{"id":57171,"date":"2020-06-16T15:53:46","date_gmt":"2020-06-16T13:53:46","guid":{"rendered":"https:\/\/fjala.info\/?p=57171"},"modified":"2020-06-16T15:53:46","modified_gmt":"2020-06-16T13:53:46","slug":"tradita-dhe-talenti-individual-2","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/","title":{"rendered":"TRADITA DHE TALENTI INDIVIDUAL"},"content":{"rendered":"

(Tradition and the individual talent, 1919<\/em>)<\/p>\n

Thomas Stearns Eliot<\/strong> (1888-1965<\/em>)<\/p>\n

Ese e shekullit, botuar m\u00eb 1919<\/em><\/p>\n

\"XhelalP\u00ebrktheu Xhelal Zejneli<\/strong><\/p>\n

Kur ne anglez\u00ebt shkruajm\u00eb, rrall\u00eb flasim p\u00ebr tradit\u00ebn, ndon\u00ebse her\u00eb pas her\u00eb na vjen keq p\u00ebr munges\u00ebn e saj. Nuk mund t’i referohemi nocionit “tradit\u00eb” n\u00eb ndonj\u00eb kuptim t\u00eb p\u00ebrgjithsh\u00ebm apo t\u00eb ve\u00e7ant\u00eb; n\u00eb rastin m\u00eb t\u00eb mir\u00eb e p\u00ebrdorim mbiemrin dhe p\u00ebr poezin\u00eb “e k\u00ebtij apo t\u00eb atij” themi se \u00ebsht\u00eb “tradicionale” madje edhe “tejet tradicionale”. Padyshim, kjo fjal\u00eb rrall\u00eb paraqitet, p\u00ebrve\u00e7se n\u00eb ndonj\u00eb fraz\u00eb qortimi. E po qe se nuk kemi t\u00eb b\u00ebjm\u00eb me qortim, at\u00ebher\u00eb mund t\u00eb jet\u00eb fjala p\u00ebr ndonj\u00eb miratim t\u00eb paqart\u00eb me aluzion t\u00eb till\u00eb p\u00ebr vepr\u00ebn q\u00eb miratohet, thua ti se kemi t\u00eb b\u00ebjm\u00eb me ndonj\u00eb rikonstruktim arkeologjik t\u00eb k\u00ebndsh\u00ebm. V\u00ebshtir\u00eb mund ta b\u00ebni k\u00ebt\u00eb fjal\u00eb t\u00eb k\u00ebndshme p\u00ebr veshin e nj\u00eb anglezi pa at\u00eb referimin e p\u00eblqyesh\u00ebm p\u00ebr agonin\u00eb e shkenc\u00ebs arkeologjike.<\/p>\n

Dihet sakt\u00eb se kjo fjal\u00eb ka pak gjasa t\u00eb shfaqet n\u00eb vler\u00ebsimet tona p\u00ebr shkrimtar\u00ebt e gjall\u00eb dhe t\u00eb vdekur. \u00c7do komb, \u00e7do rac\u00eb i ka jo vet\u00ebm prirjet e veta krijuese, por edhe ato kritike; madje m\u00eb par\u00eb do t’i anashkaloj\u00eb t\u00eb metat dhe kufizimet e shprehive t\u00eb veta kritike, sesa ta b\u00ebj\u00eb nj\u00eb gj\u00eb t\u00eb till\u00eb kur t\u00eb jet\u00eb fjala p\u00ebr gjeniun krijues t\u00eb tij. Na \u00ebsht\u00eb e njohur, ose t\u00eb pakt\u00ebn mendojm\u00eb se na \u00ebsht\u00eb e njohur metoda kritike, apo shprehia kritike e francez\u00ebve n\u00eb baz\u00eb t\u00eb mas\u00ebs tejet t\u00eb madhe t\u00eb krijimit kritik q\u00eb \u00ebsht\u00eb paraqitur n\u00eb gjuh\u00ebn fr\u00ebnge; thjesht\u00eb ne vijm\u00eb n\u00eb p\u00ebrfundim (jemi pik\u00ebrisht nj\u00eb bot\u00eb “e pavet\u00ebdijshme”) se francez\u00ebt kan\u00eb “kuptim kritik” m\u00eb t\u00eb madh se ne dhe ngandonj\u00ebher\u00eb madje edhe krenohemi nga pak p\u00ebr k\u00ebt\u00eb, sikur francez\u00ebt jan\u00eb gjoja m\u00eb pak spontan\u00eb. Ndoshta dhe jan\u00eb; por megjith\u00ebk\u00ebt\u00eb mund t\u00eb rikujtohemi se kritika \u00ebsht\u00eb po aq e domosdoshme sa \u00e7’\u00ebsht\u00eb dhe frym\u00ebmarrja dhe se asgj\u00eb nuk do t\u00eb na pengonte sikur ta artikulonim at\u00eb q\u00eb na kalon n\u00ebp\u00ebr kok\u00eb derisa lexojm\u00eb dhe e p\u00ebrjetojm\u00eb n\u00eb m\u00ebnyr\u00eb emotive ndonj\u00eb lib\u00ebr, si dhe sikur t\u00eb kritikonim shpirtin ton\u00eb n\u00eb vepr\u00ebn kritike vetanake t\u00eb tij.<\/p>\n

Nj\u00eb prej argumenteve q\u00eb do t\u00eb mund t\u00eb dilte n\u00eb drit\u00eb gjat\u00eb nj\u00eb procesi t\u00eb till\u00eb \u00ebsht\u00eb synimi yn\u00eb q\u00eb, derisa e l\u00ebvdojn\u00eb ndonj\u00eb poet, i theksojm\u00eb ato forma t\u00eb vepr\u00ebs s\u00eb tij n\u00eb t\u00eb cilat ai m\u00eb s\u00eb paku na p\u00ebrkujton dik\u00eb tjet\u00ebr. N\u00eb ato forma apo pjes\u00eb t\u00eb krijimtaris\u00eb s\u00eb tij p\u00ebrfytyrojm\u00eb se do t\u00eb zbulojm\u00eb at\u00eb q\u00eb \u00ebsht\u00eb individuale, esenc\u00eb karakteristike e njeriut. Me k\u00ebnaq\u00ebsi ndalemi aty ku ky poet dallohet nga paraardh\u00ebsit e tij, e sidomos nga paraardh\u00ebsit e tij t\u00eb drejtp\u00ebrdrejt\u00eb; P\u00ebrpiqemi t\u00eb gjejm\u00eb di\u00e7ka q\u00eb mund t\u00eb ve\u00e7ohet n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb k\u00ebnaqemi n\u00eb t\u00eb. Mir\u00ebpo, po qe se i qasemi nj\u00eb poeti pa paragjykime t\u00eb k\u00ebtilla, shpesh do t\u00eb zbulojn\u00eb se jo vet\u00ebm pjes\u00ebt m\u00eb t\u00eb mira por edhe ato m\u00eb individuale t\u00eb vepr\u00ebs s\u00eb tij mund t\u00eb jen\u00eb ato n\u00eb t\u00eb cilat poet\u00ebt e vdekur, paraardh\u00ebsit, paraardh\u00ebs t\u00eb tij, n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb fuqishme e kan\u00eb d\u00ebshmuar pavdek\u00ebsin\u00eb e vet. Me k\u00ebt\u00eb rast nuk mendoj p\u00ebr periudh\u00ebn e rinis\u00eb q\u00eb u n\u00ebnshtrohet ndikimeve, por p\u00ebr periudh\u00ebn e pjekuris\u00eb s\u00eb plot\u00eb.<\/p>\n

E me gjith\u00eb k\u00ebt\u00eb, sikur forma e vetme e tradit\u00ebs, e mbartjes nga brezi n\u00eb brez, t\u00eb kishte t\u00eb b\u00ebnte me faktin q\u00eb t’i ndjekim rrug\u00ebt e atij brezi q\u00eb \u00ebsht\u00eb pararend\u00ebs yni i drejtp\u00ebrdrejt\u00eb dhe q\u00eb verb\u00ebrisht e me droje t\u00eb nd\u00ebrlidhemi me sukseset e tij, s’ka dyshim se nj\u00eb “tradit\u00eb” t\u00eb till\u00eb do t\u00eb duhej flakur. Kemi par\u00eb shum\u00eb rrjedha t\u00eb tilla t\u00eb thjeshta t\u00eb cilat shpejt do t\u00eb p\u00ebrthitheshin nga zalli; p\u00ebr arsye se risia \u00ebsht\u00eb m\u00eb e mir\u00eb se p\u00ebrs\u00ebritja. Tradita \u00ebsht\u00eb di\u00e7ka q\u00eb ka nj\u00eb r\u00ebnd\u00ebsi shum\u00eb m\u00eb t\u00eb gjer\u00eb. Ajo nuk mund t\u00eb trash\u00ebgohet, e po qe se ju nevojitet duhet ta arrini me p\u00ebrpjekje t\u00eb m\u00ebdha.<\/p>\n

Ajo n\u00eb radh\u00eb t\u00eb par\u00eb p\u00ebrfshin ndjenj\u00ebn e historis\u00eb, p\u00ebr t\u00eb cil\u00ebn, mund t\u00eb themi se \u00ebsht\u00eb e domosdoshme pothuajse secilit q\u00eb do t\u00eb d\u00ebshironte t\u00eb b\u00ebhet poet edhe pas mosh\u00ebs s\u00eb tij nj\u00ebzetepes\u00eb vje\u00e7are; e kjo ndjenj\u00eb e historis\u00eb p\u00ebrfshin vrojtimin jo vet\u00ebm t\u00eb asaj q\u00eb ka kaluar n\u00eb t\u00eb kaluar\u00ebn, por edhe q\u00eb \u00ebsht\u00eb e tashme n\u00eb t\u00eb kaluar\u00ebn; ndjenja e historis\u00eb e detyron njeriun t\u00eb mos shkruaj\u00eb i preokupuar deri n\u00eb palc\u00eb vet\u00ebm me brezin e vet, por me ndjenj\u00ebn se e gjith\u00eb let\u00ebrsia evropiane duke filluar prej Homerit, dhe n\u00eb kuad\u00ebr t\u00eb saj krejt let\u00ebrsia e vendit t\u00eb tij, n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb ekzistojn\u00eb p\u00ebrb\u00ebjn\u00eb nj\u00eb rend. Nj\u00eb kuptim i till\u00eb historik, q\u00eb do t\u00eb thot\u00eb kuptim p\u00ebr jasht\u00ebkohoren si dhe p\u00ebr kohoren, apo p\u00ebr jasht\u00ebkohoren dhe kohoren marr\u00eb bashk\u00ebrisht, \u00ebsht\u00eb ajo q\u00eb nj\u00eb shkrimtar e b\u00ebn tradicional. E kjo nj\u00ebherazi \u00ebsht\u00eb ajo q\u00eb te shkrimtari nxit vet\u00ebdijen m\u00eb t\u00eb fuqishme p\u00ebr vendin e tij n\u00eb koh\u00eb, p\u00ebr bashk\u00ebkoh\u00ebsin\u00eb e tij.<\/p>\n

Asnj\u00eb poet, asnj\u00eb artist vetvetiu nuk ka r\u00ebnd\u00ebsi t\u00eb t\u00ebr\u00ebsishme. R\u00ebnd\u00ebsia e tij, vler\u00ebsimi i vepr\u00ebs s\u00eb tij \u00ebsht\u00eb vler\u00ebsim i q\u00ebndrimit t\u00eb tij ndaj poet\u00ebve dhe ndaj artist\u00ebve t\u00eb vdekur. P\u00ebr arsye se nuk mund ta vler\u00ebsoni si t\u00eb vet\u00ebm; p\u00ebr shkak t\u00eb kontrastit dhe t\u00eb krahasimit patjet\u00ebr ta vendosni midis t\u00eb vdekurve. Mendoj se ky \u00ebsht\u00eb parim i kritik\u00ebs estetike, dhe jo vet\u00ebm i kritik\u00ebs historike. Domosdoshm\u00ebria q\u00eb ai t\u00eb p\u00ebrshtatet, t\u00eb p\u00ebrfshihet, nuk \u00ebsht\u00eb e nj\u00ebanshme; Ajo q\u00eb ndodh kur krijohet ndonj\u00eb vep\u00ebr e re artistike \u00ebsht\u00eb di\u00e7ka q\u00eb nj\u00ebherazi ndodh edhe me t\u00eb gjitha veprat artistike q\u00eb i kan\u00eb paraprir\u00eb.<\/p>\n

P\u00ebrmendoret ekzistuese krijojn\u00eb nd\u00ebr veta nj\u00eb rend ideal q\u00eb modifikohet duke v\u00ebn\u00eb vepr\u00ebn e re artistike (v\u00ebrtet t\u00eb re). Rendi ekzistues \u00ebsht\u00eb i plot\u00eb derisa nuk shfaqet kjo vep\u00ebr e re; dhe p\u00ebr t’u ruajtur rendi edhe pas risis\u00eb q\u00eb \u00ebsht\u00eb imponuar, t\u00ebr\u00eb <\/em>rendi ekzistues patjet\u00ebr t\u00eb ndryshoj\u00eb qoft\u00eb edhe pak; k\u00ebshtu raportet, p\u00ebrpjes\u00ebtimet, vlerat e \u00e7do vepre artistike p\u00ebrs\u00ebri p\u00ebrshtaten me t\u00ebr\u00ebsin\u00eb; e kjo paraqet p\u00ebrputhje t\u00eb s\u00eb vjetr\u00ebs dhe t\u00eb s\u00eb res\u00eb. Secili q\u00eb pajtohet me k\u00ebt\u00eb ide p\u00ebr rendin, p\u00ebr form\u00ebn e let\u00ebrsis\u00eb evropiane, p\u00ebrkat\u00ebsisht angleze nuk do ta konsideroj\u00eb paarsyesh\u00ebm faktin se e tashmja po aq e ndryshon t\u00eb kaluar\u00ebn sa edhe e kaluara drejton t\u00eb tashmen. Dhe poeti q\u00eb \u00ebsht\u00eb i vet\u00ebdijsh\u00ebm p\u00ebr k\u00ebt\u00eb, do t\u00eb jet\u00eb i vet\u00ebdijsh\u00ebm p\u00ebr v\u00ebshtir\u00ebsit\u00eb dhe p\u00ebr p\u00ebrgjegj\u00ebsit\u00eb e m\u00ebdha.<\/p>\n

Ai po ashtu n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb do t\u00eb jet\u00eb i vet\u00ebdijsh\u00ebm se patjet\u00ebr t’i gjykohet sipas kritereve t\u00eb s\u00eb kaluar\u00ebs. Them t’i gjykohet dhe jo t’i b\u00ebhet kasapimi; t\u00eb mos gjykohet a \u00ebsht\u00eb po aq i mir\u00eb sikur t\u00eb vdekurit, apo m\u00eb i keq ose m\u00eb i mir\u00eb se ata; dhe gjithsesi t\u00eb mos gjykohet sipas kanoneve t\u00eb kritik\u00ebve t\u00eb vdekur. Fjala \u00ebsht\u00eb p\u00ebr vler\u00ebsimin, p\u00ebr krahasimin n\u00eb t\u00eb cilin dy gj\u00ebra maten nd\u00ebr vete. Vet\u00ebm t\u00eb p\u00ebrshtaturit, p\u00ebr vepr\u00ebn e re do t\u00eb thoshte t\u00eb mos b\u00ebhet p\u00ebrshtatja fare; Ajo as q\u00eb do t\u00eb ishte e re dhe rrjedhimisht nuk do t\u00eb ishte as vep\u00ebr artistike. Por un\u00eb nuk dua t\u00eb pohoj n\u00eb m\u00ebnyr\u00eb t\u00eb prer\u00eb se e reja vlen m\u00eb tep\u00ebr p\u00ebr arsye se p\u00ebrputhet; por, vet p\u00ebrputhja \u00ebsht\u00eb prov\u00eb e vler\u00ebs s\u00eb saj – natyrisht prov\u00eb e cila mund t\u00eb zbatohet vet\u00ebm ngadal\u00eb dhe me kujdes, p\u00ebr arsye se asnj\u00ebri prej nesh nuk \u00ebsht\u00eb gjykat\u00ebs i pagabuesh\u00ebm i t\u00eb p\u00ebrshtaturit. Themi: si duket p\u00ebrshtatet, dhe ndoshta \u00ebsht\u00eb individuale, apo si duket \u00ebsht\u00eb individuale dhe mund t\u00eb p\u00ebrshtatet; por v\u00ebshtir\u00eb se jemi n\u00eb gjendje t\u00eb konkludojm\u00eb se p\u00ebr cil\u00ebn nga k\u00ebto nocione n\u00eb t\u00eb v\u00ebrtet\u00eb b\u00ebhet fjal\u00eb.<\/p>\n

T\u00eb kalojm\u00eb te interpretimi m\u00eb i kuptuesh\u00ebm i raporteve midis poetit dhe t\u00eb kaluar\u00ebs: poeti nuk mund ta pranoj\u00eb t\u00eb kaluar\u00ebn si ndonj\u00eb pastile, si ndonj\u00eb pilul\u00eb t\u00eb panjohur, as q\u00eb mund t\u00eb formohet duke u bazuar vet\u00ebm te nj\u00eb apo te dy poet\u00eb me t\u00eb cil\u00ebt intimisht krenohet, as q\u00eb mund t\u00eb frym\u00ebzohet vet\u00ebm nga nj\u00eb epok\u00eb t\u00eb cil\u00ebn e adhuron m\u00eb shum\u00eb. M\u00ebnyra e par\u00eb \u00ebsht\u00eb e palejueshme, e dyta \u00ebsht\u00eb p\u00ebrvoj\u00eb e r\u00ebnd\u00ebsishme e t\u00eb riut, nd\u00ebrsa e treta \u00ebsht\u00eb nj\u00eb plot\u00ebsim i k\u00ebndsh\u00ebm dhe tejet i d\u00ebshiruesh\u00ebm. Poeti duhet t\u00eb jet\u00eb mjaft i vet\u00ebdijsh\u00ebm p\u00ebr rrjedh\u00ebn e cila assesi nuk \u00ebsht\u00eb e th\u00ebn\u00eb t\u00eb kaloj\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb pagabueshme n\u00ebp\u00ebr ata t\u00eb cil\u00ebt g\u00ebzojn\u00eb prestigj m\u00eb t\u00eb madh. Ai duhet ta ket\u00eb plot\u00ebsisht t\u00eb qart\u00eb faktin evident se arti kurr\u00eb nuk mund t\u00eb korrigjohet, por as edhe objekti i artit kurr\u00eb nuk mund t\u00eb jet\u00eb i nj\u00ebjt\u00eb.<\/p>\n

Ai duhet ta ket\u00eb t\u00eb qart\u00eb se fryma e Evrop\u00ebs – fryma e vendit t\u00eb tij – fryma p\u00ebr t\u00eb cil\u00ebn me kalimin e koh\u00ebs do t\u00eb m\u00ebsoj\u00eb se \u00ebsht\u00eb shum\u00eb m\u00eb e r\u00ebnd\u00ebsishme se fryma e tij personale – ndryshon dhe se ky ndryshim paraqet zhvillimin i cili asgj\u00eb nuk l\u00eb En route <\/em>dhe se, duke iu fal\u00ebnderuar asaj nuk vjetrohen as Shekspiri as Homeri, as vizatimet n\u00ebp\u00ebr shk\u00ebmbinj q\u00eb i kan\u00eb vizatuar vizatuesit e epok\u00ebs s\u00eb Magdalen\u00ebs. Se ky zhvillim, ndoshta rafinman gjithsesi komplikim, nga k\u00ebndv\u00ebshtrimi i artistit nuk paraqet kurrfar\u00eb p\u00ebrmir\u00ebsimi. Ndoshta madje as nga pik\u00ebpamja e psikologut, ose t\u00eb pakt\u00ebn jo n\u00eb at\u00eb mas\u00eb n\u00eb t\u00eb cil\u00ebn e p\u00ebrfytyrojm\u00eb nj\u00eb gj\u00eb t\u00eb till\u00eb ne; ndoshta vet\u00ebm tek e mbr\u00ebmja ky zhvillim bazohet n\u00eb nj\u00eb ekonomik\u00eb dhe industri t\u00eb nd\u00ebrlikuar. Mir\u00ebpo dallimi nd\u00ebrmjet t\u00eb tashmes dhe t\u00eb kaluar\u00ebs q\u00ebndron n\u00eb faktin se e tashmja e vet\u00ebdijshme paraqet vet\u00ebdije p\u00ebr t\u00eb kaluar\u00ebn n\u00eb mas\u00ebn dhe sipas m\u00ebnyr\u00ebs sipas s\u00eb cil\u00ebs e kaluara kurr\u00eb nuk mund t\u00eb tregohet se \u00ebsht\u00eb e vet\u00ebdijshme p\u00ebr veten.<\/p>\n

Dikush kishte th\u00ebn\u00eb: “shkrimtar\u00ebt e vjet\u00ebr jan\u00eb larg nesh p\u00ebr arsye se ne dim\u00eb <\/em>shum\u00eb m\u00eb tep\u00ebr se q\u00eb kan\u00eb ditur ata”. V\u00ebrtet\u00eb \u00ebsht\u00eb k\u00ebshtu, por ajo q\u00eb ne dim\u00eb p\u00ebr ta jan\u00eb ata vet\u00eb.<\/p>\n

Jam i vet\u00ebdijsh\u00ebm p\u00ebr nj\u00eb v\u00ebrejtje t\u00eb r\u00ebndomt\u00eb lidhur me faktin q\u00eb padyshim p\u00ebrb\u00ebn nj\u00eb pjes\u00eb t\u00eb programit t\u00eb Metier<\/u><\/em>–<\/em>it (zanatit) tim poetik. V\u00ebrejtja ka t\u00eb b\u00ebj\u00eb me faktin se doktrina p\u00ebr t\u00eb cil\u00ebn \u00ebsht\u00eb fjala, k\u00ebrkon nj\u00eb sasi qesharake t\u00eb erudicionit (pedanteris\u00eb), e nj\u00eb k\u00ebrkes\u00eb e till\u00eb mund t\u00eb refuzohet duke iu referuar jet\u00ebs s\u00eb poet\u00ebve q\u00eb prehen n\u00eb cilindo panteon. Madje do t\u00eb d\u00ebshmohet se dituria e madhe e mbyt ose e shtremb\u00ebron sensibilitetin poetik. Mir\u00ebpo, ndon\u00ebse thell\u00ebsisht besoj se nj\u00eb poet duhet t\u00eb dij\u00eb aq sa nuk do ta pengoj\u00eb ndjeshm\u00ebrin\u00eb e tij t\u00eb domosdoshme dhe p\u00ebrtacin\u00eb e domosdoshme, \u00ebsht\u00eb e pad\u00ebshirueshme q\u00eb ai ta kufizoj\u00eb diturin\u00eb e vet n\u00eb \u00e7do gj\u00eb q\u00eb do t\u00eb mund t\u00eb shfryt\u00ebzohej n\u00eb provime, ose n\u00eb sallone, ose p\u00ebr forma akoma m\u00eb pretencioze t\u00eb veprimit publik.<\/p>\n

Disa jan\u00eb n\u00eb gjendje q\u00eb diturin\u00eb ta p\u00ebrthithin shpejt, nd\u00ebrsa ata q\u00eb jan\u00eb m\u00eb t\u00eb ngadalsh\u00ebm, p\u00ebr t\u00eb marr\u00eb dituri, duhet t\u00eb djersiten. Shekspiri, n\u00ebp\u00ebrmjet Plutarkut ka marr\u00eb m\u00eb shum\u00eb njohuri historike themelore se \u00e7’do t\u00eb merrnin shum\u00eb t\u00eb tjer\u00eb nga gjith\u00eb ai Muze Britanik. Ajo p\u00ebr \u00e7ka duhet insistuar \u00ebsht\u00eb fakti se poeti duhet t\u00eb zhvilloj\u00eb, p\u00ebrkat\u00ebsisht t\u00eb nd\u00ebrtoj\u00eb vet\u00ebdijen p\u00ebr t\u00eb kaluar\u00ebn dhe se gjat\u00eb t\u00ebr\u00eb karrier\u00ebs s\u00eb vet duhet ta zhvilloj\u00eb k\u00ebt\u00eb vet\u00ebdije.<\/p>\n

K\u00ebshtu lind nj\u00eb n\u00ebnshtrim i p\u00ebrhersh\u00ebm i unit t\u00eb vet, asisoj si\u00e7 \u00ebsht\u00eb n\u00eb \u00e7astin e caktuar, di\u00e7kaje m\u00eb t\u00eb vlefshme. Progres i artistit \u00ebsht\u00eb vet\u00ebflijimi i p\u00ebrhersh\u00ebm, asgj\u00ebsimi i p\u00ebrhersh\u00ebm i personalitetit t\u00eb vet.<\/p>\n

Na mbetet ta caktojm\u00eb procesin e cekur t\u00eb depersonalizimit dhe raportin e tij ndaj ndjenj\u00ebs s\u00eb tradit\u00ebs. Mund t\u00eb thuhet se arti n\u00ebp\u00ebrmjet depersonalizimit ia afrohet karakterit t\u00eb shkenc\u00ebs. Prandaj, ju ftoj q\u00eb me nj\u00eb analogji tejet sugjestive, t\u00eb shqyrtoni se \u00e7’ndodh kur fusim nj\u00eb cop\u00eb platini t\u00eb l\u00ebmuar n\u00eb kabin\u00ebn n\u00eb t\u00eb cil\u00ebn ka oksigjen dhe dyoksid sulfuri.<\/p>\n

II<\/strong><\/p>\n

Kritika e mir\u00ebfillt\u00eb dhe vler\u00ebsimi i st\u00ebrholluar jan\u00eb t\u00eb orientuar nga poezia dhe jo nga poeti. Po qe se i p\u00ebrcjellim thirrjet e ngat\u00ebrruara t\u00eb kritik\u00ebve gazetaresk\u00eb dhe zhurm\u00ebn e p\u00ebrs\u00ebritjeve t\u00eb p\u00ebrgjithshme q\u00eb pasojn\u00eb pas tyre, do t\u00eb d\u00ebgjojm\u00eb nj\u00eb num\u00ebr t\u00eb madh emrash t\u00eb poet\u00ebve; po qe se nuk k\u00ebrkojm\u00eb njohuri logjike<\/u>, por k\u00ebnaqemi n\u00eb poezi dhe po qe se pyesim p\u00ebr ndonj\u00eb poezi, v\u00ebshtir\u00eb se do ta gjejm\u00eb. Aspekti tjet\u00ebr i k\u00ebsaj teorie t\u00eb depersonalizimit p\u00ebr poezin\u00eb \u00ebsht\u00eb raporti i poezis\u00eb ndaj autorit. Me ndihm\u00ebn e nj\u00eb analogjie kam paralajm\u00ebruar se shpirti i poetit t\u00eb pjekur nuk dallohet nga shpirti i poetit t\u00eb papjekur tekstualisht p\u00ebr nga vlera “e personit” t\u00eb tij, as p\u00ebr nga fakti se domosdoshm\u00ebrish \u00ebsht\u00eb m\u00eb interesant, apo ka “p\u00ebr t\u00eb th\u00ebn\u00eb m\u00eb shum\u00eb”, por p\u00ebr nga fakti se ai \u00ebsht\u00eb medium shum\u00eb m\u00eb i p\u00ebrkryer n\u00eb t\u00eb cilin ndjenjat e ve\u00e7anta, ose ndjenjat tejet t\u00eb ndryshme lirisht mund t\u00eb hyjn\u00eb n\u00eb kombinime t\u00eb reja.<\/p>\n

Kam b\u00ebr\u00eb nj\u00eb analogji me katalizatorin. Kur dy gazrat q\u00eb u p\u00ebrmend\u00ebn m\u00eb lart\u00eb p\u00ebrzihen n\u00eb prani t\u00eb pllak\u00ebs s\u00eb platinit, ata krijojn\u00eb acid sulfurik. Ky bashkim formohet vet\u00ebm kur \u00ebsht\u00eb i pranish\u00ebm platini; e megjith\u00ebk\u00ebt\u00eb, acidi i sapoformuar nuk p\u00ebrmban asnj\u00eb gjurm\u00eb platini, as q\u00eb pamja e platinit \u00ebsht\u00eb ndryshuar; ka mbetur inert, asnjan\u00ebs, i nj\u00ebjt\u00eb. Shpirti i poetit \u00ebsht\u00eb nj\u00eb cop\u00eb platini. Ai mund ta shfryt\u00ebzoj\u00eb pjes\u00ebrisht ose p\u00ebrjashtimisht p\u00ebrvoj\u00ebn e vet njeriut; por, sa m\u00eb i p\u00ebrkryer t\u00eb jet\u00eb artisti, aq m\u00eb tep\u00ebr tek ai m\u00eb radikalisht do t\u00eb ndahet njeriu q\u00eb vuan nga shpirti q\u00eb krijon; aq m\u00eb tep\u00ebr shpirti i tij n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb p\u00ebrkryer do t’i tret\u00eb dhe do t’i transformoj\u00eb pasionet q\u00eb jan\u00eb material i tij.<\/p>\n

Do t\u00eb v\u00ebreni se p\u00ebrvoja, p\u00ebrkat\u00ebsisht elementet q\u00eb gjenden n\u00eb prani t\u00eb katalizatorit q\u00eb i ndryshon, jan\u00eb t\u00eb dyfisht\u00eb: emocionet dhe ndjenjat. Efekti i nj\u00eb vepre artistike te personi q\u00eb k\u00ebnaqet me t\u00eb \u00ebsht\u00eb nj\u00eb p\u00ebrjetim q\u00eb p\u00ebr nga lloji dallohet nga \u00e7do p\u00ebrjetim q\u00eb nuk e ka shkaktuar ndonj\u00eb vep\u00ebr artistike. K\u00ebt\u00eb p\u00ebrjetim mund ta shkaktoj\u00eb nj\u00eb emocion, apo kombinimi i disa sish; dhe p\u00ebr t’u plot\u00ebsuar epilogu i fundit mund t’i shtohen ndjenja t\u00eb ndryshme t\u00eb cilat shkrimtari i shpreh me fjal\u00eb t\u00eb ve\u00e7anta, me fraza apo me figura poetike. Poezia e madhe po ashtu mund t\u00eb shkruhet pa nd\u00ebrmjet\u00ebsimin e \u00e7far\u00ebdo emocioni: mund t\u00eb komponohet vet\u00ebm prej ndjenjave. K\u00ebnga e pes\u00ebmb\u00ebdhjet\u00eb “Ferrit” (Bruneto Latini) \u00ebsht\u00eb krijim i emocionit i cili shihet qart\u00eb se shp\u00ebrthen nga situata; mir\u00ebpo efekti, ndon\u00ebse \u00ebsht\u00eb unikat sikur n\u00eb \u00e7do vep\u00ebr tjet\u00ebr artistike, arrihet me nd\u00ebrlikueshm\u00ebrin\u00eb m\u00eb t\u00eb madhe t\u00eb detajeve. Katreni <\/u>i fundit sjell nj\u00eb figur\u00eb poetike, ndjenj\u00ebn q\u00eb ka t\u00eb b\u00ebj\u00eb me k\u00ebt\u00eb figur\u00eb, q\u00eb ka “ardhur”, e q\u00eb thjesht nuk \u00ebsht\u00eb zhvilluar nga ajo q\u00eb i paraprin, por q\u00eb me siguri ka q\u00ebndruar n\u00eb shpirtin e poetit deri sa nuk \u00ebsht\u00eb shfaqur ai kombinim i mir\u00ebfillt\u00eb si plot\u00ebsim i tij<\/u>. Shpirti i poetit \u00ebsht\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb nj\u00eb lloj ene n\u00eb t\u00eb cil\u00ebn mblidhen dhe grumbullohen ndjenja, fraza, figura t\u00eb shumta q\u00eb mbeten aty derisa t\u00eb mos mblidhen t\u00eb gjith\u00eb faktor\u00ebt q\u00eb mund t\u00eb bashkohen p\u00ebr t\u00eb krijuar nj\u00eb p\u00ebrb\u00ebrje t\u00eb re (bashkim t\u00eb ri).<\/p>\n

Po qe se krahasoni disa pjes\u00eb reprezentuese t\u00eb poezis\u00eb m\u00eb t\u00eb madhe do t\u00eb shihni se sa e madhe \u00ebsht\u00eb llojllojshm\u00ebria midis tipave t\u00eb kombinimeve dhe do t\u00eb shihni po ashtu se \u00e7do kriter gjysm\u00eb-etik “i t\u00eb madh\u00ebrishmes” plot\u00ebsisht e d\u00ebshton objektivin. P\u00ebr arsye se nuk jan\u00eb t\u00eb r\u00ebnd\u00ebsish\u00ebm “madh\u00ebsia”, intensiteti, emocionet, komponent\u00ebt, por intensiteti i procesit artistik, n\u00eb nj\u00eb far\u00eb m\u00ebnyre nj\u00eblloj shtypjeje n\u00ebn t\u00eb cil\u00ebn zhvillohet bashkimi. N\u00eb episodin p\u00ebr Paol\u00ebn dhe p\u00ebr Fran\u00e7eskun hasim n\u00eb nj\u00eb emocion t\u00eb caktuar; por intensiteti n\u00eb poezi \u00ebsht\u00eb di\u00e7ka krejt tjet\u00ebr p\u00ebr dallim nga intensiteti q\u00eb e ka shkaktuar ndonj\u00eb p\u00ebrjetim. Aq m\u00eb tep\u00ebr, emocioni i sip\u00ebrth\u00ebn\u00eb aspak nuk \u00ebsht\u00eb m\u00eb intensiv se ai i k\u00ebng\u00ebs s\u00eb 26, t\u00eb Udh\u00ebtimit t\u00eb Odiseut, q\u00eb nuk \u00ebsht\u00eb i bazuar drejtp\u00ebrs\u00ebdrejti n\u00eb ndonj\u00eb emocion.<\/p>\n

Gjat\u00eb procesit t\u00eb transformimit t\u00eb emocionit mund t\u00eb arrihet llojllojshm\u00ebri e madhe: vrasja e Agamemnonit, apo agonia e Otellos ofrojn\u00eb nj\u00ebfar\u00eb efekti artistik q\u00eb mbase \u00ebsht\u00eb m\u00eb af\u00ebr origjinalit eventual nga skenat danteske. N\u00eb “Agamemnon” emocioni artistik i afrohet emocionit t\u00eb v\u00ebzhguesit t\u00eb v\u00ebrtet\u00eb; kurse n\u00eb “Otello” emocionit t\u00eb vet\u00eb protagonistit. E megjith\u00ebk\u00ebt\u00eb, dallimi nd\u00ebrmjet artit dhe ngjarjes gjithmon\u00eb \u00ebsht\u00eb absolut; kombinimi q\u00eb e b\u00ebn vrasjen e Agamemnonit padyshim \u00ebsht\u00eb po aq i nd\u00ebrlikuar sa edhe kombinimi q\u00eb e b\u00ebn udh\u00ebtimin e Odiseut. N\u00eb t\u00eb dy rastet kemi bashkimin e elementeve. Odja e Kits-it p\u00ebrmban nj\u00eb num\u00ebr t\u00eb caktuar ndjenjash t\u00eb cilat nuk kan\u00eb kurrfar\u00eb lidhjesh t\u00eb ve\u00e7anta me bilbilin, por t\u00eb cilave bilbili u ka sh\u00ebrbyer p\u00ebr t’i nd\u00ebrlidhur, ndoshta pjes\u00ebrisht p\u00ebr shkak t\u00eb emrit t\u00eb vet t\u00ebrheq\u00ebs, dhe pjes\u00ebrisht p\u00ebr shkak t\u00eb admirimit q\u00eb g\u00ebzon.<\/p>\n

Pik\u00ebpamja t\u00eb cil\u00ebn synoj ta sulmoj ndoshta ka t\u00eb b\u00ebj\u00eb me teorin\u00eb metafizike t\u00eb unitetit substancial t\u00eb shpirtit: p\u00ebr arsye se mendimi im \u00ebsht\u00eb se poeti nuk e posedon “personalitetin” t\u00eb cilin duhet ta shpreh\u00eb, por nj\u00eb medium t\u00eb caktuar q\u00eb \u00ebsht\u00eb vet\u00ebm medium, dhe jo person, n\u00eb t\u00eb cilin mbresat dhe p\u00ebrjetimet kombinohen n\u00eb m\u00ebnyra t\u00eb pazakonshme dhe t\u00eb papritura. Mbresat dhe p\u00ebrjetimet q\u00eb jan\u00eb t\u00eb r\u00ebnd\u00ebsishme p\u00ebr njeriun assesi mund t\u00eb mos shfaqen n\u00eb poezi, nd\u00ebrsa ato q\u00eb jan\u00eb t\u00eb r\u00ebnd\u00ebsishme p\u00ebr poezin\u00eb mund t\u00eb luajn\u00eb rol krejt\u00ebsisht t\u00eb par\u00ebnd\u00ebsish\u00ebm p\u00ebr njeriun, p\u00ebr personalitetin e tij.<\/p>\n

Do t\u00eb theksoj nj\u00eb pjes\u00eb e cila \u00ebsht\u00eb mjaft e panjohur q\u00eb t\u00eb mund t\u00eb vler\u00ebsohet me nj\u00eb v\u00ebmendje t\u00eb zgjuar n\u00eb drit\u00ebn – apo n\u00eb hijen – e k\u00ebtyre vrojtimeve:<\/p>\n

and now me thinks I could e’en chide myself
\nfor doating on her beauty, though her death
\nshall be revenged after no common action.
\ndoes the silkworm expend her yellow labours
\nfor thee? For thee does she undo herself?
\nare lordships sold to maintain ladyships
\nfor the poor benefit of a bewilddering minute?
\nwhy does yon fellow falsify highways,
\nand put his life between the judge’s lips,
\nto refine such a thing-keeps horse and men
\nto beat their valourse for her?…*<\/p>\n

*Dhe m\u00eb duket se tani do t\u00eb mund ta sh\u00ebmtoja madje veten
\nngase \u00e7mendem p\u00ebr bukurin\u00eb e saj, ndon\u00ebse
\ndo t\u00eb hakmerrem p\u00ebr vdekjen e saj n\u00eb m\u00ebnyr\u00eb t\u00eb pazakonshme.
\nA thua krimbi i m\u00ebndafshit mundin e vet t\u00eb verdh\u00eb e thur
\np\u00ebr ty? P\u00ebr ty e zhduk veten?
\nA thua zot\u00ebrimet shiten p\u00ebr hir t\u00eb zonjave
\np\u00ebr \u00ebndjet e mjera t\u00eb \u00e7astit t\u00eb hutis\u00eb?
\nP\u00ebrse ai atje shkon e b\u00ebhet grabit\u00ebs
\ndhe n\u00eb goj\u00eb t\u00eb gjykat\u00ebsve e v\u00eb jet\u00ebn e vet;
\nt\u00eb fisnik\u00ebroj di\u00e7 t\u00eb k\u00ebtill\u00eb – t\u00eb mbaj\u00eb kalin dhe sh\u00ebrb\u00ebtor\u00ebt
\nduke i ngar\u00eb t\u00eb mundin veten p\u00ebr t\u00eb?<\/p><\/blockquote>\n

N\u00eb k\u00ebt\u00eb fragment hasim (gj\u00eb q\u00eb \u00ebsht\u00eb evidente po qe se kuptohet konteksti i tij) n\u00eb kombinimin e emocioneve pozitive dhe negative: t\u00ebrheqshm\u00ebrin\u00eb tejet t\u00eb madhe t\u00eb bukuris\u00eb dhe fascinimin (magjepsjen) po aq intensiv me sh\u00ebmtin\u00eb q\u00eb shfaqet si kontrast i bukuris\u00eb dhe q\u00eb e rr\u00ebnon. Kjo baraspesh\u00eb e emocioneve kontraste ndodhet n\u00eb situat\u00eb dramatike s\u00eb cil\u00ebs i p\u00ebrgjigjet monologu i sip\u00ebrth\u00ebn\u00eb, por me t\u00eb cil\u00ebn vet situata \u00ebsht\u00eb jo p\u00ebrkat\u00ebse. B\u00ebhet fjal\u00eb si t\u00eb thuash p\u00ebr emocionin struktural q\u00eb e ka ofruar drama. Por efekti i p\u00ebrgjithsh\u00ebm, toni mbizot\u00ebrues, ka buruar nga fakti se nj\u00eb pjes\u00eb e ndjenjave t\u00eb pacaktuara q\u00eb kan\u00eb afinitet ndaj k\u00ebtij emocioni, por afinitet q\u00eb assesi nuk mund t\u00eb zbulohet n\u00eb shikim t\u00eb par\u00eb, \u00ebsht\u00eb nd\u00ebrlidhur me t\u00eb p\u00ebr t\u00eb na ofruar nj\u00eb emocion artistik t\u00eb ri.<\/p>\n

Poeti n\u00eb asnj\u00eb m\u00ebnyr\u00eb nuk mund t\u00eb jet\u00eb i r\u00ebnd\u00ebsish\u00ebm, as interesant p\u00ebr nga emocionet e veta personale, p\u00ebr nga emocionet q\u00eb kan\u00eb shkaktuar ngjarje t\u00eb caktuara n\u00eb jet\u00ebn e tij. Emocionet e tij personale mund t\u00eb jen\u00eb t\u00eb thjeshta, t\u00eb vrazhda, apo jo interesante. N\u00eb poezin\u00eb e tij emocioni do t\u00eb jet\u00eb di\u00e7ka tejet kompleks, por nuk do t\u00eb posedoj\u00eb kompleksitetin emotiv t\u00eb njer\u00ebzve t\u00eb cil\u00ebt gjat\u00eb jet\u00ebs p\u00ebrjetojn\u00eb emocione tejet komplekse apo t\u00eb pazakonshme. T\u00eb shkohet nga ajo q\u00eb t\u00eb shprehen emocione t\u00eb reja njer\u00ebzore, n\u00eb t\u00eb v\u00ebrtet\u00eb \u00ebsht\u00eb gabim i ekscentrizmit; p\u00ebr arsye se deri sa gjurmon t\u00eb ren\u00eb, poeti zbulon at\u00eb q\u00eb \u00ebsht\u00eb perverse. Detyra e tij nuk ka t\u00eb b\u00ebj\u00eb me faktin q\u00eb t\u00eb gjej\u00eb emocione t\u00eb reja, por t’i shfryt\u00ebzoj\u00eb emocionet e r\u00ebndomta dhe pasi t’i p\u00ebrpunoj\u00eb ato poetikisht, t’i shpreh ndjenjat t\u00eb cilat fare nuk ndodhen n\u00eb emocionet reale. Me k\u00ebt\u00eb rast, atij do t’i sh\u00ebrbejn\u00eb po aq mir\u00eb edhe emocionet t\u00eb cilat kurr\u00eb nuk i ka p\u00ebrjetuar, si dhe ato q\u00eb i jan\u00eb t\u00eb njohur. Prandaj, duhet t\u00eb konstatojm\u00eb se “emocioni q\u00eb na kujtohet kur jemi t\u00eb qet\u00eb” \u00ebsht\u00eb nj\u00eb formulim i pasakt\u00eb. P\u00ebr arsye se ky nuk \u00ebsht\u00eb as emocion, as kujtim, as qet\u00ebsi, p\u00ebrve\u00e7 n\u00eb qoft\u00eb se nuk i shtremb\u00ebrohet dometh\u00ebnia.<\/p>\n

Ky \u00ebsht\u00eb p\u00ebrqendrim dhe di\u00e7ka e re q\u00eb buron nga ky p\u00ebrqendrim, nga nj\u00eb num\u00ebr tejet i madh i p\u00ebrjetimeve t\u00eb cilat ndonj\u00eb personi praktik dhe aktiv fare nuk do t’i ngjanin p\u00ebrjetimit; ky \u00ebsht\u00eb p\u00ebrqendrim q\u00eb nuk shfaqet n\u00eb m\u00ebnyr\u00eb t\u00eb vet\u00ebdijshme as me q\u00ebllim. K\u00ebto p\u00ebrjetime nuk jan\u00eb “kujtime”, n\u00eb fund derdhen n\u00eb atmosfer\u00ebn “e qet\u00ebsis\u00eb” vet\u00ebm n\u00eb kuad\u00ebr t\u00eb saj ngjarjet p\u00ebrs\u00ebriten n\u00eb m\u00ebnyr\u00eb pasive. Por natyrisht, ky nuk \u00ebsht\u00eb fundi i v\u00ebrtet\u00eb i krejt rr\u00ebfimit. Kur shkruajm\u00eb poezi ka shum\u00eb\u00e7ka q\u00eb b\u00ebhet me vet\u00ebdije dhe me q\u00ebllim. N\u00eb t\u00eb v\u00ebrtet\u00eb, poeti i keq r\u00ebndom \u00ebsht\u00eb i pavet\u00ebdijsh\u00ebm aty ku duhet t\u00eb jet\u00eb i vet\u00ebdijsh\u00ebm, dhe i vet\u00ebdijsh\u00ebm aty ku duhet t\u00eb jet\u00eb i pavet\u00ebdijsh\u00ebm. Q\u00eb t\u00eb dy nga k\u00ebto gabime e b\u00ebjn\u00eb at\u00eb “personal”. Poezia nuk \u00ebsht\u00eb t’i l\u00ebshohesh vullnetit t\u00eb emocioneve, por ikje nga emocionet; ajo nuk \u00ebsht\u00eb shprehje e personalitetit, por ikje nga personaliteti. Por gjithsesi, vet\u00ebm ata t\u00eb cil\u00ebt e kan\u00eb personalitetin e vet dhe emocionet e veta e din\u00eb se \u00e7do t\u00eb thot\u00eb t\u00eb d\u00ebshirosh ikjen prej tyre.<\/p>\n

III<\/strong><\/p>\n

Kjo ese synon t\u00eb ndalet n\u00eb kufirin e metafizik\u00ebs dhe t\u00eb mistik\u00ebs dhe ndalet te ato p\u00ebrfundime praktike q\u00eb mund t’i zbatoj\u00eb personi p\u00ebrgjegj\u00ebs i cili interesohet p\u00ebr poezin\u00eb. Ta kthesh interesimin prej poetit n\u00eb dobi t\u00eb poezis\u00eb \u00ebsht\u00eb objektiv i denj\u00eb p\u00ebr l\u00ebvdat\u00eb: p\u00ebr arsye se kjo do t\u00eb mund\u00ebsonte vler\u00ebsimin m\u00eb t\u00eb drejt\u00eb t\u00eb poezis\u00eb s\u00eb mir\u00ebfillt\u00eb, qoft\u00eb t\u00eb jet\u00eb ajo e mir\u00eb apo e keqe. Ka shum\u00eb njer\u00ebz q\u00eb e \u00e7mojn\u00eb shprehjen e emocionit t\u00eb sinqert\u00eb n\u00eb vargje, dhe ekziston nj\u00eb num\u00ebr m\u00eb i vog\u00ebl q\u00eb jan\u00eb n\u00eb gjendje t\u00eb vler\u00ebsojn\u00eb p\u00ebrsosm\u00ebrin\u00eb teknike. Por shum\u00eb pak prej tyre mund t\u00eb zbulojn\u00eb shprehjen e emocionit t\u00eb r\u00ebnd\u00ebsish\u00ebm, t\u00eb emocionit q\u00eb jeton n\u00eb poezi, dhe jo n\u00eb jet\u00ebn e poetit. Emocioni artistik \u00ebsht\u00eb impersonal. Dhe poeti nuk mund ta arrij\u00eb k\u00ebt\u00eb impersonalitet po qe se nuk i dor\u00ebzohet plot\u00ebsisht vepr\u00ebs q\u00eb ka p\u00ebrpara. Ai padyshim nuk do t\u00eb arrij\u00eb t\u00eb dij\u00eb se \u00e7’duhet b\u00ebr\u00eb derisa t\u00eb mos jetoj\u00eb n\u00eb at\u00eb q\u00eb nuk \u00ebsht\u00eb vet\u00ebm e tashme, por \u00e7ast i tash\u00ebm i s\u00eb kaluar\u00ebs, derisa t\u00eb mos b\u00ebhet i vet\u00ebdijsh\u00ebm, jo p\u00ebr at\u00eb q\u00eb \u00ebsht\u00eb e vdekur, por p\u00ebr at\u00eb q\u00eb jeton.<\/p>\n","protected":false},"excerpt":{"rendered":"

(Tradition and the individual talent, 1919) Thomas Stearns Eliot (1888-1965) Ese e shekullit, botuar m\u00eb 1919 P\u00ebrktheu Xhelal Zejneli Kur ne anglez\u00ebt shkruajm\u00eb, rrall\u00eb flasim p\u00ebr tradit\u00ebn, ndon\u00ebse her\u00eb pas her\u00eb na vjen keq p\u00ebr munges\u00ebn e saj. Nuk mund t’i referohemi nocionit “tradit\u00eb” n\u00eb ndonj\u00eb kuptim t\u00eb p\u00ebrgjithsh\u00ebm apo t\u00eb ve\u00e7ant\u00eb; n\u00eb rastin m\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":57172,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,35,8],"tags":[],"class_list":["post-57171","post","type-post","status-publish","format-standard","has-post-thumbnail","category-ese","category-kulture","category-letersi"],"yoast_head":"\nTRADITA DHE TALENTI INDIVIDUAL - 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\/tradita-dhe-talenti-individual-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TRADITA DHE TALENTI INDIVIDUAL - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"(Tradition and the individual talent, 1919) Thomas Stearns Eliot (1888-1965) Ese e shekullit, botuar m\u00eb 1919 P\u00ebrktheu Xhelal Zejneli Kur ne anglez\u00ebt shkruajm\u00eb, rrall\u00eb flasim p\u00ebr tradit\u00ebn, ndon\u00ebse her\u00eb pas her\u00eb na vjen keq p\u00ebr munges\u00ebn e saj. 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Nuk mund t’i referohemi nocionit “tradit\u00eb” n\u00eb ndonj\u00eb kuptim t\u00eb p\u00ebrgjithsh\u00ebm apo t\u00eb ve\u00e7ant\u00eb; n\u00eb rastin m\u00eb […]","og_url":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/","og_site_name":"FJALA e LIR\u00cb","article_publisher":"https:\/\/facebook.com\/fjala.info\/","article_author":"https:\/\/facebook.com\/shkoder.net\/","article_published_time":"2020-06-16T13:53:46+00:00","og_image":[{"width":768,"height":508,"url":"https:\/\/jehonashqiptare.al\/fjala\/wp-content\/uploads\/2020\/06\/ts-eliot.jpg","type":"image\/jpeg"}],"author":"admin","twitter_card":"summary_large_image","twitter_creator":"@https:\/\/twitter.com\/acokaj","twitter_site":"@acokaj","twitter_misc":{"Written by":"admin","Est. reading time":"22 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/#article","isPartOf":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/"},"author":{"name":"admin","@id":"https:\/\/jehonashqiptare.al\/fjala\/#\/schema\/person\/9c9fccf4f6449d25e258607d9b4275cb"},"headline":"TRADITA DHE TALENTI INDIVIDUAL","datePublished":"2020-06-16T13:53:46+00:00","mainEntityOfPage":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/"},"wordCount":4461,"commentCount":0,"image":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/#primaryimage"},"thumbnailUrl":"https:\/\/jehonashqiptare.al\/fjala\/wp-content\/uploads\/2020\/06\/ts-eliot.jpg","articleSection":["Ese","Kultur\u00eb","Let\u00ebrsi"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/","url":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/","name":"TRADITA DHE TALENTI INDIVIDUAL - FJALA e LIR\u00cb","isPartOf":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/#website"},"primaryImageOfPage":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/#primaryimage"},"image":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/#primaryimage"},"thumbnailUrl":"https:\/\/jehonashqiptare.al\/fjala\/wp-content\/uploads\/2020\/06\/ts-eliot.jpg","datePublished":"2020-06-16T13:53:46+00:00","author":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/#\/schema\/person\/9c9fccf4f6449d25e258607d9b4275cb"},"breadcrumb":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/jehonashqiptare.al\/fjala\/tradita-dhe-talenti-individual-2\/#primaryimage","url":"https:\/\/jehonashqiptare.al\/fjala\/wp-content\/uploads\/2020\/06\/ts-eliot.jpg","contentUrl":"https:\/\/jehonashqiptare.al\/fjala\/wp-content\/uploads\/2020\/06\/ts-eliot.jpg","width":768,"height":508,"caption":"T. 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