{"id":17808,"date":"2018-02-10T23:21:48","date_gmt":"2018-02-10T22:21:48","guid":{"rendered":"http:\/\/ulqini-online.com\/sajti\/?p=17808"},"modified":"2018-02-13T12:41:20","modified_gmt":"2018-02-13T11:41:20","slug":"rruget-e-nderdijes-perplasja-e-ralitetit-dhe-kontradiktat-e-te-vertetes","status":"publish","type":"post","link":"https:\/\/ulqini-online.com\/sajti\/?p=17808","title":{"rendered":"RRUG\u00cbT E ND\u00cbRDIJES, P\u00cbRPLASJA E RALITETIT DHE KONTRADIKTAT E T\u00cb V\u00cbRTET\u00cbS – (Pjesa e I-r\u00eb)"},"content":{"rendered":"

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Studim p\u00ebr librin me tregime t\u00eb shkurt\u00ebra \u201cHeroi i rrug\u00ebs\u201d t\u00eb Prend Buzhal\u00ebs<\/strong>, <\/em><\/p>\n

Botoi \u00a0SHB \u00abROZAFA\u00bb, Prishtin\u00eb 2017.<\/em><\/p>\n

Nga Brahim AVDYLI<\/strong>:<\/p>\n

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Prend Ndue Buzhala<\/strong> \u00ebsht\u00eb nj\u00eb autor i njohur n\u00eb disa fusha t\u00eb krijimatris\u00eb e t\u00eb shkrimit letrar: n\u00eb at\u00eb t\u00eb poezive, kritikave letrare, eseve, studimeve letrare e monografike, v\u00ebshtimeve t\u00eb ndryshme, t\u00eb proz\u00ebs e romanit, t\u00eb publcistik\u00ebs historike e kulturore, dhe disa librave t\u00eb tjer\u00eb, t\u00eb p\u00ebrgaditur p\u00ebr shtyp apo i botimit me bashkautor\u00eb. Jan\u00eb mbi 50 vepra t\u00eb rendituara deri sot, prandaj t\u00eb rreket nj\u00eb njeri i mir\u00eb i pen\u00ebs e ka t\u00eb v\u00ebshtir\u00eb t\u00eb shkruaj\u00eb p\u00ebr disa nga k\u00ebto vepra. Shkrimtari, kritiku, studiuesi, poeti e prozatori, apo krijuesi i denj\u00eb ka nj\u00eb shpirt t\u00eb mir\u00eb dhe t\u00eb ngritur, i cili, thell\u00eb n\u00eb vetvete, i zien artistikisht t\u00eb gjitha njohurit\u00eb e k\u00ebsaj bote; e nj\u00ebkoh\u00ebsisht z\u00ebri q\u00eb lexojm\u00eb n\u00eb k\u00ebto shkrime, vjen shpesh me l\u00ebnd\u00ebn p\u00ebrmbajtjesore mjaft t\u00eb hidhur e t\u00eb \u00e7uditshme, her\u00ebn tjet\u00ebr me zemr\u00ebn e ndjeshme si t\u00eb nj\u00eb f\u00ebmije, t\u00eb cil\u00ebn e shqipton \u00a0n\u00eb proz\u00ebn e tij, \u201cMrekullia e shikimit\u201d<\/em> (faqe 8), derisa po i zbulonte k\u00ebshtu \u201cmrekullit\u00eb e shpirtit t\u00eb mbredsh\u00ebm\u201d<\/em>.<\/p>\n

Nd\u00ebrmjet mendimit se a ia q\u00ebllojm\u00eb kur shkruajm\u00eb p\u00ebr nj\u00eb vep\u00ebr t\u00eb ve\u00e7ant\u00eb t\u00eb proz\u00ebs s\u00eb shkurt\u00ebr t\u00eb Prend Buzhal\u00ebs<\/strong>, \u201cHeroi i rrug\u00ebs\u201d<\/em><\/strong>, kur e lexojm\u00eb p\u00ebr her\u00eb t\u00eb par\u00eb, gjat\u00eb leximit t\u00eb dyt\u00eb apo t\u00eb m\u00ebtutjesh\u00ebm, i shohim k\u00ebto shkrime midis proz\u00ebs poetike dhe proz\u00ebs moderne, apo si\u00e7 na thot\u00eb, ai kur i kualifikon si \u201ctregime me pak fjal\u00eb\u201d<\/em>, t\u00eb cilat na e shpalosin postmodernizmin e tij<\/strong>.<\/p>\n

Na kujtohet Prof. Dr. Agim Vinca<\/strong>, cili, n\u00eb vepr\u00ebn e tij \u201cKurs i teorive letrare\u201d<\/em><\/strong>, na thoshte se \u201cN\u00eb qoft\u00eb se modernizmi e drejtonte v\u00ebmendjen nga shoq\u00ebria tek individi, dometh\u00ebn\u00eb n\u00eb bot\u00ebn e brendshme t\u00eb njeriut, postmodernizmi sh\u00ebnon kthimin e v\u00ebmendjes kah nj\u00eb realitet i ri\u201d<\/em>, i cili na \u00ebsht\u00eb realiteti i vepr\u00ebs s\u00eb caktuar letrare. \u201cLet\u00ebrsia postmoderne<\/em>-thot\u00eb Profesori i yn\u00eb- pavar\u00ebsisht nga fakti se a na p\u00eblqen apo jo kjo gj\u00eb, ushqehet nga vetja dhe e ka objekt vetveten… Teorija e intertekstualitetit e mohon pik\u00ebpamjen tradicionale p\u00ebr ndikimin di\u00e7ka e palejueshme ose di\u00e7ka q\u00eb duhet fshehur nga lexuesit. P\u00ebr bot\u00ebkuptimin postmodern, nuk eksiston <origjinaliteti> n\u00eb let\u00ebrsi; e gjith\u00eb let\u00ebrsia \u00ebsht\u00eb <intertekstuale>\u201d<\/em>.[1]<\/a><\/p>\n

Pra, intertektualizmi n\u00eb k\u00ebto tregime t\u00eb Prend Ndue Buzhal\u00ebs<\/strong> shihet prej fillimit e deri n\u00eb fund t\u00eb vepr\u00ebs, t\u00eb cilat na jan\u00eb \u201ctregime me pak fjal\u00eb\u201d<\/em> dhe e drejtojn\u00eb k\u00ebshtu syrin n\u00ebp\u00ebr tema t\u00eb ve\u00e7anta t\u00eb nj\u00eb realiteti t\u00eb ri t\u00eb proz\u00ebs son\u00eb. \u00cbsht\u00eb nj\u00eb realitet, i cili n\u00eb pikat ky\u00e7e kudo na p\u00ebrplaset me t\u00eb v\u00ebrtet\u00ebn e hidhur e nuk e di sa na shqet\u00ebsojn\u00eb kontradiktat e jet\u00ebs son\u00eb t\u00eb p\u00ebrgjithshme me k\u00ebt\u00eb realitet t\u00eb nd\u00ebrdijes. N\u00eb vend se t\u00eb shkruajm\u00eb nj\u00eb v\u00ebshtrim t\u00eb shkurt\u00ebr p\u00ebr k\u00ebt\u00eb lib\u00ebr tregimesh me pak fjal\u00eb<\/em>, teksti na detyron t\u00eb shkruajm\u00eb nj\u00eb analiz\u00eb m\u00eb t\u00eb gjat\u00eb e t\u00eb thukt\u00eb n\u00eb p\u00ebrqasjet mes realiteti dhe t\u00eb intertekstualizmit postmodern.<\/p>\n

Kur e potencojm\u00eb intertekstualitetin postmodern t\u00eb Prend Buzhal\u00ebs<\/strong> dhe dim\u00eb se \u201cteorija e intertektualitetit e nxjerr nga loja nocionin e ndikimit letrar dhe e relativizon konceptin e origjinalitetit ose th\u00ebn\u00eb m\u00eb drejt\u00eb, e rip\u00ebrkufizon at\u00eb\u201d<\/em>, [2]<\/a> at\u00ebher\u00eb \u00ebsht\u00eb e padiskutueshme pa e marr\u00eb k\u00ebt\u00eb p\u00ebrkufizim teorik t\u00eb Prof. Dr. Agim Vinc\u00ebs<\/strong> p\u00ebr t\u00eb shpjeguar k\u00ebt\u00eb an\u00eb t\u00eb drejt\u00eb t\u00eb superpersonifikimit t\u00eb rr\u00ebfyesit, q\u00eb \u00ebsht\u00eb tipik n\u00eb proz\u00ebn e tij, ku pozicioni i rr\u00ebfyesit varet pandashm\u00ebrisht nga perspektiva e rr\u00ebfimit.<\/p>\n

Autori rr\u00ebfen nga nj\u00eb k\u00ebnd i posa\u00e7\u00ebm me aq sa d\u00ebshiron apo i p\u00ebrshtatet personazhit. Perspektiva e rr\u00ebfimit \u00ebsht\u00eb n\u00eb kuptimin e nj\u00eb rr\u00ebfyesi monoperspektiv, zakonisht i lidhur ngusht\u00eb p\u00ebr rr\u00ebfimtarin e vepr\u00ebs. K\u00ebtu l\u00ebvizjen e rr\u00ebfyesit t\u00eb par\u00eb, i cili \u00ebsht\u00eb autori, intertekstualizohet n\u00eb rr\u00ebfimin e personazhit lirsh\u00ebm e shkurtimisht, sa ndonj\u00ebher\u00eb n\u00eb k\u00ebto shk\u00ebputje moderne kalohet pav\u00ebrejtsh\u00ebm n\u00eb nj\u00eb tjet\u00ebr rr\u00ebfyes, por edhe shlyhen gjurm\u00ebt n\u00eb m\u00ebnyr\u00eb t\u00eb pahetueshme, q\u00eb t\u00eb themi, sikur Prof. Dr.<\/strong> Mario Andreotti<\/strong>, \u00ebsht\u00eb kjo \u00e7asje aperspektive.<\/strong>[3]<\/a> Kjo \u00ebsht\u00eb di\u00e7ka e re n\u00eb proz\u00ebn e shkurt\u00ebr t\u00eb Prend Ndue Buzhal\u00ebs<\/strong>, n\u00eb p\u00ebrmbledhjen \u201cHeroi i rrug\u00ebs\u201d<\/em>.<\/p>\n

K\u00ebto tregime me pak fjal\u00eb<\/em> (anglez\u00ebt e kan\u00eb termin short story<\/em> dhe very short story<\/em>, tr\u00e8s courte conte<\/em> francez\u00ebt, Kurzgeschichte <\/em>gjerman\u00ebt etj), jan\u00eb sikur proza poetike (por ndryshojn\u00eb thell\u00ebsisht p\u00ebr shkak se tregimi i till\u00eb ka fabul, personazhe, tematik\u00eb etj si nj\u00eb roman a tregim letrar, kurse proza poetike nuk i ka k\u00ebto elemente, p\u00ebr shkak t\u00eb strukturave poetike tekstore); k\u00ebto jan\u00eb proza me pak detaje, t\u00eb lidhura poetikisht, e ndonj\u00ebher\u00eb me pamje t\u00eb qart\u00eb, me detajet q\u00eb do t\u00eb na mungonin, por do t\u00eb mendoheshin e do t`i kishin t\u00eb qarta t\u00eb gjith\u00eb njoh\u00ebsit e mir\u00eb t\u00eb artit t\u00eb shkruar, nd\u00ebrsa t\u00eb tjer\u00ebt duhet q\u00eb t\u00eb mendohen e t\u00eb mendohen dhe t\u2019i gj\u00ebjn\u00eb t\u00eb gjitha gj\u00ebrat q\u00eb nuk jan\u00eb th\u00ebn\u00eb prej autorit, p\u00ebr ndonj\u00eb ar\u00ebsye t\u00eb ve\u00e7ant\u00eb.<\/p>\n

Ato autori i ka fshehur me q\u00ebllim t\u00eb caktuar. Ai shkuan pak dhe shkruan mir\u00eb.<\/p>\n

Duhet t\u00eb dihen k\u00ebto detaje, t\u00eb cilat i ka fshehur autori i tyre apo q\u00eb na i thot\u00eb me pak fjal\u00eb personazhi n\u00eb k\u00ebt\u00eb vep\u00ebr. Pra, personazhi nuk na i thot\u00eb pik\u00ebrisht ato detaje, t\u00eb cilat nuk ka qen\u00eb e nevojshme t\u00eb na i thot\u00eb autori i tregimeve me pak fjal\u00eb e q\u00eb n\u00ebnkuptohen. Po e marrim nj\u00eb th\u00ebnie nga kroati Milivoj Solari<\/strong> dhe teoria e tij e let\u00ebrsis\u00eb, kur thot\u00eb se \u201ccil\u00ebsia e p\u00ebrgjithshme e proz\u00ebs \u00ebsht\u00eb form\u00ebsimi i bot\u00ebs artistike me mjete q\u00eb vet\u00eb p\u00ebr vete nuk jan\u00eb kurrfar\u00eb karakteristikash q\u00eb i p\u00ebrkasin vet\u00ebm form\u00ebs s\u00eb shprehjes artistike p\u00ebrkat\u00ebsisht letrare: arti n\u00eb proz\u00ebn artistike parimisht mund te realizohet n\u00eb m\u00ebnyr\u00eb q\u00eb p\u00ebr asgj\u00eb t\u00eb mos ndryshoj\u00eb nga proza…<\/em> (e heqin nj\u00eb konstukt shtes\u00eb apo origjinal, sa p\u00ebr ta lidh\u00eb mendimin ton\u00eb): e t\u00eb folurit t\u00eb r\u00ebndomt\u00eb, nga proza e gjuh\u00ebs filozofike ose nga proza e studimeve shkencore.\u201c<\/em> [4]<\/a><\/p>\n

Te ne, fjala \u00ebsht\u00eb p\u00ebr tregimet e shkurt\u00ebra t\u00eb proz\u00ebs s\u00eb librit \u201cHeroi i rrug\u00ebs\u201d<\/em>. \u201eP\u00ebrkundrejt poezis\u00eb, proza p\u00ebrdor fjal\u00ebt kryesisht si shenja<\/strong>, sa n\u00eb nj\u00eb m\u00ebnyr\u00eb \u201efotografon\u201c bot\u00ebn e vet t\u00eb posa\u00e7me\u2026 P\u00ebr shkak t\u00eb k\u00ebsaj cil\u00ebsie, p\u00ebr t\u00eb kuptuar strukstur\u00ebn e vepr\u00ebs letrare n\u00eb proze, r\u00ebnd\u00ebsi mjaft t\u00eb madhe ka zgjidhja e tem\u00ebs<\/strong>, mandej l\u00ebnda<\/strong> derisa edhe burimet<\/strong> prej ku shkrimtari thith\u00eb l\u00ebnd\u00eb<\/strong> p\u00ebr vep\u00ebn letrare<\/em>\u201d.[5]<\/a><\/p>\n

N\u00eb fakt, mund t\u00eb shtohet se autori na tregon edhe metaforikisht prej ku e thith at\u00eb material letrar e artisikisht, apo nga vet\u00eb jeta e p\u00ebrgjithme, dhe njeriu duhet t\u00eb mendohet p\u00ebr ta pasur t\u00eb qart\u00eb k\u00ebt\u00eb pun\u00eb krijuese t\u00eb k\u00ebtij autori. \u201eRrethi i gjer\u00eb i temave t\u00eb mundshme t\u00eb proz\u00ebs s\u00eb artistike k\u00ebrkon q\u00eb t\u00eb kihet kujdes p\u00ebr interesimin e lexuesve, e sidomos q\u00eb u \u00ebsht\u00eb dedikuar vepra\u201d<\/em>, n\u00eb k\u00ebt\u00eb rast vepra e prozave t\u00eb shkurt\u00ebra t\u00eb shkrimtarit, poetit, publicistit, kritikut e shkenc\u00ebtarit Prend Ndue Buzhala<\/strong>. \u201cKurse vet zgjedhja e tem\u00ebs, l\u00ebnd\u00ebs dhe burimet eventuale, nga ana e vet, me t\u00eb madhe e kusht\u00ebzojn\u00eb sajimin e saj.\u201c<\/em> Nj\u00eb nd\u00ebr parimet e klasifikimit t\u00eb vepr\u00ebs letrare, \u201emund t\u00eb mb\u00ebshtetet mbi themelet e formave t\u00eb vogla… letrare\u201c<\/em>, [6]<\/strong><\/em><\/a> e n\u00eb rastin ton\u00eb vie n\u00eb format e proz\u00ebs s\u00eb vog\u00ebl letrare, t\u00eb cilat ndonj\u00ebhere jan\u00eb t\u00eb zhveshura nga rr\u00ebfimi i zgjatur i tregimeve, n\u00eb ndonj\u00eb form\u00eb mjaft t\u00eb vog\u00ebl e artistiksht t\u00eb patjet\u00ebrsueshme, dhe k\u00ebto na e b\u00ebjn\u00eb vepr\u00ebn artistikisht t\u00eb q\u00eblluar, t\u00eb thukt\u00eb e t\u00eb shkurt\u00ebr, q\u00eb do ta lexojm\u00eb edhe rrug\u00ebs duke udh\u00ebtuar n\u00eb autobus, n\u00eb tren, n\u00eb aeroplan etj. por do t\u00eb na mbetet p\u00ebrgjithmon\u00eb n\u00eb mendje, pa na ngarkuar m\u00eb tep\u00ebr se sa duhet.<\/p>\n

Sa e hap librin e k\u00ebtyre tregimeve, t\u00eb bie n\u00eb sy \u201cHeroi i rrug\u00ebs dhe vajza me fjongo t\u00eb zez\u00eb\u201d<\/em>, sepse \u201cheroin e rrug\u00ebs\u201d<\/em> e mban si titull v\u00ebllimi.<\/p>\n

Ky \u00ebsht\u00eb nj\u00eb titull mjaft simbolik. \u201cHeroi i rrug\u00ebs\u201d<\/em> dhe \u201cvajza me fjongo t\u00eb zez\u00eb\u201d<\/em> sikur b\u00ebjn\u00eb dy skaje t\u00eb vet\u00ebdij\u00ebsimit ton\u00eb, nj\u00ebkoh\u00ebsisht jan\u00eb nj\u00eb pjes\u00eb e k\u00ebsaj vepre.<\/p>\n

Cikli fillon me \u201cK\u00ebnaq\u00ebsin\u00eb e heshtjes\u201d<\/em>, ku takohen dy miq \u201dt\u00eb nj\u00eb hileje\u201d<\/em>, pra edhe t\u00eb librit, t\u00eb cil\u00ebt, kur ndahen nj\u00ebri e faleminderon tjetrin, sepse \u201cishte k\u00ebnaq\u00ebsi q\u00eb hesht\u00ebm s\u00eb bashku\u201d<\/em>, dhe n\u00eb t\u00eb v\u00ebrtet\u00eb\u00a0 \u00ebsht\u00eb ai q\u00eb t\u00eb shoq\u00ebron deri n\u00eb fund t\u00eb k\u00ebsaj vepre \u201cme pak fjal\u00eb\u201d<\/em>. Le ta lexojm\u00eb si nj\u00eb prolog sh\u00ebnjues narrativ q\u00eb sugjeron poetik\u00ebn e k\u00ebtyre tregimeve.<\/p>\n

Kjo \u201cheshtje\u201d<\/em> nuk \u00ebsht\u00eb heshtje. \u00cbsht\u00eb z\u00eb me shkrim dhe me pak fjal\u00eb, t\u00eb cilat thuhen me ato q\u00eb nuk mund t\u00eb hesht\u00ebsh.<\/p>\n

\u201eGjat\u00ebsia ose shkurtesa e tekstit n\u00eb proz\u00eb, \u2026 kurrsesi nuk \u00ebsht\u00eb ndonj\u00eb cil\u00ebsi e par\u00ebnd\u00ebsishme q\u00eb mund t`i referohet form\u00ebs s\u00eb jashtme\u201c<\/em> [7]<\/a>\u2013na thot\u00eb Milivoj Solari<\/strong>. Disa prej tregimeve n\u00eb k\u00ebt\u00eb lib\u00ebr nuk do t\u2019u referohemi. \u00cbsht\u00eb me mjaft r\u00ebnd\u00ebsi t\u00eb thuhet k\u00ebtu se \u201cshkurt\u00ebsia k\u00ebrkon dend\u00ebsi t\u00eb shprehjes, m\u00ebnyr\u00eb t\u00eb posa\u00e7me t\u00eb lidhjes s\u00eb ngusht\u00eb t\u00eb motiveve, p\u00ebrq\u00ebndrim t\u00eb jasht\u00ebzakonsh\u00ebm n\u00eb detajet, q\u00eb mandej k\u00ebrkon zgjedhje t\u00eb ve\u00e7ant\u00eb t\u00eb tem\u00ebs\u201d<\/em>.[8]<\/a> Tregimet e k\u00ebtushme i kan\u00eb gj\u00ebrat e fshehura, por edhe t\u00eb th\u00ebna ndonj\u00ebher\u00eb me dend\u00ebsi t\u00eb shprehjes. Shkurtesa e tekstit n\u00eb k\u00ebt\u00eb proz\u00eb nuk \u00ebsht\u00eb e par\u00ebnd\u00ebsishme dhe tregon lidhje t\u00eb ngusht\u00eb t\u00eb motiveve. Para s\u00eb gjithash, ajo tregon nj\u00eb p\u00ebrqendrim t\u00eb jasht\u00ebzakonsh\u00ebm me k\u00ebto motive.<\/p>\n

Tregimet \u201cMrekullia e shikimit\u201d, <\/em>\u201cZyra e regjistrimit t\u00eb sht\u00ebpive<\/em>\u201d, \u201cRr\u00ebfimi p\u00ebr njeriun q\u00eb nuk ekzistonte si qenie<\/em>\u201d dhe \u201cE bukura ra p\u00ebr tok\u00eb e u l\u00ebndua<\/em>\u201d lexohen me mjaft interes. Tregimi p\u00ebr \u201cHeroin e rrug\u00ebs\u201d<\/em> vie pastaj, sepse luft\u00ebtari kishte r\u00ebn\u00eb n\u00eb luft\u00eb, derisa gjith\u00eb jet\u00ebn e \u00ebnd\u00ebrronte si do t\u00eb sh\u00ebrbente p\u00ebr nd\u00ebrrimin e emrit t\u00eb rrug\u00ebs me ermin e vet (n\u00eb fakt, me emrin e vet p\u00ebr ta ndryshuar realitetin e dhun\u00ebs shtyp\u00ebse pushtuese), edhe pse i kishin folur bashk\u00ebluft\u00ebtar\u00ebt se mund t\u00eb b\u00ebhej \u201chero rrugaq\u00ebsh\u201d<\/em> apo \u201cbandit\u00ebsh e maskarenj\u00ebve\u201d<\/em>, por djaloshit i kishte mbetur n\u00eb kujtes\u00eb th\u00ebnia e tij se do t\u00eb b\u00ebhej hero i rrug\u00ebs s\u00eb vajz\u00ebs \u201cme fjongo t\u00eb zez\u00eb\u201d<\/em> (ato q\u00eb i mbajn\u00eb flok\u00ebt me nj\u00eb fjongo t\u00eb zez\u00eb, mbajn\u00eb zi p\u00ebr dikend); sepse n\u00ebp\u00ebr at\u00eb udh\u00eb do t\u00eb parakalonin t\u00eb dashuruarit dhe pik\u00ebrisht andej do t\u00eb parakalonte edhe kjo vajz\u00eb, q\u00eb ishte e bukur, por ai nuk e pati fat ta ket\u00eb. (Heroi i rrug\u00ebs dhe vajza me fjongo t\u00eb zez\u00eb, faqet 15-16<\/em>). Tregimi merr tone t\u00eb heroizmit t\u00eb personazhit dhe t\u00eb nj\u00eb balade dashurie e q\u00eb g\u00ebrshetohen natyrsh\u00ebm n\u00eb struktur\u00ebn tekstore-narrative.<\/p>\n

Ne nuk e dim\u00eb deri n\u00eb fund t\u00eb vepr\u00ebs pse ajo vajz\u00eb i mbante flok\u00ebt e saja me fjongo t\u00eb zez\u00eb. E kund\u00ebrta e k\u00ebsaj do t\u00eb ishte fjongo e bardh\u00eb. Njeriu q\u00eb bie d\u00ebshmor dhe vajza me fjongo t\u00eb zez\u00eb, e cila parakalonte andej krijojn\u00eb nj\u00eb antitez\u00eb. At\u00eb ngjyr\u00eb e kan\u00eb edhe n\u00eb rroba t\u00eb krishter\u00ebt ortodoks\u00eb, prej perandoris\u00eb s\u00eb njohur fillimisht ilire e Bizantine. Simbolika e k\u00ebsaj antiteze do t\u00eb na shoq\u00ebrojn\u00eb deri n\u00eb fund t\u00eb vepr\u00ebs.<\/p>\n

Pastaj na vjen tregimi \u201cNdodhit\u00eb e \u00e7uditshme t\u00eb nj\u00eb K\u00ebshilltari shpirt\u00ebror\u201d<\/em> si \u201cekspret i Fjal\u00ebs\u201d<\/em>, q\u00eb do t`ia forconte besimin personazhit e lexuesit, sepse l\u00ebvizte nga fjal\u00ebt e per\u00ebndis\u00eb deri te fjal\u00ebt-am\u00eb e fjal\u00ebt-predha, p\u00ebr t\u00eb konfirmuar edhe nj\u00ebher\u00eb fjal\u00ebt e shenj\u00ebtores N\u00ebna Terez\u00eb<\/strong>, e cila ishte kund\u00ebr luft\u00ebs shkat\u00ebrruese<\/strong>, dhe \u201ce p\u00ebrs\u00ebrit fjal\u00ebn Dashuri, n\u00ebse d\u00ebshiron t\u00eb shp\u00ebtosh\u201d<\/em>. Pik\u00ebrisht ne ndodhemi n\u00eb gjendje t\u00eb k\u00ebtill\u00eb, t\u00eb humbin t\u00ebr\u00ebsisht. E k\u00ebt\u00eb paradigm\u00eb, k\u00ebt\u00eb fatkeq\u00ebsi e tragjedi shkat\u00ebrrimtare, apo justifikimin e smir\u00ebzinj\u00ebve an\u00eb e p\u00ebrrreth do ta ndalte dashuria, sepse masa e pavet\u00ebdijshme e p\u00ebrs\u00ebritte \u201ck\u00ebshtu e ka shkruar Per\u00ebndia\u201d<\/em>. Dashuria \u00ebsht\u00eb fjal\u00eb e Zotit<\/strong>. Dashuria \u00ebsht\u00eb energji pozitive, e cila i drejton njer\u00ebzit e vullnetit t\u00eb mir\u00eb drejt\u00eb nj\u00eb caku, q\u00eb idetifikohet me Zotin.<\/p>\n

Kjo \u00ebsht\u00eb receta e K\u00ebshilltarit Shpirt\u00ebror, q\u00eb e l\u00eb para nesh. Energjia m\u00eb e madhe e Universit \u00ebsht\u00eb e mbushur me plot dashuri jet\u00ebdh\u00ebn\u00ebse, q\u00eb njer\u00ebzit e vet\u00ebdijsh\u00ebm din\u00eb q\u00eb ta p\u00ebrfillin k\u00ebt\u00eb dashuri t\u00eb v\u00ebrtet\u00eb t\u00eb Universit e jo vet\u00ebm dashuris\u00eb s\u00eb polit tjet\u00ebr, sepse dashuria \u00ebsht\u00eb m\u00eb s\u00eb pari dashuri polivalente e jet\u00ebdh\u00ebn\u00ebse, nd\u00ebrsa ata t\u00eb cil\u00ebt nuk e kan\u00eb k\u00ebt\u00eb vet\u00ebdije e shp\u00ebrfilin dashurin\u00eb, e denatyrojn\u00eb apo e kthejn\u00eb n\u00eb an\u00eb t\u00eb kund\u00ebrt, p\u00ebrmbytazi, dhe nuk e kan\u00eb k\u00ebt\u00eb t\u00eb dh\u00ebn\u00eb kardinale t\u00eb jet\u00ebs e filozofike. At\u00ebher\u00eb, t\u00eb mir\u00ebn e jet\u00ebs e merr e keqja, e liga, e prapta, smir\u00ebzia dhe vet\u00eb djalli. Dashuria \u00ebsht\u00eb hyjnore, nd\u00ebrsa antidashuria \u00ebsht\u00eb djall\u00ebzore.<\/p>\n

\u201c\u00cbnd\u00ebrrat prej guri\u201d<\/em> na mbetet n\u00eb kujtes\u00eb nga qenia e panjohur, i cili vjen prej epok\u00ebs s\u00eb gurit dhe e kishte form\u00ebn e Profetit t\u00eb Gurit. N\u00eb fund edhe ai nguroset n\u00eb \u201c\u00cbnd\u00ebrren…prej Guri\u201d<\/em>. Nga \u201cEpoka e Gurit\u201d<\/em>, epoka m\u00eb lasht\u00eb e njer\u00ebzimit, ai e la profetin \u201cpa Fytyr\u00eb e Pa Form\u00eb\u201d<\/em> dhe erdhi n\u00eb koh\u00ebn moderne \u201cta bluaj Bot\u00ebn\u201d<\/em> e \u201cta vras Njeriun\u201d<\/em>, dhe \u201cta shpik\u00eb Artin Modern\u201d<\/em>, por jeta e tij mbeti \u00ebnd\u00ebrr e trisht\u00eb, madje edhe p\u00ebrfundoi si e till\u00eb. \u00cbsht\u00eb ngjajsh\u00ebria analogjike me nj\u00eb fije t\u00eb njer\u00ebzve tan\u00eb, t\u00eb cil\u00ebt rropaten prej antik\u00ebs e duan t\u00eb ngat\u00ebrrojn\u00eb \u00ebndrr\u00ebn e realitetin. Madje, i riu, pa p\u00ebrvoj\u00eb t\u00eb madhe deklaron se do t\u2019i mjaftojn\u00eb \u201ctri dit\u00eb\u201d<\/em> p\u00ebr \u201cta vrar\u00eb pushtetin\u201d<\/em>.<\/p>\n

Kjo ndjenj\u00eb m\u00eb e thell\u00eb e p\u00ebshtirosjes, e cila sikur \u201cta kall kup\u00ebn\u201d<\/em>, na vjen prore n\u00eb tregimin \u201cGjarp\u00ebri n\u00eb xhep\u201d<\/em>, ku nj\u00eb fatmjer\u00eb<\/strong>, i cili \u201cra papritmas n\u00eb nj\u00eb situat\u00eb t\u00eb palakmueshme\u201d<\/em> dhe u b\u00eb papritmas \u201cDikushi\u201d<\/em>, t\u00eb cilit edhe monedhat i qen\u00eb b\u00ebr\u00eb si \u201ckoka gjarp\u00ebrinjsh\u201d<\/em> dhe kafshimet e \u201cgjarp\u00ebrit-para, kishte ndodhur para shum\u00eb koh\u00ebsh\u201d<\/em>, dhe ky far\u00eb tipi na ishte b\u00ebr\u00eb pronar gjarp\u00ebrinjsh.<\/p>\n

Nuk do mend p\u00ebr t\u00eb shpjeguar pronar\u00ebt e sot\u00ebm, q\u00eb dje ishin kurkushi dhe tani jan\u00eb b\u00ebr\u00eb dikushi, duke u siguruar nga gjarpinjt\u00eb t\u00eb mbledhur n\u00ebp\u00ebr rrug\u00eb, q\u00eb t\u2019i fus\u00eb n\u00eb xhepat e tij. Pa marr\u00eb parasysh se \u00e7ka u tha p\u00ebr gjarp\u00ebrinjt\u00eb, k\u00ebtu fjala \u00ebsht\u00eb p\u00ebr askushin e luft\u00ebs, i cili sot na \u00ebsht\u00eb b\u00ebr\u00eb shum\u00eb i madh, pra me \u201cgjarp\u00ebrinjt\u00eb n\u00eb xhep\u201d<\/em>. Fati i zi p\u00ebr shqiptar\u00ebt<\/strong>. Ai, papriturazi e kishte themeluar edhe firm\u00ebn m\u00eb t\u00eb madhe. Gjarp\u00ebrinjt\u00eb nuk ishin simbole t\u00eb pellazgo-ilir\u00ebve, por ishin t\u00eb armiqve tan\u00eb shekullor\u00eb, t\u00eb ashtuquajturve konglomerat\u00eb \u201cgrek\u00eb\u201d, \u201cserb\u00eb\u201d, \u201crus\u00eb\u201d, etj.<\/p>\n

Kund\u00ebr k\u00ebtij tregimi, n\u00eb vijim \u00ebsht\u00eb tregimi \u201cDora e t\u00eb operuarit q\u00ebndronte tek shamia\u201d<\/em>, sepse n\u00eb radh\u00eb t\u00eb par\u00eb kirurgu i huaj e kishte par\u00eb n\u00eb zemr\u00ebn e tij kosovaren, e cila m\u00eb fund i q\u00ebndronte mbi kok\u00eb, q\u00eb \u00ebsht\u00eb pozitiv dhe shp\u00ebrthyes. Sikur thot\u00eb: njeriu nuk duhet t\u00eb humb\u00eb shpresat e tij; edhe n\u00ebp\u00ebr err\u00ebsir\u00eb t\u00eb madhe shpreson se dikur do t\u00eb vij\u00eb drita; se nj\u00eb \u00e7ast deomos do t\u00eb jet\u00eb shp\u00ebtimtar; prap\u00eb do t\u00eb shohim e do t\u00eb gjejm\u00eb udh\u00ebn; megjithat\u00eb, do t\u00eb na mbaj\u00eb shpresa gjall\u00eb; pa shpres\u00eb, nuk ka jet\u00eb t\u00eb mir\u00eb; se ky luft\u00ebtar q\u00eb e ka mbajtur nj\u00eb shami t\u00eb zemr\u00ebs portretin e nj\u00eb vajze dhe flamurin kuq e zi, p\u00ebrderisa \u00ebsht\u00eb i plagosur, nuk u hap rrug\u00eb mendimeve negative. Fuqin\u00eb p\u00ebr ta p\u00ebrballuar gjendjen e r\u00ebnd\u00eb midis jet\u00ebs e vdekjes, luft\u00ebtari e gjen te g\u00ebrshetimi aq dometh\u00ebn\u00ebs i atdhedashuris\u00eb dhe dashuris\u00eb e q\u00eb e fuqizojn\u00eb shpirt\u00ebrisht at\u00eb. Vajza kishte udh\u00ebtuar nga Kosova p\u00ebr t\u00eb shkuar n\u00eb bot\u00ebn e jashtme, pran\u00eb luft\u00ebtarit, p\u00ebr t\u2019i q\u00ebndruar pran\u00eb; dashuria kap\u00ebrcen t\u00eb gjitha pengesat, si n\u00eb[ legjenda… Liria \u00ebsht\u00eb e p\u00ebrjetshme; \u201cdashuria dhe flamuri jan\u00eb t\u00eb p\u00ebrjetsh\u00ebm\u201d<\/em>; ky \u00ebsht\u00eb litari q\u00eb i mban t\u00eb lidhur ata t\u00eb cil\u00ebt shpresojn\u00eb se megjithate do ta g\u00ebzojn\u00eb Lirin\u00eb; q\u00eb dashuria dhe ata q\u00eb duan nj\u00eb gj\u00eb t\u00eb mir\u00eb n\u00eb jet\u00eb dhe flamurin q\u00eb i identifikon si etni, jan\u00eb ato q\u00eb m\u00eb s\u00eb pari i bart\u00eb t\u00ebr\u00eb jet\u00ebs, si shenj\u00eb e dallimit nga t\u00eb tjer\u00ebt; pra, k\u00ebto jan\u00eb t\u00eb p\u00ebrjetshme.<\/p>\n

Prend Ndue Buzhala<\/strong> na i dallon k\u00ebto shenja t\u00eb mir\u00ebfillta t\u00eb jet\u00ebs son\u00eb si busoll\u00eb e vetme e rrug\u00ebtimit kudo q\u00eb dalim jasht\u00eb territorit ton\u00eb, n\u00eb k\u00ebt\u00eb rast luft\u00ebtari operohet nga nj\u00eb mjek i huaj, pra edhe n\u00ebp\u00ebr luft\u00eb ruhen fuqimisht simbolet komb\u00ebtare.<\/p>\n

Nuk do t\u00eb ndalemi m\u00eb shum\u00eb te \u201cMbreti i syrit t\u00eb Hyjit\u201d<\/em> ku secili mund t\u00eb kuptoj\u00eb se Dielli, Mbreti i Hyjit, shikon gjith\u00e7ka e nuk k\u00ebrkon asgj\u00eb, madje nganj\u00ebher\u00eb \u00ebsht\u00eb i pik\u00eblluar kur i sheh njer\u00ebzit e pik\u00eblluar, si personazhi, dhe kur \u00ebsht\u00eb ai i g\u00ebzuar duket edhe Dielli i g\u00ebzuar. Dielli \u00ebsht\u00eb v\u00ebrtet\u00eb Mbret i Hyjit n\u00eb k\u00ebt\u00eb Univers dhe na krijohet nj\u00eb analogji simbolike reflektive. Personazhi, njeriu e sheh diellin si\u00e7 \u00ebsht\u00eb vet\u00eb. Kjo ka t\u00eb b\u00ebj\u00eb thjesht me pasqyr\u00ebn magjike, nj\u00eb pasqyr\u00eb e jet\u00ebs, shum\u00eb e madhe, t\u00eb cil\u00ebn e kam th\u00ebn\u00eb metaforikisht n\u00eb poezin\u00eb time \u201cPasqyra mitike\u201d<\/em>[9]<\/a>. Ne, kemi ardhur n\u00eb k\u00ebt\u00eb jet\u00eb, sepse Zoti na ka krijuar me kualitetet e mira dhe t\u00eb liga. Ai na l\u00eb n\u00eb sprov\u00eb, gjat\u00eb gjith\u00eb jet\u00ebs. N\u00eb qoft\u00eb se ecim kah e mira, e kemi dh\u00ebn\u00eb provimin. N\u00eb qoft\u00eb se ecim ka e keqja, kemi dalur jasht\u00eb dor\u00ebs s\u00eb Zotit dhe na gllab\u00ebroi djalli.<\/p>\n

Por, nuk do t\u00eb ndalemi aq shum\u00eb n\u00eb tregimin \u201cN\u00eb mes t\u00eb jetes\u201d<\/em>, n\u00eb t\u00eb cil\u00ebn del personazhi n\u00eb nj\u00eb luft\u00eb p\u00ebr jet\u00eb a vdekje, i cili i vendos dy ushtrit\u00eb brenda vetes, t\u00eb cilat nuk shihen askund n\u00eb dyluftim, por personazhi e p\u00ebrqafon nj\u00ebr\u00ebn an\u00eb dhe fiton, q\u00eb do me th\u00ebn\u00eb se njeriu ndodhet n\u00eb dyluftim n\u00eb mes t\u00eb mir\u00ebs e t\u00eb s\u00eb keqes, si Kat\u00ebr Kalor\u00ebsit e Apokalipsit; dhe po ndalemi n\u00eb \u201cMaestro i p\u00ebshp\u00ebrim\u00ebs\u201d<\/em> apo \u201cMonolog n\u00eb dy pamje i nj\u00eb spiuni\u201d<\/em>, n\u00eb t\u00eb cilin flitet p\u00ebr nj\u00eb spiun, Inspektor i UDB-s\u00eb (Unutra\u0161nje Dr\u017eavne Bezbednosti), e cila ndahet \u201cme polites\u00eb e me polic\u00ebn policeske\u201d<\/em>, d.m.th. policor, q\u00eb e ndan\u00eb dosjen me politik\u00eb (me polites\u00eb) n\u00eb dy pjes\u00eb: para luft\u00ebs, gjat\u00eb koh\u00ebs s\u00eb tij si Inspektor i UDB-s\u00eb; pas luft\u00ebs, kur fillon rolin e gazetarit, intelektualit, dhe t\u00eb vet si maestro i p\u00ebshp\u00ebrim\u00ebs, mu si\u00e7 e quante regjisori, kur luante \u201cpas perdeve\u201d<\/em> dhe di t\u00eb p\u00ebshp\u00ebris\u00eb e t\u00eb p\u00ebshp\u00ebris\u00eb deri kur arrin q\u00eb ti \u201cedukoj\u00eb\u201d<\/em> brezat t`ia falin gabimet me \u201clibra t\u00eb shenjt\u00eb\u201d<\/em> n\u00ebp\u00ebr foltoret deri n\u00eb parlament, pasi \u201carti t\u00eb shp\u00ebton\u201d<\/em>. Prandaj shkon edhe te varri i \u201cNjeriut q\u00eb fal armiqt\u00eb\u201d<\/em> dhe t`ia fal atij q\u00eb e kishte vorrosur si qen dhe pik\u00ebrisht vet\u00ebm, njeriut q\u00eb thoshte \u201cFali o Zot, se nuk dijn\u00eb \u00e7ka b\u00ebjn\u00eb\u201d<\/em>.<\/p>\n

Kontradikta e kontradiktave na del k\u00ebtu, sheshazi, si t\u00eb path\u00ebn\u00eb kaq hapur e kaq duksh\u00ebm n\u00eb proz\u00ebn ton\u00eb, si\u00e7 ndodh n\u00eb jet\u00ebn ton\u00eb t\u00eb p\u00ebrkohshme, si pav\u00ebrejtur, p\u00ebr t\u00eb mos e besuar t\u00eb v\u00ebrtet\u00ebn, por \u00ebsht\u00eb fakt i gjall\u00eb \u201ci transfomimit\u201d t\u00eb jet\u00ebs son\u00eb n\u00eb p\u00ebrgjith\u00ebsi dhe nj\u00eb e v\u00ebrtet\u00eb artistike. Njer\u00ebzit e ligj fshihen pas artit, aty ku nuk e mendon njeriu, dhe ai nuk \u00ebsht\u00eb art i v\u00ebrtet\u00eb, t\u00eb cilin nj\u00eb pjes\u00eb e madhe e popullat\u00ebs nuk e njeh dhe nuk ka koh\u00eb t\u00eb preokupohet me ndjenja e shije t\u00eb artit, aq m\u00eb tep\u00ebr n\u00eb gjendjen e popullat\u00ebs son\u00eb t\u00eb lindur e t\u00eb rryer me pun\u00eb fizike apo me ato pun\u00eb q\u00eb sjellin para, e jo m\u00eb tep\u00ebr; n\u00eb em\u00ebr t\u00eb \u201cartit\u201d<\/em> fshihet antiarti, njer\u00ebzit e rryer t\u00eb sistemit q\u00eb e kemi ditur se \u201ce rr\u00ebzuam\u201d<\/em>, por prap\u00eb i solli vetveten n\u00eb sken\u00eb; aty fshihen edhe m\u00eb t\u00eb rrezikshmit, pra armiqt\u00eb tan\u00eb komb\u00ebtar\u00eb, kund\u00ebrshtar\u00ebt m\u00eb t\u00eb sert\u00eb t\u00eb artit t\u00eb shenjt\u00eb, polic\u00ebt m\u00eb me renom\u00e9 t\u00eb s\u00eb kaluar\u00ebs, t\u00eb cil\u00ebt fillojn\u00eb pun\u00eb n\u00eb gazetari, si\u00e7 e b\u00ebjn\u00eb sot disa gazetar\u00eb t\u00eb stacioneve televizive k\u00ebt\u00eb pun\u00eb, e p\u00ebrfundojn\u00eb n\u00eb p\u00ebshp\u00ebrit\u00ebs t\u00eb magjis\u00eb e rehabilizimit t\u00eb persekutuesve m\u00eb t\u00eb rrebt\u00eb t\u00eb s\u00eb kaluar\u00ebs; kriminel\u00ebt m\u00eb t\u00eb m\u00ebdhenj, etj. dhe askush nuk mendon se aty \u00ebsht\u00eb e v\u00ebrteta lakuriqe. Kriminel\u00ebt tan\u00eb m\u00eb t\u00eb m\u00ebdhenj aty gjenden ku nuk ua pret mendja njer\u00ebzve t\u00eb thjesht\u00eb, n\u00ebp\u00ebr faltore deri n\u00eb parlament. Mua automatikisht m\u00eb kujtohen qindra UDB-ist\u00eb, me t\u00eb cil\u00ebt jam grindur qindra her\u00eb, prej agjensive t\u00eb udh\u00ebtimit e deri n\u00eb udh\u00ebheq\u00ebs t\u00eb firmave; prej fetar\u00ebve e deri n\u00eb gazeta, redaksi e parlament. K\u00ebta, si fara e hithit jan\u00eb dhe si fara e atyre luleve q\u00eb i p\u00ebrshtillen di\u00e7kafit deri n\u00eb lart\u00ebsi, apo trapit t\u00eb dreqit q\u00eb t\u00eb bie papritur n\u00eb \u00e7do drejtim. Njer\u00ebzve t\u00eb sinqert\u00eb, njer\u00ebzve t\u00eb v\u00ebrtet\u00eb, njer\u00ebzve t\u00eb thjesht\u00eb nuk u l\u00ebn\u00eb askund vend t\u00eb lir\u00eb.<\/p>\n

K\u00ebto, n\u00eb m\u00ebnyr\u00eb tipike dhe n\u00eb m\u00ebnyr\u00eb artistike, na i thot\u00eb Prend Ndue Buzhala<\/strong> dhe arti i tij na e plas edhe nj\u00ebher\u00eb zemr\u00ebn. T\u00eb b\u00ebhemi edhe ne \u201chero t\u00eb rrug\u00ebve\u201d<\/em> apo t\u00eb jemi si ai q\u00eb i \u201cmungon ul\u00ebsja kurdoher\u00eb\u201d<\/em>, madje n\u00eb \u00e7do vend, dhe mbetej n\u00eb k\u00ebmb\u00eb duke ia l\u00ebshuar vendin t\u00eb tjer\u00ebve, n\u00ebp\u00ebr goditjet e tjer\u00ebve me brryla, t\u00eb atyre q\u00eb vinin p\u00ebrpara me furtun\u00eb, dhe p\u00ebrfundonte n\u00eb rrug\u00eb. Ai ishte si heroi i rrug\u00ebs, njeriu q\u00eb duhet t\u00eb vdes\u00eb, sepse si i mir\u00eb nuk mund t\u00eb jetoj\u00eb (\u201cUl\u00ebsja q\u00eb mungon\u201d<\/em>), dhe \u00ebsht\u00eb i p\u00ebrjashtuar nga jeta. Kjo \u00ebsht\u00eb kontradikta e dyt\u00eb. T\u00eb jesh\u00eb njeri i v\u00ebrtet\u00eb, me edukat\u00eb t\u00eb mir\u00eb, n\u00eb bot\u00ebn ku mbret\u00ebrojn\u00eb t\u00eb ligat, \u00ebsht\u00eb v\u00ebshtir\u00eb, \u00ebsht\u00eb e pamundur. N\u00eb rrug\u00eb \u00ebsht\u00eb vendi ku kompenzohen t\u00eb gjitha ato q\u00eb i ka mohuar apo i ka injoruar nj\u00eb koh\u00eb; mund t\u00eb krijohet identiteti i ri, me sa lejohet dhe n\u00ebse lejohet; n\u00eb rrug\u00eb jan\u00eb rrugaq\u00ebt, t\u00eb varf\u00ebrit, t\u00eb dob\u00ebtit, por edhe heronjt, n\u00ebse ka mund\u00ebsi p\u00ebr k\u00ebt\u00eb prov\u00eb t\u00eb jet\u00ebs; n\u00ebp\u00ebr rrug\u00eb mund t\u00eb shkohet apo niset n\u00eb \u00e7do drejtim; n\u00ebp\u00ebr rrug\u00eb ka gjith\u00e7ka, edhe njer\u00ebz t\u00eb mir\u00eb; edhe me ironi mund t\u00eb thuhet se rruga na nxjerr heronj e t\u00eb tjera. Kemi rrug\u00ebn e err\u00ebsir\u00ebs dhe rrug\u00ebn e drit\u00ebs, rrug\u00ebn e liris\u00eb dhe t\u00eb paliris\u00eb, t\u00eb cilat p\u00ebrplasen me nj\u00ebra-tjetr\u00ebn. \u00cbsht\u00eb kjo kontradikta m\u00eb e madhe e shekujve q\u00eb nuk pajtohet dhe nuk pushojn\u00eb asnj\u00ebher\u00eb t\u00eb p\u00ebrpasen. Jet\u00eb e rrejshme \u00ebsht\u00eb kjo jet\u00eb…<\/p>\n

Prandaj, nuk po flasim m\u00eb tutje p\u00ebr k\u00ebt\u00eb \u00e7\u00ebshtje, q\u00eb \u00ebsht\u00eb nj\u00eb tem\u00eb me vete, as nuk po flasim p\u00ebr \u201cAjo vraponte drejt p\u00ebshp\u00ebrim\u00ebs\u201d<\/em>, as gjat\u00eb p\u00ebr tregimin tjet\u00ebr \u201cO Zot, m\u00eb shp\u00ebrngul me gjith\u00eb sht\u00ebpin\u00eb time n\u00eb parajs\u00eb\u201d<\/em>, sepse personazhi nuk ka kujt t\u2019i besoj\u00eb m\u00eb tutje, \u201cas t\u00eb v\u00ebrtet\u00ebs s\u00eb armikut\u201d<\/em>, \u201cas t\u00eb v\u00ebrtet\u00ebs son\u00eb\u201d<\/em>, as \u201cportretit n\u00eb trast\u00eb\u201d<\/em>. Aty ku \u00ebsht\u00eb mbyllur nj\u00eb Profet nuk dep\u00ebrton drita. Profeti \u00ebsht\u00eb simbol i drit\u00ebs e shk\u00eblqimit.<\/p>\n

Do t\u00eb ndalemi n\u00eb nj\u00eb tregim t\u00eb fundit t\u00eb ciklit, \u201cGuva e padukshme\u201d<\/em>, n\u00eb t\u00eb cilin flitet p\u00ebr m\u00ebsuesin autodidakt, q\u00eb ua m\u00ebsonte shkrimin e leximin turmave analfabete; i m\u00ebsonte ata si b\u00ebhej Atdheu; q\u00eb populli i tij t\u00eb dij\u00eb si mund t\u00eb b\u00ebhej me dituri, e si mund t\u00eb b\u00ebhej m\u00eb s\u00eb miri Atdheu. At\u00eb popull t\u00eb vuajtur shekuj me radh\u00eb e kishin l\u00ebn\u00eb totalisht analfabet qindra grabit\u00ebs t\u00eb tokave t\u00eb tyre. Ai i m\u00ebson edhe gj\u00ebra t\u00eb tjera t\u00eb jet\u00ebs, deri te k\u00ebng\u00ebt kreshnike me lahut\u00eb apo t\u00eb luft\u00ebs s\u00eb Skenderbeut. Personazhi i k\u00ebtij tregimi po b\u00ebnte pova p\u00ebr ta nxjerr\u00eb t\u00eb v\u00ebrtet\u00ebn nga guva e padukshme, n\u00eb cil\u00ebn q\u00ebndronte gjasht\u00ebdhjet\u00eb vjet me radh\u00eb m\u00ebsues i d\u00ebnuar \u201csi armik i rreziksh\u00ebm\u201d<\/em>, duke shfryt\u00ebzuar turm\u00ebn e pangritur. P\u00ebrpiqej t\u00eb rikonstruktoj\u00eb rrug\u00ebn e tij jet\u00ebsore, sepse ishte vrar\u00eb nga socializmi n\u00eb Luft\u00ebn e Dyt\u00eb Bot\u00ebrore, pa pasur asnj\u00eb faj, madje pa e \u201cokupuar\u201d<\/em> asnj\u00eb njeri sht\u00ebpia e tij. E pse ishte \u201ci rreziksh\u00ebm\u201d<\/em>? Sepse p\u00ebrhapte \u201cide t\u00eb rrezikshme\u201d<\/em>, t\u00eb cilat nuk ishin t\u00eb rrezikshme; sepse m\u00ebsonte me nj\u00eb alfabet t\u00eb tyre, i cili mungonte shekuj me radh\u00eb, e ata e quanin si \u201calfabet i rreziksh\u00ebm\u201d<\/em>, q\u00eb u m\u00ebsonte \u201cmjeshtri t\u00eb rrezikshme\u201d<\/em>, prandaj turma e cila nuk dinte asgj\u00eb nga k\u00ebto konstrukte i besoi, sepse vinin n\u00eb em\u00ebr t\u00eb \u00e7lirimit dhe brohoriti. E arrestuan m\u00ebsuesin e tyre dhe e liruan \u201cInformatorin besnik t\u00eb Krajlit\u201d<\/em>, pra socializmi nuk e sjellte aspak \u00e7lirimin.<\/p>\n

Sapo mori rreze t\u00eb agimit liria shum\u00ebshekullore e shqiptar\u00ebve, erdhi socializmi jo i v\u00ebrtet\u00eb, q\u00eb vet\u00eb Krajlin e restauronte, i cili ngritej n\u00eb pushtet me viktimat e papritura t\u00eb m\u00ebsimit t\u00eb kahmotsh\u00ebm t\u00eb popullit t\u00eb shtypur, dhe ai popull po e hante sot vetveten, n\u00eb guv\u00ebn e padukshme t\u00eb \u00ebnd\u00ebrrave t\u00eb veta t\u00eb liris\u00eb.<\/p>\n

Po e p\u00ebrmendi edhe nj\u00ebher\u00eb nj\u00eb fjal\u00eb t\u00eb urt\u00eb t\u00eb popullit ton\u00eb: \u201c\u00ebsht\u00eb leht\u00eb t\u00eb fitosh, por \u00ebsht\u00eb zor me e mbajt\u00eb!\u201d<\/em> V\u00ebshtir\u00ebsia m\u00eb e madhe \u00ebsht\u00eb p\u00ebr t\u00eb mbrojtur at\u00eb e cila \u00ebsht\u00eb fituar, \u00ebsht\u00eb v\u00ebshtir\u00eb m\u00eb tep\u00ebr p\u00ebr t\u00eb send\u00ebrtuar lirin\u00eb, sepse paliria dhe ajo q\u00eb ka qen\u00eb djall\u00ebzore para luft\u00ebs, i gjen rrug\u00ebt prap\u00eb p\u00ebr ardhur n\u00eb pushtet.<\/p>\n

Luftat i b\u00ebjn\u00eb heronjt\u00eb, nd\u00ebrsa qeverisin ata q\u00eb nuk ia don\u00eb t\u00eb mir\u00ebn liris\u00eb…<\/p>\n

 <\/p>\n

 <\/p>\n

[1]<\/a> Agim Vinca, \u201eKurs i teorive letrare\u201c<\/strong>, Libri Shkollor\u201c, Prishtin\u00eb 2002, faqe 246.<\/p>\n

[2]<\/a> Agim Vinca, e nj\u00ebjta vep\u00ebr, n\u00eb pjes\u00ebn \u201cIntertekstualiteti dhe origjinaliteti\u201d<\/em>, faqe 242.<\/p>\n

[3]<\/a> Shikoni Mario Andreotti, \u201eDie Struktur der modernen Literatur\u201c<\/strong> 4 Auflage, Hauptverlag Bern-Stuttgart-Wien, 2009, faqe 159.<\/p>\n

[4]<\/a> Milivoj Solar, \u201cTeorija e let\u00ebrsis\u00eb\u201d<\/em><\/strong>, Rilindja, Prishtin\u00eb 1978, faqe 205.<\/p>\n

[5]<\/a> Po aty, faqe 206.<\/p>\n

[6]<\/a> Po aty, e nj\u00ebjta faqe.<\/p>\n

[7]<\/a> Po aty, faqe 211.<\/p>\n

[8]<\/a> Po aty, faqe 212.<\/p>\n

[9]<\/a> Brahim Avdyli, \u201eKur zgjohet Dodona\u201c<\/em>, Rilindja, Prishtin\u00eb 1992, faqe 29; apo n\u00eb vepr\u00ebn tjet\u00ebr, \u201eDer Torso meiner Seele\/Torzo e shpirtit tim<\/em>\u201c, Amanda Edit Verlag, 2015, faqe 35.<\/p>\n","protected":false},"excerpt":{"rendered":"

    Studim p\u00ebr librin me tregime t\u00eb shkurt\u00ebra \u201cHeroi i rrug\u00ebs\u201d t\u00eb Prend Buzhal\u00ebs, Botoi \u00a0SHB \u00abROZAFA\u00bb, Prishtin\u00eb 2017. Nga Brahim AVDYLI:   Prend Ndue Buzhala \u00ebsht\u00eb nj\u00eb autor i njohur n\u00eb disa fusha t\u00eb krijimatris\u00eb e t\u00eb shkrimit letrar: n\u00eb at\u00eb t\u00eb poezive, kritikave letrare, eseve, studimeve letrare e monografike, v\u00ebshtimeve t\u00eb ndryshme, […]<\/p>\n","protected":false},"author":1,"featured_media":17809,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[2,12],"tags":[1637,1638,772],"class_list":["post-17808","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktualitet","category-opinione","tag-brahim-avdyli","tag-heroi-i-rruges","tag-prend-buzhala"],"_links":{"self":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts\/17808","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=17808"}],"version-history":[{"count":2,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts\/17808\/revisions"}],"predecessor-version":[{"id":17847,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts\/17808\/revisions\/17847"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/media\/17809"}],"wp:attachment":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17808"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=17808"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=17808"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}