to propitiate the bridge, seemed like a symbol that Albania would not progress without violence and shedding of blood. The short chapters ranging from one to five pp. brought to my mind old Hollywood movies where tearing off calendar pages would indicate passage of time. I have read other Kadare and he can be difficult to understand, but this parable seemed unambiguous. It reminds me of the surreal, grotesque stories of Kafka in how this story and those of Kafka's can have layered meanings. The atmosphere of desolation and foreboding is conveyed marvelously throughout.
September 2, 2014
Only red blood in common.
A babble of languages. Their music 鈥榯his stupor, this hashish dissolved in the air in the form of song'. Their dervishes with ragged clothes that look like hair, and with hair that looks like rags. The differences between Europe and Ottoman Asia, suddenly at Albania鈥檚 borders.
But more differences between 鈥榰s' and 鈥榯hem' come before that--among people of the Balkans themselves. Obscured competition for the profits of commerce come to this small principality from outside, places where no one has been. Someone we never see maneuvers to buld a bridge and take the business of someone else we never see--the magnate of water transport. The peasants fear effects on the water spirits. A mogul of water, a mogul of earth. Ferry or bridge? Reason or naiads? Science or religion?
This book is more than a parable, but it has the feeling of a very complex parable that invites contemplation of any number of ancient and current contentions. On the surface it is about the advance of the Ottoman Empire into Europe. The Orthodox priest who tells the story foresees his culture being obliterated under this juggernaut, except for what might be salvaged later if it gets hidden in crevices of the mountains. It is about the basis of the endless wars of the Balkans. (In one of Kadare鈥檚 linguistic digressions he tells of the Turks' recent nomination of the peninsula as 'the Balkans', to do with mountains.)
But, it could as easily be about the Cold War, the confrontation across the iron curtain, as it was written in 1976-78. It could be about today鈥檚 religious wars. About ecological disputes among those who believe the water and the earth are more than elements to be shifted and exploited. About the sacrifices of human beings that occur during the upheaval of modernization, to placate the Gods, whether they be real or legendary.
As I finished the book I realized the priest had never mentioned crossing the bridge himself. He only watches.
It鈥檚 a classic so I hardly need to recommend it, but I do.
A babble of languages. Their music 鈥榯his stupor, this hashish dissolved in the air in the form of song'. Their dervishes with ragged clothes that look like hair, and with hair that looks like rags. The differences between Europe and Ottoman Asia, suddenly at Albania鈥檚 borders.
But more differences between 鈥榰s' and 鈥榯hem' come before that--among people of the Balkans themselves. Obscured competition for the profits of commerce come to this small principality from outside, places where no one has been. Someone we never see maneuvers to buld a bridge and take the business of someone else we never see--the magnate of water transport. The peasants fear effects on the water spirits. A mogul of water, a mogul of earth. Ferry or bridge? Reason or naiads? Science or religion?
This book is more than a parable, but it has the feeling of a very complex parable that invites contemplation of any number of ancient and current contentions. On the surface it is about the advance of the Ottoman Empire into Europe. The Orthodox priest who tells the story foresees his culture being obliterated under this juggernaut, except for what might be salvaged later if it gets hidden in crevices of the mountains. It is about the basis of the endless wars of the Balkans. (In one of Kadare鈥檚 linguistic digressions he tells of the Turks' recent nomination of the peninsula as 'the Balkans', to do with mountains.)
But, it could as easily be about the Cold War, the confrontation across the iron curtain, as it was written in 1976-78. It could be about today鈥檚 religious wars. About ecological disputes among those who believe the water and the earth are more than elements to be shifted and exploited. About the sacrifices of human beings that occur during the upheaval of modernization, to placate the Gods, whether they be real or legendary.
As I finished the book I realized the priest had never mentioned crossing the bridge himself. He only watches.
It鈥檚 a classic so I hardly need to recommend it, but I do.
February 26, 2023
Aceasta este o dezmin牛ire a unei legende balcanice, asem膬n膬toare cu legenda "Me艧terul Manole" potrivit c膬reia "la temelia oric膬rei 卯nf膬ptuiri, a unei opere m膬re牛e trebuie sacrificat ceva."
Legenda e povestit膬 de un c膬lug膬r albanez.
脦ntr-o prim膬var膬 pe malul r芒ului Ujana cea Rea, la debarcaderul pluta艧ului, un necunoscut are o criz膬 de epilepsie. Un c膬l膬tor, martor al 卯nt芒mpl膬rii spune c膬 e un semn divin 艧i c膬 卯n locul acela trebuie construit un pod. Contele Gjica, st膬p芒nul locului, contra unei sume de bani permite construirea podului, dar zidarii nu avanseaz膬 卯n lucru. Ace艧tea g膬sesc de c芒teva ori picioarele podului surpate, iar oamenii cred c膬 e r膬zbunarea cr膬ieselor apei. De fapt, era r膬zbunarea celor care administrau plutele 艧i nu doreau s膬-艧i piard膬 c芒艧tigurile. Dup膬 cum deduce naratorul, ei fac 卯n牛elegere cu un localnic care d膬r芒m膬 podul, dar 卯ntr-o noapte este prins, omor芒t 艧i zidit 卯ntr-unul din picioarele podului. Astfel podul cu trei arce se 卯ntemeiaz膬 pe o crim膬.
C膬lug膬rul care scrie aceast膬 cronic膬 percepe 卯n crimele comise la zidirea podului ni艧te semne ale unei tragedii care ar amenin牛a Balcanii 艧i anume invazia Imperiului Otoman.
Din punct de vedere simbolistic, podul reprezint膬 trecerea de la cer la p膬m芒nt, de la via牛膬 la moarte.
艦i 卯n acest roman, naratorul se pare ar sugera c膬 podul simbolizeaz膬 via牛a lini艧tit膬 pe care o duc albanezii pe p膬m芒ntul lor 艧i de cealalt膬 parte, amenin牛area 艧i pericolul unei invazii a Imperiului Otoman, aflat 卯n vecin膬tate. Adic膬 zidirea lui aduce progresul, civiliza葲ia, dar 葯i r膬zboiul, moartea.
Legenda e povestit膬 de un c膬lug膬r albanez.
脦ntr-o prim膬var膬 pe malul r芒ului Ujana cea Rea, la debarcaderul pluta艧ului, un necunoscut are o criz膬 de epilepsie. Un c膬l膬tor, martor al 卯nt芒mpl膬rii spune c膬 e un semn divin 艧i c膬 卯n locul acela trebuie construit un pod. Contele Gjica, st膬p芒nul locului, contra unei sume de bani permite construirea podului, dar zidarii nu avanseaz膬 卯n lucru. Ace艧tea g膬sesc de c芒teva ori picioarele podului surpate, iar oamenii cred c膬 e r膬zbunarea cr膬ieselor apei. De fapt, era r膬zbunarea celor care administrau plutele 艧i nu doreau s膬-艧i piard膬 c芒艧tigurile. Dup膬 cum deduce naratorul, ei fac 卯n牛elegere cu un localnic care d膬r芒m膬 podul, dar 卯ntr-o noapte este prins, omor芒t 艧i zidit 卯ntr-unul din picioarele podului. Astfel podul cu trei arce se 卯ntemeiaz膬 pe o crim膬.
C膬lug膬rul care scrie aceast膬 cronic膬 percepe 卯n crimele comise la zidirea podului ni艧te semne ale unei tragedii care ar amenin牛a Balcanii 艧i anume invazia Imperiului Otoman.
Din punct de vedere simbolistic, podul reprezint膬 trecerea de la cer la p膬m芒nt, de la via牛膬 la moarte.
艦i 卯n acest roman, naratorul se pare ar sugera c膬 podul simbolizeaz膬 via牛a lini艧tit膬 pe care o duc albanezii pe p膬m芒ntul lor 艧i de cealalt膬 parte, amenin牛area 艧i pericolul unei invazii a Imperiului Otoman, aflat 卯n vecin膬tate. Adic膬 zidirea lui aduce progresul, civiliza葲ia, dar 葯i r膬zboiul, moartea.
May 24, 2017
Ismail Kadare poate fi genial dac膬 vrea, nu 葯i 卯n "Podul cu trei arce". Romanul de fa葲膬 face parte din seria de exerci葲ii mitologice, prin care autorul ia c芒te o legend膬 veche 葯i o 卯ntoarce pe fa葲膬 葯i pe dos g膬sindu-i noi dedesupturi. Un fel de a coase dosar penal Me葯terului Manole.
February 11, 2024
"No one crossed the bridge. Nobody wanted to walk over the dead. It was at the end of Tuesday afternoon when they saw that a wolf had padded softly over the bridge, as in a fairy tale."
Mindbending read as the plotline is a great retelling of the immurement legend of Rozafa Castle (see ), attested as early as 1505 in the work Da obsidione Scodreni, by the Albanian humanist and historian - a myth present in many Eastern-European countries (but even as far and early as in the Inca culture) however I was always under the impression that this was a purely Romanian legend of the building of the Arge葯 Monastery (see as this story is also, morbidly enough, part of early school curriculum.
"These people had revived legend, like an old weapon, discovered accidentally, to wound each other. It was nevertheless early to say whether they had really enlisted it in their service. Perhaps it was legend itself that had caught them in a snare, had clouded their minds, and had thrust them into the bloody game."
Here we have a dreamlike parable of a bridge construction on the historical Via Egnatia (see ) on Albanian territory in the 14th century, shortly before the occupation by the Ottoman Empire that started at Vlor毛 when the Byzantium empire handed over its base to the Turks - a move that was taken as a sign of a new world order settling in.
We are guided by Gjon, an Albanian monk who witnesses the construction of the bridge as well as the confusion that it brings, unavoidable tragedies, the needless violence but distractions come in the shape of Turks travelling from the Ottoman Empire . I found Kadare here at his strongest as he truly sets the stage for the absolute confusion that must have been in the minds of the Albanians as they helplessly witness a slow trickle of barefoot strangers crossing their lands, talking in strange languages, wearing strange clothes and singing strange songs.
"The language of the East is drawing nearer."
The country was already in a state of confusion: there was an increase in Dutch, Italian and Jewish immigrants and merchants, heavy caravan traffic, old roads were being repaired, new banks were open, the almost universal currency was the Venetian ducat, but the country was in fact dealing in 27 different kinds of coins.
"The hunger of the great Ottoman state could be felt in the wind. We were already used to the savage hunger of the Slavs, naked and with bare teeth like wolves, this hunger always seemed more dangerous than anything else. But in contrast, the Ottoman pressure involved a kind of temptation. It struck me as no accident that they had chosen the moon as their symbol. Under its light, the world could be carressed and lulled to sleep more easily."
Ishmael Kadare has created an excellent microcosmos of Albanian identity in under 200 pages - and there is something unique about this fair land - the Albanian language is Indo-European and 6000 years old, among the oldest of the European languages, as Albanians themselves are descended from the ancient Kingdom of Ilyria, a strangely mysterious region in the Balkan Peninsula that worshipped the god Silvanus (see ), I've thus switched between Serbian and English in reading this.
"Wars between languages are no less fateful than wars between men. When someone borrows your words for gods, it is like borrowing a part of your soul."
Kadare also touches upon Besa - an Albanian concept of great importance in customary law that is similar to 'word of honour' or 'the unbreakable vow', with origins in a pagan folk belief of an oath taken by Sun, Moon, Sky, Earth, Fire, Stone, Mountain, Water and Snake - considered sacred objects by the Paleo-Balkans, with roots in the pagan Illyrian religion.
"This was exactly the right place to explain to him that these words, 'to break the besa', are, in the Slavic versions of the ballads, vjeru pogazio, which means 'to violate faith' or 'to outrage religion'."
Albania remained under Ottoman occupation since its conquest in the late 15th century to 1912 when the Albanian Revolt of 1912 weakened the Ottoman state and sparked the First Balkan War, with Albania declaring its Independence in November 1912, quite poetically, in Vlor毛.
Mindbending read as the plotline is a great retelling of the immurement legend of Rozafa Castle (see ), attested as early as 1505 in the work Da obsidione Scodreni, by the Albanian humanist and historian - a myth present in many Eastern-European countries (but even as far and early as in the Inca culture) however I was always under the impression that this was a purely Romanian legend of the building of the Arge葯 Monastery (see as this story is also, morbidly enough, part of early school curriculum.
"These people had revived legend, like an old weapon, discovered accidentally, to wound each other. It was nevertheless early to say whether they had really enlisted it in their service. Perhaps it was legend itself that had caught them in a snare, had clouded their minds, and had thrust them into the bloody game."
Here we have a dreamlike parable of a bridge construction on the historical Via Egnatia (see ) on Albanian territory in the 14th century, shortly before the occupation by the Ottoman Empire that started at Vlor毛 when the Byzantium empire handed over its base to the Turks - a move that was taken as a sign of a new world order settling in.
We are guided by Gjon, an Albanian monk who witnesses the construction of the bridge as well as the confusion that it brings, unavoidable tragedies, the needless violence but distractions come in the shape of Turks travelling from the Ottoman Empire . I found Kadare here at his strongest as he truly sets the stage for the absolute confusion that must have been in the minds of the Albanians as they helplessly witness a slow trickle of barefoot strangers crossing their lands, talking in strange languages, wearing strange clothes and singing strange songs.
"The language of the East is drawing nearer."
The country was already in a state of confusion: there was an increase in Dutch, Italian and Jewish immigrants and merchants, heavy caravan traffic, old roads were being repaired, new banks were open, the almost universal currency was the Venetian ducat, but the country was in fact dealing in 27 different kinds of coins.
"The hunger of the great Ottoman state could be felt in the wind. We were already used to the savage hunger of the Slavs, naked and with bare teeth like wolves, this hunger always seemed more dangerous than anything else. But in contrast, the Ottoman pressure involved a kind of temptation. It struck me as no accident that they had chosen the moon as their symbol. Under its light, the world could be carressed and lulled to sleep more easily."
Ishmael Kadare has created an excellent microcosmos of Albanian identity in under 200 pages - and there is something unique about this fair land - the Albanian language is Indo-European and 6000 years old, among the oldest of the European languages, as Albanians themselves are descended from the ancient Kingdom of Ilyria, a strangely mysterious region in the Balkan Peninsula that worshipped the god Silvanus (see ), I've thus switched between Serbian and English in reading this.
"Wars between languages are no less fateful than wars between men. When someone borrows your words for gods, it is like borrowing a part of your soul."
Kadare also touches upon Besa - an Albanian concept of great importance in customary law that is similar to 'word of honour' or 'the unbreakable vow', with origins in a pagan folk belief of an oath taken by Sun, Moon, Sky, Earth, Fire, Stone, Mountain, Water and Snake - considered sacred objects by the Paleo-Balkans, with roots in the pagan Illyrian religion.
"This was exactly the right place to explain to him that these words, 'to break the besa', are, in the Slavic versions of the ballads, vjeru pogazio, which means 'to violate faith' or 'to outrage religion'."
Albania remained under Ottoman occupation since its conquest in the late 15th century to 1912 when the Albanian Revolt of 1912 weakened the Ottoman state and sparked the First Balkan War, with Albania declaring its Independence in November 1912, quite poetically, in Vlor毛.
September 5, 2016
鈥淎lexiada鈥� Anei Comnena mi-a starnit curiozitatea fata de Albania. M-am mai mai intalnit apoi cu cateva referinte despre Albania si albanezi in minunata carte a lui Charles King, 鈥淢area Neagra. O istorie鈥� si apoi in jurnalul de calatorie al excentricului Sacheverell Sitwell, 鈥淐alatorie in Romania鈥�. Mi-am dorit sa aflu ceva mai mult despre aceasta tara 鈥� despre care cunoasteam, in mare parte, doar locul pe care il ocupa pe harta 鈥� si mai ales despre legaturile vechi care leaga Romania si Albania.
Pentru mine a fost prima intalnire cu literatura albaneza. Cele 185 de pagini cu aer de poveste le-am parcurs usor intr-o sambata. Insa pe cat de usor se intorc paginile pe atat de profunde sunt trairile care raman dupa ce inchizi cartea. 鈥淧odul cu trei arce鈥� al lui Kadare e in primul rand un roman de atmosfera si nu in ultimul rand o complexa parabola politica.
Daca Ken Follett, in 鈥淪talpii pamantului鈥� are nevoie de peste 1000 de pagini pentru a ne transpune pe platoul unui santier medieval, Kadare are nevoie de mult mai putin spatiu. Desigur, nu exista termen de comparatie intre cele doua romane si cei doi autori; scriitura si modul de tratare si simtire a unor subiecte sunt diferite si, totusi, exact aceste diferente m-au dus cu gandul la Follett in timp ce se punea piatra peste piatra pentru a pune capastru Ujanei cea Rea. Atat raul 鈥淯jana cea Rea鈥� cat si podul de piatra cu cele trei arce ale sale sunt personaje principale in romanul lui Kadare. Dar sunt ele stapane pe destinul lor sau destinul lor e scris de ceea ce le inconjoara?
鈥淓 o pace sinistra, mai cumplita decat orisice razboi鈥�
ne spune calugarul catolic Gjon, cel care se grabeste a istorisi aceasta poveste pana ce nu ii va fi imposibil sa o faca. Suntem in 1377 pe domeniile contelui Stres Gjika(hmm, sa fie acesta vreun stramos de legenda al familiei domnitoare Ghica, ale carei origini erau albaneze?), nu departe de Dyrrachium(acum Durres), pe vechiul drum roman Via Egnatia, caruia acum i se spunea Drumul Balcanilor care strabatea Albania, Macedonia, Grecia si se oprea in vechea capitala a Bizantului, Constantinopol. In acest colt de lume ingust in care 鈥渁lbanezul era asociat cu vulturul(dobar), sarbul cu lupul, croatul cu cucuveaua, ungurul cu linxul iar romanul cu pisica鈥� cine ar mai avea loc?
Simtim tensiunea apasatoare de la inceput. Un anumit mod de viata urmeaza sa apuna. Dar ce va veni dupa, de unde va veni, cum va veni? Multi ani s-a trait in armonie cu Ujana cea Rea si tulbure. Angajamentele au fost respectate, platile facute. Si totusi acum se vrea a se pune stavila Ujanei, o constructie de piatra urmeaza sa o infranga, iar legaturile cu ea, cu Ujana, vor fi altele de acum incolo. 鈥淏arci si plute鈥� cea mai mare si puternica banca din Durres isi respectase intelegerile cu seniorul Gjika dar si cu Ujana si, din cate se pare 鈥渆ra corecta pana la ultimul banut鈥�. Dar ce putere poate avea o banca in fata unui semn divin? Iar semnul a fost trimis si ajunsese la urechile tuturor, un om cu boala sfanta(epilepsie) l-a adus, un om cu 鈥渂oala pamantului鈥� caci asa i se spune. Un pod, spusese. Nu mult a trecut pana cand, niste nou-veniti, care vorbeau o limba ciudata, se ofereau sa ridice, in doi ani, un pod de piatra peste Ujana cea Rea. Dar cine erau ei, cine le era stapanul?
鈥淪tapanul lor nu e nici duce, nici baron, nici print, ci un om bgat, care cumparase in ultima vreme vechea exploatare de bitum, parasita inca de pe vremea romanilor si, deasemenea, cea mai mare parte a drumului, la fel de vechi, pe care avea de gand sa-l repare. Nu are un titlu nobiliar, spusesera ei, in schimb are bani鈥�
Acum 150-200 de ani, pe acest drum vechi de cand lumea, 鈥渢ropaisera copitele tuturor cruciadelor crestine鈥� in drumul lor spre Ierusalim. Acum, pe el, din partea opusa, incepeau sa apara cand si cand, dar tot mai des dervisi. Pe drumul acesta au aparut si cei care se ofereau sa ridice podul. Turcii sunt tot mai des intalniti de-a lungul si de-a latul Balcanilor.
Nu a trecut mult si au ajuns si echipele de constructori, s-au ridicat baracile pentru ei, iar spectacolul oferit, in special de arhitectul sef de santier, era unul nemaivazut. Doar nebunul satului se gasea in elementul lui, batranii satului, in schimb, nu preveasteau nimic bun, sigur Ujana se va razbuna iar razbunarea va fi crunta. Va urma deci o lupta crancena intre 鈥渟tapanii apelor鈥� si 鈥渟tapanii pamantului鈥�, intre apa si piatra, o lupta intre vechile legende si superstitii ale Balcanilor, iar intr-un final 鈥渟tapanii pamantului鈥� cu ajutorul legendei vor aduce moartea.
鈥淎sa cum tremur eu prinsa in piatra,
asa sa tremure si acest pod.鈥� 鈥� Balada zidirii podului
Kadare reinterpreteaza legenda zidirii cetatii Rozafa din apropierea orasului Shkodra, aceeasi balada a zidirii pe care o regasim si la noi in 鈥淟eganda Mesterului Manole鈥� si aduce un plus de suspans in atmosfera si asa apasatoarea a romanului. Sa fie sacrificiu consimtit, sa fie crima si razbunare, sa fie dorinta de nemurire, sa fie doar o simpla intelegere pe considerente financiare? Un lucru e cert, podul a ramas in picioare iar faima lui l-a transformat in subiect de pelerinaj, ocazie numai buna pentru a afla gandurile care framantau mintile acelor vremuri.
Vestile care ajungeau nu aduceau insa mai multa liniste. Imperiul Otoman ajunsese deja la granita, iar printii albanezi sunt macinati de vesnice invidii, multi dintre ei lasandu-se cu usurinta amagiti de putere si bani. Gjon isi aduce aminte de prima oara cand a vazut osteni turci.
O bijuterie acest roman al lui Kadare. O mica poveste care cuprinde nu doar o parte din istoria Albaniei ci istoria lumii la un loc. O poveste in care vesnic exista doua fete si o gramada de nuante. Mult mai mult decat un roman despre ciocinrea civilizatiilor, despre drumurile care aduc atat deschidere si cunoastere cat si conflicte. O poveste despre aceleasi intrebari pe care ni le punem neincetat de-a lungul istoriei 鈥� cand ne-am lasat cuceriti si cand ne-am lasat cumparati?
O poveste depre progres cu tente ecologiste, o poveste despre costurile progresului si incapacitatea de a i te opune, o poveste despre harti, granite, geopolitica, despre ceea ce credeai imposibil a se intampla vreodata, o poveste despre simboluri, marire si decadere, despre semnificatia timpului si modul in care il percepem, despre ceea ce, intr-un final, ne face sa fim la fel.
Povestea, nu intamplator se termina in 1976-1978, la Tirana. Kadare se vede in fata regimului comunist, la fel ca si calugarul Gjon in fata urgiei otomane. Ambii se grabesc sa isi spuna povestea. Gjon nu va pasi peste pod. Kadare se afla in fata unei interdictii de a mai publica.
Mai multe ganduri despre aceasta carte, aici
Pentru mine a fost prima intalnire cu literatura albaneza. Cele 185 de pagini cu aer de poveste le-am parcurs usor intr-o sambata. Insa pe cat de usor se intorc paginile pe atat de profunde sunt trairile care raman dupa ce inchizi cartea. 鈥淧odul cu trei arce鈥� al lui Kadare e in primul rand un roman de atmosfera si nu in ultimul rand o complexa parabola politica.
Daca Ken Follett, in 鈥淪talpii pamantului鈥� are nevoie de peste 1000 de pagini pentru a ne transpune pe platoul unui santier medieval, Kadare are nevoie de mult mai putin spatiu. Desigur, nu exista termen de comparatie intre cele doua romane si cei doi autori; scriitura si modul de tratare si simtire a unor subiecte sunt diferite si, totusi, exact aceste diferente m-au dus cu gandul la Follett in timp ce se punea piatra peste piatra pentru a pune capastru Ujanei cea Rea. Atat raul 鈥淯jana cea Rea鈥� cat si podul de piatra cu cele trei arce ale sale sunt personaje principale in romanul lui Kadare. Dar sunt ele stapane pe destinul lor sau destinul lor e scris de ceea ce le inconjoara?
鈥淓 o pace sinistra, mai cumplita decat orisice razboi鈥�
ne spune calugarul catolic Gjon, cel care se grabeste a istorisi aceasta poveste pana ce nu ii va fi imposibil sa o faca. Suntem in 1377 pe domeniile contelui Stres Gjika(hmm, sa fie acesta vreun stramos de legenda al familiei domnitoare Ghica, ale carei origini erau albaneze?), nu departe de Dyrrachium(acum Durres), pe vechiul drum roman Via Egnatia, caruia acum i se spunea Drumul Balcanilor care strabatea Albania, Macedonia, Grecia si se oprea in vechea capitala a Bizantului, Constantinopol. In acest colt de lume ingust in care 鈥渁lbanezul era asociat cu vulturul(dobar), sarbul cu lupul, croatul cu cucuveaua, ungurul cu linxul iar romanul cu pisica鈥� cine ar mai avea loc?
Simtim tensiunea apasatoare de la inceput. Un anumit mod de viata urmeaza sa apuna. Dar ce va veni dupa, de unde va veni, cum va veni? Multi ani s-a trait in armonie cu Ujana cea Rea si tulbure. Angajamentele au fost respectate, platile facute. Si totusi acum se vrea a se pune stavila Ujanei, o constructie de piatra urmeaza sa o infranga, iar legaturile cu ea, cu Ujana, vor fi altele de acum incolo. 鈥淏arci si plute鈥� cea mai mare si puternica banca din Durres isi respectase intelegerile cu seniorul Gjika dar si cu Ujana si, din cate se pare 鈥渆ra corecta pana la ultimul banut鈥�. Dar ce putere poate avea o banca in fata unui semn divin? Iar semnul a fost trimis si ajunsese la urechile tuturor, un om cu boala sfanta(epilepsie) l-a adus, un om cu 鈥渂oala pamantului鈥� caci asa i se spune. Un pod, spusese. Nu mult a trecut pana cand, niste nou-veniti, care vorbeau o limba ciudata, se ofereau sa ridice, in doi ani, un pod de piatra peste Ujana cea Rea. Dar cine erau ei, cine le era stapanul?
鈥淪tapanul lor nu e nici duce, nici baron, nici print, ci un om bgat, care cumparase in ultima vreme vechea exploatare de bitum, parasita inca de pe vremea romanilor si, deasemenea, cea mai mare parte a drumului, la fel de vechi, pe care avea de gand sa-l repare. Nu are un titlu nobiliar, spusesera ei, in schimb are bani鈥�
Acum 150-200 de ani, pe acest drum vechi de cand lumea, 鈥渢ropaisera copitele tuturor cruciadelor crestine鈥� in drumul lor spre Ierusalim. Acum, pe el, din partea opusa, incepeau sa apara cand si cand, dar tot mai des dervisi. Pe drumul acesta au aparut si cei care se ofereau sa ridice podul. Turcii sunt tot mai des intalniti de-a lungul si de-a latul Balcanilor.
Nu a trecut mult si au ajuns si echipele de constructori, s-au ridicat baracile pentru ei, iar spectacolul oferit, in special de arhitectul sef de santier, era unul nemaivazut. Doar nebunul satului se gasea in elementul lui, batranii satului, in schimb, nu preveasteau nimic bun, sigur Ujana se va razbuna iar razbunarea va fi crunta. Va urma deci o lupta crancena intre 鈥渟tapanii apelor鈥� si 鈥渟tapanii pamantului鈥�, intre apa si piatra, o lupta intre vechile legende si superstitii ale Balcanilor, iar intr-un final 鈥渟tapanii pamantului鈥� cu ajutorul legendei vor aduce moartea.
鈥淎sa cum tremur eu prinsa in piatra,
asa sa tremure si acest pod.鈥� 鈥� Balada zidirii podului
Kadare reinterpreteaza legenda zidirii cetatii Rozafa din apropierea orasului Shkodra, aceeasi balada a zidirii pe care o regasim si la noi in 鈥淟eganda Mesterului Manole鈥� si aduce un plus de suspans in atmosfera si asa apasatoarea a romanului. Sa fie sacrificiu consimtit, sa fie crima si razbunare, sa fie dorinta de nemurire, sa fie doar o simpla intelegere pe considerente financiare? Un lucru e cert, podul a ramas in picioare iar faima lui l-a transformat in subiect de pelerinaj, ocazie numai buna pentru a afla gandurile care framantau mintile acelor vremuri.
Vestile care ajungeau nu aduceau insa mai multa liniste. Imperiul Otoman ajunsese deja la granita, iar printii albanezi sunt macinati de vesnice invidii, multi dintre ei lasandu-se cu usurinta amagiti de putere si bani. Gjon isi aduce aminte de prima oara cand a vazut osteni turci.
O bijuterie acest roman al lui Kadare. O mica poveste care cuprinde nu doar o parte din istoria Albaniei ci istoria lumii la un loc. O poveste in care vesnic exista doua fete si o gramada de nuante. Mult mai mult decat un roman despre ciocinrea civilizatiilor, despre drumurile care aduc atat deschidere si cunoastere cat si conflicte. O poveste despre aceleasi intrebari pe care ni le punem neincetat de-a lungul istoriei 鈥� cand ne-am lasat cuceriti si cand ne-am lasat cumparati?
O poveste depre progres cu tente ecologiste, o poveste despre costurile progresului si incapacitatea de a i te opune, o poveste despre harti, granite, geopolitica, despre ceea ce credeai imposibil a se intampla vreodata, o poveste despre simboluri, marire si decadere, despre semnificatia timpului si modul in care il percepem, despre ceea ce, intr-un final, ne face sa fim la fel.
Povestea, nu intamplator se termina in 1976-1978, la Tirana. Kadare se vede in fata regimului comunist, la fel ca si calugarul Gjon in fata urgiei otomane. Ambii se grabesc sa isi spuna povestea. Gjon nu va pasi peste pod. Kadare se afla in fata unei interdictii de a mai publica.
Mai multe ganduri despre aceasta carte, aici
April 8, 2017
賱賲 鬲毓噩亘賳賷 丕賱乇賵丕賷丞
賵 亘乇睾賲 氐睾乇 丨噩賲賴丕 廿賱丕 兀賳賳賷 兀丨爻爻鬲 亘丕賱賲賱賱 丕賱卮丿賷丿
賵 亘乇睾賲 丕爻鬲睾賱丕賱賴 賱丕爻胤賵乇丞 賲賳 丕賱賲賮鬲乇囟 兀賳 鬲賰賵賳 卮賷賯丞 廿賱丕 兀賳賴 賱賲 賷丨爻賳 丕爻鬲禺丿丕賲賴丕
賱賲 鬲毓噩亘賳賷
賵 亘乇睾賲 氐睾乇 丨噩賲賴丕 廿賱丕 兀賳賳賷 兀丨爻爻鬲 亘丕賱賲賱賱 丕賱卮丿賷丿
賵 亘乇睾賲 丕爻鬲睾賱丕賱賴 賱丕爻胤賵乇丞 賲賳 丕賱賲賮鬲乇囟 兀賳 鬲賰賵賳 卮賷賯丞 廿賱丕 兀賳賴 賱賲 賷丨爻賳 丕爻鬲禺丿丕賲賴丕
賱賲 鬲毓噩亘賳賷
December 29, 2012
丕賱噩爻乇
賰丕丿丕乇賷賴 賲賳 噩丿賷丿貙 丕賯鬲乇亘 賲鬲賴賷亘丕賸貙 賮丕賱匕乇賵丞 丕賱鬲賷 賵氐賱鬲賴丕 賲毓 (丕賱丨氐丕乇)貙 兀毓賯亘賴丕 賴亘賵胤 賲毓 (賯氐丞 賲丿賷賳丞 丕賱丨噩乇)貙 賮賲丕 丕賱匕賷 賷禺亘卅賴 賱賷 賰丕丿丕乇賷賴 賮賷 噩爻乇賴責
氐賮丨鬲賷賳 賮賯胤貙 賰賱 賲丕 賰丕賳 賰丕丿丕乇賷賴 賷丨鬲丕噩賴 賱賷卮丿 兀匕賳賷 賯亘賱 丕賳鬲亘丕賴賷貙 賵賰兀賳 丕賱兀賱亘丕賳賷 丕賱毓噩賵夭 丕賱匕賷 兀賲鬲毓賳賷 賮賷 (丕賱丨氐丕乇) 賵(丿賵乇賳鬲賷賳) 賵(丕賱賵丨卮) 睾丕囟亘 賲賳 鬲卮賰賷賰賷 亘賯丿乇丕鬲賴貙 賮賷 賴匕賴 丕賱乇賵丕賷丞 鬲鬲乇丿丿 賰丕賱毓丕丿丞 賲賵囟賵毓丞 賰丕丿丕乇賷賴 丕賱兀孬賷乇丞 丕賱兀爻胤賵乇丞 毓賳丿賲丕 鬲賲鬲夭噩 亘丕賱賵丕賯毓貙 賱鬲氐賳毓 毓丕賱賲丕賸 禺丕氐丕賸.
鬲丿賵乇 兀丨丿丕孬 丕賱乇賵丕賷丞 賮賷 兀賱亘丕賳賷丕 丕賱賯乇賵賳 丕賱賵爻胤賶貙 毓賱賶 囟賮丞 賳賴乇 丕賱兀賵賷丕賳 賷氐乇毓 乇噩賱 睾乇賷亘貙 賮賷鬲丨丿孬 丕賱賳丕爻 毓賳 兀賳 賴匕賴 廿卮丕乇丞 爻賲丕賵賷丞 賱亘賳丕亍 噩爻乇 毓賱賶 丕賱賳賴乇貙 賵亘丕賱賮毓賱 賷馗賴乇 乇噩丕賱 睾乇亘丕亍 賵賷鬲賰賮賱賵賳 兀賲丕賲 丕賱賰賵賳鬲 (爻鬲乇爻 丿賷 噩賷賰丕) 爻賷丿 丕賱亘賱丿 亘鬲賳賮賷匕 丕賱廿卮丕乇丞 丕賱爻賲丕賵賷丞 賵亘賳丕亍 丕賱噩爻乇貙 賴匕丕 丕賱鬲胤賵乇 賮賷 丕賱兀丨丿丕孬 賷囟乇 賲賳 爻賲丕賴賲 丕賱賲丐賱賮 丕賱賲丕卅賷賷賳 賵賴賲 兀氐丨丕亘 丕賱毓亘丕乇丕鬲 丕賱鬲賷 鬲賳賯賱 丕賱賳丕爻 亘賷賳 囟賮鬲賷 丕賱賳賴乇貙 賮毓賲賱賴賲 丕賱丌賳 爻賷鬲賵賯賮 賱賵 丨賯賯 丕賱兀乇囟賷賵賳 兀丨賱丕賲賴賲 賵亘賳賵丕 丕賱噩爻乇貙 賵賷亘丿兀 丕賱氐乇丕毓 賲毓 亘丿丕賷丞 亘賳丕亍 丕賱噩爻乇貙 鬲馗賴乇 毓賱丕賲丕鬲 鬲禺乇賷亘 賵賲丨丕賵賱丕鬲 賱廿毓丕賯丞 廿賳噩丕夭 丕賱噩爻乇貙 賰賱 賴匕丕 賮賷 馗賱 氐乇丕毓 丿賵賱賷 賷禺賷賲 毓賱賶 丕賱亘賱賯丕賳 賲毓 賲丨丕賵賱丕鬲 丕賱毓孬賲丕賳賷賷賳 丕賱丕爻鬲賷賱丕亍 毓賱賶 賯丕毓丿丞 亘丨乇賷丞 賲賴賲丞 鬲丿毓賶 (兀賵乇賷賰賵賲) 鬲賰賵賳 賲賳賮匕丕賸 賱賴賲 賷爻賷胤乇賵賳 賲賳 禺賱丕賱賴 毓賱賶 噩賲賷毓 丕賱亘賱賯丕賳貙 賴賳丕 鬲鬲噩賱賶 毓亘賯乇賷丞 賰丕丿丕乇賷賴 毓賳丿賲丕 賷爻鬲毓賷丿 兀爻胤賵乇丞 兀賱亘丕賳賷丞 鬲鬲賳丕賵賱 賯氐丞 孬賱丕孬丞 兀禺賵丞 賰丕賳賵丕 賷亘賳賵賳 丨氐賳丕賸貙 賵賰賷賮 兀賳 噩丿乇丕賳 賴匕丕 丕賱丨氐賳 賰丕賳鬲 鬲賳賴丕乇 賱賷賱丕賸貙 賮賱匕丕 賯乇乇賵丕 鬲賯丿賷賲 兀囟丨賷丞 賱賱噩丿乇丕賳 丨鬲賶 鬲鬲賲丕爻賰 毓賲賱丕賸 亘賳氐賷丨丞 丨賰賷賲 賲卮賴賵乇貙 賮賯丕賲賵丕 亘丨亘爻 廿丨丿賶 夭賵噩丕鬲賴賲貙 賵賴賰匕丕 爻賰賳鬲 丕賱噩丿乇丕賳 賵賱賲 鬲賳賴乇貙 賴匕賴 丕賱兀爻胤賵乇丞 鬲鬲賲 賲爻丕亍賱鬲賴丕 賵丕爻鬲毓丕丿鬲賴丕 亘亘乇丕毓丞 賱廿賰賲丕賱 亘賳丕亍 丕賱噩爻乇 丕賱匕賷 賷鬲賴丿賲 賮賷 賰賱 賱賷賱丞貙 賴賱 賰丕賳 丕賱乇噩賱 丕賱賲氐乇賵毓 賲丿賮賵毓 賲賳 丕賱毓孬賲丕賳賷賷賳 丨鬲賶 賷鬲賲 亘賳丕亍 丕賱噩爻乇 丕賱匕賷 賷賲賰賳賴賲 賲賳 禺賱丕賱賴 賳賯賱 賯賵丕鬲賴賲 亘卮賰賱 爻乇賷毓貙 賮賷爻賷胤乇賵賳 毓賱賶 賯丕毓丿丞 (兀賵乇賷賰賵賲)責 丕賱乇噩賱 丕賱匕賷 鬲賲 丨亘爻賴 賮賷 丕賱噩爻乇 賰賲丕 賮賷 丕賱兀爻胤賵乇丞貙 賴賱 賴賵 囟丨賷丞 兀爻胤賵乇丞責 兀賲 兀賳賴 賰丕賳 噩丕爻賵爻丕賸 賱賱賲丕卅賷賷賳貙 賳丕賱 毓賯丕亘賴 毓賱賶 賷丿 丕賱兀乇囟賷賷賳貙 賵鬲賲 丕賱丕爻鬲毓丕賳丞 亘丕賱兀爻胤賵乇丞 賱廿禺賮丕亍 丕賱噩乇賷賲丞責 賰賱 賴匕賴 兀爻卅賱丞 鬲孬丕乇 亘亘乇丕毓丞.
賱丕 兀馗賳 兀賳 賴賳丕賰 賲賳 賷囟丕乇毓 賰丕丿丕乇賷賴 賮賷 鬲賵馗賷賮 丕賱兀爻丕胤賷乇貙 兀爻胤賵乇丞 丨氐丕賳 胤乇賵丕丿丞 賮賷 (丕賱賵丨卮)貙 賵兀爻胤賵乇丞 丕賱亘爻賹丕 賮賷 (賲賳 兀毓丕丿 丿賵乇賳鬲賷賳責)貙 賵丕賱丌賳 兀爻胤賵乇丞 丕賱丨亘爻 賮賷 噩丿丕乇 賮賷 (丕賱噩爻乇)貙 毓馗賲丞 賱丕 賷丿丕賳賷賴丕 兀丨丿.
賰丕丿丕乇賷賴 賲賳 噩丿賷丿貙 丕賯鬲乇亘 賲鬲賴賷亘丕賸貙 賮丕賱匕乇賵丞 丕賱鬲賷 賵氐賱鬲賴丕 賲毓 (丕賱丨氐丕乇)貙 兀毓賯亘賴丕 賴亘賵胤 賲毓 (賯氐丞 賲丿賷賳丞 丕賱丨噩乇)貙 賮賲丕 丕賱匕賷 賷禺亘卅賴 賱賷 賰丕丿丕乇賷賴 賮賷 噩爻乇賴責
氐賮丨鬲賷賳 賮賯胤貙 賰賱 賲丕 賰丕賳 賰丕丿丕乇賷賴 賷丨鬲丕噩賴 賱賷卮丿 兀匕賳賷 賯亘賱 丕賳鬲亘丕賴賷貙 賵賰兀賳 丕賱兀賱亘丕賳賷 丕賱毓噩賵夭 丕賱匕賷 兀賲鬲毓賳賷 賮賷 (丕賱丨氐丕乇) 賵(丿賵乇賳鬲賷賳) 賵(丕賱賵丨卮) 睾丕囟亘 賲賳 鬲卮賰賷賰賷 亘賯丿乇丕鬲賴貙 賮賷 賴匕賴 丕賱乇賵丕賷丞 鬲鬲乇丿丿 賰丕賱毓丕丿丞 賲賵囟賵毓丞 賰丕丿丕乇賷賴 丕賱兀孬賷乇丞 丕賱兀爻胤賵乇丞 毓賳丿賲丕 鬲賲鬲夭噩 亘丕賱賵丕賯毓貙 賱鬲氐賳毓 毓丕賱賲丕賸 禺丕氐丕賸.
鬲丿賵乇 兀丨丿丕孬 丕賱乇賵丕賷丞 賮賷 兀賱亘丕賳賷丕 丕賱賯乇賵賳 丕賱賵爻胤賶貙 毓賱賶 囟賮丞 賳賴乇 丕賱兀賵賷丕賳 賷氐乇毓 乇噩賱 睾乇賷亘貙 賮賷鬲丨丿孬 丕賱賳丕爻 毓賳 兀賳 賴匕賴 廿卮丕乇丞 爻賲丕賵賷丞 賱亘賳丕亍 噩爻乇 毓賱賶 丕賱賳賴乇貙 賵亘丕賱賮毓賱 賷馗賴乇 乇噩丕賱 睾乇亘丕亍 賵賷鬲賰賮賱賵賳 兀賲丕賲 丕賱賰賵賳鬲 (爻鬲乇爻 丿賷 噩賷賰丕) 爻賷丿 丕賱亘賱丿 亘鬲賳賮賷匕 丕賱廿卮丕乇丞 丕賱爻賲丕賵賷丞 賵亘賳丕亍 丕賱噩爻乇貙 賴匕丕 丕賱鬲胤賵乇 賮賷 丕賱兀丨丿丕孬 賷囟乇 賲賳 爻賲丕賴賲 丕賱賲丐賱賮 丕賱賲丕卅賷賷賳 賵賴賲 兀氐丨丕亘 丕賱毓亘丕乇丕鬲 丕賱鬲賷 鬲賳賯賱 丕賱賳丕爻 亘賷賳 囟賮鬲賷 丕賱賳賴乇貙 賮毓賲賱賴賲 丕賱丌賳 爻賷鬲賵賯賮 賱賵 丨賯賯 丕賱兀乇囟賷賵賳 兀丨賱丕賲賴賲 賵亘賳賵丕 丕賱噩爻乇貙 賵賷亘丿兀 丕賱氐乇丕毓 賲毓 亘丿丕賷丞 亘賳丕亍 丕賱噩爻乇貙 鬲馗賴乇 毓賱丕賲丕鬲 鬲禺乇賷亘 賵賲丨丕賵賱丕鬲 賱廿毓丕賯丞 廿賳噩丕夭 丕賱噩爻乇貙 賰賱 賴匕丕 賮賷 馗賱 氐乇丕毓 丿賵賱賷 賷禺賷賲 毓賱賶 丕賱亘賱賯丕賳 賲毓 賲丨丕賵賱丕鬲 丕賱毓孬賲丕賳賷賷賳 丕賱丕爻鬲賷賱丕亍 毓賱賶 賯丕毓丿丞 亘丨乇賷丞 賲賴賲丞 鬲丿毓賶 (兀賵乇賷賰賵賲) 鬲賰賵賳 賲賳賮匕丕賸 賱賴賲 賷爻賷胤乇賵賳 賲賳 禺賱丕賱賴 毓賱賶 噩賲賷毓 丕賱亘賱賯丕賳貙 賴賳丕 鬲鬲噩賱賶 毓亘賯乇賷丞 賰丕丿丕乇賷賴 毓賳丿賲丕 賷爻鬲毓賷丿 兀爻胤賵乇丞 兀賱亘丕賳賷丞 鬲鬲賳丕賵賱 賯氐丞 孬賱丕孬丞 兀禺賵丞 賰丕賳賵丕 賷亘賳賵賳 丨氐賳丕賸貙 賵賰賷賮 兀賳 噩丿乇丕賳 賴匕丕 丕賱丨氐賳 賰丕賳鬲 鬲賳賴丕乇 賱賷賱丕賸貙 賮賱匕丕 賯乇乇賵丕 鬲賯丿賷賲 兀囟丨賷丞 賱賱噩丿乇丕賳 丨鬲賶 鬲鬲賲丕爻賰 毓賲賱丕賸 亘賳氐賷丨丞 丨賰賷賲 賲卮賴賵乇貙 賮賯丕賲賵丕 亘丨亘爻 廿丨丿賶 夭賵噩丕鬲賴賲貙 賵賴賰匕丕 爻賰賳鬲 丕賱噩丿乇丕賳 賵賱賲 鬲賳賴乇貙 賴匕賴 丕賱兀爻胤賵乇丞 鬲鬲賲 賲爻丕亍賱鬲賴丕 賵丕爻鬲毓丕丿鬲賴丕 亘亘乇丕毓丞 賱廿賰賲丕賱 亘賳丕亍 丕賱噩爻乇 丕賱匕賷 賷鬲賴丿賲 賮賷 賰賱 賱賷賱丞貙 賴賱 賰丕賳 丕賱乇噩賱 丕賱賲氐乇賵毓 賲丿賮賵毓 賲賳 丕賱毓孬賲丕賳賷賷賳 丨鬲賶 賷鬲賲 亘賳丕亍 丕賱噩爻乇 丕賱匕賷 賷賲賰賳賴賲 賲賳 禺賱丕賱賴 賳賯賱 賯賵丕鬲賴賲 亘卮賰賱 爻乇賷毓貙 賮賷爻賷胤乇賵賳 毓賱賶 賯丕毓丿丞 (兀賵乇賷賰賵賲)責 丕賱乇噩賱 丕賱匕賷 鬲賲 丨亘爻賴 賮賷 丕賱噩爻乇 賰賲丕 賮賷 丕賱兀爻胤賵乇丞貙 賴賱 賴賵 囟丨賷丞 兀爻胤賵乇丞責 兀賲 兀賳賴 賰丕賳 噩丕爻賵爻丕賸 賱賱賲丕卅賷賷賳貙 賳丕賱 毓賯丕亘賴 毓賱賶 賷丿 丕賱兀乇囟賷賷賳貙 賵鬲賲 丕賱丕爻鬲毓丕賳丞 亘丕賱兀爻胤賵乇丞 賱廿禺賮丕亍 丕賱噩乇賷賲丞責 賰賱 賴匕賴 兀爻卅賱丞 鬲孬丕乇 亘亘乇丕毓丞.
賱丕 兀馗賳 兀賳 賴賳丕賰 賲賳 賷囟丕乇毓 賰丕丿丕乇賷賴 賮賷 鬲賵馗賷賮 丕賱兀爻丕胤賷乇貙 兀爻胤賵乇丞 丨氐丕賳 胤乇賵丕丿丞 賮賷 (丕賱賵丨卮)貙 賵兀爻胤賵乇丞 丕賱亘爻賹丕 賮賷 (賲賳 兀毓丕丿 丿賵乇賳鬲賷賳責)貙 賵丕賱丌賳 兀爻胤賵乇丞 丕賱丨亘爻 賮賷 噩丿丕乇 賮賷 (丕賱噩爻乇)貙 毓馗賲丞 賱丕 賷丿丕賳賷賴丕 兀丨丿.
July 5, 2017
An short book based around various legends of interning a body into a structure (in this case a bridge) as a type of sacrifice. But the story is more about the various Albanian clans whose petty in-fighting are carried out instead of focusing themselves on the real threat of the burgeoning Ottoman Empire. The bridge is a metaphor for the Turkish invaders - it is strongly built, replaces the old and will last for centuries.
October 16, 2013
My rating may not be totally objective (I was about to give it four stars actually) but this novel's core is a legend my father told me when I was a little girl (the legend of Rozafa) so I guess it really resonates in me, on a personal level.
Anyway, in this novel Kadare analyses the relationship between legends and reality. He tends to demonstrate how legends can be (have been?) used for treacherous purposes (conceal a crime for example...).
But as a master of allegories and metaphors, Kadare develops the whole story in order to describe a larger reality where the catastrophic events happening to the bridge only prefigure a more terrible curse : the invasion of Albania by the Ottoman empire.
Anyway, in this novel Kadare analyses the relationship between legends and reality. He tends to demonstrate how legends can be (have been?) used for treacherous purposes (conceal a crime for example...).
But as a master of allegories and metaphors, Kadare develops the whole story in order to describe a larger reality where the catastrophic events happening to the bridge only prefigure a more terrible curse : the invasion of Albania by the Ottoman empire.
October 12, 2019
Kadare k枚nyve amolyan pr贸z谩s铆tott alb谩n ballada v茅rbossz煤val, babon谩val, misztikummal 茅s egy rak谩s gyan煤s idegennel, akikr艖l el茅g gyakran der眉l ki, hogy t枚r枚k枚k, de legal谩bbis t枚r枚k zsoldban 谩llnak, vagy legal谩bbis ezt felt茅telezhetj眉k r贸luk. A konfliktus ez煤ttal egy h铆d k枚r眉l bonyol贸dik, amit rejt茅lyes v谩llalkoz贸k pr贸b谩lnak felh煤zni 鈥� dacolva a helyiek rosszall谩s谩val, akik 煤gy reag谩lnak az eg茅szre, mintha nem is az Ujun foly贸 f枚l茅, hanem konkr茅tan a sz谩jukba 茅p眉lne az a h铆d. 脡s mivel racion谩lisan neh茅z indokolniuk, mi茅rt olyan rossz, hogy az ember 谩t tud menni a foly贸n an茅lk眉l, hogy vizes lenne a l谩ba, vagy hogy a r茅v茅sz ut谩n kelljen rohang谩lni, ez茅rt holmi vizit眉nd茅rekre hivatkoznak, meg a foly贸 szellem茅re. Azt谩n ott van a k枚zeli kompv谩llalkoz谩s (akik meglehet艖sen XX. sz谩zadira siker眉ltek), 艖k se n茅zik j贸 szemmel az 眉gymenetet, de h谩t az mondjuk vil谩gos, nekik mi f谩j benne. Mindenf茅le gondok ad贸dnak teh谩t, amik v茅g眉l egy echte K艖m疟ves Kelemen-sztoriba torkollanak bele, 茅s mindezt s煤lyosb铆tand贸: az oszm谩nok m谩r a sp谩jzban vannak. (Megjegyzem, a balk谩ni pr贸z谩ra am煤gy jellemz艖, hogy a t枚r枚k枚kre osztja ki a rosszfi煤 szerep茅t, hol t枚bb茅, hol kev茅sb茅 sematiz谩lva 艖ket. Aminek nyilv谩n megvannak a t枚rt茅nelmi okai.) Sz贸val minden adott, hogy egy fullaszt贸 atmoszf茅r谩j煤 t枚rt茅nelmi reg茅nyt kapjunk, de szerintem nem kapunk. El茅gedetlens茅gem okai a k枚vetkez艖k:
1.) A bor铆t贸 olyan ronda, hogy sz煤nyogot lehet vele irtani. Mondjuk az Ulipus eme sorozata eset茅ben ez tal谩n alapk枚vetelm茅ny lehetett.
2.) Nem szoktam ford铆t谩si probl茅m谩ra hivatkozni, de ez m谩r t煤lmegy a rezisztenci谩mon. B谩r nem olvastam eredetiben Kadar茅t, de m谩s Kadar茅t magyarul igen, 茅s nem gondolom, hogy ilyen semmilyen hangulat煤 textusokat 铆rt volna. Halv谩nyan olyan 茅rz茅sem volt, mintha egy k枚z茅piskol谩sok sz谩m谩ra lefinom铆tott sz枚vegvil谩gban barangoln茅k.
3.) Ritk谩n tal谩lkoztam ennyire szem茅lytelen E/1-es elbesz茅l艖vel, mint ebben a k枚nyvben. 脕ll铆t贸lag pap, de ilyen er艖vel ak谩r p茅k, k枚nyvel艖 vagy hum谩ner艖forr谩s-menedzser is lehetne, annyira kev茅ss茅 van kidolgozva. Az E/1-es elbesz茅l艖k am煤gy is a kort谩rs pr贸za Achilles-sarkai, sokan fordulnak hozz谩juk, 茅s sokkal kevesebben 茅rtik meg, micsoda munk谩t kell bel茅j眉k fektetni a vel眉k val贸 azonosul谩st贸l kezdve addig, am铆g szem茅lyis茅g眉ket 枚sszehangoljuk a nekik sz谩nt t谩rsadalmi-t枚rt茅nelmi k枚zeggel 鈥� ebb艖l itt kev茅s val贸sult meg. (Vagy a ford铆t贸nak nem siker眉lt elhitetnie, hogy Kadar茅nak siker眉lt.)
Sz贸val csal贸d谩s volt, k眉l枚n枚sen annak f茅ny茅ben, micsoda potenci谩l rejlik mag谩ban a puszta t枚rt茅netben. De legal谩bb gyorsan el lehetett olvasni.
1.) A bor铆t贸 olyan ronda, hogy sz煤nyogot lehet vele irtani. Mondjuk az Ulipus eme sorozata eset茅ben ez tal谩n alapk枚vetelm茅ny lehetett.
2.) Nem szoktam ford铆t谩si probl茅m谩ra hivatkozni, de ez m谩r t煤lmegy a rezisztenci谩mon. B谩r nem olvastam eredetiben Kadar茅t, de m谩s Kadar茅t magyarul igen, 茅s nem gondolom, hogy ilyen semmilyen hangulat煤 textusokat 铆rt volna. Halv谩nyan olyan 茅rz茅sem volt, mintha egy k枚z茅piskol谩sok sz谩m谩ra lefinom铆tott sz枚vegvil谩gban barangoln茅k.
3.) Ritk谩n tal谩lkoztam ennyire szem茅lytelen E/1-es elbesz茅l艖vel, mint ebben a k枚nyvben. 脕ll铆t贸lag pap, de ilyen er艖vel ak谩r p茅k, k枚nyvel艖 vagy hum谩ner艖forr谩s-menedzser is lehetne, annyira kev茅ss茅 van kidolgozva. Az E/1-es elbesz茅l艖k am煤gy is a kort谩rs pr贸za Achilles-sarkai, sokan fordulnak hozz谩juk, 茅s sokkal kevesebben 茅rtik meg, micsoda munk谩t kell bel茅j眉k fektetni a vel眉k val贸 azonosul谩st贸l kezdve addig, am铆g szem茅lyis茅g眉ket 枚sszehangoljuk a nekik sz谩nt t谩rsadalmi-t枚rt茅nelmi k枚zeggel 鈥� ebb艖l itt kev茅s val贸sult meg. (Vagy a ford铆t贸nak nem siker眉lt elhitetnie, hogy Kadar茅nak siker眉lt.)
Sz贸val csal贸d谩s volt, k眉l枚n枚sen annak f茅ny茅ben, micsoda potenci谩l rejlik mag谩ban a puszta t枚rt茅netben. De legal谩bb gyorsan el lehetett olvasni.
September 6, 2017
賲丕匕丕 賷賲賰賳 賱賱賲乇卅 兀賳 賷鬲丨丿孬 毓賳 賰賱 賴匕丕 丕賱噩賲丕賱責
廿匕賳 賮丕賱兀賮囟賱 兀賱丕 賷鬲丨丿孬貙 賵賰賮賶.
廿匕賳 賮丕賱兀賮囟賱 兀賱丕 賷鬲丨丿孬貙 賵賰賮賶.
April 10, 2023
The story is set in 1377, and our narrator is an Albanian monk, who watches as the Turkish armies gather over the Balkan Peninsula. With a few deft strokes Kidare conveys the great extent of political and economic shifts occurring in Europe in the late Middle Ages: the collapse of Byzantium, the spread of an international currency and the formation of large financial conglomerates, some of them complicit with the emerging Turkish imperial expansion.
A picture is created of a community in the grip of forces it cannot control and can barely comprehend. A medieval community tries to make sense of rapid historical change, against a bleak landscape of fogs, freezing rains, a great river and a stone bridge. This is a profoundly atmospheric book.
A picture is created of a community in the grip of forces it cannot control and can barely comprehend. A medieval community tries to make sense of rapid historical change, against a bleak landscape of fogs, freezing rains, a great river and a stone bridge. This is a profoundly atmospheric book.
October 5, 2017
We should all know about this Albanian writer...
January 5, 2022
Nothing beats historical fiction as a genre, and no one beats Ismail Kadare in writing Albanian historical fiction. At the core of this novel is, yet again, a legend which is altered to fit the interests of people. The narrator is, of course, a literate, well-respected monk, who happens to be based on a real person, Gjon Buzuku.
In 1555 Buzuku wrote the first documented book in Albanian (not the first document); in Kadare鈥檚 novel, however, he is writing the chronicle of the three-arched bridge, so that the readers get an accurate account of how it was built. Written between 1976 and 1978, this account that our narrator was writing on paper, because the story would be in danger if it weren鈥檛 written down, mirrors the unpleasant years for writers and journalists in Albania during the communist regime. Accepting the fact that he might become a sacrifice for the chronicle鈥檚 survival, Gjon writes and shares the bitter story of the three-arched bridge. And I loved every bit of it.
In 1555 Buzuku wrote the first documented book in Albanian (not the first document); in Kadare鈥檚 novel, however, he is writing the chronicle of the three-arched bridge, so that the readers get an accurate account of how it was built. Written between 1976 and 1978, this account that our narrator was writing on paper, because the story would be in danger if it weren鈥檛 written down, mirrors the unpleasant years for writers and journalists in Albania during the communist regime. Accepting the fact that he might become a sacrifice for the chronicle鈥檚 survival, Gjon writes and shares the bitter story of the three-arched bridge. And I loved every bit of it.
December 11, 2022
Fain膬, interesant膬, dar nu cred ca am 卯n葲eles prea bine sf芒r葯itul, parc膬 nu a avut finalitate. Oricum, nu regret c膬 am citit-o, pentru c膬 am aflat c芒teva lucruri pe care nu le 葯tiam despre cultura albanez膬 葯i faptul c膬 au 葯i ei mitul me葯terului Manole
June 5, 2011
Sometimes the best stories are those that are told simply, without flash or Hollywood-style suspense. The Three-Arched Bridge is that kind of story. It鈥檚 told in the form of a chronicle, narrated by a medieval Christian monk named Gjon.
On one level the novel is about the competition between, what are essentially, two companies. Boats & Rafts transport the people across the river. Roads & Bridges arrives to build a bridge to take the people over it. The two opposing sides attempt to influence their potential customers with propaganda and espionage 鈥� utilizing legend and local superstition. It sounds dry and boring, yet is anything but. After the bridge is repeatedly sabotaged, Roads & Bridges employs bards to re-work an old ballad and twist it to their purposes: about an oath made by three brothers and of the bride of the youngest who is walled up alive within the foundations of a castle. She is a sacrifice to prevent its walls from crumbling.
But like much of Kadare鈥檚 work, this is a story that functions on multiple levels. The monk, Gjon, is a more complex character than he originally seems. He comes across as deliberately naive, unwilling to grasp the implications of the information to which he is privy. For example, it is he who discusses the old ballad with a representative of Roads & Bridges during a series of seemingly casual walks along the banks of river. Not until it is too late does he understand the reason behind the man鈥檚 curiosity, or discover the macabre purpose to which a folk story will be twisted.
Interspersed within the tale is news of the last gasps of the Byzantine Empire 鈥� the defensive line of Christian Europe against the Islamic Turks. What is so brilliant is that Kadare makes this the secondary storyline, always in the background of Gjon鈥檚 narrative. Gjon鈥檚 attention, and ours, remain focused on events which take place closer to home. It鈥檚 an example of man鈥檚 tunnel vision; how history often happens without our truly understanding the significance of events as they occur. Because, in the end, what we know as history is only a series of incidents that have been put into perspective.
Ismail Kadare divided The Three-Arched Bridge into short chapters 鈥� most are 5 pages or less. These bursts of information convey a sense of real time passing. The breaks in the narrative are the storyteller editing out what he feels is irrelevant to his tale. But, of course, everything is relevant. The reader realizes this early on and, in my mind, that realization makes for a better book. It鈥檚 fun to know more than the narrator; to understand that the bridge is a mere footnote in a bigger story. One that cannot be escaped or avoided, regardless of whether we want to pay attention to it or not.
On one level the novel is about the competition between, what are essentially, two companies. Boats & Rafts transport the people across the river. Roads & Bridges arrives to build a bridge to take the people over it. The two opposing sides attempt to influence their potential customers with propaganda and espionage 鈥� utilizing legend and local superstition. It sounds dry and boring, yet is anything but. After the bridge is repeatedly sabotaged, Roads & Bridges employs bards to re-work an old ballad and twist it to their purposes: about an oath made by three brothers and of the bride of the youngest who is walled up alive within the foundations of a castle. She is a sacrifice to prevent its walls from crumbling.
But like much of Kadare鈥檚 work, this is a story that functions on multiple levels. The monk, Gjon, is a more complex character than he originally seems. He comes across as deliberately naive, unwilling to grasp the implications of the information to which he is privy. For example, it is he who discusses the old ballad with a representative of Roads & Bridges during a series of seemingly casual walks along the banks of river. Not until it is too late does he understand the reason behind the man鈥檚 curiosity, or discover the macabre purpose to which a folk story will be twisted.
Interspersed within the tale is news of the last gasps of the Byzantine Empire 鈥� the defensive line of Christian Europe against the Islamic Turks. What is so brilliant is that Kadare makes this the secondary storyline, always in the background of Gjon鈥檚 narrative. Gjon鈥檚 attention, and ours, remain focused on events which take place closer to home. It鈥檚 an example of man鈥檚 tunnel vision; how history often happens without our truly understanding the significance of events as they occur. Because, in the end, what we know as history is only a series of incidents that have been put into perspective.
Ismail Kadare divided The Three-Arched Bridge into short chapters 鈥� most are 5 pages or less. These bursts of information convey a sense of real time passing. The breaks in the narrative are the storyteller editing out what he feels is irrelevant to his tale. But, of course, everything is relevant. The reader realizes this early on and, in my mind, that realization makes for a better book. It鈥檚 fun to know more than the narrator; to understand that the bridge is a mere footnote in a bigger story. One that cannot be escaped or avoided, regardless of whether we want to pay attention to it or not.
This entire review has been hidden because of spoilers.
November 3, 2020
2.5 stars rounded up to 3 (I shall live to see the day goodreads will implement half-stars as a rating option)...
I must say that, while I found the book readable enough, thanks to the author鈥檚 storytelling abilities, I wasn鈥檛 much impressed.
I believe its greatest strengths ended up being its downfall, albeit not a fatal one.
This would be the novel鈥檚 conciseness. The text presents itself as an account of the construction of this bridge (with some tangent and shifting concerns about power and war), and at that it鈥檚 mostly all plot. That鈥檚 what makes the reader want to continue following the narrative, to know how this will all end up. But as a plot-driven novel, it eschews almost altogether character construction. It fails to give us an idea of the time and place it is set in, and the people it involves. There are some characters presented here and there but they are barely painted; actually we only read their basic words and actions. Even the narrator, a Monk, while at times thinking about the events, does not rise in the reader鈥檚 mind as a fully-fleshed person; and although some of his remarks are telling, most can be a bit repetitive or revealing us things we had already realised. Granted, as an attempt at recounting the events alone, one could argue the ideas themselves are enough; but I don鈥檛 buy it. The ending, the very final lines, can be quite haunting, but again it is undercut by the overall flatness of the text... It ends up being easily forgettable.
I must say that, while I found the book readable enough, thanks to the author鈥檚 storytelling abilities, I wasn鈥檛 much impressed.
I believe its greatest strengths ended up being its downfall, albeit not a fatal one.
This would be the novel鈥檚 conciseness. The text presents itself as an account of the construction of this bridge (with some tangent and shifting concerns about power and war), and at that it鈥檚 mostly all plot. That鈥檚 what makes the reader want to continue following the narrative, to know how this will all end up. But as a plot-driven novel, it eschews almost altogether character construction. It fails to give us an idea of the time and place it is set in, and the people it involves. There are some characters presented here and there but they are barely painted; actually we only read their basic words and actions. Even the narrator, a Monk, while at times thinking about the events, does not rise in the reader鈥檚 mind as a fully-fleshed person; and although some of his remarks are telling, most can be a bit repetitive or revealing us things we had already realised. Granted, as an attempt at recounting the events alone, one could argue the ideas themselves are enough; but I don鈥檛 buy it. The ending, the very final lines, can be quite haunting, but again it is undercut by the overall flatness of the text... It ends up being easily forgettable.
July 9, 2012
I thought this book was fantastic. Kadare's story is short, almost a novella, and yet it is layered with issues of every shape and size, from mythology and religion to war and architecture. There are hints of fable and satire in this story, and while it is set in the medieval period its questions about authority and deceit feel targeted toward the modern day. I am fully impressed by Kadare's ability to write such a multi-faceted tale.
September 8, 2017
鬲鬲賳丕賵賱 丕賱乇賵丕賷丞 鬲兀乇賷禺賸丕 賱賱噩爻乇 毓賱賶 賳賴乇 兀賵賷丕賳 賮賷 丕賱賯乇賳 丕賱乇丕亘毓 毓卮乇 賮賷 兀賱亘丕賳賷丕 (兀賵 賰賲丕 賰丕賳鬲 鬲購爻賲賾賶 賯丿賷賲賸丕: 兀乇亘賷乇賷丕) 毓賱賶 賱爻丕賳 丕賱乇丕賵賷: 丕賱乇丕賴亘 噩賵賳貙 亘丿丕賷丞 賲賳 丕賱禺乇丕賮丞 丕賱鬲賷 賲賴賾丿鬲 賱亘賳丕亍賴貙 賲賲夭賵噩丞 亘禺乇丕賮丕鬲 丕賱賳丕爻 毓賳 丕賱賳賴乇 賵丕賱噩爻乇貙 亘丕賱兀爻丕胤賷乇貙 賵亘賲賱丕賲丨 丿禺賵賱 丕賱毓孬賲丕賳賷賾賷賳 廿賱賶 兀賱亘丕賳賷丕.
兀丨亘亘鬲 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘爻丕胤鬲賴丕貙 賵丕賱鬲賮丕氐賷賱 丕賱卮毓亘賷賾丞 賮賷賴丕.. 賰丕賳鬲 賲丿禺賱賸丕 噩賲賷賱賸丕 賱賱兀丿亘 丕賱兀賱亘丕賳賷.
兀丨亘亘鬲 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘爻丕胤鬲賴丕貙 賵丕賱鬲賮丕氐賷賱 丕賱卮毓亘賷賾丞 賮賷賴丕.. 賰丕賳鬲 賲丿禺賱賸丕 噩賲賷賱賸丕 賱賱兀丿亘 丕賱兀賱亘丕賳賷.
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November 29, 2020A novel that can be interpreted in so many levels.
It could be a historical fiction, could be a metaphor of conflict between 'us' and 'them', could be a parable which invites contemplations of several ancient and contemporary contentions.
Masterful from Kadare!
It could be a historical fiction, could be a metaphor of conflict between 'us' and 'them', could be a parable which invites contemplations of several ancient and contemporary contentions.
Masterful from Kadare!
August 13, 2017
賲丕賷賲賷夭 丕爻賲丕毓賷賱 賰丕丿丕乇賷賴 賴賵 賮賴賲賴 賱鬲丕乇賷禺 賵胤賳賴 賵賲丨丕賵賱鬲賴 賱賳卮乇 賴匕丕 丕賱鬲丕乇賷禺 毓亘乇 乇賵丕賷丕鬲賴 賵賰鬲亘賴貙 兀毓鬲賯丿 兀賳賷 兀禺胤兀鬲 毓賳丿賲丕 賯乇兀鬲 賱賴 (丕賱丨氐丕乇) 賰兀賵賱 毓賲賱 毓乇賾賮賳賷 亘賴貙 夭丕丿鬲 賲賳 爻賯賮 鬲賵賯毓丕鬲賷 賱亘丕賯賷 賰鬲亘賴 毓丕賱賷賸丕
September 28, 2021
2,5, de fapt. Printre putinele carti care m-au determinat sa scad nota din a doua jumatate a povestii, in loc sa o ridic.
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July 15, 2009The Three-Arched Bridge, written in Albania between 1976 and 1978, is based on a myth of sacrifice and creation, which also appears in other works by Kadare, and is present in different versions throughout the Balkans.
The legend is about three brothers, all masons, whose efforts to build a castle were in vain because everything built during daytime was destroyed by an unknown force at night. After having unsuccessfully worked for a long time, the masons are told by a wise man that the construction will endure only if a human life is sacrificed, so the brothers decide to immure one of their brides in the foundations. The sacrifice should strike the first wife to come in the morning with the midday meal for her husband, and the youngest wife is consequently walled up alive, one breast left out so she can feed her infant even after her death.
According to the narrator of The Three-Arched Bridge, the monk Gjon, the kernel of the legend was the idea that all labor requires some kind of sacrifice, and the spilled blood is in fact sweat. But the legend becomes reality when the construction of a bridge demands a human life, and a mason is found immured in the bridge piers. Thus, the notion of sacrifice, which is at the core of the story, can be read in several ways: as a legend, as a crime done in the name of the bridge, as the idea that all human orders are founded on blood, and at the end of the novel, when the monk, author of 鈥渢his chronicle, [which:] like the bridge itself, may demand a sacrifice,鈥� announces his own sacrifice, as a commentary on the essence of great art, always built on the sacrifice of the artist.
The legend is about three brothers, all masons, whose efforts to build a castle were in vain because everything built during daytime was destroyed by an unknown force at night. After having unsuccessfully worked for a long time, the masons are told by a wise man that the construction will endure only if a human life is sacrificed, so the brothers decide to immure one of their brides in the foundations. The sacrifice should strike the first wife to come in the morning with the midday meal for her husband, and the youngest wife is consequently walled up alive, one breast left out so she can feed her infant even after her death.
According to the narrator of The Three-Arched Bridge, the monk Gjon, the kernel of the legend was the idea that all labor requires some kind of sacrifice, and the spilled blood is in fact sweat. But the legend becomes reality when the construction of a bridge demands a human life, and a mason is found immured in the bridge piers. Thus, the notion of sacrifice, which is at the core of the story, can be read in several ways: as a legend, as a crime done in the name of the bridge, as the idea that all human orders are founded on blood, and at the end of the novel, when the monk, author of 鈥渢his chronicle, [which:] like the bridge itself, may demand a sacrifice,鈥� announces his own sacrifice, as a commentary on the essence of great art, always built on the sacrifice of the artist.
May 29, 2013
乇賵丕賷丞 鬲丕乇賷禺賷丞 鬲毓鬲賲丿 毓賱賶 兀爻丕胤賷乇 兀賱亘丕賳賷丞 賯丿賷賲丞貙 丕賱噩爻乇 賴賵 丕賱毓賳氐乇 丕賱乇卅賷爻賷 丕賱匕賷 鬲丿賵乇 丨賵賱賴 丕賱兀丨丿丕孬貙 賷馗賴乇 亘賳丕亍 丕賱噩爻乇 賲鬲丨丿賷丕賸 賳賴乇 丕賱兀賵賷丕賳 丕賱賱毓賷賳 賵賷賳賮乇 丕賱賳丕爻 賲賳 賴匕丕 丕賱賲禺賱賵賯 丕賱睾乇賷亘 賵鬲卮丕乇賰賴賲 噩賳賷丕鬲 丕賱賲丕亍 賴匕丕 丕賱賳賮賵乇.
丕賱賲丿 丕賱毓孬賲丕賳賷 賴丕噩爻 賷乇毓亘 兀賴賱 兀乇亘賷乇賷丕 -丕爻賲 兀賱亘丕賳賷丕 丕賱賯丿賷賲- 賵鬲賵丕賮丿 噩賵丕爻賷爻 丕賱兀鬲乇丕賰 廿賱賶 丕賱亘賱丕丿 賷賳匕乇 亘賰丕乇孬丞 賯乇賷亘丞貙 鬲鬲囟丕乇亘 賲氐丕賱丨 亘賳丕丞 丕賱噩爻乇 賲毓 兀氐丨丕亘 丕賱毓亘賾丕乇丕鬲 賵賷賳鬲賴賷 丕賱兀賲乇 亘兀囟丨賷丞 亘卮乇賷丞 鬲購丨亘爻 賮賷 亘賳丕亍 丕賱噩爻乇 賱鬲丨賲賷賴 賲賳 賴噩賲丕鬲 毓賮丕乇賷鬲 丕賱賲賷丕賴貙 鬲鬲毓丕賯亘 賮氐賵賱 丕賱爻賳丞 賵丕賳丨爻丕乇 丕賱賳賴乇 賵丕賲鬲丿丕丿賴 毓賱賶 兀賴丕賱賷 丕賱亘賱丿丞 賵賳匕乇 丕賱丨乇亘 賱丕鬲鬲賵賯賮.
賷鬲丨爻乇 丕賱賰丕鬲亘 毓賱賶 兀賱亘丕賳賷丕 丕賱兀賵乇賵亘賷丞 賵賱睾鬲賴丕 賵鬲乇丕孬賴丕 亘毓丿 兀賳 睾夭丕賴賲 丕賱兀鬲乇丕賰 亘賴賱丕賱賴賲 丕賱丿丕賲賷 賵賱睾鬲賴賲 丕賱鬲賷 賱賴丕 氐賵鬲 丕賱賴乇丕賵丕鬲 賵賲丌匕賳賴賲 丕賱鬲賷 鬲乇鬲賮毓 賰睾丕亘丞 賲賳 丕賱馗賱丕賲 ! 賱賳 鬲爻鬲睾乇亘 賴匕賴 丕賱毓丿丕卅賷丞 賱賱廿爻賱丕賲 毓賳丿賲丕 鬲毓乇賮 丌乇丕亍 丕賱賰丕鬲亘 賮賴賵 賷乇賶 兀賮囟賱賷丞 兀爻亘丕賳賷丕 賮賷 丕賱鬲禺賱氐 賲賳 丨囟丕乇丞 丕賱賲爻賱賲賷賳 丕賱鬲賷 賮氐賱鬲 亘賱丕丿賴 兀賱亘丕賳賷丕 毓賳 亘賯賷丞 兀賵乇賵亘丕.
乇賵丕賷丞 賲賲鬲毓丞 賱賲賳 鬲爻鬲賴賵賷賴 丕賱乇賵丕賷丕鬲 丕賱鬲丕乇賷禺賷丞 賵鬲乇噩賲丞 毓賮賷賮 丿賲卮賯賷丞 丕賱賲鬲賯賳丞 鬲賳爻賶 賲毓賴丕 兀賳 丕賱乇賵丕賷丞 賲鬲乇噩賲丞.
- 賲賯丕賱丕鬲 毓賳 丕賱賰丕鬲亘 :
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