{"id":3070,"date":"2018-10-15T06:33:16","date_gmt":"2018-10-15T06:33:16","guid":{"rendered":"http:\/\/www.iwabogdani.org\/?p=978"},"modified":"2023-12-21T13:15:30","modified_gmt":"2023-12-21T13:15:30","slug":"meaningfulness-of-the-superior-reflection","status":"publish","type":"post","link":"https:\/\/www.iwabogdani.org\/sq\/meaningfulness-of-the-superior-reflection\/","title":{"rendered":"MEANINGFULNESS OF THE SUPERIOR REFLECTION"},"content":{"rendered":"

By Dr. Saso Ognanovski<\/p>\n

(For<\/em> the<\/em> poetry<\/em> book<\/em> \u201cFateful<\/em> space<\/em>\u201d by <\/em><\/span><\/span>J<\/span><\/span>eton Kelmendi<\/span><\/span><\/em>, published<\/em> by<\/em> Data <\/em><\/span><\/span>Pesnopoj<\/span><\/span><\/em>, Bitola<\/em>, 2018<\/em>)<\/span><\/span><\/p>\n

\u200bJ<\/span><\/span>etonKelmendi<\/span><\/span> is a poet who has his first step forward in the poetry from the state of solid silence. Reading his poetry we have<\/span><\/span> an<\/span><\/span> impression that his verse <\/span><\/span>universe doesn\u2019t correspond to<\/span><\/span> our enthusiasm and so <\/span><\/span>a priori<\/span><\/span> we cannot lean on our exaltation<\/span><\/span>. <\/span><\/span>The reflection on these verses with <\/span><\/span>staccato<\/span><\/span> rhythm <\/span><\/span>states us to establish a phenomenological deal with that sparse, but very wordy ve<\/span><\/span>rse and it would be<\/span><\/span>rhetorically pronou<\/span><\/span>ncing<\/span><\/span> those verses internally<\/span><\/span>, i<\/span><\/span>n ou<\/span><\/span>r lingual optimum and by<\/span><\/span> rethink<\/span><\/span>ing<\/span><\/span> before interpreting them. Always, when we attempt to learn <\/span><\/span>some<\/span><\/span> foreign language, we consid<\/span><\/span>er it learnt only when we learn<\/span><\/span> to think on that language. \u201cFateful space\u201d is a book with wide semiology <\/span><\/span>panopticum<\/span><\/span> of its verse. <\/span><\/span>The pulse of the strophes, <\/span><\/span>while the poem flows<\/span><\/span>,<\/span><\/span> seem<\/span><\/span>s as if they are<\/span><\/span>cons<\/span><\/span>tructing<\/span><\/span> on their own. That poem infuses in our knowledge so far and states us to rethink again the issue it has themed and to return on the phenomenological constellation of <\/span><\/span>all verse<\/span><\/span>stipulations and then, to close the book just for in a few minutes to open it again and carry ourselves inside. <\/span><\/span><\/p>\n

\u200b\"\"Generally, <\/span><\/span>J<\/span><\/span>eton<\/span><\/span> Kelmendi\u2019s<\/span><\/span> poetic adventure <\/span><\/span>is moving in three esthetic directions \u2013 lyrics, reflective and epic iconoclastic. <\/span><\/span>Even though, his lyric poetry occasionally enters a stormy and contradictory apotheosis of the female virginity, <\/span><\/span>it make<\/span><\/span>s us to consider the woman herself, not only in erotic, but in existential context as well. That means that this very interesting author\u2019s love poetry is not only one-linear reaching to the secret and intimate corridors,<\/span><\/span> but<\/span><\/span> it\u2019s a part of the suffering<\/span><\/span>, <\/span><\/span>compatible with one so far uninvestigated female principle of the painful passion:<\/span><\/span><\/p>\n

\u201dAnd you<\/span><\/span><\/p>\n

Dreamed lyric poetry<\/span><\/span><\/p>\n

About love<\/span><\/span><\/p>\n

All directions have only one way<\/span><\/span><\/p>\n

You, who didn\u2019t spoil the willingness of the <\/span><\/span>dream<\/span><\/span><\/p>\n

What do you demand of the <\/span><\/span>reality,<\/span><\/span><\/p>\n

Where Yesterday becomes The Day Before,<\/span><\/span><\/p>\n

And tomorrow becomes today<\/span><\/span>,<\/span><\/span><\/p>\n

You took all <\/span><\/span>mine<\/span><\/span> with you<\/span><\/span>,<\/span><\/span><\/p>\n

And scattered them so far of me,<\/span><\/span><\/p>\n

Far of you,<\/span><\/span><\/p>\n

I always afraid <\/span><\/span><\/p>\n

It could be very late.\u201d<\/span><\/span><\/p>\n

What do you demand of the <\/span><\/span>reality<\/span><\/span><\/p>\n

\u200bThe time catalyst in <\/span><\/span>K<\/span><\/span>elmendi\u2019s<\/span><\/span> lyric poetry sounds like<\/span><\/span> suffering, and it\u2019s continuously present in almost all poems which are treating love, woman and the atavism of the female sense. The poems like: \u201cI Dream Her Sleeping Inside Me\u201d, \u201cA Dev<\/span><\/span>i<\/span><\/span>lish Ghost\u201d, \u201cHoe To Name You\u201d, \u201cWe Love Each Other With Words\u201d, \u201cAfter the Introducing\u201d<\/span><\/span>, and as well as the longer one \u201cLady\u2019s Word\u201d, are mixing that alchemy of the love turbulences imposing one experiment <\/span><\/span>both inside the verse essence as well as<\/span><\/span> in the content and formal meaning. <\/span><\/span>The<\/span><\/span> love lyricism of<\/span><\/span> J<\/span><\/span>eton<\/span><\/span> Kelemndi\u2019s<\/span><\/span>excites with its uniqueness exactly because of the ambivalence of the verse itself, its magic<\/span><\/span> dualism whose impression lead<\/span><\/span>s us <\/span><\/span>in<\/span><\/span>to reach<\/span><\/span>ing<\/span><\/span> our own conclusions, but only after the second, or maybe after the third reading of the book.<\/span><\/span><\/p>\n

\u200bThe reflection, the philosophy aspect of this poetry book flows through the<\/span><\/span> veins of ge<\/span><\/span>neral reminiscences, who stre<\/span><\/span>am<\/span><\/span> through the verse penetrate into an eclectic decisi<\/span><\/span>veness, leading us, as readers, <\/span><\/span>not to keep only on the generality, but<\/span><\/span> to find all considerations and deliberations in our life experiences and <\/span><\/span>to establish conclusions on our <\/span><\/span>own:<\/span><\/span><\/p>\n

\u201cMy unfortunate thoughts<\/span><\/span><\/p>\n

It\u2019s hardly for the day to come for us,<\/span><\/span><\/p>\n

With the wrinkles conveyed <\/span><\/span><\/p>\n

After our tiny steps.<\/span><\/span><\/p>\n

Where to put ban for the time<\/span><\/span><\/p>\n

It\u2019s like the times would change<\/span><\/span><\/p>\n

And the day begins with pastoral.\u201d<\/span><\/span><\/p>\n

Where to put ban for the times<\/span><\/span><\/p>\n

His aspect is global, but as <\/span><\/span>a<\/span><\/span> wise poet, <\/span><\/span>J<\/span><\/span>eton<\/span><\/span> Kelmendi<\/span><\/span>in the punctually and lexically determined verse managed to reach the deepest human dilemmas and in the same time <\/span><\/span>making <\/span><\/span>that verse to sound impressive, without the unnecessary abstractions and delusions. <\/span><\/span>The author<\/span><\/span> transfers his <\/span><\/span>intellectual concern about the word\u2019s fragility, about <\/span><\/span>the deep abysses where evil and<\/span><\/span>disaster lies, about the unfortunate oddity when has to be given the space to feelings and the wellness<\/span><\/span> through th<\/span><\/span>e real \u201cpoetics\u201d that the blank <\/span><\/span>verse only underlines it and make it absolutely affordable for the reader, affordable to that extent where the reader gets return<\/span><\/span>ed<\/span><\/span>to his essential philosophical considerations. <\/span><\/span>That\u2019s finally the basic function of every literary genre \u2013 to throw the glove in the face to the elementary <\/span><\/span>human impertinence and to lead<\/span><\/span> the<\/span><\/span> human kind to individually create<\/span><\/span> a better place<\/span><\/span> for <\/span><\/span>intellectual awareness. <\/span><\/span>Even more, poetry\u2019s assignment is much harder because it has to do all this with a smaller amount of words unlike the prose or the drama genre. So, here lies the wisdom of <\/span><\/span>J<\/span><\/span>eton<\/span><\/span> Kelmendi\u2019s<\/span><\/span> poetry book, and so the title is created: \u201cFateful space\u201d- here exactly, in this <\/span><\/span>tiny, blank<\/span><\/span>, but heavy verse, full of philosophical reflections. <\/span><\/span><\/p>\n

\u200bEven though is<\/span><\/span> smaller, the third segment of hi<\/span><\/span>s<\/span><\/span>poetry has epic prominence and it relates to the most significant people who denoted the human civilization with their works being part of this author\u2019s exaltation: Mother Teresa, Ismail <\/span><\/span>Kadare<\/span><\/span>. This poet, in those much longer poems, especially in their verse weaved the epical determination as a genre and proved that lyrics and epic are <\/span><\/span>two different genres in poetry, but, that poetry, as a literary expression is much more dependable of the inspiration rather than the expression:<\/span><\/span><\/p>\n

\u201cYou were a bit of <\/span><\/span>Gonja<\/span><\/span>, a bit of Calcutta,<\/span><\/span><\/p>\n

More Albanian and more light,<\/span><\/span><\/p>\n

For the mankind<\/span><\/span><\/p>\n

And you prayed becoming<\/span><\/span><\/p>\n

A light yourself.\u201d<\/span><\/span><\/p>\n

A Life Distant by Itself<\/span><\/span><\/p>\n

\u200bThe epic moment and the verse dynamics are flowing into a sensuality which releases the epic itself of some kind of pure <\/span><\/span>parolls<\/span><\/span>, and the reflections of the incomprehensibility. It\u2019s another characteristic of <\/span><\/span>J<\/span><\/span>eton<\/span><\/span>Kelemndi\u2019s<\/span><\/span> poetry<\/span><\/span>\u2013 the literary unity. It\u2019s a literary organic that excites and inspires, because, finall<\/span><\/span>y, the literature is the one that<\/span><\/span> through inspiration reproduces itself in new expressions. The lyric in this beautiful poetry book is a silent wave of emotional reincarnation happening cyclic in all poems of this provenience exactly like the human bean reincarnates itself influenced by love and passion.<\/span><\/span><\/p>\n

\u200bThe poetry book \u201cFateful space\u201d has a<\/span><\/span>nthological value and the ability to reach<\/span><\/span> back in the past and forward in the future as well<\/span><\/span>,<\/span><\/span> because it deals with the <\/span><\/span>civilization exaltation and grieving<\/span><\/span>. It\u2019s fin<\/span><\/span>ally one of this author\u2019s latest works who is translated in more than forty languages. He is also an <\/span><\/span>academic<\/span><\/span>ian<\/span><\/span> and highest European i<\/span><\/span>ntellectualist whose books are o<\/span><\/span>n the shelves of the most prominent institutions, and his poems<\/span><\/span> are<\/span><\/span> included in numerous world poetry anthologies. <\/span><\/span>J<\/span><\/span><\/a>eton<\/span><\/span> Kelmendi<\/span><\/span> is young, but<\/span><\/span> has impressive biography of a writer and scientist. The thoughtfulness of his poetry is a process whose maturity is a continuous gift for us <\/span><\/span>until<\/span><\/span> our mind is considering the eternity.<\/span><\/span><\/p>","protected":false},"excerpt":{"rendered":"

By Dr. Saso Ognanovski (For the poetry book \u201cFateful space\u201d by Jeton Kelmendi, published by Data Pesnopoj, Bitola, 2018) \u200bJetonKelmendi is a poet who has his first step forward in the poetry from the state of solid silence. Reading his poetry we have an impression that his verse universe doesn\u2019t correspond to our enthusiasm and […]<\/p>","protected":false},"author":4,"featured_media":3591,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[171,167],"tags":[],"book_author":[],"book_publisher":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/3070"}],"collection":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/comments?post=3070"}],"version-history":[{"count":1,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/3070\/revisions"}],"predecessor-version":[{"id":3590,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/3070\/revisions\/3590"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/media\/3591"}],"wp:attachment":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/media?parent=3070"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/categories?post=3070"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/tags?post=3070"},{"taxonomy":"book_author","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_author?post=3070"},{"taxonomy":"book_publisher","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_publisher?post=3070"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}