{"id":3117,"date":"2019-05-07T20:26:22","date_gmt":"2019-05-07T20:26:22","guid":{"rendered":"http:\/\/www.iwabogdani.org\/?p=1257"},"modified":"2019-05-07T20:26:22","modified_gmt":"2019-05-07T20:26:22","slug":"fjala-e-vertete-e-poetit-jeton-kelmendi-nga-dante-maffia","status":"publish","type":"post","link":"https:\/\/www.iwabogdani.org\/sq\/fjala-e-vertete-e-poetit-jeton-kelmendi-nga-dante-maffia\/","title":{"rendered":"FJALA E V\u00cbRTET\u00cb E POETIT Jeton Kelmendi nga Dante Maffia"},"content":{"rendered":"<p><strong>FJALA E V\u00cbRTET\u00cb E POETIT<br \/>\n<\/strong><strong><br \/>\nPARATH\u00cbNIE<br \/>\n<\/strong><strong>P\u00cbR POEZIT\u00cb E JETON KELMENDIT ITALISHT<\/strong><strong>\u00a0<\/strong><\/p>\n<p><strong>NGA Dante MAFFIA,\u00a0<\/strong><b>Itali<br \/>\n<\/b><strong><em>P\u00ebrktheu nga origjinali<br \/>\n<\/em><\/strong><strong><em>Eda Agaj Zhiti<\/em><\/strong><b><\/b><\/p>\n<p>Jeton Kelmendi ka nj\u00eb personalitet t\u00eb pasur, interesat e tij jan\u00eb t\u00eb shum\u00ebfishta dhe si pasoj\u00eb poezia e tij \u00ebsht\u00eb e mbushur, aq sa ndonj\u00ebher\u00eb ke p\u00ebrshtypjen q\u00eb kemi t\u00eb b\u00ebjm\u00eb me magjin\u00eb e nj\u00eb kamion\u00e7ine me zjarr q\u00eb kalon fushat e rrug\u00ebt e p\u00ebrhap zjarr n\u00eb t\u00eb gjitha drejtimet.<\/p>\n<p>Nj\u00eb metafor\u00eb p\u00ebr t\u00eb fotografuar makut\u00ebrin\u00eb e saj, impulsin e tij q\u00eb do q\u00eb ta mbush\u00eb me \u00e7do gj\u00eb q\u00eb merr frym\u00eb, por mbi t\u00eb gjitha q\u00eb do t\u00eb arrij\u00eb n\u00eb nd\u00ebrgjegje, th\u00ebn\u00eb m\u00eb qart\u00ebsi, jo permes sistemeve maksimale, por p\u00ebrmes lenteve t\u00eb f\u00ebmij\u00ebris\u00eb, t\u00eb ngroht\u00ebsis\u00eb familiare, p\u00ebrmes filigram\u00ebs s\u00eb p\u00ebrvet\u00ebsimeve q\u00eb adoleshenca i parambledh duke i ngjitur, ashtu si\u00e7 thoshte Kavafis, shkall\u00ebt hap pas hapi. P\u00ebrmes p\u00ebrvoj\u00ebs s\u00eb drejtp\u00ebrdrejt\u00eb.<\/p>\n<p>Kjo sjell nj\u00eb zgjedhje t\u00eb temave q\u00eb mund t\u00eb japin imazhin e p\u00ebrmbushur, apo thuajse, t\u00eb itinerarit t\u00eb tij dhe sjell dhe p\u00ebrkujdesin m\u00eb t\u00eb kthjell\u00ebt e t\u00eb qet\u00eb n\u00eb tematikat q\u00eb trajton, sepse Kelmendi nuk do keqtrajtimet e hilet gjuh\u00ebsor\u00eb, filologjike e akrobatike t\u00eb avanguardave t\u00eb shtirura a t\u00eb v\u00ebrteta dhe vendos interesin e tij n\u00eb ndjenjat, mbi p\u00ebrditshm\u00ebrin\u00eb, mbi ngjarjet q\u00eb shoq\u00ebrojn\u00eb njeriun \u00e7ast pas \u00e7asti, edhe ato luftarake, natyrisht duke marr\u00eb n\u00eb kraharor situatat, pa u fshehur pas er\u00ebprit\u00ebses q\u00eb refuzon emocionet.<\/p>\n<p>Por n\u00ebse ka nj\u00eb gj\u00eb tejet evidente, edhe n\u00ebse i lexon p\u00ebr her\u00eb t\u00eb par\u00eb vargjet e Jeton Kelmendit, gjen se ai i jep r\u00ebnd\u00ebsi ekstreme ndjesive, arsyeve t\u00ea jet\u00ebs, ndjenjave, zemr\u00ebs, dometh\u00ebnieve, mos-eve, k\u00ebshtu-ve, pa r\u00ebn\u00eb kurr\u00eb n\u00eb patetiz\u00ebm o n\u00eb ritual, duke mbetur n\u00eb m\u00ebnyr\u00eb konstante n\u00eb nj\u00eb diktim t\u00eb qart\u00eb e t\u00eb fresk\u00ebt metaforash, analogjish, t\u00eb imazheve q\u00eb din\u00eb t\u00eb japin n\u00eb m\u00ebnyr\u00eb perfekte arsyet e poezis\u00eb s\u00eb tij, q\u00eb din\u00eb t\u00eb b\u00ebjn\u00eb t\u00eb rijetoj\u00eb dhimbja, magjepsja, drama, tragjedia, e bukura.<\/p>\n<p>Por t\u00eb shohim nga af\u00ebr si ai dizenjon me dor\u00ebn e sigurt e t\u00eb leht\u00eb vajtje-ardhjet nga vet\u00eb qenia e tij deri te arsyet e luft\u00ebs, t\u00eb identitetit, pa m\u00ebnjanuar kurr\u00eb futjen n\u00eb loj\u00eb n\u00eb vet\u00eb t\u00eb par\u00eb, duke rrezikuar mbytjen leopardiane, si n\u00eb \u201cPag\u00ebzimin e shpirtit\u201d p\u00ebr t\u00eb b\u00ebr\u00eb nj\u00eb shembull, apo p\u00ebr t\u00eb k\u00ebrkuar reagimet e t\u00eb tashmes n\u00eb shtratin parak t\u00eb qenies njer\u00ebzore, si n\u00eb \u201cKthim n\u00eb burime\u201d dhe n\u00eb \u201cMosh\u00eb mitike\u201d.<\/p>\n<p>Shqet\u00ebsimi i Jeton Kelmendit nuk ka pushim, mjaft t\u00eb shoh\u00ebsh vendet ku ka ndaluar t\u00eb shkruaj\u00eb vargjet (Prishtin\u00eb, Volos, Lubjan\u00eb, Bruksel, Tiran\u00eb, Milano, Budapest\u2026) apo t\u00eb v\u00ebsh re emrat e p\u00ebrmendur q\u00eb shkojn\u00eb nga Ernesto Sabato te Murakami Hururi, nga Albert Kamy tek Odisea Elitis p\u00ebr t\u00eb kuptuar q\u00eb ka nevoj\u00eb t\u00eb mb\u00ebshtetet n\u00eb troje kulturore solide q\u00eb t\u00eb mund t\u00eb p\u00ebrhapet n\u00eb total e p\u00ebr t\u00eb mundur t\u00eb l\u00ebviz\u00eb n\u00eb drejtime t\u00eb ndryshme me kapjen surreale t\u00eb tij q\u00eb ia del t\u00eb ndal\u00eb fluksin e bukuris\u00eb e t\u00eb dhimbjes q\u00eb e shporojn\u00eb, por q\u00eb i japin dhe mund\u00ebsin\u00eb \u201ct\u00eb gjej\u00eb\u201d fjal\u00ebt q\u00eb trashin e mbushin sp\u00ebrkatjet fatale t\u00eb sensit e t\u00eb nonsensit.<\/p>\n<p>\u201cE v\u00ebrteta p\u00ebrhapet n\u00eb \u00ebnd\u00ebrr\u201d, thot\u00eb n\u00eb nj\u00eb pik\u00eb t\u00eb caktuar, e kur, me ekuilib\u00ebr e forc\u00eb, bashkon poezin\u00eb qytetare me at\u00eb dashurore, Kelmendi gjen thekse rigorozisht t\u00eb arrira, poezi t\u00eb lart\u00eb, do t\u00eb thosha dhe solemne, n\u00ebse nuk rrezikon t\u00eb rilidhet me nj\u00eb t\u00eb shkuar q\u00eb b\u00ebn pjes\u00eb si nj\u00eb rezervuar, nga i cili do t\u2019i duhet p\u00ebr t\u2019u mbushur me emocione, referenca, stimuj.<\/p>\n<p>\u201cMe ty kam ecur n\u00eb teh t\u00eb bot\u00ebs<br \/>\nMe dashurit\u00eb n\u00eb loj\u00ebn ton\u00eb tok\u00ebsore.<br \/>\nN\u00eb takimet tona lind\u00ebte drita\u2026\u201d<\/p>\n<p>\u00cbsht\u00eb mjaft bukur kur Jetoni prek ezoterizmin pa u ngopur nga hijeshia e s\u00eb pa parashikueshmes; shum\u00eb bukur kur vena e tij surreale gjen shifr\u00ebn e p\u00ebrshtatshme p\u00ebr t\u00eb treguar past\u00ebrtin\u00eb e fantazis\u00eb s\u00eb tij dhe e vendos brenda qarqeve t\u00eb shkurt\u00ebra aderimet ideale, fermentet e shpirtit, d\u00ebshirat.<\/p>\n<p>Nj\u00eb poet q\u00eb ka ditur t\u00eb rrij\u00eb genuin e i fresk\u00ebt n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb shpreh\u00eb cil\u00ebsit\u00eb e tij pa patur nevoj\u00eb t\u00eb p\u00ebrdor\u00eb forc\u00ebn e ndonj\u00eb kolektivi, ashtu si\u00e7 ndodh shpesh koh\u00ebt e fundit ndodh. Ai zot\u00ebron bot\u00ebn e tij, m\u00ebnyr\u00ebn e tij t\u00eb deshifrimit dhe zbatimit t\u00eb ngjarjeve poetike dhe p\u00ebr k\u00ebt\u00eb arsye edhe kur, p\u00ebr shembull, i referohet n\u00eb m\u00ebnyr\u00eb specifike moduleve q\u00eb tashm\u00eb p\u00ebrdoren si titulli &#8220;Dashuria n\u00eb koh\u00eb lufte&#8221;, duke iu referuar qart\u00eb nj\u00eb libri t\u00eb famsh\u00ebm t\u00eb Gabriel Garcia Marquez-it, gjithmon\u00eb arrin t\u00eb krijoj\u00eb me origjinalitet dhe arsyeja \u00ebsht\u00eb e thjesht\u00eb: t\u00eb zot\u00ebrurarit e &#8220;thell\u00ebsis\u00eb&#8221;, si\u00e7 ka th\u00ebn\u00eb m\u00eb se nj\u00eb her\u00eb dhe e zot\u00ebron p\u00ebr t\u00eb paralajm\u00ebruar pesh\u00ebn e njohjes, jo q\u00eb t\u00eb distancohet nga realiteti.<\/p>\n<p>\u00cbsht\u00eb plot\u00ebsisht e v\u00ebrtet\u00eb,<\/p>\n<p>\u201cMes t\u00eb tashmes e t\u00eb shkuar\u00ebs<br \/>\nNuk ka ve\u00e7se nj\u00eb presje<br \/>\nS\u00eb cil\u00ebs i drejtohet fjala\u201d.<\/p>\n<p>Dhe ajo e Jeton Kelmendit \u00ebsht\u00eb nj\u00eb fjal\u00eb autentike, pa zvarritje dhe tejkalime letrare, t\u00eb fark\u00ebtuara nga zjarri i s\u00eb p\u00ebrditshmes, t\u00eb p\u00ebrjetuar gjat\u00eb udh\u00ebtimeve, gjat\u00eb leximeve, gjat\u00eb spazmave t\u00eb dashuris\u00eb.<\/p>\n<p>&nbsp;<\/p>\n<p>______________________<\/p>\n<p><em>*) Dante Maffia \u00ebsht\u00eb poet, shkrimtar dhe kritik letrar Italian.<\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>FJALA E V\u00cbRTET\u00cb E POETIT PARATH\u00cbNIE P\u00cbR POEZIT\u00cb E JETON KELMENDIT ITALISHT\u00a0 NGA Dante MAFFIA,\u00a0Itali P\u00ebrktheu nga origjinali Eda Agaj Zhiti Jeton Kelmendi ka nj\u00eb personalitet t\u00eb pasur, interesat e tij jan\u00eb t\u00eb shum\u00ebfishta dhe si pasoj\u00eb poezia e tij \u00ebsht\u00eb e mbushur, aq sa ndonj\u00ebher\u00eb ke p\u00ebrshtypjen q\u00eb kemi t\u00eb b\u00ebjm\u00eb me magjin\u00eb e [&hellip;]<\/p>","protected":false},"author":1,"featured_media":1254,"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":[166],"tags":[],"book_author":[],"book_publisher":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/3117"}],"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\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/comments?post=3117"}],"version-history":[{"count":0,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/3117\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/"}],"wp:attachment":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/media?parent=3117"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/categories?post=3117"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/tags?post=3117"},{"taxonomy":"book_author","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_author?post=3117"},{"taxonomy":"book_publisher","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_publisher?post=3117"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}