Literary characters in Migjen's novels

Russian: Fatlum Meholli

It is not for nothing that researchers have called Migjeni one of the most innovative Albanian writers. His literary texts represent a turn and a new literary awareness in Albanian literature at the beginning of the century. XX. Taking into account the created historical circumstances of this period, in which case the mentality of Albanians in relation to Europeans and beyond had distinctiveness, the treatment of specific social topics was quite unusual.

Migjeni, aware of the idealistic and enlightened literary creativity of the Albanian romantics, the nationalist literary creativity of Gjergj Fishta and so on, intentionally seeks to create a special poetics and consequently bring something new to Albanian literature.

According to data from various researchers, it is known that Migjeni had read a lot of world literature and such training had also influenced his literary works. Migjeni is thematically quite unique, both in his lyrics and his prose.

This text for the object of treatment has the prosaic creations of Miggen that are part of the summary Novels of the North City.

As we have titled, the text aims to present a characterological analysis of each literary text of the summary. But, in the framework of the analysis, we will add some characteristics regarding the theme, narration and any other literary ontic category. However, the dominant analysis will respond to the characters and their character building.

We consider that in the prose of Migjen, specific characters are selected through which the thematic and ideological plane of the literary text is projected through an extraordinary expressiveness. Therefore, it is very appropriate to analyze the literary characters of Migenian prose, characters that are built and undergo many changes, especially as a result of the social situation. The analysis of literary characters will be carried out precisely in this perspective, looking at them in relation to the difficulties and crises that social misery led to the psyche of the individual or the collective in general.

Summary Novels of the North City consists of a total of six literary texts, some of which stand between the story and the novella if we look at them in terms of genre. However, our text does not intend to dwell on genre issues, but it is worth noting that in some texts the analysis will be broader, due to the fact that the literary characters are constructed in more detail and in a more complex way. Although the collection consists of six literary prose, in the text we will deal with only five of them, because we consider that the story Nothing new on that side of the fence it is very short, in which case it does not allow for a proper characterological analysis. Therefore, this text will not be part of the treatment.

Nushi, prototype of man with modern views

Although the dominant narrative in the novella Student at home it is of the hetero-diegetic type, it seems as if everything is narrated by the character-narrator, Nushi, because all the events, situations of the novel revolve directly around him. This characteristic may have happened for two reasons: 1. In that period, the technique of narrating from the position of the self was not typical; or 2. The author is aware that such a narrative technique confuses the reader, since the use of the first person as the narrator's voice includes him. However, Migjeni, through the fictional character, Nushi, embodies his own ideas and projects the thematic plane.

During the three-year stay for study reasons in Central Europe, Nushi's personality had changed significantly. The long stay in the advanced countries of the continent, which is regarded as the cradle of culture, had caused Nushi to revolt against traditional local conventions.

The events of the novel Student at home focus only on an important part of the life of Nushi's personality. This part is about his university education and returning home twice: first because of the marriage of his sister, Ages, and second when he finishes his six years of studies.

Realist viewpoints on the theory of the novel emphasize that this prose genre does not show the broad picture of the world, but the course of the world's states. Consequently, the novel does not model the entire development of the personality, but only a particular part of his life and the human crisis. We investigate these genre characteristics clearly in this literary text, especially in the character of Nushi.

Many deaths of family members accompany Miggen during his childhood. And the researcher Mensur Raifi, who has done a psychoanalytical analysis on the author, says that these deaths had an impact on Migjen's aggressiveness, which Raifi presents in three forms: 1. Against parental authority; 2. Against the ecclesiastical authority; 3. Against the state authority.[1] In the novel Student at home it is precisely manifested through the character of Nushi aggressiveness against parental authority.

Nushi as a character who studies medicine in European universities, through a letter he receives from his father, is "forced" to return home. With his return, two parallels are raised: 1. Modern European life; 2. Reality and backward mentality at home.

Although he had stayed in Europe for several years, when Nushi returned home, everything seemed the same, even things seemed smaller. Below, through these metaphorical lines, the narrator describes the stagnation of the Albanian mentality, comparing it to the developed European cities where Nushi studied:

And when you enter the house, the rooms are very small. The furniture among them has never been touched by the hand of man. Everything in the previous place, as if it was destined to rot in those places. But everything, everything somehow reduced. Nushi barely found the cause of this optical illusion: The cause was the tall houses and open squares of the city where he had been.[2]

According to the theory of Roland Barthes, who sees the literary character as a semantic complex[3], Nushi can be identified through these semantic units: European university education; cultural formation; closeness to girls. Looking at all these smaller semantic units, it can be said that the character of Nushi serves as a thematic element, because through him the authorial intent is manifested on breaking that mentality, which had a bad effect on the development and maintenance of Albanian families.

Nushi's love for his sister, Agen, was quite great. Conversations, childhood reminiscences, advice to her and so on, prove this to us. However, both were heartbroken: one because his sister would marry him unwillingly, the other because of her fate. This spiritual dissatisfaction came from the stubbornness of the head of the family, who was firm in his decisions and no one, especially the female gender, could change his mind. Thus the marriage of Ages was inevitable.

The modernity of Nushi in relation to the stagnant mentality does not materialize, because the deep installation of this phenomenon in Albanian families did not allow such a thing. The progressive intention of Nushi remains only at the level of narration (design) and not of action (concretization), because such a phenomenon could not disappear easily. Through the omniscient narrator, Nushi's ideas against this mindset are given. Among other things, it is said that when the father speaks, each other member of the family should listen more closely:

Nushi listens […] Nana also listens […] Ours is a family, closed within the walls of the house and within a patriarchal environment, prepares for tomorrow's civic life. (b. 89)

In an ironic way, the author's worldview is given that progress in society and in the family will never be achieved without radical changes.

The role of parents in the family

The character of the father of Nushi and Ages can also be analyzed from the perspective that sees the literary character as a topical entity. The author's choice not to name this character should be mentioned here. Such a characteristic associates us with the authorial tendency to include a large number of Albanian men who acted the same as this character, making it impossible for individual freedom or, viewed more broadly, for Albanian society in general.

The father's conversations with Nushi and other family members lead us to see this character also as a speaker. He, among other things, influences Nushi in the selection of the company:

- I saw you walking with boys who are not of our religion […] After months, I found better friends. Yes, or do you have a little, get friends of our religion? (q. 88.)

The appearance of the interior of this literary character is also confirmed by the language he uses. If we compare it with the language of Nushi, then the difference is evident. For example, Nushi, among other things, talks about life in European cities, education, medicine, dancing, women, etc., while the father knows nothing but his memories and sufferings, orders to family members, preserving the honor of other things of this nature. This is the language he addresses to his family members - always the same discourse:

Don't take advantage of me - thinks the head of the family, you look at all the members in order. Don't bite me, so squeeze as much as you can, and if they can't breathe - they'll bite you. How difficult it is to raise a child nowadays! How difficult it is to save the verses! Eh, time to pass! - But, you know, child, that I was just as old as you, when I started earning my bread... Even if, God willing, you also had enough, until your stomach burst... (p. 89.)

Through his characters, Migjeni tries to highlight the flaws of society, in which case, as researcher Rexhep Qosja says, Migjeni's literary creativity turns into a critical realism.[4]

In the novel Student at home the figure of the mother is also laid out, only that the focus on her is quite small. Only a few minor details are given about it. Therefore, the character of the mother of Nushi and Ages can be taken as a tool that serves the author's thematic intention. We are giving a detail, where the character of the mother, in conversation with Age, participates in the events of the novel:

Mom! Nushi says that girls like me, even married ones, go to school! Ha-ha-ha! the girl's laughter burst into her mother's face. - Don't laugh like that, my daughter, because the Kojshis feel you... you're crazy. (p. 87.)

It can be seen that the mother did not take any initiative to change the reality within the family, but the neighbors are more relevant to her than the actions of her daughter. So, the mother was hindered by her daughter's laughter, because the neighbors would hear it, but she was not hindered by her imposed marriage. This happens because she was matured in such a way that her husband's decisions are never questioned.

This literary character is further reduced, in which case no description or information about the past life is given. Although the role of the mother within the family should be great, especially in important cases such as marriage, this literary character almost does not participate in the event. Such a reduction of presentation is a special characteristic of the novella genre, because in Student at home the narrative focus is on Nushi and Ageja, while the inner world of the mother and other family members is not revealed.

Fate of the Ages

The characters of Migjen's prose are not heroes and nationalists, on the contrary, the focus falls on the poor and marginalized classes and the victims of the state of Albanian society. The same happens with the novel Student at home. The most typical case is the character of Ages, who appears to us as a young, naive, uneducated girl. She is surprised by Nushi's stories about life in European cities, which seem quite unusual and fabulous:

The girl didn't answer, but, following her brother's stories, she thought of those strange places, where girls don't stay at home, where they go out with boys without shame, where they dance... ah! they dance so beautifully. (b. 87)

Age's character conditions us the approach that sees the character as a tool, because from all her conversations and confessions, the effect of pain for Age's victimization and naivety is created in the reader. Likewise, her liking for civic life and closeness to young and beautiful boys has the function of providing information, in which case the reader is prepared for the events after marriage, where family morale is broken as a result of marital dissatisfaction.

The events of the novel focus precisely on Age's forced marriage with the merchant man. She has to marry the man she did not love, because the family head's decisions were firm and his thoughts about Age's husband were as follows: The one from the good house yes, the rich one yes, the laborer boy, he doesn't have a friend in Pazar. And, when Nushi tries to break her father's mind, telling him that today's girls love their husbands first and foremost, the father waits by saying: - But who asks him? What does she know?

So, it can be seen how valuable the woman and her thoughts were in the family. Everything had to flow according to the directives of the head of the family. And so it happens, in which case Age's marriage takes place. However, after the marriage, Ageja flirted with Lulu, the master's apprentice when the latter was not at home. Nushi knew about this secret relationship, but did not take any action, because he was always aware that a marriage like this led to such immorality.

Jealousy of Oso Bakalli

Novel titled The archapias hatch deals with an interesting issue related to the events in Albania at the beginning of the century. XX, namely with the decision to reveal veiled women - that is, the removal of veils. But, this was not all because, according to the decision, women were also allowed to go out of the house alone and freely, which could not happen before.

All this phenomenon materializes through Oso Bakalli and his family. Therefore, the novel is narrated in the third person, but from the perspective of Oso Bakalli, whose presence is dominant in the corresponding literary text.

Through this story, another side of the ancient northern city appears, a wonder, which the researcher Anastas Kapurani presents as follows: One day, the ancient city decided to hatch Arkapiat. What happened then? Unheard of. His wives and husbands went crazy. But differently: women from joy, men from rage. This is the modern fairy tale in the heart of Europe. Her tongue flashes with rare light and tirelessly illuminates the hidden essence of the Being of Misery.[5]

Oso Bakalli, as he is named, appears to us as a shopkeeper who had recently filled his shop with goods. Undoubtedly, in a different situation, this fact would make the owner extremely happy, but the opposite happens, because Oso Bakalli feels how did you get away with it? his being. What makes him feel that way? It is precisely the news, which spread rapidly, about the removal of the covers. This fact shocked Oso, but not only him. The same despair was felt by most of the men, therefore even at the beginning a gloomy picture of the country is given, although it was the beginning of the spring season, the season which the people eagerly wait for, but that year spring had come and passed like a random traveler.

Oso Bakalli meditates constantly, especially when he is alone. He gives thoughts on the perspective that men have on women. Here he makes an analogy with himself and, according to this, it turns out that men focus on the woman's exterior, which triggers emotions. This problem is, first of all, ethical. Therefore, the reflections on this issue do not leave Oso Bakal in peace. In the following we are showing the part where Oso presents the despair as a result of the consequences that could come from the discovery of women in the eyes of everyone:

Osja sits in the minder, smokes cigarette after cigarette, and thinks about everything and thinks nothing. Yes, he thinks how men are really bad, how they enjoy seeing a foreign woman, and his friend, how his mind goes from there to bad work. Osja knows the opinions of men because he himself is a man. And he himself thinks so with all his forty years and with his wife by his side. (b. 113)

Although forty years old, Oso's character takes on the characteristics of an older man, namely with an outdated mentality. Throughout his life, he had been taught that women are veiled and confined to domestic spaces. Undoubtedly, such a phenomenon causes men to see women only in terms of housekeeping, fertility and so on, leaving aside the other aspects in which she can participate.

Such a mentality is naturally carried by the character of Osos, in which case he always appears dissatisfied with the decree, he considers that guarding the honor of the house from now on is very difficult. Thinking about this problem makes Oson aggressive, and his aggressiveness even goes to the extreme when he hits Hajrien, because the latter in the room had removed the cover and was enjoying her new look:

In the room, he found Hajrije dressed and dressed as "Allafranca", with something like a hat on top, and he took it off "after the fashion". The beauty of her body was beautifully outlined in tight clothes and her poses were provocative. She did not change Oso back, but continued to imitate the "Allafranga" women and twisted as "after the fashion". (p. 115-116.)

In the context of the story, apart from Oso who, in fact, we consider to be the main actor, on the other side we also have Hajrien, for whom we will also give some characteristics in the future.

Hajria is presented as Oso's sister and is modeled as a girl. The house he is staying in is Osso's, so the rules must be strictly adhered to. Her character is fragile. Her age is also determined - seventeen years old. The character of Hajrie, although limited in treatment, is the antipode of that of Oso Bakalli. While the latter was completely depressed with the new reality, Hajria was almost flying with joy. But, of course, the joy was kept inside her because she was permeated by an enigmatic uncertainty. However, Hajria represents young women who, despite their many limitations, still have feelings of love, sympathize with someone and also have a vision for the future.

Struggle for survival

Novela The story of one of them marks, among other things, thematic features within the prose creativity of Migjeni. The treated topic is unique compared to those of other texts in Albanian literature up to that time. Undoubtedly, the novel's thematic construction is achieved through Luke, who, in fact, carries the role of the main actor. From the first paragraph, which is modeled by rhetorical questions, Migjeni informs us with Luke:

Who doesn't remember? Who does not remember, my friend, that? Who? Which one? Which one? - That! One of those! - Which one of those is hers? They are many! What young (or old) does not know at least two of them? Why are there so many? Why are there so many men, so many women, that's why they should also have bodies for sale in relative numbers... So who is one of them?

– Luke, Luke!… (p. 118.)

Through this paragraph, we can take Luke's character as a metonym, because it represents other Albanian women of this type and their fate, who, in order to survive, are forced to work on the basis of prostitution. Lukja also has the same fate one of those, the many, which are secretly used by young and old to vent their lustful impulse.

As it is titled, the novel tells about a sad story, the story of Luke, in which case the focus falls on some specific moments of her life, from the beginnings of work as a prostitute to the painful end.

When we talk about Mighen and his literary creativity, we must take into account the poetics of expressionism as a special stream of modern world art and literature. Expressionism, although it was implemented in the visual arts at the beginning of the century. XIX, later it appeared significantly in literature as well. In fact, expressionism was born as a counterpoint to positivism, and by means of it, it was used to show the negative sides of society in order to improve life from the created crisis. In addition to positivism, expressionism from its beginnings also exhibits different characteristics from impressionism; it is enough to remember the impressive paintings of Van Gogh, Edvard Munch and similar painters, who, through artistic creations, showed the problems of the individual within society.

To move on to the characterological analysis of the novel The story of one of them, we are also adding this opinion of the Italian critic and writer Mario De Micheli, who emphasizes that expressionism is born on this basis of protest and criticism, so it is, or wants to be, the opposite of positivism. It is a broad movement, which can hardly be summed up in a definition or determined according to the form in which it appears, as it can be done in other cases, the word comes, for cubism. In fact, the ways in which expressionism appears are quite numerous and different, even if you group them in large lines. So, the only way to reach its understanding is to start from the contents, and they are not uniform. However, what can be said immediately is that expressionism can be called without any doubt one opposition art.[6]

Precisely Migjeni creates the literary text in accordance with the poetics of expressionism. In addition to the theme, this can also be investigated through the construction of the characters and their character. Of course, the mentality and the state of the Albanian society at that time are considered as a stimulus for their actions.

Migenian art is precisely the opposition of dealing with big themes, heroic events and elite characters, instead, ordinary social themes and characters are chosen that do not impress us with their actions or deeds. This atypical construction for the time is evident in all the literary creativity of this author, also in the novel The story of one of them.

Lukja is from the highlands, but from a life full of suffering, on a cold winter day, he goes down to the city because that way he could earn money and provide for his living. Luke's character is commented on by the narrator, in which case he is characterized as one good woman, merciful and so on. Thus, the narrator in this case, if we see him in relation to his participation in the event, appears to us as a commenting narrator, who, among other things, interprets actions, situations, events.

Luke's character building is undoubtedly influenced by others and her social situation. She, like all other highland women, has her own dreams, worldviews or views on life. To ensure survival, she has to leave her family and become a prostitute. Even the researcher Sabri Hamiti sees it in this prism, in which case he emphasizes that Lukja loses her identity from going down to the city to create the dream of happiness, while her dream both in the mountains and in the city is shattered when she encounters the social and life reality. It leaves private life, enters public life, from where there is no return to private life.[7]

The hard life as a prostitute wears Luke down spiritually, pushing him towards mental crises, which will later deepen. Confronting all those young men causes Luke's character to suffer mental breakdowns. The work he was doing did not provide him with a future and Lukja understands that in this world he is just an object that is simply used by others for bodily pleasure, of course in exchange for money. Here we are dealing with the struggle for survival of a woman who suffers, suffers inside, but does not dare to explode outside, because she would also lose this job with which she provided her daily bread and saved money with the aim of a potentially better life. comfortable in the future:

At one time, Luke was also overwhelmed by boundless sadness. That thing we call the soul hurt, but only sometimes, why if it hurt more often, God would kick it out, why did Lukja break glasses, plates, mirrors, and whatever he could get his hands on during those rare moments. . In those moments, he did not accept visitors. Maybe Luke's soul ached because all the boys' energy was going to waste? Perhaps she also wanted to produce, as does nana-earth and every other creature? (p. 122.)

However, Lukja believes that in the future she will achieve a normal life, a potential birth and rest a little from this physical and spiritual fatigue.

In search of peace of mind

novel The story of one of them, in relation to the events, I would divide it into two parts: the period during which Lukja works as a prostitute and the period with the bankrupt tinsmith. Migjeni himself makes a division in this aspect, in which case the first period is considered as the public house, while the second period as private home. On this basis, Luke, at the end of the novel, returns to his private life, but is it considered a private life when everyone knew Luke for the work he had done?

During the time he was working, Lukja saved money from students and gentlemen, because he had heard in the highlands that with a lot of money he would be able to find a man and spend his life with him. Therefore, in this part of the novel, time is skipped, and in this case it is passed to a part where the once young and strong Lukja was already getting old and could not work as he did then. With the money he had saved over the years, Luke's demands for the future were quite modest:

You won the money, Lukja thought, that he will find a lost heart like himself, that in old age they will help and make friends. She didn't want much. She did not want to do advertising parades with a man under her arm, nor to do any other fun that married women with honor and white cheeks have the right to do. He just wanted to get into the shelter of the house, to wait for his old man with a man nearby to exchange words over the noise during the cold and long winter nights, in a way that took away the boredom of life, my friend. Luke's lukewarm desire is ours. (p. 123-124.)

This is how Lukja acts. He had collected two hundred napoleons who were like him two hundred flags triumphant over the evil life of vorfnis'. She manages to find a lost heart like herself, thus beginning a new chapter in Luke's life.

Her character undergoes a change from the beginning to the end of the novel, because in the first stage she is presented as a strong woman who constantly projects/thinks about the future and so on, while in the second stage Luke begins to lose his power to her worked, so with the collected money she joins the bankrupt tinsmith and her main goal now is to keep her husband erzin. At this stage, where Lukja aimed for a spiritual and physical peace, in fact the opposite happens, because misery always accompanies him.

Life went on as Lukja faced her husband every day, who lived with her only because of the money she possessed. Thus, the tinsmith began to demand money from her a little, in which case quarrels became frequent, as well as fights between each other.

In a short time Luke's two hundred napoleons were quickly depleted, while the poverty in her family steadily increased. The vagabond tinsmith gives up on Lukja and runs away to the village, on the other hand Lukja suffers a mental crisis and as she was sent to madness in a car, the surrounding people mocked and at the same time expressed regret for her life and fate.

The fragile fate of this woman/woman is determined; he always follows it, in which case even those simple requirements for a comfortable old age are not fulfilled. Therefore, we will conclude this analysis with these sentences, with which the narrator addresses the concrete reader:

Andrats are torn like cotton shirts by spider webs and only the banal nakedness of real life remains. So don't try to make dreams come true; let them be only andria and enjoy yourself (if you enjoy andria). Otherwise you will despair, like the couple of this story in February and without dates to document. (p. 125.)

An unfulfilled love

Another not too long text about Novels it's the story A little poem, in which thoughts are given on the concept of love and lyrical poetry in general. Even the researcher Sabri Hamiti considers that the title could also work as a little love.[8] However, the love shown here is atypical. Undoubtedly, in order to highlight the "intoxication" of love, a more extreme case is taken, because a normal relationship between young people would not encourage so much reflection on the phenomenon of love. So, the story A little poem consists of two interesting characters: Lili and Lilusha. From the first appearance, the reader's attention is drawn to their name, in which case, among other things, we can conclude that such a name means that these two young people are made for each other, or are approximate in their sensitivity and so on.

Through the character of Lili, the ideas regarding love are manifested, as an individual concept, which goes beyond conventions, tradition, morality. We say so, because Lilusha, in fact, is presented as Lil's cousin, namely the daughter of his thesis. Therefore, knowing this fact, Lili is in doubt from the beginning to the end, in which case the story extends to a greater extent as a monologue, taking on the features of a meditative-lyrical narrative.

Everyone loved Lily. His cousins ​​loved him, and so did his aunt. This made him even more depressed, and in the following we are bringing a part where Lili insults herself, because the thought of getting together with Lilusha seems very immoral to her, especially when she remembered the reaction her relatives would have:

He watched as in her house they accepted him wholeheartedly as a relative, and he, in those moments, sometimes cursed himself:

- Below! Below! He enters the house as a guest where he is welcomed as a sincere friend. (p. 131)

Lili is aware of the impossibility of finalizing this love. With a more or less intellectual background, he compares himself to Goethe's Werther, knowing the tragic end of this fictional character and his lover, Charlotte. Therefore, even the fear of such a tragic end, more for Lilusha than for himself, is one of the indicators for resignation.

Lili also has knowledge about poetry as a literary genre, even at the end of the story we have some thoughts about this issue. He considers lyrical poetry to be very ancient, appearing even before Sappho - he sees it as something precious in human life, especially in the youth period. On the other hand, Lilusha is more shallow in this aspect, therefore Lili does not consider her worthy to reveal her ideas about lyrical poetry, especially the erotic part.

Lili's dilemmas about showing or hiding his love for Lilusha are always at the center of the text, however, in the end, Lili's character does not make the big break, so the feelings are not concretized. This means that Lili is presented as a sober character who struggles with her own feelings. He is willing to withdraw forever from this youthful sweetheart rather than bring a black mark on himself and his tribe. That's why at the end of the story he leaves the city, along with him love feelings begin to fade.

Lilusha's character is not presented very much, in which case her presence in the text is shortened. However, we can give some characteristics about it. To begin with, Lilusha from Lili's perspective is presented as a beautiful girl, although for her there were even more beautiful ones. From the few appearances, one can see a certain naivety of her in relation to love. It seems as if she had never had sympathy for anyone, so staying for a long time with Lily awakened her feelings, however, as if Lily also shows reluctance to concretize her feelings. This is how he sometimes withdraws and sometimes approaches his cousin, between fear and love:

- Leave! - he said to Lili more than once when he came to caress her lovingly. And her departure was like saying: why are you making me suffer. Sometimes she would snatch away from him, but still, slowly, unconsciously she would go to him. And these were alike only when they were alone; in the presence of the third they behaved like indifferent cousins. The passionate feelings they felt for their mate were burning, but not strong enough to break the fatal barrier that prevented them from being completely each other's. (p. 136.)

This character, as we pointed out above, is extremely limited. With Lil leaving town, Lilusha is left alone, but nothing is given about her state of mind.

The misery of unemployment

Looked at the thematic level, novels ... We break our daily bread today... it has similarities with the novel The story of one of them. However, while in the second one it is taught that a comfortable old age can be ensured through prostitution, in the other novel the exercise of this work comes as a result of the miserable family situation, with special emphasis as a result of the child's illness.

Novela ... We break our daily bread today..., in the framework of the summary, it is the second in terms of textual quantity - that is, after the novella Student at home. This means that the presentation of the characters and the construction of their characters has a wider scope. However, it is worth noting that even in this novel, the events and characters are built in an accelerated manner, thus creating a non-literal composition. Also, the narration is developed in different ways, in which case, among other things, the events are commented on, it goes through monologues and dialogues, the narrative time is modeled in an accelerated form and so on. But, above all, the treated topic and the construction of the characters represent the main features of this novel.

In the style of Migjen's prose, including the sketches, it is not atypical to treat the life and fate of the Albanian woman in relation to the social situation and the difficulties she faced. The woman in Migjen's prose has a special place as a treatment, while as a presentation it has its own peculiarities. Thus, Rexhep Qosja rightly states that the woman of Migjen's work is unfortunate, it is completely determined by the conditions of life. Her tragedy reaches far, so far that even her beauty is due to her tragedy.[9]

The novel in question presents the essential problems of a family, which lead in some way to its destruction, especially in the ethical and existential aspect.

All thematic material materializes through three key characters who, in fact, make up the family community: Kola, his wife and little Lily.

The leitmotif of the novel can be considered unemployment, which is the cause of the entire course of events. Even this phenomenon, highlighted for the time, also affects the head of the family, Kola. Therefore, unemployment is the essence of misery that directly affects the psyche of the parents and the suffering of the boy, Lili.

The most complex characters of the novel are Kola and his wife. In the context of this literary text, we are also dealing with other characters that serve more as tools to process the thematic and ideological level of the novel: Mr. Filipi, Lezja, the doctor and the foreign man can be considered as such.

The novel begins with the narration from the third person, but from the perspective of little Lili, who saw her mother praying at night, while on the other hand they had nothing to eat. Such modeling right from the beginning of the novel undoubtedly raises two important issues: the first is related to the religious dimension, while the second is related to the dimension of poverty that is related to reality. Here, as in other parts of the novel, Migene's expressiveness towards religion is quite critical.

Kola as the head of the family appears in a very difficult period of his life. He had worked for five years as a waiter in Mr. Filip's cafe, but due to the economic-social crisis in the country, Kola is forced to quit his job and this very moment marks the misery in his family. Some criticisms are given to the character of Mr. Philip, because he only called Kola to talk, but not to find a solution to the problem he had. However, even Kola himself states that Mr. Filip is not to blame either. There is no work. - But who is to blame? No one. Nana who gave birth to me to proceed with the thought that I was too much in this world. So, this character gives a pessimistic note towards the world and reality, even from this condition Kola is often led to suicide.

When Kola remains unemployed, his relationship with his wife begins to deteriorate, in which case the conversations between them become more frequent. Unemployment in Kola's family brought extreme poverty, while poverty manifested a struggle for existence. Kola constantly tries to communicate with Mr. Philip, in order to secure a job, but when he sees that he is not achieving his goal, the weakness and despair of this man appear to the extent that he cries:

From the door of the Kola cafe was found on the main street of the city. Something was stinging and stinging his eyes: Lott. (b. 149)

This is Kola and his miserable fate. In addition to staying in a rented house, his misery is compounded when he remains unemployed. Therefore, the improvement of this situation is achieved only by getting a job, so he flees the country for this reason, but leaves his wife and Lili alone. This action is the main reason for the complete overthrow of the family in ethical terms.

Kola's wife is initially characterized as a religiously devout woman. He prays constantly, follows religious rites. In fact, even in the social situation that was her family, little Lili was taught urat instead of fairy tales, but the last one from the long urat stuck in her mind only the refrain We eat our daily bread today. In this part, among other things, we can find that the greatest emotion is reached in the reader, because religion and bitter reality are interwoven in an ironic way. The impossibility to change this reality through religion is one of the main motives that push Kola's wife towards immorality. Therefore, it is no coincidence that Migjeni titles the novella based on this refrain.

In the course of the novel, the character of Kola's wife undergoes a significant change. Undoubtedly, this change comes as a result of the family situation, specifically from Kola's escape from home and Lili's illness. Meanwhile, in this part we can also mention the character of Leze, who we are considering as a tool that serves the progress of the following events. Lezja and some other friends are pushing for Kola's wife to make the final decision. Due to the absence of her husband on the one hand and the appearance of Lili's illness on the other hand, the woman's condition became more and more difficult. So, to survive she is forced to sell her honor. But he did this for the sake of his son. This is how Lezja advised him:

Laugh, talk, don't sit like a cuckoo. And in case someone asks you why you lead this life, tell them however you want, you can tell them the truth, but tell them to smile. Make no mistake about it, save lott, because that man is never coming back. But laugh, talk, play games. I know, my sister, that your heart will break for a moment, but what do I care... for the sake of your sick son... and life must be lived, in the evening, it's not a big deal! Others do these jobs for fun, and we do them for trouble - said Lezja... (p. 158-159)

This is how the great moral breach in Kola's family takes place, in which case his wife accepts a foreign man at home in exchange for money. Shortly after this event, Kola returns to the moment when the man left the house and is completely depressed by what he sees, but he cannot do anything because he is completely powerless to change reality.

From all this psychological drama of this family, how else would the small child be portrayed, except as hungry, pale, sick. So is Lili, who conveys strong emotion to the reader. He cannot escape the misery lying in his parents. This misery also brings the serious illness which, as it is implied, stops the little boy's life in half.

cONcluSiON

This text deals with the prose of Migjeni, the summary Novels of the North City, in certain literary dimensions. As a macro-analysis, that of literary characters has been chosen, which of course is also related to other categories for which we have tried to give some characteristics.

The text begins with the characterological analysis of the novel Students at home which marks the first novella of the collection. Thus, the other analyzes continue with the given order of the novels, referring to the respective publication. to Student at home we focused in more detail on Nushi's character and his character, comparing it with that of his father, in which case the differences are evident. Also, the character of Ages has been analyzed in relation to the fate assigned by the family.

As for the story The archapias hatch the analytical focus falls on the character of Oso Bakalli, through which a picture of specific events and the Albanian mentality in Albania at the beginning of the century is given. XX. The story, which deals with the departure of the ferrets, presents the reader with two specific characters: Oso Bakall and his sister Hajrien. Therefore, among other things, we have given some distinguishing characteristics between these two literary characters.

Another text within the summary is the novel History of one of them, which deals with a very special theme through Luke as the main actor. This character is dominant, in which case the whole event is directly related to him. In relation to Luke's character, we have tried to analyze Migene's expressiveness through which the social situation is criticized, which significantly influenced the character of the individual and his actions.

Through the story A little poem issues of atypical love between young people are raised. In this part, the character of Lili and Lilusha is analyzed, as the only two characters in the story, although the second one is significantly more reduced.

After this story, the novella comes next in the summary ...We break our daily bread today... which, in terms of content, we consider to correspond most closely to Migene's poetics. Social phenomena such as family, religion, unemployment, loss of honor and illness are portrayed there. This dense theme of the novel with multiple motifs is also made possible through the wider textual scope if we compare it to the others, with the exception of the novel Student at home. During the analysis, we have tried to see how the characters of Kola and his wife are built and, also, what changes they suffer from the miserable situation that had gripped their family due to unemployment.

Meanwhile, the story Nothing new on that side of the fence, due to the brevity and consequently the lack of evolution of the characters, we have not considered it reasonable to treat it in terms of characterological analysis.

Finally, we can emphasize that the characters presented in the summary Novels of the North City are special, in which case the characters of each are modeled specifically. Characters turn into figures. Thus, through them, the thematic and ideological level is manifested in accordance with Migene's ironic and critical expressiveness. /Magazine "Academia"/Telegraph/

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Literature

Barthes, Roland, S/M, Blackwell publishing, New York, 2002;

Elsie, Robert, History of Albanian literature, Dukagjin, Peja, 2001;

Hamit, Sabri, Modern literature; Work 8, Faik Konica, Pristina, 2002;

Kapurani, Anastas, Migeni or double preposition, Onufri, Tirana, 2010;

Micheli De, Mario, The protest of expressionism, Palimpsest, no. 1. Tirana, 2017;

Sleep, Act 2, Rilindja, Pristina, 1980;

Pipa, Arshi, For Miggen, Prince, Tirana, 2006;

Qosja, Rexhep, Dialogues with writers, Rilindja, Pristina, 1989;

Qosja, Rexhep, continuities, Renaissance, Pristina, 1972;

Raifi, Mensur, Fan S. Noli and Migjeni, Rilindja, Pristina, 1979.

[1] Mensur Raifi, Fan S. Noli and Migjeni, Rilindja, Pristina, 1979, p. 135.

[2] Student at home, in Migjeni, 2, Prose, Rilindja, Pristina, 1980, p. 86. (Henceforth, all other citations of the novella/novellas refer to this edition and the corresponding page number will be added at the end of each quoted text).

[3] Roland Barthes, S/M, Blackwell publishing, New York, 2002, pg. 67. (In this study, Roland Bart makes a structural analysis of the story Sarrazin of Balzac, in which, among other things, he gives opinions on characters as a special literary category).

[4] Rexhep Qosja, continuities, Rilindja, Pristina, 1972, p. 138.

[5] Anastas Kapurani, Migeni or double preposition, Onufri, Tirana, 2010, p. 316.

[6] Mario De Micheli, The protest of expressionism, magazine Palimpsest, no. 1, Tirana, 2017, p. 182. (translated by: Zef Paci).

[7] Sabri Hamiti, modern literature, Act 8, Faik Konica, Pristina, 2002, p. 693.

[8] Sabri Hamiti, Modern literature, Act 8, Faik Konica, Pristina, 2002, p. 673.

[9] Rexhep Qosja, Dialogues with writers, Renaissance, Pristina, 1979, p. 189.