{"id":56939,"date":"2020-06-12T10:20:52","date_gmt":"2020-06-12T08:20:52","guid":{"rendered":"https:\/\/fjala.info\/?p=56939"},"modified":"2020-06-12T10:33:50","modified_gmt":"2020-06-12T08:33:50","slug":"sharl-bodleri","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/sharl-bodleri\/","title":{"rendered":"SHARL BODLERI"},"content":{"rendered":"

\"Xhelal Xhelal Zejneli<\/strong><\/p>\n

Sharl Bodleri<\/strong> (Charles Pierre Baudelaire, 1821-1867) \u00ebsht\u00eb poet, p\u00ebrkthyes, eseist dhe kritik letrar francez. \u00cbsht\u00eb nj\u00eb nga poet\u00ebt m\u00eb t\u00eb mir\u00eb francez t\u00eb shekullit XIX. Me vepr\u00ebn e vet ndikoi n\u00eb zhvillimin e simbolizmit<\/em><\/strong> n\u00eb poezi. Konsiderohet themelues i modernizmit<\/em><\/strong>. \u00cbsht\u00eb i pari poet i lirik\u00ebs moderne evropiane.<\/p>\n

Babai Fransua Bodler<\/strong> (Joseph-Fran\u00e7ois Baudelaire, 1759-1827) ishte n\u00ebpun\u00ebs i lart\u00eb shtet\u00ebror. Ishte edhe kustos n\u00eb muze. Ndonj\u00ebher\u00eb edhe pikturonte. N\u00ebna Karolin\u00eb Bodler<\/strong> (Caroline Archimbault-Dufays Baudelaire, Lond\u00ebr, 1793 \u2013 Honfleur, 1871) ishte 34 vjet m\u00eb e re se i shoqi. N\u00eb mosh\u00ebn 7-vje\u00e7are Bodleri mbeti pa baba. Nj\u00eb vit pas vdekjes s\u00eb burrit t\u00eb saj, n\u00ebna u rimartua me n\u00ebnkolonelin Zhak Opik<\/strong> (Jaques Aupick, 1789-1857), i cili pas disa viteve u b\u00eb ambasador n\u00eb gjykatat fisnike. Qen\u00eb t\u00eb martuar n\u00eb vitet 1828-1857. Me t\u2019u martuar me nj\u00eb burr\u00eb t\u00eb ri dhe t\u00ebrheq\u00ebs, Bodlerin 6-vje\u00e7ar n\u00ebna nuk e afronte gjithaq.<\/p>\n

N\u00eb Lion ndoqi shkoll\u00ebn ushtarake<\/em>. Njerku nuk d\u00ebshironte q\u00eb t\u2019i vinte n\u00eb sht\u00ebpi as gjat\u00eb festave. M\u00eb von\u00eb, kur i kujtohej kjo periudh\u00eb e jet\u00ebs s\u00eb tij, rr\u00ebqethej. N\u00eb f\u00ebmij\u00ebri \u00ebsht\u00eb ndjer\u00eb i vetmuar, ndaj at\u00eb e p\u00ebrshkruan si t\u00eb trishtueshme. N\u00eb mosh\u00ebn madhore ka manifestuar krenari dhe sjellje mistike, amorale dhe cinike. Ka biograf\u00eb q\u00eb thon\u00eb se Bodleri ishte sadist<\/em>, mizantrop<\/em>, adhurues i prostitutave<\/em>. Gjendjet d\u00eblire<\/em> i p\u00ebrgjigjeshin m\u00eb shum\u00eb. Jepet pas alkoolit, narkotik\u00ebve<\/em> dhe femrave me moral t\u00eb dyshimt\u00eb<\/em>. Infektohet nga sifilisi<\/em> dhe gonorea<\/em>. I ballafaquar me v\u00ebshtir\u00ebsi financiare, nj\u00eb koh\u00eb jeton tek i v\u00ebllai. Parat\u00eb q\u00eb ia d\u00ebrgonin e \u00ebma dhe njerku, i harxhonte sakaq. Shpenzonte p\u00ebr veshje por edhe p\u00ebr libra. Jetonte me borxhe, si Balzaku<\/strong> dikur. E \u00ebma vuante p\u00ebr sjelljet e pahijshme t\u00eb t\u00eb birit.<\/p>\n

Duke par\u00eb njerku se Bodleri i ka marr\u00eb rrug\u00ebt e k\u00ebqija, n\u00eb vitin 1841 e d\u00ebrgon n\u00eb Indi. U kthye n\u00eb sht\u00ebpi me mbresa t\u00eb shumta. P\u00ebrvojat nga India i shfryt\u00ebzoi edhe n\u00eb poezi. Sipas disa biograf\u00ebve, ai ka q\u00ebndruar n\u00eb Indi vet\u00ebm tre muaj, nd\u00ebrsa sipas t\u00eb tjer\u00ebve \u2013 nj\u00eb vit. Pas kthimit n\u00eb sht\u00ebpi iu p\u00ebrkushtua let\u00ebrsis\u00eb. Nj\u00eb p\u00ebrcaktim t\u00eb till\u00eb prind\u00ebrit nuk e desh\u00ebn. N\u00eb nj\u00eb rast e \u00ebma thot\u00eb: \u201cPo t\u2019i kishte d\u00ebgjuar k\u00ebshillat e njerkut, Bodleri do t\u00eb kishte b\u00ebr\u00eb nj\u00eb jet\u00eb t\u00eb lumtur. Emrin e tij s\u2019do ta kishte p\u00ebrmendur kush, por t\u00eb gjith\u00eb do t\u00eb kishim qen\u00eb shum\u00eb m\u00eb t\u00eb lumtur\u201d<\/em>. \u00a0<\/em><\/p>\n

N\u00eb fillim t\u00eb krijimtaris\u00eb letrare Bodleri g\u00ebzonte popullaritet n\u00eb mesin e artist\u00ebve moshatar\u00eb. Kur i mbushi 21 vjet, nga pasuria e t\u00eb atit trash\u00ebgoi mbi nj\u00ebqind mij\u00eb franga dhe kat\u00ebr parcela toke. Brenda pak viteve parat\u00eb e trash\u00ebguara i harxhoi. I ngelur pa para, zhytej n\u00eb borxhe, k\u00ebshtu q\u00eb familja detyrohej q\u00eb pasurin\u00eb ta vinte n\u00ebn hipotek\u00eb. I zhytur n\u00eb borxhe, Bodlerit e ardhmja i dukej e zymt\u00eb, kurse gjendja psikike – e r\u00ebnd\u00eb. N\u00eb\u00a0 nj\u00eb rast l\u00ebndoi veten me thik\u00eb. Gjat\u00eb mjekimit e \u00ebma, mbase e penguar nga njerku, nuk shkoi ta vizitonte. P\u00ebr nga p\u00ebrcaktimi politik ishte p\u00ebr republik\u00eb<\/em> dhe mb\u00ebshteti revolucionin e vitit 1848.<\/p>\n

Ishte n\u00eb lidhje intime me mulaten<\/em> Zhan\u00eb Dyval <\/strong>(Jeanne Duval, Jacmel, Haiti, 1820 \u2013 Paris, 1862), e lindur nga martesa e p\u00ebrzier midis nj\u00eb t\u00eb bardhi dhe nj\u00eb zezakeje. Lidhja e tyre ka zgjatur rreth nj\u00ebzet vjet. Ka qen\u00eb muza e poetit<\/em>, Venera e tij. Ka qen\u00eb artiste dhe valltare, fem\u00ebr me moral t\u00eb dyshimt\u00eb, ka pir\u00eb shum\u00eb. Thuhet se ka ndikuar negativisht mbi poetin. E ka pikturuar piktori francez i modernizmit Eduard Mane <\/strong>(\u00c9douard Manet, 1832-1883).<\/p>\n

Njihej me fotografin, karikaturistin, zhurnalistin, prozatorin francez Feliks Nadar<\/strong> (Gaspard-F\u00e9lix Tournachon, i njohur me pseudonimin Nadar, 1820-1910). N\u00ebp\u00ebrmjet tij njohu personalitete t\u00eb tjera. P\u00ebr shkak borxheve dhe jet\u00ebs s\u00eb parregullt, shpesh i nd\u00ebrronte banesat. Raportet e \u00e7rregulluara me t\u00eb \u00ebm\u00ebn, t\u00eb cil\u00ebs i k\u00ebrkonte ndihm\u00eb financiare, nuk e lenin t\u00eb qet\u00eb.<\/p>\n

Adhuronte muzik\u00ebn e kompozitorit gjerman Rihard Vagnerit <\/strong>(Wilhelm Rihard Wagner, 1813-1883). \u00c7monte lart krijimet letrare t\u00eb Edgar Alan Po<\/strong>-s\u00eb. Tregimet e tij i p\u00ebrktheu n\u00eb fr\u00ebngjisht. Duke qen\u00eb se anglishten e kishte m\u00ebsuar q\u00eb n\u00eb f\u00ebmij\u00ebri,\u00a0 p\u00ebrkthimet e tij u vler\u00ebsuan lart. Dy poet\u00ebt kishin shum\u00eb gj\u00ebra t\u00eb p\u00ebrbashk\u00ebta. Ishin t\u00eb ndjesh\u00ebm, ishin ballafaquar me s\u00ebmundje dhe kishin pasur v\u00ebshtir\u00ebsi financiare. Autori i \u201cHimnit t\u00eb bukuris\u00eb\u201d<\/em><\/strong> e quajti Pon\u00eb paraardh\u00ebs <\/em><\/strong>t\u00eb vet.<\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

Sh\u00ebnim<\/strong>: Edgar Alan Pou<\/strong> (Edgar Allan Poe, 1809-1849) \u00ebsht\u00eb tregimtar dhe poet amerikan, paraardh\u00ebs i simbolizmit <\/em><\/strong>francez. Ishte f\u00ebmij\u00eb artist\u00ebsh sh\u00ebtit\u00ebs. Kur ishte dy vje\u00e7 mbeti pa prind\u00ebr. U bir\u00ebsua nga familja e tregtarit t\u00eb pasur Johan Alan. P\u00ebr sjellje t\u00eb keqe u p\u00ebrjashtua nga universiteti. La sht\u00ebpin\u00eb dhe m\u00eb 1831 u vendos n\u00eb Baltimor. N\u00eb mosh\u00ebn 27-vje\u00e7are u martua me t\u00eb mbes\u00ebn 13-vje\u00e7are (vajz\u00ebn e motr\u00ebs) Virxhinia<\/strong> (Virginia Eliza Clemm Poe; Baltimor, 1822 – Nju-Jork, 1847). U shp\u00ebrngul n\u00eb Filadelfi, pastaj n\u00eb Nju-Jork. P\u00ebr t\u00eb mbijetuar, gati 20 vjet punoi si kritik, fejtonist dhe kryeredaktor i gazetave dhe i revistave t\u00eb ndryshme.<\/p>\n

Duke qen\u00eb i \u00e7ekuilibruar, mitoman dhe i dh\u00ebn\u00eb pas alkoolit<\/em> shpesh e nd\u00ebrronte pun\u00ebn dhe jetonte buz\u00eb mjerimit<\/em>. Vdekja e tij \u00ebsht\u00eb misterioze. U gjet i shtrir\u00eb n\u00eb rrug\u00eb n\u00eb Baltimor, n\u00eb gjendje gjysm\u00eb t\u00eb vet\u00ebdijshme, pran\u00eb vendvotimit, dit\u00ebn e zgjedhjeve vendore. Ka q\u00eb thon\u00eb se ka qen\u00eb viktim\u00eb e gjuetar\u00ebve t\u00eb votuesve. Historia e jet\u00ebs s\u00eb tij u shnd\u00ebrrua n\u00eb legjend\u00eb<\/em><\/strong> dhe u nd\u00ebrthur me vepr\u00ebn e tij. Duke qen\u00eb se u rrit n\u00eb jug t\u00eb ShBA-s\u00eb, Po, krahas prozatorit Uilliam Fokner<\/strong> (William Faulkner, 1897-1962; laureat i \u00e7mimit \u201cNobel\u201d m\u00eb 1949) \u00ebsht\u00eb p\u00ebrfaq\u00ebsues m\u00eb i madh i let\u00ebrsis\u00eb s\u00eb jugut amerikan. Sipas burimeve zyrtare, vdiq nga delirium tremens<\/em><\/strong> (\u00e7mendje nga alkooli)<\/em>.<\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

N\u00eb l\u00ebmin e krijimtaris\u00eb letrare Bodleri vazhdimisht ngjitej p\u00ebrpjet\u00eb, por gjendja sh\u00ebndet\u00ebsore i r\u00ebndohej \u00e7do dit\u00eb e m\u00eb tep\u00ebr. P\u00ebrdorimi i\u00a0 opiumit<\/em><\/strong> e merrte hara\u00e7in e vet, nd\u00ebrsa v\u00ebshtir\u00ebsit\u00eb ekonomike dhe stresi e ndiqnin hap pas hapi. Meq\u00eb njerku kishte vdekur,\u00a0 e \u00ebma u pajtua t\u00eb jet\u00eb pran\u00eb t\u00eb birit. U vendos\u00ebn n\u00eb qytetin bregdetar Honfleur.<\/p>\n

Jeta af\u00ebr detit i b\u00ebri mir\u00eb poetit, k\u00ebshtu q\u00eb n\u00eb k\u00ebt\u00eb periudh\u00eb kishte kushte t\u00eb volitshme p\u00ebr t\u00eb vazhduar me shkrimet. P\u00ebr ta p\u00ebrmir\u00ebsuar gjendjen financiare, n\u00eb vitin 1864 vajti n\u00eb Belgjik\u00eb. Planifikonte t\u00eb mbaj\u00eb ligj\u00ebrata dhe t\u2019i shes\u00eb t\u00eb drejtat p\u00ebr veprat e veta. Shkruan pamflete kund\u00ebr borgjezis\u00eb franceze. Mban lidhje me Viktor Hygon <\/strong>i cili p\u00ebr arsye politike ishte larguar nga Franca.<\/p>\n

Krahas p\u00ebrdorimit t\u00eb shpesht\u00eb t\u00eb opiumit, nisi ta teproj\u00eb edhe me alkoolin. N\u00eb vitin 1866 p\u00ebsoi sulm n\u00eb tru. Gjysm\u00eb i paralizuar, mbreti i poet\u00ebve <\/em><\/strong>u kthye n\u00eb Paris. Vdiq aty m\u00eb 31 gusht\u00a0\u00a0 1867, n\u00eb mosh\u00ebn 47-vje\u00e7are. U varros n\u00eb varrezat e Monparnasit. Kat\u00ebr vjet pas t\u00eb birit vdiq edhe n\u00ebna.<\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

VEPRA <\/strong>\u2013 Bodleri ka shkruar vet\u00ebm nj\u00eb p\u00ebrmbledhje me poezi<\/em> \u2013 \u201cLulet e s\u00eb keqes\u201d<\/em>.\u00a0 \u00a0U b\u00eb i njohur n\u00eb qarqet artistike para se t\u2019i botonte veprat. N\u00eb ato rrethe njihej si shkap\u00ebrderdh\u00ebs<\/em> dhe si poet skandaloz<\/em><\/strong>. P\u00ebr krijimin e vepr\u00ebs s\u00eb vet frym\u00ebzohej nga jeta e p\u00ebrditshme<\/em>. Krijoi poezi me vler\u00eb universale<\/em>. Shum\u00eb vepra iu botuan pas vdekjes. Poezit\u00eb e para i botoi n\u00eb p\u00ebrmbledhjen poetike \u201cLulet e s\u00eb keqes\u201d<\/em>. N\u00eb vitin 1845 e botoi t\u00eb par\u00ebn vep\u00ebr, kritik\u00ebn \u201cSaloni\u201d<\/em>. Kritikat i bazonte n\u00eb zhvillimet letrare p\u00ebr t\u00eb cilat ishte mjaft i informuar. E konsideronin kritik t\u00eb pasionuar. Duke qen\u00eb i till\u00eb, t\u00ebrhoqi me t\u00eb madhe v\u00ebmendjen e publikut.\u00a0 Gjat\u00eb takimeve me romancierin e famsh\u00ebm francez Honore d\u00eb Balzak <\/strong>(Honor\u00e9 de Balzac, 1799-1850)\u00a0 shk\u00ebmbente ide t\u00eb ndryshme mbi let\u00ebrsin\u00eb dhe artin.<\/p>\n

N\u00eb opusin letrar t\u00eb vet p\u00ebrdori nj\u00eb diapazon t\u00eb gjer\u00eb temash. \u201cSalonin\u201d <\/em>e dyt\u00eb e shkroi n\u00eb vitin 1846. Pas k\u00ebsaj, renomeja e tij si kritik i romantizmit<\/em><\/strong> u rrit tej mase.\u00a0 Pas nj\u00eb viti botoi novel\u00ebn autobiografike<\/em> \u201cLa Fanfarlo<\/em>\u201d.<\/p>\n

E \u00e7monte lart poetin dhe romancierin francez, kund\u00ebrshtar i klasicizmit<\/em><\/strong>, Teofil Gotje <\/strong>(Th\u00e9ophile Gautier, 1811-1872). E \u00e7monte sidomos p\u00ebr p\u00ebrdorimin maestral t\u00eb gjuh\u00ebs<\/em> dhe p\u00ebr form\u00ebn e p\u00ebrkryer<\/em>. Punimet e tij ndikuan n\u00eb disa nga temat e shkrimeve t\u00eb Bodlerit. N\u00eb shenj\u00eb fal\u00ebnderimi p\u00ebr miq\u00ebsin\u00eb dhe bashk\u00ebpunimin letrar, v\u00ebllimin \u201cLulet e s\u00eb keqes\u201d<\/em>, Bodleri ia p\u00ebrkushtoi Gotjes\u00eb.<\/p>\n

\u201cLULET E S\u00cb KEQES\u201d<\/em><\/strong> (Les Fleurs du mal, <\/em>1857) \u00ebsht\u00eb vepra kryesore e Bodlerit. Po k\u00ebt\u00eb vit u botua edhe romani \u201cZonja Bovari\u201d<\/em> (Madam Bovary)<\/em> i tregimtarit dhe romancierit francez Gystav Flober<\/strong> (Gustav Flaubert, 1821-1880). P\u00ebrmbledhja t\u00ebrhoqi v\u00ebmendjen e publikut. Ndikimi i tij mbi artist\u00ebt e tjer\u00eb rritej dita-dit\u00ebs. Shum\u00eb prej tyre nis\u00ebn t\u00eb krenohen me t\u00eb. Sapo doli nga shtypi ajo ngjalli reagimin e ashp\u00ebr t\u00eb bashk\u00ebkoh\u00ebsve, t\u00eb po atyre q\u00eb e d\u00ebnuan \u201cZonj\u00ebn Bovari\u201d<\/em> t\u00eb Floberit. Vepra u konsiderua skandaloze<\/em><\/strong>.<\/p>\n

Me arsyetimin se cenon moralin publik<\/em>, poeti u d\u00ebnua me gjob\u00eb. Vargjet flisnin p\u00ebr marr\u00ebdh\u00ebnie lezbejkash, p\u00ebr korrupsionin, p\u00ebr pik\u00ebllimin, p\u00ebr jet\u00ebn e r\u00ebnd\u00eb, p\u00ebr virgj\u00ebrin\u00eb e pakthyeshme, p\u00ebr ver\u00ebn<\/em>. Tem\u00eb e p\u00ebrmbledhjes \u00ebsht\u00eb intimiteti, pasioni <\/em>dhe vdekja<\/em>. Pasqyrohet nostalgjia p\u00ebr t\u00eb kaluar\u00ebn<\/em> dhe intimen<\/em>. Gjasht\u00eb poezi \u201ct\u00eb pamoralshme\u201d<\/em> u flak\u00ebn nga shtypi. Pas kat\u00ebr vjet\u00ebsh, vepra doli n\u00eb drit\u00eb por pa poezit\u00eb q\u00eb \u201ccenonin\u201d moralin publik. N\u00eb vitin 1866 q\u00eb t\u00eb gjashtat pan\u00eb drit\u00ebn.<\/p>\n

P\u00ebr nga struktura poezit\u00eb jan\u00eb radhitur n\u00eb n\u00ebntituj. Secili prej tyre flet p\u00ebr ndonj\u00eb dukuri negative. Pjesa e par\u00eb me n\u00ebntitullin \u201cSplin dhe Ideal\u201d<\/em> flet p\u00ebr pak\u00ebnaq\u00ebsin\u00eb, agonin\u00eb <\/em>dhe m\u00ebrzin\u00eb<\/em>. Pjesa e dyt\u00eb pasqyron Parisin dhe njer\u00ebzit e mjer\u00eb q\u00eb e udh\u00ebheqin at\u00eb, ndaj \u00ebsht\u00eb titulluar \u201cPamje nga Parisi\u201d<\/em>. Pjesa e tret\u00eb flet p\u00ebr k\u00ebnaq\u00ebsit\u00eb trupore, p\u00ebr alkoolin e p\u00ebr drogat<\/em> dhe mban titullin \u201cVera\u201d<\/em>. Pjesa e fundit mban titullin \u201cVdekja\u201d<\/em>. Dy poezit\u00eb m\u00eb t\u00eb njohura t\u00eb\u00a0\u00a0 v\u00ebllimit jan\u00eb \u201cAlbatrosi\u201d<\/em><\/strong> dhe \u201cLidhjet\u201d<\/em>.<\/p>\n

Shum\u00eb poezi kritik\u00ebt i kan\u00eb vler\u00ebsuar si kryevepra artistike, poetike dhe plot pasion. Adhurues i v\u00ebllimit ishte edhe poeti, romancieri dhe dramaturgu i famsh\u00ebm francez Viktor Hygo <\/strong>(Victor Hugo, 1802-1885).<\/p>\n

Ka pasur edhe t\u00eb till\u00eb t\u00eb cil\u00ebt p\u00ebr vepr\u00ebn kishin dh\u00ebn\u00eb kritik\u00eb negative<\/em> ngase e kishin konsideruar skandaloze <\/em><\/strong>dhe t\u00eb pakuptueshme<\/em><\/strong>. Kritikave negative Bodleri u \u00ebsht\u00eb p\u00ebrgjigjur duke th\u00ebn\u00eb se let\u00ebrsia dhe arti duhet t\u00eb krijohen pa qen\u00eb t\u00eb varura nga morali<\/em><\/strong>. Morali e zvog\u00eblon forc\u00ebn poetike t\u00eb vargut<\/em><\/strong>.\u00a0 <\/strong><\/p>\n

N\u00eb v\u00ebllim v\u00ebrehet rr\u00ebnimi i njeriut i mb\u00ebrthyer midis Splinit<\/em> dhe Idealit<\/em>. P\u00ebr Bodlerin\u00a0 mjaftonte e bukura<\/em> dhe koncepti i stilizuar<\/em>. Titulli i p\u00ebrmbledhjes flet p\u00ebr karakterin e bukuris\u00eb<\/em>. Ajo \u00ebsht\u00eb e <\/em><\/strong>ftoht\u00eb<\/em> dhe e <\/em><\/strong>zymt\u00eb<\/em>. Gjat\u00eb krijimit t\u00eb poezive Bodleri mendonte p\u00ebr lemerin\u00eb <\/em>dhe turbullir\u00ebn<\/em> q\u00eb e frym\u00ebzonte, k\u00ebshtu q\u00eb n\u00eb \u00e7astet e vetanaliz\u00ebs ndjehej i lemerisur. Emocione negative, <\/em>e sidomos zem\u00ebrim<\/em> ndjejn\u00eb edhe njer\u00ebzit q\u00eb e lexojn\u00eb k\u00ebt\u00eb lloj poezie. Bodleri ishte i vet\u00ebdijsh\u00ebm se libri do t\u00eb \u00e7el\u00eb shteg t\u00eb ri n\u00eb art<\/em> dhe do t\u00eb shnd\u00ebrrohet n\u00eb monument.<\/p>\n

\u201cLulet e s\u00eb keqes\u201d<\/em> u shkruan p\u00ebr 15 vjet. Ka burime q\u00eb thon\u00eb se v\u00ebllimi \u00ebsht\u00eb shkruar p\u00ebr 10 vjet. Vet\u00eb titulli i p\u00ebrmbledhjes flet p\u00ebr konceptin estetik<\/em> t\u00eb Bodlerit: \u201cArti \u00ebsht\u00eb e keqe e bukur dhe nuk ka pika t\u00eb p\u00ebrbashk\u00ebta\u00a0 me moralin\u201d.<\/em> N\u00eb at\u00eb koh\u00eb v\u00ebllimi v\u00ebshtir\u00eb mund t\u00eb kuptohej. U njoh dhe u pranua nga publiku vet\u00ebm pas shum\u00eb viteve. Bodleri donte q\u00eb me poezit\u00eb e veta t\u2019i shokoj\u00eb dhe t\u2019i mundoj\u00eb lexuesit t\u00eb cil\u00ebt ishin m\u00ebsuar t\u00eb lexonin vet\u00ebm vargje t\u00eb bukura t\u00eb cilat akoma m\u00eb shum\u00eb e zbukuronin jet\u00ebn e tyre plot hipokrizi<\/em>. Zgjidhte tema t\u00eb sh\u00ebmtuara <\/em>dhe ngjyra t\u00eb err\u00ebta<\/em>. N\u00eb poezit\u00eb e veta afirmon poetin i cili nuk e zbukuron dhe nuk e lustron jet\u00ebn, i cili nuk shkruan vet\u00ebm p\u00ebr bukurin\u00eb<\/em> dhe shpirtin e madh\u00ebrish\u00ebm<\/em>.<\/p>\n

Duke qen\u00eb se p\u00ebrmbledhja u krijua brenda nj\u00eb periudhe t\u00eb gjat\u00eb, n\u00eb t\u00eb gjall\u00eb t\u00eb autorit dol\u00ebn dy versione. Botimin e versionit t\u00eb tret\u00eb autori nuk e mb\u00ebrriti. Pas vdekjes s\u00eb autorit shum\u00eb\u00e7ka n\u00eb p\u00ebrmbledhje u ndryshua, por ndarja n\u00eb cikle dhe struktura nuk kan\u00eb ndryshuar.<\/p>\n

Bodleri d\u00ebshironte q\u00eb v\u00ebllimi poetik i tij t\u00eb mos jet\u00eb grumbull vargjesh t\u00eb shkap\u00ebrderdhura, por t\u00eb ket\u00eb nj\u00eb plan t\u00eb caktuar kompozicioni. Bodleri thot\u00eb: \u201cGjithmon\u00eb ji poet, madje edhe n\u00eb proz\u00eb\u201d<\/em>. \u00a0<\/strong>Stili i tij i t\u00eb shkruarit solli risi n\u00eb poezi<\/em>. Me poezin\u00eb \u201cLidhjet\u201d<\/em> e ka dh\u00ebn\u00eb p\u00ebrkufizimin fascinues t\u00eb poezis\u00eb: \u201cN\u00eb art, e keqja, e lemerishmja dhe e sh\u00ebmtuara b\u00ebhen t\u00eb bukura. Ky \u00ebsht\u00eb privilegji i artit\u201d<\/em>.<\/p>\n

P\u00ebrkund\u00ebr faktit se shum\u00eb kritik\u00eb Bodlerin e kan\u00eb konsideruar zanafill\u00ebs t\u00eb<\/em><\/strong> modernizmit<\/em><\/strong>, v\u00ebllimi \u201cLulet e s\u00eb keqes<\/em>\u201d, p\u00ebr shkak t\u00eb p\u00ebrdorimit t\u00eb shpesht\u00eb t\u00eb simboleve q\u00eb jan\u00eb t\u00eb zakonshme p\u00ebr poezit\u00eb, si\u00e7 jan\u00eb lulja, err\u00ebsira, makthi<\/em> ng\u00ebrthen n\u00eb vete shum\u00eb elemente t\u00eb<\/em><\/strong> romantizmit<\/em><\/strong>.<\/p>\n

Edhe pse koh\u00eb e romantizmit<\/em><\/strong>, te \u201cLulet e s\u00eb keqes\u201d<\/em> v\u00ebrehet qart\u00eb prania e elementeve t\u00eb poezis\u00eb bot\u00ebrore<\/em>, ndaj Bodleri \u00ebsht\u00eb nj\u00eb prej poet\u00ebve t\u00eb par\u00eb q\u00eb i paraqiti t\u00eb gjitha ndyr\u00ebsit\u00eb<\/em>, por edhe bukurit\u00eb e fshehta t\u00eb jet\u00ebs<\/em> n\u00eb nj\u00eb qytet t\u00eb madh si Parisi. P\u00ebr k\u00ebt\u00eb arsye, Bodleri konsiderohet i pari poet q\u00eb e ka trajtuar tem\u00ebn e jet\u00ebs n\u00eb qytet t\u00eb madh. Ai \u00ebsht\u00eb nj\u00eb nd\u00ebr poet\u00ebt q\u00eb u mor me p\u00ebrshkrimin e holl\u00ebsish\u00ebm t\u00eb kriz\u00ebs q\u00eb e kishte kapluar shoq\u00ebrin\u00eb e at\u00ebhershme, shoq\u00ebri q\u00eb kishte humbur \u00e7do kontakt me vlerat krishtere. Poezit\u00eb e \u201cLuleve\u201d<\/em> flasin p\u00ebr udh\u00ebtimin e njeriut n\u00ebp\u00ebr jet\u00eb e vdekje<\/em>.<\/p>\n

Kjo p\u00ebrmbledhje poetike pasqyron pik\u00ebpamjet e poetit p\u00ebr gjendjen aktuale n\u00eb shoq\u00ebri, <\/em>por edhe r\u00ebniet, ngritjet dhe entuziazmin e tij<\/em>. Ai ngre z\u00ebrin e protest\u00ebs<\/em> kund\u00ebr g\u00ebnjeshtr\u00ebs<\/em> dhe mashtrimit<\/em>. D\u00ebshiron t\u00eb gjej\u00eb forc\u00ebn e par\u00eb l\u00ebviz\u00ebse dhe t\u00eb nj\u00ebmend\u00ebt t\u00eb ekzistenc\u00ebs njer\u00ebzore<\/em>. Forca t\u00eb tilla l\u00ebviz\u00ebse assesi nuk mund t\u00eb jen\u00eb konvencionet e imponuara t\u00eb sjelljes, t\u00eb rrejshme dhe t\u00eb kota<\/em>.<\/p>\n

\u00c7do gj\u00eb n\u00eb k\u00ebt\u00eb bot\u00eb \u00ebsht\u00eb simbol subjektiv <\/em>i ideve dhe i ndjenjave t\u00eb njeriut. N\u00eb konceptimin e thelluar t\u00eb simboleve v\u00ebrejm\u00eb se gj\u00ebrat jan\u00eb nd\u00ebrlidhura. N\u00eb konceptimin sintetik ato p\u00ebrzihen nd\u00ebr vete. K\u00ebsisoj krijohet nj\u00eb koncept i ri estetik mbi bot\u00ebn. P\u00ebr paraqitjen autentike p\u00ebrdoren figurat stilistike t\u00eb sinestezive (me fjal\u00ebt q\u00eb i p\u00ebrkasin nj\u00eb shqise em\u00ebrtohen shqisat e tjera; p. sh. z\u00ebri<\/em> ka ngjyr\u00eb<\/em>) dhe t\u00eb onomatopeve. N\u00eb poezin\u00eb ekstatike<\/em> t\u00eb tij ngjyra flet, nd\u00ebrsa fjal\u00ebn poetike e udh\u00ebheqin sensacionet kaotike<\/em>. P\u00ebr ta pasqyruar me sukses iden\u00eb e re n\u00eb poezi, vargu duhet t\u00eb jet\u00eb muzikal<\/em>.<\/p>\n

Simbolist\u00ebt thon\u00eb: \u201cIdeja \u00ebsht\u00eb e pakapshme p\u00ebr arsyen, por kur mb\u00ebrthehet nga shqisat q\u00eb si shenja i p\u00ebrdorin simbolet, ajo b\u00ebhet e kapshme\u201d<\/em>. Detyr\u00eb e poetit simbolist \u00ebsht\u00eb: \u201cT\u00eb pasqyroj\u00eb thell\u00ebsin\u00eb e shpirtit me simbolet si udh\u00ebrr\u00ebfyes. Kjo do t\u2019i mund\u00ebsoj\u00eb lexuesit q\u00eb ta ndjej\u00eb lidhjen e p\u00ebrjetimit poetik duke e p\u00ebrvet\u00ebsuar at\u00eb si t\u00eb veten, si nj\u00eb pasuri t\u00eb vet t\u00eb re, p\u00ebr bot\u00ebn e cila, sa \u00ebsht\u00eb e larg\u00ebt, po aq \u00ebsht\u00eb edhe e af\u00ebrt\u201d.<\/em> N\u00eb k\u00ebt\u00eb mes, Bodleri \u00ebsht\u00eb i pakap\u00ebrcyesh\u00ebm. Forca e poezive t\u00eb tij kridhet te njeriu, duke e shp\u00ebn\u00eb atje ku b\u00ebhet edhe m\u00eb njeri, atje ku kthimi konsiderohet transformim.<\/p>\n

N\u00eb poezit\u00eb e veta e flak bukurin\u00eb <\/em>dhe sentimentalizmin<\/em> dhe sjell nj\u00eb lloj t\u00eb ri emocioni, duke krijuar vargje plot d\u00ebshp\u00ebrim, urrejtje, hidh\u00ebrim, kryene\u00e7\u00ebsi <\/em>dhe entuziaz\u00ebm<\/em>. Ato flasin p\u00ebr zbraz\u00ebsin\u00eb, epshet, smir\u00ebn dhe instinktet. Tema jan\u00eb vdekja, kot\u00ebsia, pik\u00ebllimi, ana e hirt\u00eb e qytetit t\u00eb madh, mjerimi <\/em>dhe lufta p\u00ebr mbijetes\u00eb<\/em>. \u201cAteisti amoral\u201d<\/em> <\/strong>\u2013 Bodleri i beson bukuris\u00eb si absolut i vet\u00ebm, e vetmja pas s\u00eb cil\u00ebs rend dhe tek e cila kurr\u00eb s\u2019arrin dot. P\u00ebr \u201cLulet e s\u00eb keqes<\/em>\u201d Bodleri thot\u00eb: \u201cN\u00eb k\u00ebt\u00eb lib\u00ebr t\u00eb lemerish\u00ebm e kam l\u00ebn\u00eb krejt zemr\u00ebn time, t\u00ebr\u00eb ndjeshm\u00ebrin\u00eb time, t\u00ebr\u00eb religjionin tim, krejt urrejtjen time. E v\u00ebrteta \u00ebsht\u00eb se un\u00eb e kam shkruar t\u00eb kund\u00ebrt\u00ebn, ndaj u betohem t\u00eb gjith\u00eb per\u00ebndive se ky \u00ebsht\u00eb lib\u00ebr i artit t\u00eb kulluar<\/strong>\u201d.\u00a0 \u00a0<\/em><\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

\u201cLulet e s\u00eb keqes\u201d<\/em> p\u00ebrmbajn\u00eb mbi 160 poezi q\u00eb ndahen n\u00eb 5 t\u00ebr\u00ebsi. V\u00ebllimi p\u00ebrmban 6 cikle. Vepra bazohet n\u00eb poezin\u00eb hyr\u00ebse q\u00eb i dedikohet lexuesit e q\u00eb mban titullin \u201cP\u00ebr lexuesin\u201d<\/em>. 28 krijime me titull \u201cPoezi\u00a0 shtes\u00eb\u201d<\/em> nuk jan\u00eb t\u00eb sistemuara. Ato jan\u00eb p\u00ebrfshir\u00eb n\u00eb 6 ciklet hyr\u00ebse t\u00eb sip\u00ebrth\u00ebna.<\/p>\n

Cikli i par\u00eb \u00ebsht\u00eb m\u00eb v\u00ebllimori dhe paraqet shtyll\u00ebn kryesore t\u00eb v\u00ebllimit. Mban titullin \u201cSpleen dhe Ideal\u201d<\/em> dhe p\u00ebrmban 88 tekste. T\u00eb gjitha motivet thelb\u00ebsore jan\u00eb paraqitur n\u00eb poezin\u00eb hyr\u00ebse \u201cP\u00ebr lexuesin\u201d<\/em>. N\u00eb t\u00eb poeti p\u00ebrshkruan shkat\u00ebrrimin e njeriut modern n\u00eb nj\u00eb shoq\u00ebri dyfytyr\u00ebshe. Krejt k\u00ebt\u00eb e p\u00ebrshkruan me estetik\u00ebn e s\u00eb sh\u00ebmtuar\u00ebs<\/em><\/strong>. \u00c7donj\u00ebra nga pes\u00eb t\u00ebr\u00ebsit\u00eb ka nj\u00eb r\u00ebnd\u00ebsi t\u00eb caktuar p\u00ebr t\u00ebr\u00eb v\u00ebllimin, nd\u00ebrsa \u00e7do poezi ka r\u00ebnd\u00ebsi p\u00ebr t\u00ebr\u00ebsin\u00eb.<\/p>\n

\u201cSpleen dhe Ideal\u201d<\/em> fillon me vargun e poezive t\u00eb cilave u ekspozohet nj\u00eb program i ri<\/em> estetik<\/em> si dhe pik\u00ebpamjet e reja<\/em> mbi<\/em> artin<\/em> dhe t\u00eb bukur\u00ebn<\/em>. V\u00ebrehet pozita e artist\u00ebve n\u00eb shoq\u00ebri\u00a0 dhe forca e tyre q\u00eb buron nga p\u00ebrditshm\u00ebria. N\u00eb poezit\u00eb q\u00eb pasojn\u00eb mund t\u00eb shihet ana tjet\u00ebr e jet\u00ebs s\u00eb artistit, e p\u00ebrshkruar si lyp\u00ebs, martir <\/em>dhe i marr\u00eb<\/em>.<\/p>\n

N\u00eb pjes\u00ebn e dyt\u00eb t\u00eb ciklit mund t\u00eb shihet forca<\/em> e dashuris\u00eb ideale <\/em>dhe ndjenjat, ekstaza dhe entuziazmi <\/em>q\u00eb sjell ajo, por edhe ndjenjat e melankolis\u00eb dhe t\u00eb d\u00ebshp\u00ebrimit<\/em> q\u00eb mund t\u2019i sjell\u00eb ajo. N\u00eb k\u00ebto poezi thuhet se gjendja materiale <\/em>nuk \u00ebsht\u00eb ve\u00e7se gjendje kalimtare e jet\u00ebs s\u00eb njeriut. Poeti e paraqet femr\u00ebn<\/em> si burim t\u00eb bukuris\u00eb<\/em> dhe t\u00eb lumturis\u00eb, <\/em>por edhe si burim t\u00eb ftoht\u00ebsis\u00eb <\/em>dhe t\u00eb zvet\u00ebnimit moral. <\/em>Cikli i par\u00eb mbaron me p\u00ebrfundimin se njeriu nuk mund t\u00eb plot\u00ebsohet me dashuri,<\/em> ndaj i rikthehet gjendjes shpirt\u00ebrore t\u00eb vet, t\u00eb p\u00ebrshkruar si vuajtje<\/em>.<\/p>\n

\u201cPamje nga Parisi\u201d <\/em>\u00ebsht\u00eb cikli i dyt\u00eb i cili n\u00eb \u00e7do aspekt \u00ebsht\u00eb m\u00eb i plot\u00eb. P\u00ebrb\u00ebhet prej 18 poezive. Q\u00eb t\u00eb gjitha merren me jet\u00ebn n\u00eb qytet t\u00eb madh<\/em>. Poeti, n\u00eb mesnat\u00eb, sh\u00ebtit n\u00ebp\u00ebr qytet. Duke ecur n\u00ebp\u00ebr rrug\u00ebt e tij sheh fatkeq\u00ebsin\u00eb <\/em>dhe mjerimin e njer\u00ebzve<\/em>, q\u00eb t\u00eb p\u00ebrkujton vuajtjet e vet\u00eb poetit. Pas k\u00ebsaj pason cikli i shkurt\u00ebr \u201cVera\u201d<\/em> q\u00eb merret me tematik\u00ebn e dehjes<\/em>, nd\u00ebrsa n\u00eb ciklin \u201cLulet e s\u00eb keqes\u201d<\/em> poeti merret me perversionet seksuale<\/em>. Ky cik\u00ebl ka qen\u00eb m\u00eb provokuesi.<\/p>\n

Cikli \u201cRevolta\u201d<\/em> ka vet\u00ebm tre tekste. N\u00eb t\u00eb p\u00ebrshkruhet heroi q\u00eb ndodhet n\u00eb kufirin midis ferrit<\/em> dhe qiellit<\/em>. P\u00ebrfundimi i librit \u00ebsht\u00eb logjik. Cikli i fundit mban titullin \u201cVdekja\u201d<\/em>. Ky cik\u00ebl \u00ebsht\u00eb p\u00ebrplot me tematika p\u00ebr vdekjen<\/em>. N\u00eb t\u00eb poeti sjell zgjidhjen e nyj\u00ebs. Shihet p\u00ebr s\u00eb af\u00ebrmi rruga e njeriut dhe fati i tij.<\/p>\n

*\u00a0\u00a0 *\u00a0\u00a0 *<\/strong><\/p>\n

Bodleri ishte tejet aktiv n\u00eb jet\u00ebn artistike t\u00eb koh\u00ebs s\u00eb vet. N\u00eb kritikat<\/em> dhe n\u00eb eset\u00eb<\/em> e veta shkruante p\u00ebr shum\u00eb tema q\u00eb kishin t\u00eb b\u00ebnin me kultur\u00ebn franceze<\/em>. Me krijimtarin\u00eb e vet ushtroi ndikim t\u00eb madh n\u00eb let\u00ebrsin\u00eb franceze dhe angleze<\/em><\/strong>. U vler\u00ebsua lart nga shum\u00eb shkrimtar\u00eb q\u00eb u paraqit\u00ebn pas tij. Poeti francez Artyr Rembo <\/strong>(Arthur Rimbaud, 1854-1891) n\u00eb nj\u00eb let\u00ebr t\u00eb botuar e quajti Bodlerin \u201cmbreti i poet\u00ebve\u201d<\/em><\/strong>. Simbolisti francez, autori i shprehjes \u201cpo\u00e9sie pure\u201d <\/em><\/strong>(poezi e past\u00ebr)<\/em>, Stefan Malarme <\/strong>(St\u00e9phane Mallarm\u00e9, 1842-1898), n\u00eb vitin 1895, p\u00ebr nder t\u00eb Bodlerit botoi nj\u00eb ting\u00ebllim\u00eb<\/em> (sonet)<\/em>. Kishte t\u00eb till\u00eb e quanin \u201cgjeniu i madh\u201d<\/em><\/strong>.<\/p>\n

Romancieri dhe dramaturgu francez Andre Zhid <\/strong>(Andre Gide, 1869-1951) \u00ebsht\u00eb i njohur si nj\u00eb intelektual i guximsh\u00ebm dhe i pafrenuesh\u00ebm, me mendime t\u00eb lira dhe dilema p\u00ebr t\u00eb cilat shkruante pa ngurrim dhe pa rezerva. Midis dy luft\u00ebrave bot\u00ebrore ndikoi fuqimisht p\u00ebr krijimin e asaj q\u00eb u quajt \u201catmosfer\u00eb Zhidi\u201d<\/em><\/strong>. Luhatjet intelektuale t\u00eb Zhidit l\u00ebvizin n\u00eb nj\u00eb diapazon t\u00eb gjer\u00eb: nga protestantizmi<\/em> dhe katolicizmi<\/em> n\u00ebp\u00ebr liberaliz\u00ebm<\/em> dhe komuniz\u00ebm<\/em> deri n\u00eb humaniz\u00ebm antifetar.<\/em> Zhidi thot\u00eb: \u201cT\u00eb gjith\u00eb jan\u00eb kalimtar\u00eb, Bodleri mbetet\u201d<\/em><\/strong>.<\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

Sh\u00ebnim<\/strong>: \u201cPO\u00c9SIE PURE\u201d<\/em><\/strong> (Poezi e past\u00ebr)<\/em> \u00ebsht\u00eb poezia pa kurrfar\u00eb elementi jopoetik<\/em> (narrativ, didaktik, politik). Poezia e past\u00ebr<\/em> nuk shpreh ndonj\u00eb ide t\u00eb caktuar, por vepron si muzik\u00eb<\/em><\/strong>. Pol Verleni thoshte: \u201cPik\u00ebs\u00ebpari muzik\u00eb\u201d<\/em>. Konceptin \u201cpoezi e past\u00ebr\u201d<\/em> e zhvilluan simbolist\u00ebt francez\u00eb \u2013 Bodleri, Malarmeja si dhe poeti dhe eseisti Pol Valeri<\/strong> (Paul Valery, 1871-1945) i cili ishte nj\u00eb nd\u00ebr p\u00ebrfaq\u00ebsuesit m\u00eb t\u00eb r\u00ebnd\u00ebsish\u00ebm t\u00eb hermetizmit<\/em><\/strong> n\u00eb poezin\u00eb evropiane.<\/p>\n

Konceptin e sip\u00ebrth\u00ebn\u00eb e mor\u00ebn nga Edgar Alan Po. Termin \u201cpoezi e past\u00ebr\u201d <\/em>e vuri n\u00eb p\u00ebrdorim Stefan Malarme. Teoria e \u201cpoezis\u00eb s\u00eb past\u00ebr\u201d<\/em> \u00ebsht\u00eb e para shprehje, historikisht e r\u00ebnd\u00ebsishme e autonomis\u00eb s\u00eb artit poetik, <\/em>ide kjo e cila m\u00eb von\u00eb u tejkalua, por jo edhe u harrua. N\u00eb \u201cpoezin\u00eb e past\u00eb\u201d<\/em> gjejn\u00eb shprehje edhe p\u00ebrpjekjet me \u201cpoezin\u00eb absolute\u201d<\/em><\/strong>. \u00a0<\/em><\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

P\u00ebrpos poezis\u00eb, Bodleri shkroi edhe tekste nga arti figurativ<\/em>, v\u00ebshtrime letrare<\/em>, ese, <\/em>si: \u201cKuriozitete estetike\u201d (Curiosit\u00e9s esth\u00e9tiques, <\/em>1868), \u201cArti romantik\u201d (L\u2019Art romantique, <\/em>1868). N\u00eb konceptet e tij b\u00ebjn\u00eb pjes\u00eb dy p\u00ebrb\u00ebr\u00ebs, q\u00eb n\u00eb shum\u00eb aspekte jan\u00eb t\u00eb kund\u00ebrt.<\/p>\n

I pari \u00ebsht\u00eb revolta e romantizmit <\/em><\/strong>kund\u00ebr pozit\u00ebs metafizike dhe sociale t\u00eb njeriut, si dhe \u201cs\u00ebmundja e shekullit\u201d <\/em><\/strong>e romantizmit (mal du si\u00e8cle)<\/em><\/strong>. <\/em>P\u00ebrb\u00ebr\u00ebsi i dyt\u00eb \u00ebsht\u00eb luciditeti i klasicizmit<\/em><\/strong> dhe ndjenja e fajit tragjik<\/em><\/strong>. N\u00eb katoliciz\u00ebm<\/em><\/strong>, Bodlerin m\u00eb tep\u00ebr e t\u00ebrheq m\u00ebkati<\/em> se m\u00ebshira. Sataniken <\/em>e ka m\u00eb af\u00ebr se engj\u00eblloren<\/em>. Me nj\u00eb p\u00ebrshkrim t\u00eb p\u00ebrpikt\u00eb sikur larpurlartist\u00ebt <\/em><\/strong>dhe parnasist\u00ebt<\/em><\/strong>, n\u00eb aspektin e stilit <\/em>\u00a0i shmanget entuziazmit<\/em> t\u00eb romantik\u00ebve<\/em><\/strong>.<\/p>\n

P\u00ebr k\u00ebt\u00eb arsye, i flak t\u00eb gjith\u00eb prosedet\u00eb q\u00eb i ka trash\u00ebguar poezia franceze apo q\u00eb jan\u00eb zhvilluar n\u00eb romantiz\u00ebm<\/em>, si\u00e7 jan\u00eb: ilustrimi i historis\u00eb, t\u00eb shprehurit dekorativ <\/em>dhe moralizimi<\/em>. Poezia p\u00ebr t\u00eb \u00ebsht\u00eb krijim i kulluar i gjuh\u00ebs<\/em>, e cila nuk ka t\u00eb b\u00ebj\u00eb me asgj\u00eb tjet\u00ebr jasht\u00eb kreacionit t\u00eb vet. P\u00ebr ta realizuar k\u00ebt\u00eb q\u00ebllim, ai k\u00ebrkon q\u00eb poezia ta flak\u00eb \u201cndjeshm\u00ebrin\u00eb e zemr\u00ebs\u201d<\/em> n\u00eb dobi \u201ct\u00eb ndjeshm\u00ebris\u00eb s\u00eb fantazis\u00eb\u201d<\/em>. K\u00ebsisoj, p\u00ebrfundimisht e m\u00ebnjanon personalen: <\/em>emocionet n\u00eb poezin\u00eb e tij nuk jan\u00eb m\u00eb emocione personale t\u00eb tij, por emocione t\u00eb vet\u00eb poezis\u00eb. P\u00ebrkund\u00ebr k\u00ebsaj, ekzistenca personale e pap\u00ebrs\u00ebritshme<\/em> \u00ebsht\u00eb burimi nga ku poezia e Bodlerit e merr l\u00ebnd\u00ebn e frym\u00ebzimit.<\/p>\n

\u201cLulet e s\u00eb keqes\u201d<\/em> bazohet n\u00eb kund\u00ebrshtin\u00eb e spleen-it <\/em>dhe idealit<\/em>. N\u00eb qend\u00ebr t\u00eb dukuris\u00eb poetike Bodleri v\u00eb, jo personin <\/em>por imagjinat\u00ebn<\/em>. \u201cImagjinata \u00ebsht\u00eb e vetmja q\u00eb p\u00ebrmban poezi\u201d. <\/em><\/p>\n

Vargu bodlerian <\/em>na mund\u00ebson t\u2019i shmangemi p\u00ebrditshm\u00ebris\u00eb apatike dhe t\u00eb dehemi\u00a0 me fjal\u00ebn poetike. Poeti thot\u00eb se e p\u00ebrditshmja \u00ebsht\u00eb e m\u00ebrzitshme, e rrejshme, e kalbur. Kur ballafaqohemi me realitetin, sakaq e v\u00ebrejm\u00eb t\u00eb keqen dhe sh\u00ebmtin\u00eb q\u00eb rin\u00eb fshehur. Poeti i nxjerr n\u00eb sip\u00ebrfaqe dhe i fut n\u00eb art, ngase e keqja dhe sh\u00ebmtia vet\u00ebm aty mund t\u00eb jen\u00eb t\u00eb bukura.<\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

Sh\u00ebnim<\/strong>: \u201cMAL DU SI\u00c8CLE\u201d <\/em><\/strong>(s\u00ebmundje e shekullit)<\/em> \u2013 N\u00eb pararomantizmin <\/em><\/strong>dhe n\u00eb romantizmin<\/em><\/strong> anglez, francez dhe gjerman p\u00ebrjetimi pesimist i bot\u00ebs dhe melankolia tejet e shprehur q\u00eb i p\u00ebrshkon shum\u00eb vepra t\u00eb fundit t\u00eb shekullit XVIII dhe t\u00eb fillimit t\u00eb shekullit XIX. Kjo v\u00ebrehet n\u00eb disa nga veprat m\u00eb t\u00eb njohura t\u00eb asaj kohe: P\u00ebrmbledhja poetike \u201cOsiani\u201d<\/em> i poetit skocez Xhejmz<\/strong> Makferson <\/strong>(James Macpherson, 1736-1796),\u00a0 i botuar m\u00eb 1762, romani \u201cVuajtjet e djaloshit Verter\u201d<\/em> i G\u00ebtes<\/strong> (Johann Wolfgang von Goethe, 1749-1832) i botuar m\u00eb 1774 dhe romani \u201cEloiza e re\u201d<\/em> i Zhan-Zhak Rusoit <\/strong>(Jean-Jacques Rousseau, 1712-1778), i botuar m\u00eb 1762. N\u00eb fillim t\u00eb shekullit XIX vul\u00eb t\u00eb fort\u00eb nj\u00eb ndjenje t\u00eb till\u00eb i dha tregimtari francez Shatobrian <\/strong>(Fran\u00e7ois-Ren\u00e9 de Chateaubriand, 1768-1848) me veprat: \u201cFryma e krishterimit\u201d (Le G\u00e9nie du christianisme, <\/em>1802) dhe \u201cReneu\u201d<\/em> (Ren\u00e9,<\/em> 1802)<\/em>.<\/p>\n

N\u00eb poezi, ndjenja t\u00eb tilla shfaqin poeti dhe eseisti francez Andre-Mari Shenie <\/strong>(Andr\u00e9-Marie Ch\u00e9nier, 1762-1794), poeti francez, q\u00eb kishte let\u00ebrk\u00ebmbim me Jeronim De Rad\u00ebn,<\/strong> Lamartin <\/strong>(AlphonseMarie Prat de Lamartine, 1790-1869) dhe romantik\u00eb t\u00eb tjer\u00eb francez\u00eb, me temat elegjiake p\u00ebr rinin\u00eb dhe dashurin\u00eb e humbur, p\u00ebr g\u00ebrmadhat e k\u00ebshtjellave t\u00eb dikurshme t\u00eb mbuluara nga mjegulla apo p\u00ebr rr\u00ebnojat n\u00eb shpirtin e poetit<\/em>. N\u00eb fillim t\u00eb shekullit XIX shprehja \u201cmal du si\u00e8cle\u201d<\/em> filloi t\u00eb shfaqet gjithnj\u00eb m\u00eb tep\u00ebr n\u00eb shkrimet programore dhe kritike t\u00eb romantik\u00ebve. N\u00eb let\u00ebrsin\u00eb gjermane p\u00ebrdoret me t\u00eb nj\u00ebjtin kuptim termi Weltschemerz<\/strong>.<\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

N\u00eb ting\u00ebllim\u00ebn \u201cPajtueshm\u00ebrit\u00eb\u201d (Correspondances) <\/em>Bodleri flet p\u00ebr natyr\u00ebn si nj\u00eb tekst i shifruar q\u00eb e lexon poeti. Sipas Bodlerit, detyr\u00eb e poetit \u00ebsht\u00eb t\u00eb shpreh\u00eb \u201c\u00e7far\u00ebsin\u00eb thelb\u00ebsore t\u00eb s\u00eb tashmes\u201d<\/em><\/strong> q\u00eb e ofron pamja e Parisit. Midis aspekteve t\u00eb modernes<\/em> vend t\u00eb r\u00ebnd\u00ebsish\u00ebm z\u00eb e sh\u00ebmtuara<\/em>. Nj\u00eb p\u00ebrjetim t\u00eb till\u00eb poeti hulumton te \u201cPamje nga Parisi\u201d (Tableaux parisiens) <\/em>si dhe n\u00eb poezit\u00eb n\u00eb proz\u00eb \u201cSplini i Parisit\u201d ( Spleen de Paris)<\/em> t\u00eb botuara me titullin \u201cPoezi t\u00eb vogla n\u00eb proz\u00eb\u201d (Petits po\u00e8mes en prose) <\/em>dy vjet pas vdekjes s\u00eb tij.<\/p>\n

Programi i \u201cSplini i Parisit\u201d<\/em> ndikoi me t\u00eb madhe n\u00eb zhvillimin e poezis\u00eb franceze, posa\u00e7\u00ebrisht tek Artyr Rembo <\/strong>(Artur Rimbaud) n\u00eb p\u00ebrmbledhjen \u201cIluminacione\u201d (Les Illuminations, <\/em>1874)<\/em>. Me nj\u00eb fjal\u00eb, ndikoi edhe n\u00eb lindjen e vargut t\u00eb lir\u00eb<\/em><\/strong>.<\/p>\n

Ndikimi i Bodlerit u p\u00ebrhap shpejt. N\u00eb fillim Stefan Malarme <\/strong>e ndjek pik\u00eb p\u00ebr pike. Artyr Rembo<\/strong> sheh tek ai t\u00eb vetmin poet t\u00eb ngritur n\u00eb forc\u00eb vizionari. Liriku francez i cili qiti me revole mbi shokun e vet Artyr Rembon, Pol Verleni <\/strong>(Paul Verlaine, 1844-1896), nga grupi\u00a0 i \u201cpoet\u00ebve t\u00eb n\u00ebmur\u201d (po\u00e8tes maudits)<\/em><\/strong>, Bodlerin e shpalli t\u00eb parin. P\u00ebr program t\u00eb tyre simbolist\u00ebt <\/em><\/strong>e mor\u00ebn ting\u00ebllim\u00ebn Correspondances<\/em> t\u00eb Bodlerit dhe teorin\u00eb e sinestezis\u00eb<\/em><\/strong> q\u00eb p\u00ebrmban ajo.<\/p>\n

Bodleri \u00ebsht\u00eb dukuri vendimtare n\u00eb gjenez\u00ebn e poezis\u00eb evropiane moderne, e cila n\u00ebp\u00ebrmjet simbolist\u00ebve ndikoi n\u00eb lirik\u00ebn<\/em> e shum\u00eb popujve t\u00eb Evrop\u00ebs. Poezia e Bodlerit, sikur albatros\u00ebt e tij, tenton t\u00eb ik\u00eb prej atyre q\u00eb e p\u00ebrbuzin at\u00eb q\u00eb ngjitet n\u00eb lart\u00ebsit\u00eb qiellore ku me stuhit\u00eb p\u00ebrplaset, me vet\u00ebtim\u00eb i mpin syt\u00eb. \u201cIk sa m\u00eb larg prej mo\u00e7aleve t\u00eb kalbura\u201d<\/em>. Jeta \u00ebsht\u00eb e zymt\u00eb, vdekja na t\u00ebrheq p\u00ebr m\u00ebnge. K\u00ebt\u00eb t\u00eb v\u00ebrtet\u00eb albatrosi i poezis\u00eb<\/em><\/strong> e adhuron. Akoma m\u00eb shum\u00eb er\u00eb kalb\u00ebsire, dekompozimi, edhe m\u00eb af\u00ebr fundit. Nuk ka m\u00ebnyr\u00eb p\u00ebr t\u2019i ikur koh\u00ebs.<\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

Sh\u00ebnim<\/strong>: \u201cPO\u00c8TES MAUDITD\u201d<\/em><\/strong> (poet\u00eb t\u00eb n\u00ebmur)<\/em> \u2013 \u00ebsht\u00eb eseja kritike e Pol Verlenit e botuar m\u00eb 1884, kushtuar tre poet\u00ebve, n\u00eb at\u00eb koh\u00eb mezi t\u00eb njohur: Tristan Korbier <\/strong>(Tristan Corbi\u00e8re, 1845-1875), Rembo <\/strong>dhe Malarme<\/strong>. M\u00eb 1888 eseja u plot\u00ebsua me emra t\u00eb rinj: poetja Marselin\u00eb Debord-Valmor <\/strong>(Marceline Desbordes-Valmore, 1786-1859), shkrimtari francez me prejardhje bretone Lil-Adam <\/strong>(Auguste de Villiers de L\u2019Isle-Adam, 1838-1889) dhe Povr\u00eb Lelian <\/strong>(Pauvre L\u00e9lian, anagram i Pol Verlenit). Q\u00ebllimi i Verlenit ishte t\u00eb t\u00ebrheq\u00eb v\u00ebmendjen te vlerat poetike t\u00eb reja dhe te brezi i ri i poet\u00ebve q\u00eb u afirmua me Bodlerin. Te Korbier thekson drith\u00ebrim\u00ebn e re poetike dhe shqet\u00ebsimin shpirt\u00ebror t\u00eb ri.<\/p>\n

Te Remboja \u2013 gjall\u00ebrin\u00eb dhe forc\u00ebn e figurave poetike dhe \u201cmbret\u00ebrin\u00eb e pavdekshme t\u00eb shpirtit\u201d<\/em>. Te Malarmeja \u2013 mjesht\u00ebrin\u00eb e p\u00ebrkryer t\u00eb vargut dhe pasionin q\u00eb n\u00ebp\u00ebrmjet gjuh\u00ebs s\u00eb re poetike t\u00eb arrij\u00eb dhe t\u00eb shpreh\u00eb thelbin e gj\u00ebrave. N\u00eb an\u00ebn tjet\u00ebr, \u201cpoet\u00ebt e n\u00ebmur\u201d<\/em> jan\u00eb simbol i ndarjes <\/em>s\u00eb thell\u00eb dhe t\u00eb p\u00ebrjetshme midis poezis\u00eb <\/em>dhe publikut, <\/em>midis pik\u00ebpamjeve utilitare mbi shoq\u00ebrin\u00eb <\/em>dhe vlerave letrare t\u00eb mir\u00ebfillta<\/em>, midis \u201cras\u00ebs p\u00ebrjet\u00ebsisht t\u00eb n\u00ebmur dhe atyre q\u00eb e kan\u00eb n\u00eb dor\u00eb forc\u00ebn e k\u00ebsaj bote\u201d<\/em>. Kjo ide romantike \u201ce gremin\u00ebs\u201d q\u00eb bot\u00ebn e imagjinat\u00ebs poetike e ndan nga bota e marr\u00ebdh\u00ebnieve shoq\u00ebrore reale (shkrimtari francez Alfred d\u00eb Vinji –<\/strong> Alfred Victor de Vigny, 1797-1863 dhe Bodleri<\/strong>) haset edhe n\u00eb let\u00ebrsit\u00eb e popujve t\u00eb tjer\u00eb.<\/p>\n

*\u00a0 *\u00a0 *<\/strong><\/p>\n

Sh\u00ebnim<\/strong>: LARPURLARTIZMI<\/em><\/strong> (l\u2019art pour l\u2019art – arti p\u00ebr art)<\/em> \u2013 koncept teorik i formuluar m\u00eb 1836 nga filozofi francez Viktor Kuzen <\/strong>(Victor Cousin, 1792-1867) me k\u00ebrkesat:<\/p>\n

– arti duhet t\u00eb jet\u00eb i liruar nga \u00e7far\u00ebdo q\u00ebllimi;
\n– n\u00eb art nuk duhet t\u00eb ndikojn\u00eb as morali, as politika, as religjioni;
\n– p\u00ebr ta kuptuar artin mjafton q\u00ebllimi i tij q\u00eb buron nga ligjet e tij;
\n– arti mund dhe duhet t\u00eb njihet vet\u00ebm nga ideja e s\u00eb bukur\u00ebs, d.m.th. nga ato premisa q\u00eb ndodhen brenda krijimit poetik dhe n\u00eb ligjet e tij.<\/p>\n

Tez\u00ebn e artit p\u00ebr art<\/em><\/strong> do ta p\u00ebrpunojn\u00eb: simbolizmi,<\/em><\/strong> parnasist\u00ebt <\/strong><\/em>dhe impresionizmi<\/em><\/strong>. N\u00eb debatet teorike do ta mbrojn\u00eb Teofil Gotje, Bodleri, Gystav Floberi, V\u00ebllez\u00ebrit Gonkur <\/strong>(Edmond Huot de Goncourt, 1822-1896 dhe Jules Goncourt, 1830-1870), dramaturgu, poeti dhe prozatori irlandez Oskar Vaild <\/strong>(Oscar Wilde, 1854-1900) etj. Por, me tezat e veta Viktor Kuzen ia \u00e7eli dyert edhe lajthitjeve<\/em><\/strong> mbi pavar\u00ebsin\u00eb dhe m\u00ebvet\u00ebsin\u00eb e plot\u00eb t\u00eb artit nga shoq\u00ebria dhe njeriu<\/em>.<\/p>\n

Sh\u00ebnim<\/strong>: PARNASIST\u00cbT<\/em><\/strong> \u2013 qerthull poet\u00ebsh francez\u00eb t\u00eb tubuar rreth Teofil Gotjes\u00eb <\/strong>dhe Sharl L\u00ebkont d\u00eb Lil <\/strong>(Charles Leconte de Lisle, 1818-1872) n\u00eb gjysm\u00ebn e dyt\u00eb t\u00eb shekullit XIX. Termi lindi sipas emrit t\u00eb pyllit Parnas<\/em> <\/strong>n\u00eb Greqin\u00eb antike<\/em> q\u00eb konsiderohej seli e Apolonit dhe e muzave<\/em>. Sipas besimit tradicional t\u00eb lasht\u00eb n\u00eb Greqin\u00eb antike, q\u00ebndrimi n\u00eb pyllin Parnas, e sidomos n\u00eb burimin Kastalia, e frym\u00ebzon poetin p\u00ebr t\u00eb krijuar vepra artistike. Qysh n\u00eb Greqin\u00eb e vjet\u00ebr em\u00ebrtimi Parnas<\/em> lidhej ngusht\u00ebsisht me poezin\u00eb. Me kalimin e koh\u00ebs do t\u00eb b\u00ebhet edhe simbol i poezis\u00eb<\/em>, p\u00ebrkat\u00ebsisht i pik\u00ebpamjes s\u00eb caktuar mbi poezin\u00eb. M\u00eb 1866 doli n\u00eb Paris p\u00ebrmbledhja \u201cLe Parnasse contemporain\u201d<\/em> si manifest i nj\u00eb grupi letrar\u00ebsh t\u00eb cil\u00ebt n\u00eb poezi \u2013 dhe n\u00eb let\u00ebrsi \u2013 soll\u00ebn pik\u00ebpamje t\u00eb reja.<\/p>\n

Sipas parnasist\u00ebve<\/em><\/strong>, <\/em>ideal i artit \u00ebsht\u00eb kulti i bukuris\u00eb s\u00eb past\u00ebr dhe absolute<\/em>. Nga artisti pik\u00ebs\u00ebpari k\u00ebrkonin p\u00ebrsosm\u00ebrin\u00eb e form\u00ebs, p\u00ebrkryerjen e vargut, virtuozitetin e shprehjes. Poeti nuk duhet t\u2019u jepet ndjenjave t\u00eb veta, por duhet t\u00eb jet\u00eb i matur, i p\u00ebrmbajtur, <\/em>sidomos inpersonal <\/em>dhe objektiv<\/em>. Parnasist\u00ebt n\u00eb radh\u00eb t\u00eb par\u00eb i kund\u00ebrvihen<\/em> romantizmit, sentimentalizmit, inspirimit t\u00eb shfrenuar <\/em><\/strong>dhe artit t\u00eb kapsh\u00ebm nga masat e gjera.<\/em> <\/strong>Krijimi artistik i destinohet vet\u00ebm nj\u00eb rrethi t\u00eb zgjedhur dhe elitar t\u00eb njoh\u00ebsve, nd\u00ebrkaq arti nuk mund t\u2019i sh\u00ebrbej\u00eb kurrfar\u00eb q\u00ebllimi politik, shoq\u00ebror apo moral.<\/em><\/p>\n

K\u00ebsisoj, parnasist\u00ebt<\/em> akoma m\u00eb shum\u00eb iu kund\u00ebrv\u00ebn\u00eb let\u00ebrsis\u00eb s\u00eb angazhuar <\/em><\/strong>apo utilitarizmit letrar<\/em><\/strong>. K\u00ebtij qerthulli i takonin poet\u00ebt Teofil Gotije, L\u00ebkont d\u00eb Lil, Bodleri, Pol Verleni, Stefan Malarme etj. Ky koncept p\u00ebrputhet me larpurlartizmin<\/em><\/strong>.<\/p>\n

\u00a0<\/em><\/strong>*\u00a0 *\u00a0 * <\/strong><\/p>\n

Krijimet letrare t\u00eb Bodlerit <\/em><\/strong>\u2013 \u201cSallonet\u201d <\/em>(1845), \u201cLulet e s\u00eb keqes\u201d<\/em> (Les Fleurs du mal, <\/em>1857), \u201cZemra ime e zhveshur\u201d<\/em> (1859), soneti \u201cPajtueshm\u00ebrit\u00eb\u201d (Correspondances), \u201cParajsa e rrejshme\u201d<\/em> (1860), \u201cCopat\u201d <\/em>(1866), \u201cLuzmat artificiale\u201d <\/em>(pas vdekjes), kritikat dhe eset\u00eb \u201cKuriozitete estetike\u201d (Curiosit<\/em>\u00e9<\/em>s esth<\/em>\u00e9<\/em>tiques, <\/em>1868) <\/em>dhe \u201cArti romantik\u201d (L\u2019Art romantique, <\/em>1868), \u201cPamje nga Parisi\u201d (Tableaux parisiens), \u201cSplini i Parisit\u201d (Spleen de Paris<\/em>) t\u00eb botuara m\u00eb 1869 me titullin \u201cPoezi t\u00eb vogla n\u00eb proz\u00eb\u201d (Petits po<\/em>\u00e8<\/em>mes en prose).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Xhelal Zejneli Sharl Bodleri (Charles Pierre Baudelaire, 1821-1867) \u00ebsht\u00eb poet, p\u00ebrkthyes, eseist dhe kritik letrar francez. \u00cbsht\u00eb nj\u00eb nga poet\u00ebt m\u00eb t\u00eb mir\u00eb francez t\u00eb shekullit XIX. Me vepr\u00ebn e vet ndikoi n\u00eb zhvillimin e simbolizmit n\u00eb poezi. Konsiderohet themelues i modernizmit. \u00cbsht\u00eb i pari poet i lirik\u00ebs moderne evropiane. Babai Fransua Bodler (Joseph-Fran\u00e7ois Baudelaire, […]<\/p>\n","protected":false},"author":1,"featured_media":56940,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,35],"tags":[],"class_list":["post-56939","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-histori","category-kulture"],"yoast_head":"\nSHARL BODLERI - FJALA e LIR\u00cb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jehonashqiptare.al\/fjala\/sharl-bodleri\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"SHARL BODLERI - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Xhelal Zejneli Sharl Bodleri (Charles Pierre Baudelaire, 1821-1867) \u00ebsht\u00eb poet, p\u00ebrkthyes, eseist dhe kritik letrar francez. \u00cbsht\u00eb nj\u00eb nga poet\u00ebt m\u00eb t\u00eb mir\u00eb francez t\u00eb shekullit XIX. Me vepr\u00ebn e vet ndikoi n\u00eb zhvillimin e simbolizmit n\u00eb poezi. Konsiderohet themelues i modernizmit. \u00cbsht\u00eb i pari poet i lirik\u00ebs moderne evropiane. 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