{"id":2310,"date":"2021-11-24T13:01:33","date_gmt":"2021-11-24T12:01:33","guid":{"rendered":"https:\/\/sbunker.org\/?p=2310"},"modified":"2023-12-15T13:06:50","modified_gmt":"2023-12-15T12:06:50","slug":"poezia-eshte-qellimi-yne-antropologjik-ii","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/poezia-eshte-qellimi-yne-antropologjik-ii\/","title":{"rendered":"Poezia \u00ebsht\u00eb q\u00ebllimi yn\u00eb antropologjik (II)"},"content":{"rendered":"

Krijuesi i cili nj\u00eb jet\u00eb njeriu rropatet t\u00eb ngjitet n\u00eb p\u00ebrmbi Gllam\u00eb!<\/strong><\/p>\n

Aty \u00ebsht\u00eb topika q\u00eb e mban n\u00eb k\u00ebmb\u00eb struktur\u00ebn poetike t\u00eb Musliut.\u00a0Past\u00ebrtia dhe e bukura e k\u00ebtyre vargjeve shpalosin para lexuesit t\u00ebr\u00eb\u00a0tragjiken dhe klithm\u00ebn e njer\u00ebzve gjat\u00eb qeniesimit t\u00eb tyre n\u00ebp\u00ebr mileniume,\u00a0saq\u00eb t\u00eb duket se ti sapo d\u00ebgjon klithmat e shqiptarit t\u00eb munduar e t\u00eb\u00a0posht\u00ebruar – t\u00eb z\u00ebn\u00eb peng n\u00eb dar\u00ebt e koh\u00eb-hap\u00ebsir\u00ebs \u2013 vet\u00ebm pse ka m\u00ebsyr\u00eb\u00a0at\u00eb Maj\u00eb artistike dhe antropologjike!?<\/p>\n

V\u00ebllimi poetik \u201cOrfeiana\u201d i k\u00ebndon jet\u00ebs s\u00eb shkruar keqas, p\u00ebr qenien\u00a0kolektive t\u00eb autorit, p\u00ebr ne, p\u00ebr mua dhe ty, p\u00ebr secil\u00ebn qenie t\u00eb shkelur\u00a0e t\u00eb munduar p\u00ebrgjat\u00eb Golgoth\u00ebs s\u00eb udh\u00ebtimit drejt Maj\u00ebs – drejt secil\u00ebs\u00a0Maj\u00eb dhe kudo n\u00eb rruzullim – sepse klithma e poetit, po aq sa verbi i tij,\u00a0\u00ebsht\u00eb klithm\u00eb universal\u00eb, si nj\u00eb \u201cShoah\u201d e hebrenjve, apo ni vajmedet i\u00a0shqiptar\u00ebve! Maja e Zez\u00eb e shquan jo vet\u00ebm t\u00eb bardh\u00ebn, por t\u00eb purpurt\u00ebn q\u00eb \u00ebsht\u00eb rroba\u00a0m\u00eb e bukur e poezis\u00eb s\u00eb Musliut, ku ai e d\u00ebshiron prehjen pas vdekjes,\u00a0sikur q\u00eb, pati th\u00ebn\u00eb ikona e filmit meksikano-amerikani Anthony Quinn,\u00a0fitues i dy Oscar\u00ebve, piktor dhe shkrimtar, para se t\u00eb vdiste m\u00eb 2001, se\u00a0d\u00ebshironte q\u00eb trupi i tij t\u00eb ngjitej n\u00eb Pico de Orizaba \u2013 Citlalt\u00e9petl ose\u00a0n\u00eb \u201cMaj\u00ebn e bardh\u00eb\u201d, q\u00eb aty t\u00eb tretej ngadal\u00eb i rreshkur n\u00eb diellin e\u00a0atdheut, i rrahur nga er\u00ebrat dhe shirat, i ngr\u00ebn\u00eb nga shpend\u00ebt.<\/p>\n

* * *<\/p>\n

Nga Maja q\u00eb shikohen t\u00eb gjitha gj\u00ebrat mes vete<\/em><\/p>\n

Zbriti nj\u00eb i verb\u00ebr dhe qau p\u00ebr nj\u00eb lule tha<\/em><\/p>\n

Orvatuni o t\u00eb munduar t\u00eb arrini at\u00eb lart\u00ebsi<\/em><\/p>\n

(Musliu, Beqir, \u201cOrfeiana\u201d, \u201cFaik Konica\u201d, 2004; (\u201cMaja e Zez\u00eb\u201d, fq. 256)<\/em><\/strong><\/p>\n

Poezia si l\u00ebvizje pa luajtur vendit, pavdek\u00ebsi e njeriut<\/strong><\/p>\n

M\u00ebsymja e Maj\u00ebs prej ku arti sheh bot\u00ebn e gj\u00ebrave \u2013 nd\u00ebrsa njeriu \u00ebsht\u00eb qenie e verb\u00ebr q\u00eb tashm\u00eb e di se p\u00ebr \u00e7far\u00eb duhet p\u00ebrpjekur p\u00ebr t\u00eb gjall\u00eb \u2013\u00a0thjesht\u00eb p\u00ebr ta arritur at\u00eb lart\u00ebsi arti: Maj\u00ebn e poezis\u00eb, p\u00ebr ta shprehur\u00a0bot\u00ebn njer\u00ebzore (antroposin) si maj\u00eb e qeniesimit n\u00eb-bot\u00eb e jo vet\u00ebm t\u00eb\u00a0bukur\u00ebn (estetik\u00ebn e Maj\u00ebs.)<\/p>\n

Klithma e Musliut p\u00ebrmbi fatkobin historik t\u00eb qenies s\u00eb tij individuale dhe\u00a0artistike (njeriun Musliu e koncepton si artist) t\u00eb shfaqet si nj\u00eb ciklon\u00a0emotiv, q\u00eb ik s\u00eb bashku me poetin nga ky realitet i shpifur tok\u00ebsor. Mund t\u2019i kisha th\u00ebn\u00eb poetit tek pinim kafe te \u201cElida\u201d: \u201cBeq\u00eb, k\u00ebt\u00eb nuk e ke\u00a0shkruar ti, por dora e Zotit!\u201d) Musliu n\u00eb heshtjen e s\u00eb shkuar\u00ebs e gjen nj\u00eb k\u00ebng\u00eb, p\u00ebr m\u00eb tep\u00ebr nj\u00eb mallkim, i cili nuk i shqitet rac\u00ebs njer\u00ebzore si Fatumi Nietzschean i rikthimit t\u00eb\u00a0p\u00ebrhersh\u00ebm t\u00eb s\u00eb nj\u00ebjt\u00ebs, e q\u00eb dhemb kumbuesh\u00ebm si\u00e7 bie k\u00ebmbana n\u00eb nj\u00eb\u00a0kish\u00eb, n\u00eb nj\u00eb vend pa besimtar\u00eb\u2026<\/p>\n

E q\u00eb lind heshtjen, t\u00eb bukur e t\u00eb paqortueshme t\u00eb njeriut t\u00eb munduar\u2026Heshtja nuk thuhet me fjal\u00eb, sepse s\u2019ka fjal\u00eb!!! Gjeneza e poetik\u00ebs s\u00eb Musliut manifestohet n\u00eb planin gramatikor dhe\u00a0semantik. P\u00ebr postmodern\u00ebn \u00ebsht\u00eb karakteristike loja me k\u00ebndv\u00ebshtrimet, p\u00ebrdorimi i\u00a0distanc\u00ebs ironike, e ndonj\u00ebher\u00eb relativizimi dhe zhvlef\u00ebtsimi i s\u00eb kaluemes nga autori.<\/p>\n

Duhet than\u00eb n\u00eb fund se ky poet e rikthen t\u00eb shkuar\u00ebn jo p\u00ebr ta qortuar e\u00a0p\u00ebr t\u00eb nxjerr\u00eb m\u00ebsim nga ajo, porse p\u00ebr ta par\u00eb e medituar rreth mallkimit,\u00a0q\u00eb akullt na rri p\u00ebrball\u00eb, i ballsamosun, e na flet, q\u00eb t\u00eb mos lejoj\u00eb kurr\u00eb\u00a0m\u00eb tjetrin q\u00eb ta cenoj\u00eb t\u00eb sotmen, q\u00eb qysh tani \u00ebsht\u00eb e shkuara!!! E shkuara na duhet jo p\u00ebr t\u00eb na m\u00ebsuar hakmarrjen – q\u00eb kalon n\u00ebp\u00ebr damar\u00ebt\u00a0e gjakut – por p\u00ebr nj\u00eb hakmarrje estetike!<\/p>\n

N\u00ebse p\u00ebr bashk\u00ebkohanikun e tij dhe kritikun Ibrahim Rugova (m\u00eb von\u00eb lider i\u00a0shqiptar\u00ebve kosovar\u00eb n\u00eb luft\u00ebn e tyre p\u00ebr liri) refuzimi duhej t\u00eb ishte\u00a0estetik, p\u00ebr Beqir Musliun ky ideal poetik ishte hakmarrja estetike. Dua t\u00eb them se Musliu atyre q\u00eb desh\u00ebn t\u2019ia vjedhin purpurin maj\u00ebs s\u00eb\u00a0Gllam\u00ebs ua ka nxjerr hakun p\u00ebrmes estetik\u00ebs s\u00eb tij, duke ua dhuruar\u00a0\u2018statuj\u00ebn\u2019 e t\u00eb gjitha mallkimeve njer\u00ebzore, q\u00eb jan\u00eb edhe t\u00eb tyre – pra\u00a0universal – p\u00ebrgjat\u00eb historis\u00eb, koh\u00ebn e mish\u00ebrueme (trup\u00ebzueme) n\u00eb artin\u00a0poetik!<\/p>\n

Poezia \u201cMaja e Zez\u00eb\u201d (vendos lidhjen si ashti me mishin mes vepr\u00ebs s\u00eb\u00a0Musliut \u201cBukuria e zez\u00eb\u201d dhe \u201cOrfeiana\u201d dhe \u00ebsht\u00eb vendos\u00eb n\u00eb koh\u00eb t\u00eb\u00a0kondensume, (veprimi kryhet prej t\u00eb menduemit deri te te bamunit art, pra\u00a0vdekja mungon) dhe n\u00eb nj\u00eb hap\u00ebsir\u00eb metafizike t\u00eb paan\u00eb, ajo \u2018skulpturohet\u2019\u00a0n\u00eb at\u00eb m\u00ebnyr\u00eb sa q\u00eb kufiri i marr\u00ebdhanies me poetin zhduket; Autori, si pam\u00ebs dhe n\u00eb-bamje [n\u00eb-t\u00eb-bam\u00eb] e kundron artin e tu-bam\u00ebsis\u00eb t\u00eb poetit (orvatja me e mbrri Maj\u00ebn) e jo vet aktin e mb\u00ebrritjes, si p\u00ebrvoj\u00eb dhe kujtes\u00eb \u2013 k\u00ebshtu lind poezia dhe autori e b\u00ebn at\u00eb shk\u00ebputjen brilante nga jeta n\u00eb vep\u00ebr arti dhe tashm\u00eb i ngjan secilit shenjtor \u2013 si personazh konceptual \u2013\u00a0\u00a0tue u ba \u201cpoet n\u00eb t\u00eb bam\u00eb e sip\u00ebr, pra ngjarje pafund\u00ebsisht e shkume\u201d e\u00a0cila si percept e b\u00ebn jet\u00ebn e vet si nj\u00eb visore para njeriut, n\u00eb munges\u00eb t\u00eb\u00a0njeriut – n\u00eb nd\u00ebr-koh\u00eb (Deleuze&Guattari), q\u00eb rri n\u00eb kamb\u00eb, vetvetiu mes dy \u00e7asteve: orvatjes me arrite Maj\u00ebn dhe qetimit, ose l\u00ebvizjes s\u00eb ndalun.<\/p>\n

P\u00ebr me iu p\u00ebrgjegj\u00eb pyetjes se si mund t\u00eb bash nj\u00eb \u00e7ast t\u00eb bot\u00ebs jet\u00ebgjat\u00eb\u00a0ose ta bash at\u00eb \u00e7ast t\u00eb ekzistoj\u00eb n\u00eb vetvete, Deleuzeja&Guattari citojn\u00eb\u00a0Virginia Woolfin, e cila jep nj\u00eb p\u00ebrgjigje q\u00eb vlen p\u00ebr muzik\u00ebn dhe\u00a0piktur\u00ebn, po aq sa p\u00ebr shkrimin: \u201cT\u00eb ngihet \u00e7do atom\u201d, \u201cT\u00eb eliminohet \u00e7do\u00a0llum, vdekje dhe kot\u00ebsi.\u201d Deleuze&Guattari.)<\/p>\n

Deleuzeja & Guattari p\u00ebr monumentalen e marrin shembullin e Claude Simonit\u00a0q\u00eb p\u00ebrshkruen dashunin\u00eb e nalt\u00eb pasive t\u00eb grues-tok\u00eb, ai skulpturon nj\u00eb\u00a0afekt deltine prej ku mundet me u shpreh\u00eb: \u201casht nana\u00a0 jeme\u201d.\u00a0Badiou k\u00ebsaj qasjeje i ban dy v\u00ebrejtje. E para, sipas tij, filozofia i\u00a0referohet skulptur\u00ebs Deleuze&Guattari) si art sip\u00ebror dhe e dyta, asht\u00a0m\u00ebsymja e filozofis\u00eb nga arti, sepse arti asht \u201cbllok perceptesh dhe\u00a0afektesh\u201d, ose \u201cbllok ndijimesh\u201d, prej ku buron edhe funksioni paradigmatik\u00a0q\u00eb i njihet skulptur\u00ebs.<\/p>\n

K\u00ebta dy autor\u00eb k\u00ebt\u00eb cil\u00ebsi ia atribuojn\u00eb skulptur\u00ebs.\u00a0Te poezia \u201cVdekja e Poetit\u201d (me a t\u00eb madhe, sepse konsideroj se Poeti n\u00eb\u00a0k\u00ebt\u00eb rast \u00ebsht\u00eb bashk\u00ebkohaniku e bashk\u00ebqytetari i Musliut, Rexhep Elmazi\u00a0(1938 – 1978)) poeti flet – me mospranin\u00eb!\u00a0Ai \u00ebsht\u00eb qenie-n\u00eb-bot\u00eb, [meqen\u00ebsi] kurse poezia e krijuar me fuqi\u00a0njer\u00ebzore \u00ebsht\u00eb monument, pra jonjer\u00ebzore.<\/p>\n

Por monumenti flet…<\/p>\n

N\u00eb k\u00ebt\u00eb k\u00ebrkim pa fund, Tomas Man-i ka sjell\u00eb ndihmes\u00ebn e vet shum\u00eb t\u00eb\u00a0r\u00ebnd\u00ebsishme: \u201cNe mendojm\u00eb se veprojm\u00eb, ne mendojm\u00eb se mendojm\u00eb, por \u00ebsht\u00eb\u00a0nj\u00eb tjet\u00ebr, ose t\u00eb tjer\u00eb, q\u00eb mendojn\u00eb dhe veprojn\u00eb brenda nesh: zakonet e\u00a0paharrueshme, arketipat q\u00eb duke u b\u00ebr\u00eb mite kalojn\u00eb nga nj\u00eb brezni n\u00eb\u00a0tjetr\u00ebn, zot\u00ebrojn\u00eb nj\u00eb forc\u00eb t\u00eb madhe ngash\u00ebnjyese dhe na teledrejtojn\u00eb\u00a0(k\u00ebshtu thoshte Mani) q\u00eb prej “pusit t\u00eb s\u00eb shkuar\u00ebs” \u2013 shkruan Milan\u00a0Kundera.<\/p>\n

Era q\u00eb fryn dhe bari q\u00eb rritet pas shiut, gjithashtu flasin – por gjuha\u00a0asht e vorfun\u00a0 p\u00ebr me shenj\u00ebzue at\u00eb q\u00eb thon\u00eb. Lulekuqet (Em\u00ebrtesa biblike e\u00a0poetit p\u00ebr flor\u00ebn), gjethet, drujt\u00eb, gur\u00ebt dhe ajri si \u201cqenie t\u00eb\u00a0arratisjes\u201d deleuzeiane \u2013 dhe posa\u00e7\u00ebrisht ajri, flasin.Deleuzeja&Guattari\u00a0 tue e marr\u00eb si shembull Marcel Proust-in, i cili, me\u00a0\u00e7do gja t\u00eb fundme, formon nj\u00eb qenie ndijimi q\u00eb nuk pushon me qen\u00eb, por tue\u00a0u arratis\u00eb n\u00ebp\u00ebr planin e kompozimit t\u00eb Qenies.<\/p>\n

Autor\u00ebt n\u00eb shekullin XIII shkrujn\u00eb se muzika ndoshta mish\u00ebron m\u00eb tep\u00ebr\u00a0fuqi sesa artet e tjera. \u201cPor, kompozitat e ndijimeve, blloqet tingullore,\u00a0jan\u00eb po aq parete ose forma kundrimi q\u00eb p\u00ebr secilin rast duhet t\u00eb puthiten\u00a0p\u00ebr t\u00eb siguruar nj\u00ebfar\u00eb mbylljeje. Rastet ma t\u00eb thjeshta jan\u00eb ai i aries\u00a0melodike q\u00eb asht nj\u00eb refren monofonik, motivi q\u00eb asht tashm\u00eb polifonik,\u00a0element i nj\u00eb melodie q\u00eb nd\u00ebrhyn n\u00eb zhvillimin e nj\u00eb melodie tjet\u00ebr\u00a0 tue\u00a0realizu kontrapunktin, tema si objekt modifikimi harmonik p\u00ebrmes linjave\u00a0melodike.\u201d (Deleuze&Guattari.)<\/p>\n

A nuk jan\u00eb qenie ndijimi\u00a0tue u arratis\u00eb, pra arie, ajri q\u00eb k\u00ebndon i\u00a0autorit t\u00eb k\u00ebtij shkrimi dhe ora q\u00eb ec pa pra, pa nd\u00ebrrue vend e Mjed\u00ebs?”Q\u00ebllimi i poezis\u00eb \u00ebsht\u00eb p\u00ebrvoj\u00eb, n\u00eb thelb e path\u00ebnshme: e bukura vepron me\u00a0di\u00e7ka q\u00eb \u00ebsht\u00eb e path\u00ebnshme, e pap\u00ebrshkrushme, e parr\u00ebfyshme… Por, n\u00ebse duam t\u00eb b\u00ebjm\u00eb t\u00eb nj\u00ebjtin veprim me ndihm\u00ebn e gj\u00ebrave t\u00eb th\u00ebnshme, p\u00ebrmes\u00a0gjuh\u00ebs apo n\u00ebse ndijm\u00eb se p\u00ebrdorimi i gjuh\u00ebs prodhon t\u00eb nj\u00ebjt\u00ebn gja, do t\u00eb\u00a0thot\u00eb se tashti gjuha p\u00ebrdoret p\u00ebr at\u00eb q\u00eb t\u00eb krijoj\u00eb t\u00eb nemitur\u00ebn, q\u00eb gjuha\u00a0shpreh nemitjen.” (Zigmund Freud.)<\/p>\n

Poezia \u00ebsht\u00eb pra ringjallje, (reinkarnacion), besim dhe fe e be – se jemi – se kemi, pra \u00ebsht\u00eb kamje, adres\u00eb pra sht\u00ebpi. Poezia, \u00e7\u2019 \u00ebsht\u00eb pra kjo, pos besim, kujtes\u00eb, b\u00ebrje, l\u00ebvizje pa luajtur\u00a0vendit, pavdek\u00ebsi e njeriut, pra q\u00ebllim yn\u00eb antropologjik.<\/p>","protected":false},"excerpt":{"rendered":"

Krijuesi i cili nj\u00eb jet\u00eb njeriu rropatet t\u00eb ngjitet n\u00eb p\u00ebrmbi Gllam\u00eb! Aty \u00ebsht\u00eb topika q\u00eb e mban n\u00eb k\u00ebmb\u00eb struktur\u00ebn poetike t\u00eb Musliut.\u00a0Past\u00ebrtia dhe e bukura e k\u00ebtyre vargjeve shpalosin para lexuesit t\u00ebr\u00eb\u00a0tragjiken dhe klithm\u00ebn e njer\u00ebzve gjat\u00eb qeniesimit t\u00eb tyre n\u00ebp\u00ebr mileniume,\u00a0saq\u00eb t\u00eb duket se ti sapo d\u00ebgjon klithmat e shqiptarit t\u00eb munduar […]<\/p>","protected":false},"author":3,"featured_media":2311,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[736,693,912],"ppma_author":[282],"class_list":["post-2310","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-art","tag-literature","tag-poetry"],"authors":[{"term_id":282,"user_id":0,"is_guest":1,"slug":"halil-matoshi","display_name":"Halil Matoshi","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/Halil-Matoshi-850x479-1.jpeg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/Halil-Matoshi-850x479-1.jpeg"},"user_url":"","last_name":"","first_name":"","description":"Halil Matoshi \u00ebsht\u00eb gazetar dhe analist i rregullt i zhvillimeve politike. Ka punuar n\u00eb gazetat \"Bota e re\", \"Z\u00ebri\", \"Lajm\", \"Express\" dhe \"Koha Ditore\". Gjithashtu ka botuar libra me poezi, tregime, studime dhe ditar, nd\u00ebrsa poezit\u00eb e tij jan\u00eb p\u00ebrkthyer n\u00eb gjermanisht, spanjollisht, rumanisht, greqisht dhe anglisht."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2310","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=2310"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2310\/revisions"}],"predecessor-version":[{"id":2312,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2310\/revisions\/2312"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/2311"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=2310"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=2310"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=2310"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=2310"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}