{"id":3161,"date":"2019-12-12T06:42:56","date_gmt":"2019-12-12T06:42:56","guid":{"rendered":"http:\/\/www.iwabogdani.org\/?p=1607"},"modified":"2019-12-12T06:42:56","modified_gmt":"2019-12-12T06:42:56","slug":"prend-buzhala-psheretima-pergamene-poezi-zgjedhjen-dhe-parathenien-anton-nike-berisha-shb-rozafa-prishtine-2017-nga-hajdin-morina","status":"publish","type":"post","link":"https:\/\/www.iwabogdani.org\/sq\/prend-buzhala-psheretima-pergamene-poezi-zgjedhjen-dhe-parathenien-anton-nike-berisha-shb-rozafa-prishtine-2017-nga-hajdin-morina\/","title":{"rendered":"(Prend Buzhala, Psher\u00ebtima pergamene, poezi- zgjedhjen dhe parath\u00ebnien Anton Nik\u00eb Berisha- SHB \u201cRozafa\u201d, Prishtin\u00eb, 2017) Nga Hajdin Morina"},"content":{"rendered":"

LIRIZ\u00cbM DHE MEDITIM I THELL\u00cb ESTETIK<\/span><\/span><\/strong><\/p>\n

(Prend Buzhala, Psher\u00ebtima pergamene, poezi- zgjedhjen dhe parath\u00ebnien Anton Nik\u00eb Berisha- SHB \u201cRozafa\u201d, Prishtin\u00eb, 2017)<\/em><\/span><\/span><\/p>\n

Emri i Prend Buzhal\u00ebs tashm\u00eb q\u00ebndron n\u00eb mesin e poet\u00ebve dhe shkrimtar\u00ebve m\u00eb t\u00eb mir\u00eb t\u00eb let\u00ebrsis\u00eb s\u00eb sotme shqiptare, ashtu si\u00e7 q\u00ebndrojn\u00eb veprat e tij artistike n\u00eb mesin e krijimeve dhe realizimeve m\u00eb t\u00eb mira, sidomos n\u00eb fush\u00ebn e poezis<\/span><\/span>\u00eb,<\/span><\/span> t\u00eb kritik\u00eb<\/span><\/span>s dhe t\u00eb studimeve letrare q\u00eb trajtojn\u00eb dhe hedhin drit\u00eb mbi \u00e7\u00ebshtje t\u00eb ndryshme q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb me fenomenet letrare, prirjet e sotme t\u00eb let\u00ebrsis\u00eb, t\u00eb zhanreve letrare, t\u00eb prurjeve krijuese n\u00ebp\u00ebr periudha t\u00eb ndryshme, por edhe t\u00eb aspekteve t\u00eb ve\u00e7anta t\u00eb stilit t\u00eb individualiteteve letrare dhe t\u00eb p\u00ebrqasjeve estetike ose t\u00eb shfryt\u00ebzimit t\u00eb metod\u00ebs krahasimtare p\u00ebr t\u00eb ndri\u00e7uar dhe vler\u00ebsuar autor\u00eb dhe vepra t\u00eb periudhave dhe t\u00eb drejtimeve t\u00eb ndryshme letrare.\u00a0\"\"
\nHajdin Morina<\/em><\/span><\/span><\/p>\n

Kontributi i shkrimtarit dhe kritikut letrar Prend Buzhala po ashtu duhet t\u00eb kundrohet edhe n\u00eb aspektin e ndihmes\u00ebs q\u00eb u jep lexuesve p\u00ebr t\u00eb ngritur shkall\u00ebn e edukimit t\u00eb tyre artistik e estetik p\u00ebrmes studimit, analiz\u00ebs<\/span><\/span> dhe vler\u00ebsimit q\u00eb u b\u00ebn ky autor veprave dhe shkrimtar\u00ebve t\u00eb shumt\u00eb sidomos t\u00eb k\u00ebsaj kohe me prurje t\u00eb m\u00ebdha letrare t\u00eb cilave u qaset me erudicionin e tij duke klasifikuar dhe vler\u00ebsuar vlerat dhe duke hapur perspektiva t\u00eb leximit t\u00eb atyre veprave dhe autor\u00ebve, por edhe duke i ndihmuar autor\u00ebt e rinj dhe t\u00eb tjer\u00eb q\u00eb t\u00eb ken\u00eb nj\u00eb qasje dhe p\u00ebrkushtim tjet\u00ebr n\u00eb aspektin e krijimit dhe t\u00eb kundrimit t\u00eb realizimeve artistike. Po ashtu ky autor ka dh\u00ebn\u00eb dhe po jep kontribut t\u00eb ve\u00e7ant\u00eb p\u00ebr daljen n\u00eb drit\u00eb t\u00eb shum\u00eb realizimeve letrare, duke ndihmuar dhe p\u00ebrkrahur autor\u00ebt n\u00eb fush\u00ebn e botimit dhe t\u00eb avancimit t\u00eb vlerave, pra duke qen\u00eb redaktor, recensent dhe lektor i sa e sa botimeve jo vet\u00ebm n\u00eb Kosov\u00eb, por edhe n\u00eb mbar\u00eb hap\u00ebsir\u00ebn kulturore shqiptare. <\/span><\/span><\/p>\n

T\u00eb shumta jan\u00eb botimet e Buzhal\u00ebs n\u00eb fusha t\u00eb ndryshme t\u00eb let\u00ebrsis\u00eb, t\u00eb kritik\u00ebs letrare, t\u00eb historis\u00eb s\u00eb let\u00ebrsis\u00eb, t\u00eb publicistik\u00ebs, fejtonistik\u00ebs, studimeve monografike dhe n\u00eb aspekte t\u00eb shumta t\u00eb p\u00ebrkrahjes, promovimit dhe realizimet t\u00eb ngjarjeve t\u00eb shumta kulturore jo vet\u00ebm n\u00eb Klin\u00eb e n\u00eb Kosov\u00eb, por edhe n\u00eb shum\u00eb pika t\u00eb gjeografis\u00eb son\u00eb kulturore.\u00a0\"\"
\nPrend Buzhala<\/em><\/span><\/span><\/p>\n

Duhet theksuar po ashtu se nuk \u00ebsht\u00eb pun\u00eb e leht\u00eb t\u00eb lexosh, t\u00eb komentosh, t\u00eb analizosh dhe t\u00eb kuptosh dometh\u00ebnien dhe mesazhin e t\u00eb gjitha krijimeve dhe realizimeve poetike e letrare t\u00eb Buzhal\u00ebs. N\u00eb k\u00ebt\u00eb drejtim duhet t\u00eb jesh lexues me p\u00ebrvoj\u00eb dhe shije t\u00eb mir\u00eb letrare, duhet t\u00eb njoh\u00ebsh historin\u00eb dhe kontekste t\u00eb caktuara shoq\u00ebrore<\/span><\/span> t\u00eb cilat reflektohen n\u00eb krijimtarin\u00eb e k\u00ebtij autori dhe e ve\u00e7anta e \u00e7\u00ebshtjes \u00ebsht\u00eb fakti se realitetet historike dhe jet\u00ebsore reflektohen n\u00eb k\u00ebto vepra pavar\u00ebsisht zhanrit letrar<\/span><\/span>, q\u00ebllimeve dhe q\u00ebndrimeve t\u00eb autorit ndaj subjektit t\u00eb k\u00ebtyre veprave.<\/span><\/span><\/p>\n

Para nj\u00eb dileme t\u00eb till\u00eb lexuesi dhe njoh\u00ebsi i zhvillimeve letrare ndodhet edhe kur merr n\u00eb dor\u00eb v\u00ebllimin poetik \u201cPsher\u00ebtima pergamene\u201d, botuar m\u00eb 1917, nj\u00eb v\u00ebllim i <\/span><\/span>vlerave t\u00eb larta estetike ideore, p\u00ebrgatitur me krijime t\u00eb Buzhal\u00ebs t\u00eb shkruara dhe<\/span><\/span> t\u00eb botuara n\u00eb koh\u00eb t\u00eb nd<\/span><\/span>r<\/span><\/span>yshme, m\u00eb shum\u00eb t\u00eb viteve t\u00eb fundit, <\/span><\/span>p\u00ebrzgjedhur nga shkrimtari, studiuesi dhe kritiku i mir\u00ebnjohur letrar profesor Anton Nik\u00eb Berisha.<\/span><\/span> Qysh n\u00eb fillim t\u00eb tekstit t\u00eb parath\u00ebnies s\u00eb tij Anton Berisha ka theksuar p\u00ebr lexuesin<\/span><\/span>:<\/span><\/span> \u201c<\/span><\/span>N<\/span><\/span>\u00eb let\u00ebrsin\u00eb ton\u00eb Prend Buzhala ka b\u00ebr\u00eb em\u00ebr n\u00eb dy fusha t\u00eb veprimtaris\u00eb letrare: si studiues dhe si poet dhe prozator<\/span><\/span>. Pra, nga nj\u00eb an\u00eb ai u mor me studimin e dukurive t\u00eb artit t\u00eb fjal\u00ebs: t\u00eb veprimtarive t\u00eb autor\u00ebve ose t\u00eb veprave t\u00eb tyre t\u00eb ve\u00e7anta, nga ana tjet\u00ebr, p\u00ebrftoi nj\u00eb varg veprash, duke mb\u00ebrritur nj\u00eb rrafsh t\u00eb lart\u00eb artistik, sidomos n\u00eb poezi<\/span><\/span>\u201d (Anton Nik\u00eb Berisha, parath\u00ebnie e vepr\u00ebs \u201cPsher\u00ebtima pergamene\u201d, SHB \u201cRozafa\u201d, Prishtin\u00eb, 2017, faqe 7).<\/span><\/span> N\u00eb posht\u00ebsh\u00ebnimin (fusnot\u00ebn) n\u00eb fund t\u00eb k\u00ebsaj pjese t\u00eb tekstit t\u00eb parath\u00ebnies Berisha po ashtu i tregon lexuesit se poezit\u00eb dhe krijimet e tjera artistike t\u00eb k\u00ebtij v\u00ebllimi i ka marr\u00eb nga k\u00ebto p\u00ebrmbledhje letrare t\u00eb Buzhal\u00ebs: \u201cO Am\u00eb, o Am\u00eb\u201d (1995), \u201cShtat\u00eb seanca pran\u00eb Akokalipsit\u201d (1998), \u201cK\u00ebpuc\u00ebt e r\u00ebnda t\u00eb liris\u00eb\u201d (2012), \u201c\u00c7aste lirike<\/span><\/span> I\u201d (2014), \u201c\u00c7aste lirike II\u201d (2015), \u201cTregime t\u00eb shenjta\u201d (2015). <\/span><\/span><\/p>\n

Nd\u00ebrtimi artistik i v\u00ebllimit poetik \u201cPsher\u00ebtima pergamene\u201d p\u00ebrb\u00ebhet nga k\u00ebto pjes\u00eb ose cikle t\u00eb cilat nd\u00ebrlidhen me nj\u00ebra tjetr\u00ebn duke ruajtur koherenc\u00ebn dhe kohezionin artistik p\u00ebrmes ministrukturave t\u00eb tekstit, nivelit t\u00eb sintagmave stilistike, figuracionit poetik dhe reflektimeve t\u00eb tjera t\u00eb ides\u00eb e t\u00eb q\u00ebndrimeve t\u00eb autorit ndaj organizimit kompozicional, ndaj subjektit lirik dhe <\/span><\/span>qasjes ndaj komunikimit letrar me lexuesin: Reshje bukurie, Pagjum\u00ebsia e pik\u00ebllimit,<\/span><\/span> Diell\u00ebsi e heshtjes, Drith\u00ebrima<\/span><\/span> malli, Etjet e prushta, Ringjallja e drit\u00ebs, Pagjum\u00ebsi muzgu, P\u00ebshp\u00ebritje t\u00eb dremitura, G\u00ebrmime rr\u00ebnj\u00ebsh.<\/span><\/span><\/p>\n

Me nocionin logjik dhe konceptin artistik \u201c<\/span><\/span>p<\/span><\/span>ergamen\u00eb\u201d<\/span><\/span>lexuesi takohet qysh n\u00eb poezin\u00eb e par\u00eb \u201cShk\u00eblqimi q\u00eb m\u00eb p\u00ebrcjell n\u00eb gjum\u00eb e \u00ebnd\u00ebrr\u201d<\/span><\/span> (faqe 37)<\/span><\/span> q\u00eb hap k\u00ebt\u00eb p\u00ebrmbledhje poetike me poezi t\u00eb zgjedhura.<\/span><\/span> Koncepti \u201cpergamen\u00eb\u201d k\u00ebtu dhe sintagma poetike e titullit \u201cPsher\u00ebtima pergamene\u201d plot\u00ebsojn\u00eb nj\u00ebra-tjetr\u00ebn me refleksionet e tyre, por edhe me leximin e deshifrimin q\u00eb u b\u00ebn lexuesi k\u00ebtyre koncepteve poetike dhe estetike. Fjala \u201cpergamen\u00eb\u201d p\u00ebr lexuesin b\u00ebhet \u00e7el\u00ebs i r\u00ebnd\u00ebsish\u00ebm p\u00ebr t\u00eb dekoduar tekstin dhe shtresat stilistike t\u00eb tij, p\u00ebr t\u00eb marr\u00eb mesazhin dhe preokupimet e poetit rreth materialit gjuh\u00ebsor<\/span><\/span> e letrar si dhe q\u00ebndrimin e tij ndaj subjektit lirik i cili, dihet, nuk e p\u00ebrfaq\u00ebson \u00e7doher\u00eb autorin.<\/span><\/span>Disa shenja t\u00eb poezis\u00eb q\u00eb zum\u00eb ngoje si: urna, hiri, hiri vullkanik, flaka, pergamena, Shkronj\u00eb D\u00ebshmie etj. kan\u00eb lidhshm\u00ebri logjike dhe konceptuale me tregimin \u201cDera e yjeve\u201d (faqe 178) ku hasim shenja si: vendbanime t\u00eb mo\u00e7me, lotore ilire, cop\u00eb pergamene, qytete ilire, fise barbare, palimpsest, arkeolog i ri etj., t\u00eb cilat s\u00eb bashku i japin lexuesit informacion dhe ndihmes\u00eb p\u00ebr ta kuptuar, analizuar e p\u00ebrdorur p\u00ebr nd\u00ebrtime t\u00eb reja n\u00ebntekstesh shenj\u00ebn \u201cpergamen\u00eb\u201d si dhe p\u00ebr t\u00eb vendosur lidhshm\u00ebri<\/span><\/span> nd\u00ebrmjet poezive t\u00eb k\u00ebtij v\u00ebllimi ose nd\u00ebrmjet poezive t\u00eb k\u00ebtij v\u00ebllimi dhe teksteve t\u00eb tjera t\u00eb autorit, por edhe p\u00ebr t\u00eb b\u00ebr\u00eb p\u00ebrqasje artistike e ideoartistike nd\u00ebrmjet k\u00ebsaj <\/span><\/span>vepre letrare dhe veprave e teksteve t\u00eb tjera letrare t\u00eb let\u00ebrsis\u00eb son\u00eb<\/span><\/span>.<\/span><\/span> Lexuesi duke lexuar e deshifruar k\u00ebto shenja arrin ta ket\u00eb n\u00eb dor\u00eb \u00e7el\u00ebsin e dekodimit t\u00eb strukturave tekstore letrare t\u00eb k\u00ebtij v\u00ebllimi poetik dhe duke p\u00ebrsiatur rreth pergamen\u00ebs dhe \u201cpsher\u00ebtimave t\u00eb pergamen\u00ebs\u201d e ka m\u00eb t\u00eb leht\u00eb konceptimin e nocionit dhe t\u00eb shenj\u00ebs s\u00eb pergamen\u00ebs e cila k\u00ebtu na del<\/span><\/span> her\u00eb<\/span><\/span> si simbol i <\/span><\/span>v\u00ebshtir\u00ebsive t\u00eb <\/span><\/span>t\u00eb jetuarit mij\u00ebvje\u00e7ar n\u00eb k\u00ebto troje<\/span><\/span>, her\u00eb si gjakim i autorit<\/span><\/span> p\u00ebr t\u00eb dep\u00ebrtuar tejp\u00ebrtej historis\u00eb dhe p\u00ebr ta kapur fillin e v\u00ebrtet\u00eb t\u00eb zanafill\u00ebs, ritmin e jet\u00ebs dhe t\u00eb vdekjes, her\u00eb si d\u00ebshp\u00ebrim i autorit p\u00ebr fatin e artit dhe shkrimit ton\u00eb t\u00eb nd\u00ebrtuar her\u00ebt, por t\u00eb dokumentuar von\u00eb p\u00ebr shkak t\u00eb trysnive dhe shkat\u00ebrrimeve barbare, her\u00eb si kujtes\u00eb ose si \u201chi i d\u00ebshirave t\u00eb zjarrta\u201d n\u00ebp\u00ebr t\u00eb cilat autori shprush mirazhet e vlerave tona gjuh\u00ebsore e letrare t\u00eb shkat\u00ebrruara aq shpesh, por t\u00eb nd\u00ebrtuara s\u00ebrish<\/span><\/span> si rezultat i ringjalljes s\u00eb vitalitetit krijues e historik t\u00eb gjuh\u00ebs shqipe.<\/span><\/span> Pergamena, pra, vishet edhe me dometh\u00ebnien e autorit dhe me kuptimet q\u00eb nxjerr prej saj lexuesi duke e konceptuar k\u00ebt\u00eb shenj\u00eb si simbol t\u00eb gjakimit t\u00eb shkrimit, por edhe si simbol t\u00eb asaj q\u00eb nuk \u00ebsht\u00eb shkruar, por \u00ebsht\u00eb p\u00ebrjetuar n\u00eb pergamen\u00eb-l\u00ebkur\u00ebn e popullit ton\u00eb gjat\u00eb shekujve. Kjo shenj\u00eb, tekefundit nga ana e lexuesit,<\/span><\/span> lexohet dhe kuptohet si m\u00ebtim i autorit p\u00ebr t\u00eb mos u harruar historia, shkat\u00ebrrimi i vlerave tona kulturore nga hordhit\u00eb barbare<\/span><\/span> dhe p\u00ebr t\u00eb pasur kujdes n\u00eb ruajtjen e ekuilibrit t\u00eb mbamendjes<\/span><\/span> e vet\u00ebdijes<\/span><\/span> komb\u00ebtare dhe t\u00eb sistemit t\u00eb vlerave qoft\u00eb n\u00eb rrafshin shoq\u00ebror, qoft\u00eb n\u00eb rrafshin kulturor. Po jap m\u00eb posht\u00eb pjes\u00ebn e par\u00eb t\u00eb tekstit nga tregimi q\u00eb mbrun komponent\u00eb t\u00eb lirizmit, meditimit dhe t\u00eb nj\u00eb dramatizmi me mas\u00ebn e duhur t\u00eb shprehjes p\u00ebr t\u00eb arritur efekte stilistike n\u00eb tekst dhe efekte emocionale tek lexuesi:<\/span><\/span><\/p>\n

\u201cN\u00eb shum\u00eb vendvarrime t\u00eb mo\u00e7me dihet q\u00eb jan\u00eb gjetur lotoret ilire. N\u00eb nj\u00ebr\u00ebn lotore \u00ebsht\u00eb gjetur nj\u00eb cop\u00eb pergamene, n\u00eb t\u00eb cil\u00ebn gjendet emri i Isterit<\/span><\/span>, Yllit, d\u00ebshmitar i djegieve t\u00eb qyteteve ilire nga fiset barbare. Titulli i k\u00ebsaj d\u00ebshmie (d\u00ebshmia thot\u00eb se p\u00ebr k\u00ebt\u00eb \u00ebsht\u00eb shkruar nj\u00eb lib\u00ebr q\u00eb nuk u gjet kurr\u00eb)<\/span><\/span> quhet \u201cVrasja e prift\u00ebrinjve n\u00eb Malin e \u00a0Shenjt\u00eb\u201d. N\u00eb fakt, aty ekziston vet\u00ebm d\u00ebshmia p\u00ebr flijimet q\u00eb b\u00ebheshin p\u00ebr Der\u00ebn e Yjeve\u201d, q\u00eb b\u00ebhej n\u00eb Dy Pikat e Prerjes s\u00eb Drit\u00ebs me Terrin: ose n\u00eb Buz\u00ebmuzg, ose n\u00eb Buzagim.\u201d (Nga tregimi \u201cDera e yjeve\u201d, faqe 178). <\/span><\/span><\/p>\n

Mendoj se nj\u00eb lexuesi aktiv, nj\u00eb teoricieni dhe nj\u00eb studiuesi t\u00eb let\u00ebrsis\u00eb shenjat gjuh\u00ebsore, shtresat kompozicionale t\u00eb tekstit, shtresat figurative<\/span><\/span> t\u00eb poezis\u00eb \u201cShk\u00eblqimi q\u00eb m\u00eb p\u00ebrcjell n\u00eb gjum\u00eb e \u00ebnd\u00ebrr\u201d dhe t\u00eb tregimit \u201cDera e yjeve\u201d,<\/span><\/span> qasja dhe nd\u00ebrtimi i n\u00ebnteksteve p\u00ebrmes imazheve q\u00eb reflektojn\u00eb emocione e q\u00ebndrime t\u00eb caktuara ndaj subjektit t\u00eb tekstit dhe ndaj kontekstit shoq\u00ebror<\/span><\/span> i mjaftojn\u00eb p\u00ebr t\u00eb konceptuar e reflektuar jo vet\u00ebm p\u00ebr v\u00ebllimin \u201cPsher\u00ebtim\u00eb pergamene\u201d, por edhe p\u00ebr realizime t\u00eb tjera dhe p\u00ebrgjith\u00ebsisht p\u00ebr individualitetin krijues t\u00eb Prend Buzhal\u00ebs dhe p\u00ebr vendin e tij n\u00eb let\u00ebrsin\u00eb ton\u00eb bashk\u00ebkohore. P\u00ebrdorimi i shkronj\u00ebs s\u00eb madhe te fjal\u00ebt q\u00eb paraqesin emra t\u00eb p\u00ebrgjithsh\u00ebm jo vet\u00ebm n\u00eb k\u00ebto tekste letrare \u00ebsht\u00eb edhe nj\u00eb ve\u00e7ori e stilit t\u00eb autorit p\u00ebr ta orientuar lexuesin nga shenjat e tij t\u00eb<\/span><\/span> preferuara <\/span><\/span>q\u00eb bartin ngarkesat kryesore<\/span><\/span> t\u00eb preokupimeve t\u00eb tij letrare dhe t\u00eb gjakimit krijues e <\/span><\/span>qytetar. Fjala \u201cdrit\u00eb\u201d dhe fjal\u00eb t\u00eb tjera t\u00eb fush\u00ebs s\u00eb nj\u00ebjt\u00eb leksikore q\u00eb japin imazhe dhe sinonime t\u00eb drit\u00ebs jan\u00eb p\u00ebrmendur disa her\u00eb n\u00eb tekstet q\u00eb u analizuan m\u00eb lart, por kjo fjal\u00eb, pra drita, gjendet aq shpesh e shtrir\u00eb, duke reflektuar mesazhe dhe vlera artistike t\u00eb poezis\u00eb, n\u00eb shum\u00eb realizime artistike, qoft\u00eb n\u00eb poezi, qoft\u00eb n\u00eb proz\u00eb, t\u00eb autorit Buzhala.<\/span><\/span> Tri her\u00eb \u00ebsht\u00eb p\u00ebrmendur fjala \u201cdrit\u00eb\u201d n\u00eb poezin\u00eb q\u00eb ka p\u00ebr titull sintagm\u00ebn stilistike \u201cN\u00ebp\u00ebr shi lulesh\u201d (faqe 38). K\u00ebtu v\u00ebrejm\u00eb edhe shenja t\u00eb tjera q\u00eb bartin ngarkesa stilistike dhe emocionale si \u201crrethi i fatit\u201d,<\/span><\/span> \u201ckull\u00eb prej guri\u201d, \u201ckoh\u00eb moshe\u201d, \u201cshi lulesh\u201d, \u201cdhurata dashurie\u201d etj. Mund t\u00eb thuhet se p\u00ebrmes fjal\u00ebs ose shenj\u00ebs \u201cdrit\u00eb\u201d autori ka reflektuar gjakimin poetik e qytetar n\u00eb koh\u00ebn kur, th\u00ebn\u00eb n\u00eb m\u00ebnyr\u00eb metaforike, mungon drita, ose n\u00eb koh\u00ebn kur bijt\u00eb e err\u00ebsir\u00ebs luajn\u00eb me drit\u00ebn dhe e posht\u00ebrojn\u00eb at\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb paskrupull. Kurse n\u00eb poezin\u00eb \u201cZbulimi i fsheht\u00ebsis\u00eb s\u00eb pafund t\u00eb fjal\u00ebs\u201d hasim nj\u00eb rr\u00ebfim t\u00eb lart\u00eb poetik p\u00ebr historin\u00eb ose p\u00ebr historin\u00eb e lart\u00ebsuar n\u00eb vargje: \u201cMileniumet kalojn\u00eb si nj\u00eb funeral historie e aty kryq\u00ebzohet qenia jon\u00eb.\u201d (Nga poezia \u201cZbulimi i fsheht\u00ebsis\u00eb s\u00eb pafund t\u00eb fjal\u00ebs<\/span><\/span>\u201d<\/span><\/span>, faqe 39).<\/span><\/span> Pra, lexuesi i v\u00ebmendsh\u00ebm ndien se poezia e Buzhal\u00ebs vazhdon t\u00eb reflektoj\u00eb dhimbjen individuale dhe shoq\u00ebrore, kataklizmat komb\u00ebtare e njer\u00ebzore,<\/span><\/span> por edhe shpres\u00ebn e pafikur kurr\u00eb. N\u00eb poezi t\u00eb tilla lexuesi heton edhe qasjen dhe preokupimet krijuese t\u00eb autorit p\u00ebr t\u00eb trajtuar shtresa t\u00eb ndryshme nga<\/span><\/span>shfaqjet shoq\u00ebrore t\u00eb <\/span><\/span>zvet\u00ebnimi<\/span><\/span>t ballkanik dhe shqiptar si urrejtja, krekosja dhe posht\u00ebrimi.<\/span><\/span><\/p>\n

Ajo q\u00eb bie n\u00eb sy n\u00eb v\u00ebllimin \u201cPsher\u00ebtima pergamene\u201d \u00ebsht\u00eb edhe zhanri letrar i haikut, i k\u00ebsaj forme t\u00eb vjet\u00ebr t\u00eb poezis\u00eb kultivuar n\u00eb poezin\u00eb japoneze n\u00eb shekullin 17, por me zanafill\u00eb qysh nga shekulli 4 dhe me origjin\u00eb nga forma poetike e quajtur \u201ctanka\u201d q\u00eb nd\u00ebrtohej vet\u00ebm me pes\u00eb vargje dhe k\u00ebrkonte nga poeti q\u00eb t\u00eb respektonte metrik\u00eb<\/span><\/span>n e vargut dhe t\u00eb rrokjeve (vargu i par\u00eb 5 rrokje, i dyti 7, i treti 5, i kat\u00ebrti 7 dhe i pesti 7). Sot haiku p\u00ebrb\u00ebhet vet\u00ebm prej tri vargjeve dhe \u00ebsht\u00eb nj\u00eb zhan\u00ebr poetik q\u00eb k\u00ebrkon shkurtimin minimal t\u00eb tekstit letrar dhe aft\u00ebsin\u00eb, p\u00ebrkushtimin dhe erudicionin e kultur\u00ebs letrare dhe forc\u00ebn e mendimit e t\u00eb meditimit t\u00eb autorit q\u00eb brenda tri vargjeve ta thot\u00eb t\u00eb t\u00ebr\u00ebn duke arritur efekte stilistike dhe emocionale. Haiku kultivohet edhe sot n\u00eb disa vende t\u00eb bot\u00ebs, p\u00ebrpos Japonis\u00eb, vendit t\u00eb tradit\u00ebs dhe t\u00eb<\/span><\/span>lul\u00ebzimit t\u00eb tij. Haiku k\u00ebshtu vazhdon t\u00eb jet\u00eb nj\u00eb zhan\u00ebr elitar i poezis\u00eb dhe nj\u00eb form\u00eb q\u00eb bashkon poet\u00eb nga let\u00ebrsi t\u00eb ndryshme t\u00eb bot\u00ebs, prandaj duhet vler\u00ebsuar edhe metod\u00ebn e nd\u00ebrtimit dhe t\u00eb p\u00ebrzgjedhjes nga ana e Anton Nik\u00eb Berish\u00ebs t\u00eb teksteve t\u00eb haikut q\u00eb ka kultivuar Prend Buzhala me mjaft pedant\u00ebri dhe densitet stilistik e meditativ, duke qen\u00eb k\u00ebshtu nj\u00ebri nga poet\u00ebt q\u00eb e kultivojn\u00eb me p\u00ebrkushtim k\u00ebt\u00eb zhan\u00ebr t\u00eb vjet\u00ebr e sfidues n\u00eb poezin\u00eb ton\u00eb t\u00eb sotme.<\/span><\/span> N\u00eb ciklin poetik \u201cDrith\u00ebrima malli\u201d Berisha ka p\u00ebrzgjedhur t\u00eb p\u00ebrfshij\u00eb gjasht\u00ebmb\u00ebdhjet\u00eb krijime ose tituj t\u00eb haik\u00ebve t\u00eb cil\u00ebt n\u00eb nd\u00ebrtimin e tyre kan\u00eb num\u00ebr t\u00eb caktuar haik\u00ebsh t\u00eb tematikave dhe t\u00eb preokupimeve t\u00eb ndryshme t\u00eb autorit t\u00eb tyre.<\/span><\/span> Lexuesi dhe studiuesi edhe n\u00eb k\u00ebt\u00eb lloj t\u00eb shprehjes artistike gjen pika q\u00eb k\u00ebt\u00eb zhan\u00ebr e mbajn\u00eb t\u00eb lidhur nyj\u00eb me tematik\u00ebn e llojeve t\u00eb tjera q\u00eb ka kultivuar autori, por k\u00ebtu leximi <\/span><\/span>k\u00ebrkon nj\u00eb qasje dhe nj\u00eb edukim tjet\u00ebr kulturor e letrar p\u00ebr t\u00eb kuptuar dometh\u00ebnien me t\u00eb cil\u00ebn poeti i ka veshur shenjat e veta poetike dhe stilistike<\/span><\/span> dhe p\u00ebr t\u00eb krijuar n\u00ebntekste e imazhe q\u00eb nd\u00ebrlidhen me krijime t\u00eb tilla.<\/span><\/span><\/p>\n

Edhe n\u00eb nd\u00ebrtimin e haikut, sikur n\u00eb krijime t\u00eb zhanreve t\u00eb tjera t\u00eb poetit, spikat <\/span><\/span>stili i lart\u00eb i autorit, jehona ideoartistike dhe figuracioni i skalitur me kujdes q\u00eb mb\u00ebshtetet n\u00eb p\u00ebrmbysjen e veshjeve dhe kuptimeve t\u00eb para t\u00eb fjal\u00ebs duke krijuar figura t\u00eb efektshme t\u00eb llojit t\u00eb ironis\u00eb, paradoksit<\/span><\/span> dhe t\u00eb parabolave t\u00eb ve\u00e7anta artistike: \u201cSht\u00ebpi e rr\u00ebnuar\/\u00e7\u2019harmoni trondit\u00ebse\/hijeshi me vaj.\u201d (Nga haiku num\u00ebr 5 n\u00ebn titullin \u201cHaiku p\u00ebr \u00e7lirimin e shpirtit\u201d, faqe149).<\/span><\/span> Ose: \u201cEnde jam k\u00ebtu\/ta b\u00ebj betej\u00ebn time\/p\u00ebr humbjet e mia.\u201d (Po aty<\/span><\/span>, haiku 7).<\/span><\/span>Pastaj: \u201cYll i djegur je\/ti as un\u00eb m\u00eb s\u2019jemi\/\u00e7ast i p\u00ebrjetsh\u00ebm.\u201d (Haiku num\u00ebr 4 i titullit \u201cHaiku p\u00ebr z\u00ebrin q\u00eb jetoi k\u00ebndej dikur\u201d, faqe 150).<\/span><\/span><\/p>\n

Po e p\u00ebrfundoj k\u00ebt\u00eb analiz\u00eb p\u00ebr v\u00ebllimin poetik \u201cPsher\u00ebtima pergamene\u201d me pjes\u00ebn e fundit t\u00eb poezis\u00eb \u201c<\/span><\/span>Paraloj\u00eb p\u00ebr herezi\u201d t\u00eb ciklit \u201cPagjum\u00ebsi muzgu\u201d:<\/span><\/span><\/p>\n

\u201c…p\u00ebrndiqen bibliotekat, shkollat, arkivat,<\/span><\/span><\/p>\n

kishat e lashta e shkrimet e mo\u00e7me,<\/span><\/span><\/p>\n

p\u00ebrndiqen monumentet e heronjve,<\/span><\/span><\/p>\n

traditat e kanunet e bes\u00ebs,<\/span><\/span><\/p>\n

p\u00ebrndiqet guximi p\u00ebr liri<\/span><\/span><\/p>\n

e zem\u00ebrimi p\u00ebr drejt\u00ebsi,<\/span><\/span><\/p>\n

p\u00ebrndiqen synimet e sh<\/span><\/span>presat<\/span><\/span><\/p>\n

p\u00ebr q\u00ebllimet e larta, p\u00ebrndiqet<\/span><\/span><\/p>\n

e v\u00ebrteta q\u00eb iu b\u00eb varr t\u00eb pav\u00ebrtet\u00ebs<\/span><\/span>\u201d. (Nga poezia \u201cParaloj\u00eb p\u00ebr herezi, shkurt 1991, dhjetor 1998, faqe 232).<\/span><\/span><\/p>\n

Si p\u00ebrfundim, secila koh\u00eb e rrjedhave t\u00eb zhvillimeve tona emancipuese, kulturore, sociale, politike e ekonomike ka reflektuar gjendje t\u00eb tilla, kur m\u00eb shum\u00eb e kur m\u00eb pak, n\u00eb kontekste t\u00eb caktuara kohore, t\u00eb cilat jan\u00eb mbrujtur aq mir\u00eb me brumin e artit poetik sikur n\u00eb vargjet e cituara m\u00eb lart, por edhe n\u00eb krijime dhe realizime t\u00eb tjera poetike t\u00eb Buzhal\u00ebs. Vepra poetike \u201cPsher\u00ebtima pergamene\u201d p\u00ebr lexuesin dhe studiuesin \u00ebsht\u00eb nj\u00eb \u00e7el\u00ebs q\u00eb hap porta t\u00eb linjave tematike<\/span><\/span>, estetike e stilistike t\u00eb krijimtaris\u00eb s\u00eb shum\u00ebllojshme letrare t\u00eb Prend Buzhal\u00ebs dhe p\u00ebrb\u00ebn nj\u00eb model t\u00eb vargut elitar estetik.<\/span><\/span><\/p>\n

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LIRIZ\u00cbM DHE MEDITIM I THELL\u00cb ESTETIK (Prend Buzhala, Psher\u00ebtima pergamene, poezi- zgjedhjen dhe parath\u00ebnien Anton Nik\u00eb Berisha- SHB \u201cRozafa\u201d, Prishtin\u00eb, 2017) Emri i Prend Buzhal\u00ebs tashm\u00eb q\u00ebndron n\u00eb mesin e poet\u00ebve dhe shkrimtar\u00ebve m\u00eb t\u00eb mir\u00eb t\u00eb let\u00ebrsis\u00eb s\u00eb sotme shqiptare, ashtu si\u00e7 q\u00ebndrojn\u00eb veprat e tij artistike n\u00eb mesin e krijimeve dhe realizimeve m\u00eb […]<\/p>","protected":false},"author":1,"featured_media":1608,"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\/3161"}],"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=3161"}],"version-history":[{"count":0,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/3161\/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=3161"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/categories?post=3161"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/tags?post=3161"},{"taxonomy":"book_author","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_author?post=3161"},{"taxonomy":"book_publisher","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_publisher?post=3161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}