Nga Gladiola Jorbus
\nI dashtuni im zdrukthtar – nj\u00eb metafor\u00eb e kryq\u00ebzimit modern
\nPoezia e Gabriela Mujajt rrjedh si nj\u00eb lum\u00eb i thell\u00eb q\u00eb nuk ka nevoj\u00eb p\u00ebr brigje t\u00eb rregullta.
\nAjo k\u00ebrkon t\u00eb lexohet pa korniza, pa ndarje, pa nd\u00ebrprerje, sepse vet\u00eb fryma e saj nuk pranon t\u00eb cop\u00ebzohet. N\u00eb k\u00ebt\u00eb frym\u00eb po e vazhdoj edhe un\u00eb analiz\u00ebn, duke e l\u00ebn\u00eb tekstin t\u00eb marr\u00eb form\u00ebn e vet natyrore, t\u00eb zgjatet, t\u00eb ngjeshet, t\u00eb hapet, ashtu si\u00e7 b\u00ebn vet\u00eb poezia e saj.
\nN\u00eb qend\u00ebr t\u00eb v\u00ebllimit q\u00ebndron ideja e mosh\u00ebs tridhjet\u00eb e tre, jo si nj\u00eb num\u00ebr i zakonsh\u00ebm, por si nj\u00eb prag ku njeriu p\u00ebrballet me vetveten n\u00eb m\u00ebnyr\u00ebn m\u00eb t\u00eb zhveshur t\u00eb mundshme. Mujaj e merr k\u00ebt\u00eb mosh\u00eb, t\u00eb ngarkuar me simbolik\u00ebn e Krishtit, dhe e zhvendos nga sfera fetare n\u00eb nj\u00eb sfer\u00eb krejt\u00ebsisht personale, intime, njer\u00ebzore. Ajo nuk k\u00ebrkon sh\u00eblbim, nuk k\u00ebrkon ringjallje, nuk k\u00ebrkon asnj\u00eb lloj nd\u00ebrhyrjeje hyjnore. Madje k\u00ebrkon t\u00eb gris\u00eb vet\u00eb pasaport\u00ebn e saj, t\u00eb shp\u00ebrb\u00ebhet n\u00eb tridhjet\u00eb e tri copa, si nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb rifilluar, p\u00ebr t\u00eb mos pranuar identitetet
\nq\u00eb i jan\u00eb dh\u00ebn\u00eb, p\u00ebr t\u00eb mos u pajtuar me kufijt\u00eb q\u00eb t\u00eb tjer\u00ebt i kan\u00eb vizatuar. Ky akt i grisjes \u00ebsht\u00eb nj\u00eb kryq\u00ebzim modern, nj\u00eb kryq\u00ebzim q\u00eb nuk k\u00ebrkon d\u00ebshmitar\u00eb, por k\u00ebrkon guximin p\u00ebr t\u00eb par\u00eb veten n\u00eb pasqyr\u00eb pa asnj\u00eb filt\u00ebr.
\nN\u00eb k\u00ebt\u00eb udh\u00ebtim t\u00eb brendsh\u00ebm, gjuha q\u00eb ajo zgjedh nuk \u00ebsht\u00eb rast\u00ebsi. Gegnishtja e saj nuk \u00ebsht\u00eb thjesht nj\u00eb zgjedhje stilistike, por nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb th\u00ebn\u00eb se rr\u00ebnj\u00ebt nuk mund t\u00eb mohohen, se identiteti nuk \u00ebsht\u00eb nj\u00eb kostum q\u00eb e vesh apo e heq sipas rastit. Ajo e p\u00ebrdor
\ngegnishten me nj\u00eb natyrshm\u00ebri q\u00eb t\u00eb kujton Camajn, jo vet\u00ebm p\u00ebr shkak t\u00eb fjal\u00ebve, por p\u00ebr shkak t\u00eb m\u00ebnyr\u00ebs se si gjuha b\u00ebhet trup, b\u00ebhet frym\u00eb, b\u00ebhet hap\u00ebsir\u00eb, ku poezia merr form\u00eb. Ka nj\u00eb drit\u00eb t\u00eb ftoht\u00eb n\u00eb vargjet e saj, nj\u00eb drit\u00eb q\u00eb nuk t\u00eb ngroh, por t\u00eb ndri\u00e7on, t\u00eb detyron t\u00eb
\nshoh\u00ebsh. Pik\u00ebrisht n\u00ebn k\u00ebt\u00eb drit\u00eb t\u00eb ftoht\u00eb, pulson nj\u00eb dhembje q\u00eb t\u00eb kujton Migjenin. Ajo nuk \u00ebsht\u00eb nj\u00eb dhembje sociale, por ekzistenciale, nj\u00eb dhembje q\u00eb nuk k\u00ebrkon m\u00ebshir\u00eb, por k\u00ebrkon vesh\u00eb p\u00ebr t\u2019u d\u00ebgjuar.
\nKjo dhembje shfaqet edhe te poezit\u00eb, ku natyra nd\u00ebrmerr nj\u00eb rol simbolik. Lulekumbulla nuknflet. Heshtja e saj \u00ebsht\u00eb m\u00eb e r\u00ebnd\u00eb se \u00e7do fjal\u00eb. Ajo \u00ebsht\u00eb nj\u00eb lloj pritjeje q\u00eb nuk ka nevoj\u00eb t\u00eb shpjegohet, nj\u00eb brisht\u00ebsi q\u00eb nuk ka nevoj\u00eb t\u00eb mbrohet. N\u00eb kontrast me Vjen\u00ebn dhe Danubin,
\nq\u00eb sjellin nj\u00eb ftoht\u00ebsi t\u00eb qytet\u00ebrimit evropian, lulekumbulla b\u00ebhet nj\u00eb shenj\u00eb e shpirtit q\u00eb k\u00ebrkon di\u00e7ka m\u00eb t\u00eb thell\u00eb, m\u00eb t\u00eb v\u00ebrtet\u00eb, m\u00eb t\u00eb ngroht\u00eb. Ajo \u00ebsht\u00eb nj\u00eb metafor\u00eb e koh\u00ebs q\u00eb nuk flet, por q\u00eb gjithsesi vepron, q\u00eb t\u00eb ndryshon pa e kuptuar.
\nFigura e gruas \u00ebsht\u00eb nj\u00eb tjet\u00ebr shtyll\u00eb e fort\u00eb e k\u00ebtij v\u00ebllimi. Gruaja e Bajraktarit nuk \u00ebsht\u00eb thjesht nj\u00eb personazh, por nj\u00eb arketip, nj\u00eb figur\u00eb q\u00eb mbart mbi vete historin\u00eb e nj\u00eb populli, t\u00eb\u00a0 nj\u00eb brezi, t\u00eb nj\u00eb bote t\u00eb t\u00ebr\u00eb. Ajo \u00ebsht\u00eb gruaja q\u00eb rri n\u00eb heshtje, por q\u00eb n\u00eb at\u00eb heshtje ka nj\u00eb
\nforc\u00eb q\u00eb nuk ka nevoj\u00eb t\u00eb shpallet. Ajo \u00ebsht\u00eb gruaja q\u00eb nuk ka burr\u00eb, nuk ka gjok\u00ebn, por ka dinjitetin, ka q\u00ebndrimin, ka nj\u00eb lloj heroizmi t\u00eb heshtur q\u00eb nuk k\u00ebrkon duartrokitje. N\u00eb k\u00ebt\u00eb figur\u00eb, Mujaj nd\u00ebrton nj\u00eb portret t\u00eb gruas shqiptare q\u00eb nuk thyhet, edhe kur bota i bie mbi
\nsupe. Dashuria, n\u00eb k\u00ebt\u00eb kontekst, nuk \u00ebsht\u00eb nj\u00eb ndjenj\u00eb e but\u00eb, por nj\u00eb proces gdhendjeje.
\nZdrukthtari i titullit nuk \u00ebsht\u00eb vet\u00ebm i dashuri, por \u00ebsht\u00eb edhe Krishti, edhe krijuesi, edhe vet\u00eb poetesha. Dashuria \u00ebsht\u00eb nj\u00eb pun\u00eb artizane, nj\u00eb heqje e shtresave t\u00eb panevojshme, nj\u00eb p\u00ebrpjekje p\u00ebr t\u00eb nxjerr\u00eb n\u00eb drit\u00eb, form\u00ebn e past\u00ebr t\u00eb shpirtit. Nuk ka romantiz\u00ebm t\u00eb leht\u00eb k\u00ebtu; ka pun\u00eb, ka djers\u00eb, ka dhembje, ka nj\u00eb lloj bukurie q\u00eb lind vet\u00ebm pasi ke kaluar n\u00ebp\u00ebr tehun e thik\u00ebs. N\u00eb poezin\u00eb \u201cI hueji\u201d, tjet\u00ebrsimi merr nj\u00eb dimension metafizik. I huaji nuk \u00ebsht\u00eb vet\u00ebm tjetri, por \u00ebsht\u00eb vetja e larguar nga vetja, \u00ebsht\u00eb njeriu q\u00eb nuk gjen vend n\u00eb bot\u00eb, \u00ebsht\u00eb artisti q\u00eb nuk pranohet, intelektuali q\u00eb nuk kuptohet. Letrat q\u00eb zverdhen, fytyrat q\u00eb ligshtohen, jan\u00eb shenja t\u00eb nj\u00eb shoq\u00ebrie q\u00eb po humbet v\u00ebrtet\u00ebsin\u00eb, q\u00eb po tretet n\u00eb sip\u00ebrfaq\u00ebsi, q\u00eb nuk ka m\u00eb durim p\u00ebr thell\u00ebsi. Kjo poezi \u00ebsht\u00eb nj\u00eb diagnoz\u00eb e koh\u00ebs son\u00eb, nj\u00eb koh\u00eb ku gjith\u00e7ka konsumohet shpejt, edhe ndjenjat, edhe kujtesa, edhe vet\u00eb njeriu.
\nDhe n\u00eb fund, mbetet ai varg i fuqish\u00ebm: \u201cPrindrit motit m\u00eb kishin paralajmrue \/ se bota nuk asht art, as let\u00ebrsi\u201d. Ky varg \u00ebsht\u00eb nj\u00eb p\u00ebrplasje mes idealizmit dhe realitetit, mes \u00ebndrr\u00ebs dhe tok\u00ebs s\u00eb fort\u00eb. Por n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, \u00ebsht\u00eb edhe nj\u00eb deklarat\u00eb e heshtur se, megjith\u00ebse bota
\nnuk \u00ebsht\u00eb art, poeti nuk mund t\u00eb b\u00ebj\u00eb gj\u00eb tjet\u00ebr ve\u00e7se ta kthej\u00eb at\u00eb n\u00eb art. \u00cbsht\u00eb nj\u00eb lloj rebelimi i but\u00eb, nj\u00eb lloj pranimi i dhimbsh\u00ebm, nj\u00eb lloj besimi q\u00eb nuk shuhet.
\nPoezia e Gabriela Mujajt \u00ebsht\u00eb nj\u00eb poezi q\u00eb nuk t\u00eb l\u00eb t\u00eb qet\u00eb. Ajo t\u00eb gdhend, t\u00eb \u00e7an, t\u00eb rind\u00ebrton. Ajo \u00ebsht\u00eb nj\u00eb poezi e kryq\u00ebzimit, e pritjes, e heshtjes, e dashuris\u00eb q\u00eb dhemb, e gjuh\u00ebs q\u00eb shp\u00ebton. Dhe mbi t\u00eb gjitha, \u00ebsht\u00eb nj\u00eb poezi q\u00eb t\u00eb kujton se njeriu nuk b\u00ebhet i plot\u00eb pa kaluar n\u00ebp\u00ebr skajet e dhembjes, pa u gdhendur, pa u zhveshur nga gjith\u00e7ka e tep\u00ebrt. N\u00eb k\u00ebt\u00eb kuptim, ajo \u00ebsht\u00eb nj\u00eb poezi q\u00eb p\u00ebrjetohet deri n\u00eb asht.<\/p>\n","protected":false},"excerpt":{"rendered":"
Nga Gladiola Jorbus I dashtuni im zdrukthtar – nj\u00eb metafor\u00eb e kryq\u00ebzimit modern Poezia e Gabriela Mujajt rrjedh si nj\u00eb lum\u00eb i thell\u00eb q\u00eb nuk ka nevoj\u00eb p\u00ebr brigje t\u00eb rregullta. Ajo k\u00ebrkon t\u00eb lexohet pa korniza, pa ndarje, pa nd\u00ebrprerje, sepse vet\u00eb fryma e saj nuk pranon t\u00eb cop\u00ebzohet. N\u00eb k\u00ebt\u00eb frym\u00eb po e […]<\/p>\n","protected":false},"author":3,"featured_media":4174,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-4173","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-botime-te-reja"],"_links":{"self":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts\/4173","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/comments?post=4173"}],"version-history":[{"count":1,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts\/4173\/revisions"}],"predecessor-version":[{"id":4175,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts\/4173\/revisions\/4175"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/media\/4174"}],"wp:attachment":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/media?parent=4173"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/categories?post=4173"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/tags?post=4173"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}