KUR POETI E LEXON UNIVERSIN Dr.Bujar Tafa
\nKur i lexon poezit\u00eb e Fernando Rendonit, fillimisht, ajo q\u00eb kupton s\u00eb pari, \u00ebsht\u00eb se k\u00ebto poezi sikur t\u00eb lejn\u00eb p\u00ebrshtypjen se q\u00ebndrojn\u00eb p\u00ebrtej teorizimeve, apriori. K\u00ebto poezi kan\u00eb tendenc\u00eb dhe, po ashtu, kan\u00eb efektin e arritjes s\u00eb asaj \u00e7far\u00eb \u00ebsht\u00eb e p\u00ebrgjithshme, universale, edhe n\u00eb kuptimin kohor edhe n\u00eb kuptim gjeografik. Poezit\u00eb e Fernando Rendonit t\u00eb rr\u00ebmbejn\u00eb dhe t\u00eb p\u00ebrplasin brigjeve t\u00eb panjohura m\u00eb par\u00eb, t\u00eb sh\u00ebtisin tokave t\u00eb pashkelura m\u00eb par\u00eb, ve\u00e7se, kuptohet, t\u00eb paramenduara si nj\u00eb dezhavu, imazhe k\u00ebto q\u00eb edhe mund t\u2019i paramendosh, por q\u00eb nuk arrin ta k\u00ebnaqesh veten estetikisht pa i lexuar dhe p\u00ebrjetuar ato tablo poetike t\u00eb cilat me aq mjeshtri e delikates\u00eb na i ofron Fernando Rendon.
\nPra, t\u00eb duket sikur nuk ka terminologji adekuate q\u00eb t\u00eb operosh me at\u00eb l\u00ebnd\u00eb poetike, apo \u00ebsht\u00eb v\u00ebshtir\u00eb t\u00eb gjendet ajo terminologji, p\u00ebr t\u2019i konceptuar t\u00eb gjitha ato efekte poetike t\u00eb k\u00ebtij poeti, kuptohet me inovacionin q\u00eb ai na sjell\u00eb. Ndoshta, kjo poezi do t\u00eb kishte bashk\u00ebjetuar dhe komunikuar mir\u00eb me pjes\u00eb t\u00eb prozave marramend\u00ebse t\u00eb Gogolit, t\u00eb Mihail Bulgakovit, e me autor\u00eb t\u00eb tjer\u00eb t\u00eb k\u00ebtij kalibri t\u00eb cil\u00ebt si substrat mund ta ken\u00eb G\u00ebten me Faustin gjenial.
\nRendon sh\u00ebtit n\u00eb hap\u00ebsir\u00eb e koh\u00eb, komunikon me at\u00eb q\u00eb ne e njohim si prezenc\u00eb materiale, por edhe me at\u00eb q\u00eb ne mund ta njohim si prezenc\u00eb shpirt\u00ebrore n\u00eb qen\u00ebsin\u00eb ton\u00eb. \u00a0Nuk them se Fernando Rendon i rrafshon gj\u00ebrat n\u00eb kuptim t\u00eb asimilimit, \u00e7far\u00ebdo qoft\u00eb ai asimilim. M\u00eb ndryshe se kjo, Rendoni ekzistenciales i jep ngjyr\u00eb estetike, i jep shije estetike dhe n\u00eb k\u00ebt\u00eb drejtim lexuesi njihet mjaftuesh\u00ebm dhe p\u00ebr bukuri me sfera t\u00eb ndryshme t\u00eb qen\u00ebsis\u00eb njer\u00ebzore.
\nImagjinata e Rendonit merr p\u00ebrmasa kozmogonike e kozmologjike. N\u00eb k\u00ebt\u00eb rrafsh, kjo poezi komunikon me bota t\u00eb larg\u00ebta nga mitologjia, arkeologjia, realja e deri te astronomia, e p\u00ebrtej besimeve, dhe t\u00ebr\u00eb k\u00ebt\u00eb komunikim ai e b\u00ebn p\u00ebrtej konvencave, p\u00ebrtej modeleve paraprake. K\u00ebt\u00eb struktur\u00eb t\u00eb \u00e7ak\u00ebrdisur poeti e b\u00ebn nj\u00eb, e unifikon, pik\u00ebrisht p\u00ebrmes rr\u00ebfimit t\u00eb tij t\u00eb mrekulluesh\u00ebm poetik. Libri i Rendonit n\u00eb shqip fillon me nj\u00eb poezi \u201cD\u00ebshir\u00eb\u201d q\u00eb do t\u00eb mund t\u00eb lexohej edhe si program, traktat poetik e konceptual i poetit. \u00cbsht\u00eb nj\u00eb udh\u00ebrr\u00ebfyes p\u00ebr t\u2019i shk\u00ebrmoqur kufijt\u00eb, p\u00ebr t\u2019i larguar barrierat, p\u00ebr t\u2019i krijuar nj\u00eb liri t\u00eb pakufishme mendjes dhe p\u00ebrjetimit njer\u00ebzor. Dhe k\u00ebt\u00eb poeti e shpreh fare qart\u00eb, por me nj\u00eb figuracion t\u00eb theksuar, e me nj\u00eb gjuh\u00eb poetike q\u00eb n\u00eb vazhdim\u00ebsi t\u00eb befason; N\u00ebse ne mund ta njihnim nj\u00ebri- tjetrin, n\u00ebse nuk e lidhnim veten me at\u00eb q\u00eb na lidh, n\u00ebse menaxhohemi.
\nPra poeti i jep kahje t\u00eb fuqishme liris\u00eb se mendimit, i vet\u00ebdijsh\u00ebm se vet\u00ebm n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb ai mund t\u00eb na thot\u00eb gj\u00ebra q\u00eb nuk i kemi d\u00ebgjuar e as lexuar m\u00eb par\u00eb. Paraprakisht, Rendon e huazon nj\u00eb th\u00ebnie q\u00eb i sh\u00ebrben si pik\u00ebnisje p\u00ebr ta shtruar rr\u00ebfimin e tij, n\u00eb dukje t\u00eb par\u00eb,drejt nj\u00eb rruge t\u00eb caktuar; \u201cKund\u00ebr vdekjes, bashkoju lumturis\u00eb!\u201c
\n(Porfirio Barbajacob)<\/p>\n
P\u00ebr t\u2019i konceptuar sa m\u00eb mir\u00eb motivet autori zakonisht i gjen ato motive q\u00eb jan\u00eb t\u00eb p\u00ebrbashk\u00ebta p\u00ebr ekzistenc\u00ebn ton\u00eb, sepse mendon se p\u00ebrmes k\u00ebtyre motiveve ai e gjen m\u00eb mir\u00eb rrug\u00ebn q\u00eb komunikimi i tij t\u00eb jet\u00eb m\u00eb gjith\u00ebp\u00ebrfshir\u00ebs. Ajri q\u00eb \u00ebsht\u00eb i p\u00ebrbashk\u00ebt p\u00ebr t\u00eb gjith\u00eb, b\u00ebhet mbules\u00eb prej nga poeti orientohet dhe shp\u00ebrfaq\u00eb idet\u00eb e ndjesit\u00eb e veta;
\nAj\u00ebr… Aj\u00ebr q\u00eb viziton k\u00ebdo n\u00eb \u00e7do koh\u00eb Ajri q\u00eb vjen sot dhe nuk kthehet nes\u00ebr
\nq\u00eb vjen i panjohur
\nAutori i kap momentet jet\u00ebsore me konceptim marramend\u00ebs, n\u00eb raste t\u00eb caktuara ai niset edhe nga nj\u00eb detaj i thjesht\u00eb p\u00ebr ta zhvilluar rr\u00ebfimin poetik me nj\u00eb imagjinat\u00eb jo vet\u00ebm befasuese por edhe fantastike, duke i dh\u00ebn\u00eb poezis\u00eb konotacione t\u00eb fuqishme filozofike e universale.
\n\u00cbsht\u00eb nj\u00eb varg emblematik; Poet\u00ebt jan\u00eb thjesht lexues t\u00eb universit te poezia \u201cRreth shkrimit\u201d, varg i cili shum\u00eb hamend\u00ebsimeve ju jep p\u00ebrgjigje. Si t\u00eb thuhet ndryshe m\u00eb bukur kjo, pra poetet jan\u00eb lexues t\u00eb gjith\u00e7kajes materiale dhe jo materiale q\u00eb ekziston n\u00eb univers. \u00cbsht\u00eb pastaj mjesht\u00ebria e poetit ajo q\u00eb e poetizon ekzistencialen n\u00eb t\u00eb gjitha p\u00ebrmbajtjet e mundshme.
\nP\u00ebrgjith\u00ebsisht, poezia e k\u00ebtij autori na tregon se sa e madhe, sa e larmishme e sa e mistershme \u00ebsht\u00eb bota. Sa t\u00eb pafundme jan\u00eb kujtimet, sa e gjer\u00eb \u00ebsht\u00eb imagjinata dhe n\u00eb fund, sa e bukur \u00ebsht\u00eb e t\u00ebra kjo kur shkruhet n\u00eb poezi.
\nPoezia e Rendonit \u00ebsht\u00eb poezi gjith\u00ebp\u00ebrfshir\u00ebse, enciklopedike e cila i tejkalon t\u00eb gjitha kufijt\u00eb hap\u00ebsinor e kohor, \u00ebsht\u00eb poezi shum\u00eb e gjer\u00eb. Kjo poezi duket se i jep gjuh\u00eb edhe asaj q\u00eb \u00ebsht\u00eb e mistershme. \u00cbsht\u00eb poeti q\u00eb<\/p>\n
prish\u00eb kufijt\u00eb n\u00eb mes jet\u00ebs e vdekjes, n\u00eb mes reales dhe imagjinares, n\u00eb mes s\u00eb v\u00ebrtet\u00ebs dhe g\u00ebnjeshtr\u00ebs, p\u00ebr t\u00eb arritur deri te ajo q\u00eb \u00ebsht\u00eb dhe q\u00eb mbetet e mistershme. \u00cbsht\u00eb p\u00ebr \u00e7do admirim puna e p\u00ebrkthyesit Jeton Kelmendi, i cili me nj\u00eb p\u00ebrkthim t\u00eb jasht\u00ebzakonsh\u00ebm arriti q\u00eb poezin\u00eb e Rendonit ta p\u00ebrkthej n\u00eb gjuh\u00ebn shqipe. Nuk do t\u00eb ishte ndryshe, nuk do t\u00eb vler\u00ebsohej ndryshe poezia e Fernando Rendonit pa k\u00ebt\u00eb p\u00ebrkthim t\u00eb mrekulluesh\u00ebm. Me k\u00ebt\u00eb p\u00ebrkthim poezia shqipe pasurohet me nj\u00eb perl\u00eb t\u00eb mrekullueshme t\u00eb poezis\u00eb bot\u00ebrore, me nj\u00eb margaritar poetik mbar\u00eb njer\u00ebzor. Lexuesit shqiptar i ofrohet nj\u00eb dritare e re e poezis\u00eb bot\u00ebrore, po ashtu edhe nj\u00eb mas\u00eb, stad, p\u00ebr ta par\u00eb kah po shkon poezia e re bot\u00ebrore, poezia e shkruar koh\u00ebve t\u00eb fundit, dhe p\u00ebr fund, p\u00ebr ta par\u00eb se poezia e Rendonit \u00ebsht\u00eb e t\u00eb gjitha koh\u00ebrave dhe e t\u00eb gjitha hap\u00ebsirave. Ashtu si\u00e7 duhet t\u00eb jet\u00eb arti. \u00cbsht\u00eb gjuha e poetit kur shkruan p\u00ebr universin.
\n(Fernando Rendon \u00ebsht\u00eb poet kolumbian. Ai u lind n\u00eb qytetin Medellin (Kolumbi), n\u00eb vitin 1951. \u00cbsht\u00eb autor i shum\u00eb p\u00ebrmbledhjeve me poezi dhe fitues i shum\u00eb \u00e7mimeve prestigjioze nd\u00ebrkomb\u00ebtare. Poezit\u00eb e tij n\u00eb shqip i p\u00ebrktheu Jeton Kelmendi)<\/p>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":1432,"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":[166,164],"tags":[],"book_author":[],"book_publisher":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/3137"}],"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=3137"}],"version-history":[{"count":0,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/3137\/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=3137"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/categories?post=3137"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/tags?post=3137"},{"taxonomy":"book_author","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_author?post=3137"},{"taxonomy":"book_publisher","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_publisher?post=3137"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}