{"id":73691,"date":"2021-12-01T01:46:11","date_gmt":"2021-12-01T00:46:11","guid":{"rendered":"https:\/\/fjala.info\/?p=73691"},"modified":"2021-12-01T01:46:11","modified_gmt":"2021-12-01T00:46:11","slug":"rendesia-e-letersise-arbereshe-per-ruajtjen-dhe-pasurimin-e-botes-dhe-e-shpirtit-arberesh","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/rendesia-e-letersise-arbereshe-per-ruajtjen-dhe-pasurimin-e-botes-dhe-e-shpirtit-arberesh\/","title":{"rendered":"R\u00cbND\u00cbSIA E LET\u00cbRSIS\u00cb ARB\u00cbRESHE P\u00cbR RUAJTJEN DHE\u00a0PASURIMIN E BOT\u00cbS DHE E SHPIRTIT ARB\u00cbRESH"},"content":{"rendered":"

\"Anton Anton Nik\u00eb Berisha<\/strong><\/p>\n

Gjuha arb\u00ebreshe dhe t\u00eb folurit arb\u00ebrisht ka qen\u00eb dhe mbetet p\u00ebrb\u00ebr\u00ebsi m\u00eb qen\u00ebsor i gjallimit dhe i ruajtjes s\u00eb bot\u00ebs dhe shpirtit arb\u00ebresh n\u00ebp\u00ebr koh\u00eb. Mir\u00ebpo, let\u00ebrsia arb\u00ebreshe, gojore dhe e shkruar, po ashtu pati nj\u00eb r\u00ebnd\u00ebsi t\u00eb madhe dhe luajti nj\u00eb rol t\u00eb shum\u00ebfisht\u00eb p\u00ebr ruajtjen dhe pasurimin e k\u00ebsaj bote. Themi k\u00ebshtu duke pasur parasysh faktin se let\u00ebrsia arb\u00ebreshe \u00ebsht\u00eb shprehje e bot\u00ebs, e mend\u00ebsis\u00eb dhe e fatit t\u00eb arb\u00ebresh\u00ebve; n\u00eb t\u00eb gjet\u00ebn jehon\u00eb, po nj\u00ebherit edhe p\u00ebrjet\u00ebsim artistik n\u00eb nj\u00eb nivel t\u00eb lart\u00eb, dukuri t\u00eb shumta, q\u00eb i p\u00ebrcoll\u00ebn ata n\u00eb rrjedh\u00eb t\u00eb gjallimit p\u00ebr pes\u00eb shekuj, \u00e7\u2019prej koh\u00ebs kur u shp\u00ebrngul\u00ebn nga atdheu dhe u vendos\u00ebn n\u00eb Itali.<\/p>\n

R\u00ebnd\u00ebsia dhe roli i jasht\u00ebzakonsh\u00ebm i let\u00ebrsis\u00eb arb\u00ebreshe u shpreh\u00ebn n\u00eb forma e n\u00eb rrafshe t\u00eb ndryshme dhe n\u00eb m\u00ebnyr\u00eb t\u00eb pand\u00ebrprer\u00eb. Kjo lidhet s\u00eb pari me vet\u00eb gjuh\u00ebn, n\u00ebp\u00ebrmjet s\u00eb cil\u00ebs u krijua kjo let\u00ebrsi, komunikoi dhe b\u00ebri ndikim t\u00eb shum\u00ebfisht\u00eb. N\u00eb qen\u00ebsin\u00eb e tyre, veprat letrare arb\u00ebreshe, si\u00e7 ndodh edhe me artin e fjal\u00ebs n\u00eb p\u00ebrgjith\u00ebsi, jan\u00eb struktura gjuh\u00ebsore, mesazhe q\u00eb shprehen n\u00ebp\u00ebrmjet nj\u00eb t\u00eb foluri t\u00eb ve\u00e7ant\u00eb brenda gjuh\u00ebs p\u00ebrkat\u00ebse. Pra, gjuha e veprave letrare, gojore ose t\u00eb shkruara, \u00ebsht\u00eb gjuh\u00eb poetike, t\u00eb themi m\u00eb qart\u00eb, t\u00eb folur i zgjedhur q\u00eb mund\u00ebson dhe shkakton nj\u00eb shqiptim m\u00eb t\u00eb nd\u00ebrliqsh\u00ebm t\u00eb bot\u00ebs e t\u00eb dukurive t\u00eb saj dhe kusht\u00ebzon nj\u00eb komunikim t\u00eb ngritur e m\u00eb kompleks nga t\u00eb folurit e zakonsh\u00ebm dhe si i till\u00eb \u00ebsht\u00eb n\u00eb gjendje t\u00eb b\u00ebj\u00eb nj\u00eb ndikim m\u00eb t\u00eb madh estetik n\u00eb marr\u00ebsin, receptuesin. Teksti poetik si q\u00ebllim kryesor ka informacionin poetik, kumtin poetik.<\/p>\n

Ai ndryshon nga \u00e7do tekst tjet\u00ebr pik\u00ebrisht p\u00ebr shum\u00ebsin\u00eb dhe p\u00ebr pakufijshm\u00ebrin\u00eb kuptimore q\u00eb ka ose q\u00eb mund t\u00eb ket\u00eb. K\u00ebt\u00eb gj\u00eb nuk e kusht\u00ebzojn\u00eb vet\u00ebm gjuha e zgjedhur, leksiku i pasur, leksemat me nuanca e ngarkesa kuptimore t\u00eb shum\u00ebnduarshme, ngjyrime emocionale e ting\u00eblluese (muzikore), por para s\u00eb gjithash marr\u00ebdh\u00ebnia e nd\u00ebrsjell\u00eb e fjal\u00ebve dhe e kuptimeve t\u00eb tyre t\u00eb nd\u00ebrlidhura e t\u00eb varura mes veti si dhe me nj\u00ebsit\u00eb e tjera m\u00eb t\u00eb m\u00ebdha ose m\u00eb t\u00eb vogla t\u00eb tekstit, q\u00eb brenda sistemit p\u00ebrkat\u00ebs b\u00ebjn\u00eb t\u00eb ve\u00e7ant\u00ebn po nj\u00ebherit dhe t\u00ebr\u00ebsin\u00eb unike shpreh\u00ebse poetike. Pra, si\u00e7 do t\u00eb thoshte Lotmani, \u201cTeksti artistik, p\u00ebr \u00e7ka edhe kemi mundur t\u00eb bindemi, mund t\u00eb trajtohet si mekaniz\u00ebm q\u00eb \u00ebsht\u00eb i nd\u00ebrtuar n\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb dhe \u00ebsht\u00eb n\u00eb gjendje t\u00eb p\u00ebrmbaj\u00eb n\u00eb vete informat\u00eb jasht\u00ebzakonisht t\u00eb lart\u00eb t\u00eb koncentruar.\u201d<\/em><\/p>\n

Duke e par\u00eb n\u00eb k\u00ebt\u00eb rrjedh\u00eb \u00e7\u00ebshtjen themi se let\u00ebrsia arb\u00ebreshe luajti nj\u00eb rol t\u00eb dyfisht\u00eb: me nj\u00eb an\u00eb mund\u00ebsoi mbijetimin e gjuh\u00ebs arb\u00ebreshe si element qen\u00ebsor dhe, m\u00eb an\u00eb tjet\u00ebr, krijoi dhe pasuroi artistikisht bot\u00ebn dhe shpirtin arb\u00ebresh dhe kusht\u00ebzoi mbijetimin e tyre n\u00ebp\u00ebr rrjedh\u00eb t\u00eb shekujve. K\u00ebshtu, ndodhi ajo q\u00eb Karl Gustav Jung-u e theksonte me t\u00eb drejt\u00eb:\u201c[…] arti p\u00ebrfaq\u00ebson nj\u00eb proces vet\u00ebrregullimi shpirt\u00ebror n\u00eb jet\u00ebn e kombeve dhe t\u00eb epokave t\u00eb ndryshme.\u201d<\/em><\/p>\n

Edhe njoh\u00ebsi m\u00eb i zakonsh\u00ebm i let\u00ebrsis\u00eb gojore dhe i let\u00ebrsis\u00eb s\u00eb shkruar arb\u00ebreshe do t\u00eb theksoj\u00eb se k\u00ebto dy shtresa t\u00eb atit t\u00eb fjal\u00ebs u cyt\u00ebn dhe u frym\u00ebzuan nga bota arb\u00ebreshe, dhe n\u00eb form\u00ebn e artit t\u00eb fjal\u00ebs, t\u00eb mesazhit poetik, iu kthyen po asaj bote, po atyre njer\u00ebzve, duke mund\u00ebsuar nj\u00eb p\u00ebrafrim dhe nj\u00eb njohje m\u00eb t\u00eb gjithanshme t\u00eb saj. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, realiteti arb\u00ebresh, qoft\u00eb ai i kaluar, historik, ose ai i p\u00ebrditsh\u00ebm, u shqiptua n\u00ebp\u00ebrmjet struktur\u00ebs gjuh\u00ebsore t\u00eb ve\u00e7ant\u00eb, n\u00ebp\u00ebrmjet mesazhit poetik dhe si i till\u00eb, si realitet i ri, q\u00eb ekziston e funksionon n\u00ebp\u00ebrmjet shenjave, p\u00ebrkat\u00ebsisht fjal\u00ebve – tekstit, u b\u00eb p\u00ebrs\u00ebri pjes\u00eb e arb\u00ebresh\u00ebve.<\/p>\n

S\u00eb k\u00ebndejmi, shnd\u00ebrrimi i jet\u00ebs n\u00eb tekst, si\u00e7 do t\u00eb thoshte Lotmani, nuk \u00ebsht\u00eb shpjegim, por inkuadrim i ndodhive n\u00eb kujtes\u00ebn kolektive. Ky realitet i ri, i krijuar n\u00eb veprat letrare, \u00ebsht\u00eb nj\u00eb realitet tjet\u00ebr, i ve\u00e7ant\u00eb dhe m\u00eb i pasur. Ai nuk \u00ebsht\u00eb imitim i thjesht\u00eb dhe i drejtp\u00ebrdrejt\u00eb i jet\u00ebs dhe i bot\u00ebs arb\u00ebreshe, po nj\u00eb shqiptim i nd\u00ebrliqsh\u00ebm i dukurive t\u00eb saj, nj\u00eb realitet artistik i p\u00ebrftuar dhe i p\u00ebrshkuar nga uni e nga ndjenj\u00ebsimi individual-subjektiv i krijuesve.<\/p>\n

K\u00ebt\u00eb realitet shkrimtar\u00ebt arb\u00ebresh\u00eb nuk e krijuan vet\u00ebm p\u00ebr k\u00ebnaq\u00ebsi vetjake, por para s\u00eb gjithash p\u00ebr t\u00eb tjer\u00ebt, p\u00ebr njer\u00ebzit e tyre, t\u00eb cil\u00ebt duke k\u00ebnduar, recituar ose lexuar veprat letrare, e njoh\u00ebn m\u00eb mir\u00eb pik\u00ebrisht vetveten, t\u00eb kaluar\u00ebn e tyre dhe realitetin e p\u00ebrditsh\u00ebm. Fakti se kjo njohje arrihet n\u00ebp\u00ebrmjet artit t\u00eb fjal\u00ebs, n\u00ebnkupton njohje m\u00eb t\u00eb thell\u00eb dhe shum\u00ebfish m\u00eb t\u00eb r\u00ebnd\u00ebsishme. P\u00ebr k\u00ebt\u00eb arsye krijuesit arb\u00ebresh\u00eb, qoft\u00eb ata t\u00eb let\u00ebrsis\u00eb gojore, qoft\u00eb ata t\u00eb let\u00ebrsis\u00eb s\u00eb shkruar, trajtuan \u00e7\u00ebshtje thelb\u00ebsore, q\u00eb lidheshin me gjallimin shpirt\u00ebror dhe me ruajtjen e etnitetit e t\u00eb mend\u00ebsis\u00eb arb\u00ebreshe, t\u00eb gjuh\u00ebs e t\u00eb gjith\u00eb asaj q\u00eb ishte qen\u00ebsore dhe q\u00eb ata e kishin trash\u00ebguar nga paraardh\u00ebsit dhe shprehte bot\u00ebn e tyre.<\/p>\n

Brenda artit letrar arb\u00ebresh let\u00ebrsia gojore, me llojet e saj t\u00eb ndryshme, pati nj\u00eb r\u00ebnd\u00ebsi par\u00ebsore. N\u00ebp\u00ebrmjet komunikimit gojor, pra n\u00ebp\u00ebrmjet veprave t\u00eb \u201cshkruara n\u00eb mendje\u201d,<\/em> ajo b\u00ebri t\u00eb mundur q\u00eb t\u00eb ruhej pasuria e madhe shpirt\u00ebrore e trash\u00ebguar, p\u00ebrkat\u00ebsisht e marr\u00eb me vete nga atdheu, Shqip\u00ebria, n\u00ebp\u00ebrmjet s\u00eb cil\u00ebs (pasuris\u00eb shpirt\u00ebrore) ata ia dol\u00ebn t\u2019i b\u00ebjn\u00eb ball\u00eb ndikimit dhe asimilimit italian dhe shuarjes si etnitet. Q\u00ebndresa shekullore q\u00eb b\u00ebn\u00eb arb\u00ebresh\u00ebt p\u00ebrball\u00eb k\u00ebtij asimilimi nuk ishte pasoj\u00eb e vendeve t\u00eb izoluara e t\u00eb braktisura, ku ata u vendos\u00ebn, po shprehje dhe fryt pik\u00ebrisht i pasuris\u00eb s\u00eb tyre shpirt\u00ebrore e kulturore q\u00eb kishin, q\u00eb ruanin dhe q\u00eb krijonin.<\/p>\n

\"Anton<\/p>\n

P\u00ebr arb\u00ebresh\u00ebt rol t\u00eb ve\u00e7ant\u00eb luajti sidomos poezia gojore, e cila me format e shumta t\u00eb shtjellimit dhe me sinkretizmin e saj (tekstin, k\u00ebndimin, vall\u00ebzimin) jo vet\u00ebm transponoi e shprehu disa nga tiparet dhe cil\u00ebsit\u00eb kryesore t\u00eb bot\u00ebs e t\u00eb gjallimit arb\u00ebresh: nderin e krenarin\u00eb, trim\u00ebrin\u00eb e flijimin, fatkeq\u00ebsin\u00eb e p\u00ebsimin, pastaj ngjarje e dukuri t\u00eb lashta, q\u00eb n\u00eb vet\u00ebdijen e tyre kishin marr\u00eb p\u00ebrmasa goj\u00ebdh\u00ebnore e mitike, si\u00e7 ndodhi me Motin e Madh e me kryetrimin, Gjergjin e Kastriot\u00ebve, Skanderbeun, por me gjer\u00ebsin\u00eb e komunikimit dhe t\u00eb ndikimit u b\u00eb pjes\u00eb e pandashme e gjallimit n\u00ebp\u00ebr koh\u00eb.<\/p>\n

N\u00eb k\u00ebt\u00eb poezi bota arb\u00ebreshe u shpreh n\u00ebp\u00ebrmjet nj\u00eb strukture gjuh\u00ebsore poetike t\u00eb ngritur dhe kuptimisht t\u00eb pasur dhe pik\u00ebrisht si e till\u00eb b\u00ebri ndikim t\u00eb ndjesh\u00ebm estetik dhe kusht\u00ebzoi pasurimin e vijuesh\u00ebm shpirt\u00ebror arb\u00ebresh. Pra, poezia gojore pati p\u00ebr bot\u00ebn arb\u00ebreshe nj\u00eb r\u00ebnd\u00ebsi t\u00eb shum\u00ebfisht\u00eb dhe t\u00eb p\u00ebrhershme p\u00ebr arsye se, si\u00e7 vente n\u00eb dukje me plot t\u00eb drejt\u00eb De Dada, \u201c[…] kultivimi i s\u00eb bukur\u00ebs \u00ebsht\u00eb k\u00ebrkesa m\u00eb e lart\u00eb e \u00e7do vepre arti…Edukimi i shpirtit me t\u00eb bukur\u00ebn \u00ebsht\u00eb nj\u00eb pun\u00eb e lodhshme dhe e gjat\u00eb sa edhe vet\u00eb jeta\u201d<\/em> dhe se poezia, pra k\u00ebnga, \u201czbulon dhe paraqet me qart\u00ebsin\u00eb m\u00eb t\u00eb madhe dhe n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb gjithanshme kuptimin dhe rendin e sendeve, ajo q\u00ebndron mbi artet e tjera reprezentative<\/em>[1]<\/strong><\/em><\/a>\u201d.<\/p>\n

Me bot\u00ebn tematike, me m\u00ebnyr\u00ebn e shtjellimit gjuh\u00ebsor-shpreh\u00ebs \u201c[…] si model i madh stili t\u00eb thjesht\u00eb, t\u00eb kulluar, t\u00eb fuqish\u00ebm\u201d<\/em>, me shum\u00ebsin\u00eb kuptimore q\u00eb del nga struktura e tekstit dhe e n\u00ebntekstit poetik, me funksionnimin sinkretik poezia gojore arb\u00ebreshe ishte dhe \u00ebsht\u00eb jo vet\u00ebm d\u00ebshmi e trash\u00ebgimis\u00eb s\u00eb pasur shpirt\u00ebrore, por dhe e dashuris\u00eb ndaj njer\u00ebzve q\u00eb e b\u00ebnin k\u00ebt\u00eb bot\u00eb dhe ndaj atdheut, nga ishin shp\u00ebrngulur t\u00eb Par\u00ebt e tyre.<\/p>\n

P\u00ebr t\u00eb d\u00ebshmuar rrafshin e lart\u00eb shtjellues dhe shpreh\u00ebs poetik t\u00eb poezis\u00eb gojore t\u00eb arb\u00ebresh\u00ebve t\u00eb Italis\u00eb, p\u00ebr t\u00eb cil\u00ebn do t\u00eb flitet n\u00eb punimin p\u00ebrkat\u00ebs kushtuar asaj, po sjell vet\u00ebm dy pjes\u00eb nga k\u00ebng\u00ebt \u201cLigj\u00ebrojn\u00eb di kunata\u201d dhe \u201cMbeta mot mot m\u00eb rrog\u00eb\u201d, ku \u00ebsht\u00eb p\u00ebrdorur nj\u00eb sistem i ngritur dhe i pasur i t\u00eb shprehurit poetik, jan\u00eb g\u00ebrshetuar krahasime dhe metafora, t\u00eb cilat, t\u00eb nj\u00ebsuara e t\u00eb nd\u00ebrlidhura mes veti, funksionalizohen mjesht\u00ebrisht n\u00eb tekstin dhe n\u00eb t\u00ebr\u00ebsin\u00eb kuptimore dhe shpreh\u00ebse artistike t\u00eb krijimeve p\u00ebrkat\u00ebse.<\/p>\n

Thoj e para, Dhriza e Bardh:
\n<\/em>– Jam e mir m\u00eb<\/em>\u00a0u se ti.
\n<\/em>K\u00e1m anaka t’ar\u00ebtaz,
\n<\/em>kural’ e margharitare
\n<\/em>v\u00eblus e mundash\u00ebra
\n<\/em>nd\u00ebr s\u00ebnduqe, e kamarvet
\n<\/em>kam kriate \u00e7\u00eb m\u00eb gjegj\u00ebnjin,
\n<\/em>gjith \u00e7\u00eb m’ i dha zot’ im,
\n<\/em>zoti jim e zonja m\u00ebm.
\n<\/em>– M\u00eb<\/em> e lum jam u se ti
\n<\/em>(thonej jet\u00ebra kunat,
\n<\/em>bardha bil je Misistratit).
\n<\/em>Kam pr\u00eb sqep qiellin me il\u00ebz,
\n<\/em>keza ime dielli,
\n<\/em>kam p\u00ebr coh detin,
\n<\/em>imi thron \u00eb<\/em> jeta e gj\u00e9r,
\n<\/em>tek rri zgjuat e, si dua, fj\u00eb<\/em>[2]<\/strong><\/em><\/a>.<\/p>\n

ose<\/p>\n

Mbeta mot mot m\u00eb rrog\u00eb<\/em>
\npr\u00eb nj\u00eb qenjez\u00eb t\u00eb leshm\u00ebndafsht\u00eb.<\/em>
\nPorsa b\u00ebra mot e mon\u00eb,<\/em>
\nu i lipa qengjez\u00ebn\u00eb,<\/em>
\nmua qenjen\u00eb s’m’ e dhan\u00eb,<\/em>
\npo m\u00eb dhan\u00eb zgledh\u00ebsin\u00eb,<\/em>
\nzgledh\u00ebsin\u00eb n\u00eb tr\u00ed-vo vasha:<\/em>
\nnj\u00ebz\u00eb e bardh\u00eb e nj\u00ebze e kuqe<\/em>
\nnj\u00ebz\u00eb e zeshk\u00eb e hjesh\u00ebme.<\/em>
\nJes t’e marr, jes t\u00eb mos marr,<\/em>
\njes t’ e marr t\u00eb bardh\u00ebz\u00ebn\u00eb,<\/em>
\nisht\u00eb zbor\u00eb e mua m\u00eb ftoh\u00ebn;<\/em>
\njes t’ e marr t\u00eb kuqez\u00ebn\u00eb,<\/em>
\nisht zjarr e mua m\u00eb djeg;<\/em>
\njes t’ e marr t\u00eb zeshk\u00ebz\u00ebn\u00eb,<\/em>
\nmua m\u00eb nxin z\u00ebm\u00ebr\u00ebn\u00eb.<\/em>
\nNdon m\u00eb ngroh\u00ebn, ndon m\u00eb ftohn,<\/em>
\nu t\u00eb bardh\u00ebz\u00ebn\u00eb m’ e dua,<\/em>
\nse m’ e g\u00ebzon z\u00ebm\u00ebr\u00ebn\u00eb[3]<\/strong><\/a>!<\/em><\/p>\n

Pra, krijesa tekstore t\u00eb tilla, q\u00eb ishin trash\u00ebguar ose krijoheshin, t\u00eb nj\u00eb rrafshi t\u00eb lart\u00eb shpreh\u00ebs artistik, p\u00ebrcilleshin duke u k\u00ebnduar prej nj\u00eb subjekti te tjetri, prej nj\u00eb brezi n\u00eb tjetrin ose vall\u00ebzoheshin me raste t\u00eb ndryshme dhe n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb b\u00ebheshin pjes\u00eb e pandashme e gjallimit t\u00eb p\u00ebrditsh\u00ebm dhe e pasurimit t\u00eb vijuesh\u00ebm shpirt\u00ebror.<\/p>\n

Edhe veprat e let\u00ebrsis\u00eb s\u00eb shkruar arb\u00ebreshe pat\u00ebn nj\u00eb r\u00ebnd\u00ebsi dhe nj\u00eb rol t\u00eb madh n\u00eb ruajtjen dhe pasurimin e bot\u00ebs arb\u00ebreshe. N\u00eb rrafshin tematik dhe motivor, n\u00eb disa elemente t\u00eb qen\u00ebsishme, veprat letrare t\u00eb shkruara u nd\u00ebrlidh\u00ebn me veprat e let\u00ebrsis\u00eb gojore, sidomos me poezin\u00eb, gj\u00eb q\u00eb ndodhi edhe n\u00eb rrafshin e shtjellimit t\u00eb struktur\u00ebs tekstore e t\u00eb sistemit shpreh\u00ebs si dhe t\u00eb komunikimit e t\u00eb ndikimit n\u00eb marr\u00ebsin. Mir\u00ebpo, shkrimtar\u00ebt arb\u00ebresh\u00eb me veprat e shkruara e ngrit\u00ebn dhe e pasuruan tradit\u00ebn letrare paraprake n\u00eb shum\u00eb aspekte e p\u00ebrb\u00ebr\u00ebs, qoft\u00eb si m\u00ebnyr\u00eb perceptimi e shqiptimi, qoft\u00eb si struktur\u00eb gjuh\u00ebsore shpreh\u00ebse poetike.<\/p>\n

Nd\u00ebrlidhja e fort\u00eb e shkrimtar\u00ebve arb\u00ebresh\u00eb me bot\u00ebn q\u00eb i p\u00ebrkitnin dhe me tradit\u00ebn letrare gojore, ndodhi p\u00ebr dy arsye. E para: ata e njihnin mir\u00ebfilli k\u00ebt\u00eb bot\u00eb dhe veprat e tyre i shkruanin para s\u00eb gjithash p\u00ebr arb\u00ebresh\u00ebt si receptuesit kryesor\u00eb t\u00eb krijesave t\u00eb tyre letrare dhe e dyta: tradita letrare gojore arb\u00ebreshe ishte e pasur si art i fjal\u00ebs, si sistem shpreh\u00ebs artistik. P\u00ebr k\u00ebt\u00eb arsye, poet\u00ebt arb\u00ebresh\u00eb i krijonin shpesh veprat e tyre t\u00eb shkruara mbi baz\u00ebn e poezis\u00eb gojore, n\u00eb m\u00ebnyr\u00eb q\u00eb ato t\u00eb gjenin nj\u00eb pranim, nj\u00eb receptim sa m\u00eb t\u00eb gjithansh\u00ebm e m\u00eb vijimor dhe t\u00eb b\u00ebnin ndikim sa m\u00eb t\u00eb madh n\u00eb marr\u00ebsin. K\u00ebshtu, disa prej tyre, si E. Bazile, Z. Skiro, G. Dara (i Riu) veprat e veta t\u00eb shkruara i shpall\u00ebn t\u00eb tradit\u00ebs gojore, pra t\u00eb burimit gojor.<\/p>\n

Nd\u00ebrlidhjet dhe p\u00ebrkimet n\u00eb disa pik\u00eb e rrafshe t\u00eb veprave t\u00eb let\u00ebrsis\u00eb s\u00eb shkruar dhe t\u00eb let\u00ebrsis\u00eb gojore arb\u00ebreshe d\u00ebshmohen edhe nga nj\u00eb dukuri tjet\u00ebr e r\u00ebnd\u00ebsishme: pjes\u00eb t\u00eb veprave t\u00eb shkruara t\u00eb poet\u00ebve arb\u00ebresh\u00eb si t\u00eb De Rad\u00ebs, Zef Serembes, Fran\u00e7esk Santorit, Zef Skiroit, Jul Varibob\u00ebs etj. u m\u00ebsuan p\u00ebrmend\u00ebsh nga arb\u00ebresh\u00eb dhe vazhduan t\u00eb gjallojn\u00eb e t\u00eb komunikojn\u00eb edhe n\u00ebp\u00ebrmjet procesit t\u00eb gojshm\u00ebris\u00eb, cil\u00ebsi tipike e veprave letrare gojore. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb veprat letrare t\u00eb shkruara, me an\u00ebn e artit t\u00eb tyre t\u00eb madh, p\u00ebrmes m\u00ebnyr\u00ebs s\u00eb komunikimit t\u00eb dyfisht\u00eb, t\u00eb shkruar e gojor, b\u00ebn\u00eb ndikim t\u00eb madh n\u00eb ruajtjen dhe pasurimin e bot\u00ebs dhe t\u00eb shpirtit arb\u00ebresh[4]<\/a>.<\/p>\n

Q\u00ebllimi i shkrimtar\u00ebve arb\u00ebresh\u00eb ishte q\u00eb p\u00ebrmes veprave t\u00eb tyre t\u00eb shkruara, me nj\u00eb an\u00eb t\u00eb ndikonin n\u00eb zhvillimin e shijes p\u00ebr artin, p\u00ebr t\u00eb bukur\u00ebn, pra q\u00eb ato t\u00eb b\u00ebnin nj\u00eb ndikim sa m\u00eb t\u00eb ndjesh\u00ebm estetik dhe t\u00eb kusht\u00ebzonin e t\u00eb ndihmonin n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb pasurimin shpirt\u00ebror dhe, n\u00eb an\u00ebn tjet\u00ebr, n\u00ebp\u00ebrmjet trajtimit poetik t\u00eb dukurive t\u00eb ndryshme t\u00eb nxitnin e t\u00eb forconin vet\u00ebdijen p\u00ebr p\u00ebrkat\u00ebsin\u00eb e tyre etnike, dashurin\u00eb ndaj trash\u00ebgimis\u00eb shpirt\u00ebrore, ndaj bot\u00ebs s\u00eb tyre e ndaj atdheut t\u00eb t\u00eb Par\u00ebve, q\u00eb tek arb\u00ebreshet mori nj\u00eb p\u00ebrmas\u00eb mitike.<\/p>\n

Nj\u00eb p\u00ebrcaktim i till\u00eb shprehet q\u00eb n\u00eb vepr\u00ebn e Lek\u00eb Matrang\u00ebs, Dottrina Christiana –<\/em> E mbsuame e kr\u00ebshter\u00eb<\/em>, botuar m\u00eb 1592 n\u00eb Rom\u00eb, q\u00eb \u00ebsht\u00eb nj\u00eb p\u00ebrkthim i vepr\u00ebs s\u00eb jezuitit spanjol Ledesma. Me k\u00ebt\u00eb katekiz\u00ebm Matranga d\u00ebshironte t\u2019u vinte n\u00eb ndihm\u00eb arb\u00ebresh\u00ebve t\u00eb Pian\u00ebs, po dhe t\u00eb Si\u00e7ilis\u00eb, t\u00eb Kalabris\u00eb e t\u00eb ngulimeve t\u00eb tjera arb\u00ebreshe t\u00eb Italis\u00eb, q\u00eb t\u00eb m\u00ebsonin besimin e fes\u00eb n\u00eb gjuh\u00ebn e tyre.<\/p>\n

Kjo p\u00ebrpjekje p\u00ebr ruajtjen e bot\u00ebs arb\u00ebreshe mori nj\u00eb p\u00ebrmas\u00eb m\u00eb t\u00eb ndjeshme n\u00eb shekullin XVIII- t\u00eb me veprimtarin\u00eb e prift\u00ebrinjve arb\u00ebresh\u00eb t\u00eb ritit bizantin: Nikoll\u00eb Brankatit, Nikoll\u00eb Filjes e Nikoll\u00eb Ket\u00ebs, t\u00eb cil\u00ebt b\u00ebn\u00eb p\u00ebrkthime t\u00eb tjera n\u00eb arb\u00ebrisht t\u00eb literatur\u00ebs liturgjike, po dhe vet\u00eb shkruan poezi me p\u00ebrmbajtje fetare dhe, duke i kopjuar, si dor\u00ebshkrime, i shp\u00ebrndanin n\u00ebp\u00ebr qendra t\u00eb ndryshme arb\u00ebreshe, sidomos n\u00eb kishat arb\u00ebreshe, ku ato b\u00ebheshin t\u00eb njohura dhe komunikonin me nj\u00eb rreth m\u00eb t\u00eb gjer\u00eb lexuesish ose d\u00ebgjuesish.<\/p>\n

R\u00ebnd\u00ebsia e let\u00ebrsis\u00eb s\u00eb shkruar arb\u00ebreshe u b\u00eb m\u00eb e gjithanshme n\u00eb shekullin n\u00ebnt\u00ebmb\u00ebdhjet\u00eb me veprat e Jeronim De Rad\u00ebs, Fran\u00e7esk Anton Santorit, Gavril Dar\u00ebs s\u00eb Ri, Zef Serembes, Zef Skiroit e t\u00eb tjer\u00ebve. Ajo mb\u00ebrriti nj\u00eb rrafsh t\u00eb lart\u00eb poetik dhe, para s\u00eb gjithash, si art luajti nj\u00eb rol t\u00eb shum\u00ebfisht\u00eb n\u00eb ruajtjen e bot\u00ebs dhe n\u00eb formimin e shpirtit arb\u00ebresh. K\u00ebta krijues, por edhe pasardh\u00ebsit e tyre, pra poet\u00eb bashk\u00ebkohor\u00eb, vijuan t\u00eb p\u00ebrftojn\u00eb vepra vlerash t\u00eb r\u00ebnd\u00ebsishme, duke trajtuar \u00e7\u00ebshtje nga m\u00eb t\u00eb ndryshmet, q\u00eb lidheshin, qoft\u00eb me t\u00eb kaluar\u00ebn e larg\u00ebt e t\u00eb af\u00ebrt arb\u00ebreshe, qoft\u00eb me koh\u00ebn kur ata jetonin dhe krijonin.<\/p>\n

Shkrimtar\u00ebt arb\u00ebresh\u00eb iu kthyen t\u00eb kaluar\u00ebs p\u00ebr arsye se, si\u00e7 thuhet me t\u00eb drejt\u00eb, ajo \u00ebsht\u00eb pjes\u00eb e pandashme e jet\u00ebs s\u00eb p\u00ebrditshme; n\u00eb secil\u00ebn koh\u00eb e vend njeriu ngacmohet dhe \u00ebsht\u00eb n\u00ebn ndikimin e vijuesh\u00ebm t\u00eb s\u00eb kaluar\u00ebs, p\u00ebrkat\u00ebsisht t\u00eb vet\u00ebdijes historike t\u00eb popullit e t\u00eb kultur\u00ebs q\u00eb i p\u00ebrket. S\u00eb k\u00ebndejmi, Thomas Elioti me t\u00eb drejt\u00eb thoshte se e kaluara e p\u00ebrcakton n\u00eb m\u00ebnyr\u00eb t\u00eb ndjeshme t\u00eb tashmen, nd\u00ebrsa Gadamer-i vinte n\u00eb dukje se \u201cTradita nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb p\u00ebrmbledhje mendimesh e gjykimesh t\u00eb nj\u00ebpasnj\u00ebshme, po nj\u00eb e treta organike e potenciale, q\u00eb aktualizohen e riaktualizohen n\u00eb m\u00ebnyr\u00eb t\u00eb domosdoshme n\u00eb \u00e7do gjykim t\u00eb ri\u201d.<\/em><\/p>\n

Duke trajtuar periudhat m\u00eb qen\u00ebsore t\u00eb s\u00eb kaluar\u00ebs, n\u00eb t\u00eb v\u00ebrtet\u00eb poet\u00ebt arb\u00ebresh\u00eb synonin zgjimin e nd\u00ebrgjegjes s\u00eb njer\u00ebzve t\u00eb tyre p\u00ebr t\u00eb p\u00ebrditshmen, p\u00ebr \u00e7astin e gjallimit konkret, po edhe p\u00ebr t\u00eb ardhmen. Kjo gj\u00eb p\u00ebrmbushej n\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb duke trajtuar e p\u00ebrjet\u00ebsuar artistikisht sidomos Motin e Madh dhe Skanderbeun, q\u00eb shenj\u00ebzonin koh\u00ebn e \u201casaj lumturie\u201d<\/em>. Veprohej n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb nga fakti se duke shqiptuar t\u00eb kaluar\u00ebn, ngjarjet, personat, luft\u00ebrat dhe flijimet q\u00eb b\u00ebn\u00eb shqiptar\u00ebt p\u00ebr ruajtjen e liris\u00eb e t\u00eb pavar\u00ebsis\u00eb, po dhe legjenda e mite, q\u00eb i p\u00ebrkitnin bot\u00ebs etnike, shkrimtar\u00ebt arb\u00ebresh\u00eb z\u00ebrit t\u00eb koh\u00ebs s\u00eb tyre n\u00eb t\u00eb cil\u00ebn jetonin, ua shtonin shum\u00ebsin\u00eb e z\u00ebrave e t\u00eb p\u00ebrvojave t\u00eb koh\u00ebve paraprake t\u00eb bot\u00ebs e t\u00eb paraardh\u00ebsve t\u00eb tyre, t\u00eb ngjarjeve e t\u00eb ndodhive n\u00eb t\u00eb kaluar\u00ebn, q\u00eb e kishin cil\u00ebsuar bot\u00ebn gjith\u00ebshqiptare.<\/p>\n

Kjo shprehet n\u00eb m\u00ebnyra t\u00eb ndryshme n\u00eb veprat e De Rad\u00ebs, Skiroit, por edhe t\u00eb poet\u00ebve bashk\u00ebkohor\u00eb si Vorea Ujko, Lluka Perrone, Zef Del Gaudio-s e t\u00eb ndonj\u00eb tjetri. Pra, pik\u00ebrisht n\u00ebp\u00ebrmjet poezis\u00eb \u2013 k\u00ebng\u00ebs ata shprehen q\u00ebndres\u00ebn e njer\u00ebzve t\u00eb tyre n\u00eb kushte t\u00eb v\u00ebshtira, duke krijuar k\u00ebshtu realitetin p\u00ebrkat\u00ebs shpirt\u00ebror, si form\u00eb e qen\u00ebsishme e q\u00ebndres\u00ebs dhe e mbijetimit: Shekujt kan\u00eb kaluar \/ n\u00ebn qiej t\u00eb flak\u00ebt<\/em> \/ kan\u00eb kaluar shekuj \/ n\u00ebn akullin e vores\u00eb \/e ti i barabart\u00eb \/si nj\u00eb tok\u00eb q\u00eb pret. \/Ke gjetur k\u00ebng\u00ebt \/p\u00ebrtej jet\u00ebs s\u00eb dit\u00ebve \/ke gjetur malet \/ku shk\u00eblqei lum\u00ebrua \/ke gjetur vallet \/ku ndrit trim\u00ebria \/dhe vazhdon \/tue mbyllur n\u00eb sy \/\u00ebndrra t\u00eb m\u00ebdha<\/em> (K\u00ebng\u00eb arb\u00ebreshe VIII)[5]<\/a>.<\/p>\n

N\u00ebp\u00ebrmjet trajtimit t\u00eb atdheut t\u00eb t\u00eb Par\u00ebve, t\u00eb trim\u00ebris\u00eb, t\u00eb nderit, t\u00eb bes\u00ebs, pastaj t\u00eb personaliteteve t\u00eb r\u00ebnd\u00ebsishme nga e kaluara, poet\u00ebt gjakonin q\u00eb t\u2019i vet\u00ebdij\u00ebsonin arb\u00ebresh\u00ebt p\u00ebr t\u00eb ruajtur edhe m\u00eb tej gjuh\u00ebn, doket e zakonet e trash\u00ebguara nga t\u00eb Par\u00ebt, mend\u00ebsin\u00eb, kultur\u00ebn dhe artin e tyre. K\u00ebshtu kujtimi i atdheut b\u00ebhet n\u00ebp\u00ebrmjet formave t\u00eb ndryshme, edhe n\u00ebp\u00ebrmjet valleve e k\u00ebng\u00ebve, si del n\u00eb k\u00ebt\u00eb pjes\u00eb t\u00eb poezis\u00eb \u201cVallet k\u00ebndojn\u00eb Arbrin\u00eb\u201d t\u00eb Lluka Perrones: S\u00ebmenat\u00eb shkepti dielli \/<\/em>e gj\u00ebrat duken m\u00eb t\u2019shk\u00eblqyera. \/ Vallet me t\u2019bukura kopile \/dualltin e k\u00ebndojn\u00eb Arbrin\u00eb.\/Dhe mua hidh\u00ebrimi \/sot s\u2019m\u00eb t\u00ebrbon<\/em>[6]<\/strong><\/em><\/a>…<\/em><\/p>\n

Mir\u00ebpo, n\u00ebp\u00ebrmjet veprave t\u00eb tyre, krijuesit edhe i kritikonin njer\u00ebzit e tyre p\u00ebr pakujdesin q\u00eb tregonin ndaj bot\u00ebs arb\u00ebreshe, p\u00ebr pasy\u00e7elt\u00ebsin\u00eb e p\u00ebr zotimin e tyre jo t\u00eb duhur p\u00ebr ta ruajtur at\u00eb bot\u00eb; theksonin \u201cvet\u00ebdijen e fjetur\u201d<\/em>, ose si\u00e7 thoshte Dhimit\u00ebr Kamarda, \u201ct\u00eb pafat\u00ebn gjindje arb\u00ebreshe\u201d<\/em>, t\u00eb keqen si dhe tragjik\u00ebn q\u00eb arb\u00ebror\u00ebt dhe arb\u00ebresh\u00ebt ia soll\u00ebn vetit jo nj\u00eb her\u00eb dhe jo vet\u00ebm n\u00eb nj\u00eb koh\u00eb.<\/p>\n

K\u00ebshtu, Zef Skiroi, duke trajtuar t\u00eb tashmen dhe t\u00eb kaluar\u00ebn arb\u00ebreshe e shqiptare, u drejtohej dhe i kritikonte arb\u00ebresh\u00ebt e koh\u00ebs s\u00eb tij p\u00ebr mosveprim e p\u00ebr vet\u00ebdije t\u00eb ul\u00ebt etnike, duke u treguar rrezikun q\u00eb u kanosej. P\u00ebr k\u00ebt\u00eb arsye rr\u00ebfimi poetik b\u00ebhet her\u00eb-her\u00eb i drejtp\u00ebrdrejt\u00eb dhe merr ngjyrim t\u00eb k\u00ebshill\u00ebs e t\u00eb porosis\u00eb, si\u00e7 ngjet n\u00eb k\u00ebng\u00ebn e fundit Agull\u00edmi<\/em> t\u00eb vepr\u00ebs s\u00eb tij Te dheu i huaj<\/em>, ku poeti k\u00ebrkon q\u00eb prind\u00ebrit arb\u00ebresh\u00eb t\u2019i edukojn\u00eb e t\u2019i vet\u00ebdijesojn\u00eb f\u00ebmij\u00ebt p\u00ebr bot\u00ebn e tyre, duke ua p\u00ebrcjell\u00eb, n\u00eb form\u00eb amaneti, domosdon\u00eb e ruajtjes s\u00eb asaj bote; t\u00eb nj\u00ebjt\u00ebn gj\u00eb duhet t\u00eb b\u00ebnin edhe f\u00ebmij\u00ebt e tyre dhe f\u00ebmij\u00ebt e f\u00ebmij\u00ebve t\u00eb tyre.<\/p>\n

Po t\u00eb mbahij Arb\u00ebresh\u00eb
\n<\/em>e te ruani gluh\u00ebn t\u00ebn\u00eb
\n<\/em>me kujdes e me t\u00eb dashur,
\n<\/em>si nj\u00eb gj\u00eb t\u00eb sh\u00eajt\u00ebruame,
\n<\/em>si m\u00eb t\u2019mir\u00ebn ng\u00e1 t\u00eb dh\u00eanat
\n<\/em>e t\u2019yn\u2019 Zoti;e ashtu edhe veset
\n<\/em>\u00e7\u00eb na lan\u00eb ata t\u00eb par\u00ebt<\/em>[7]<\/strong><\/em><\/a>.<\/p>\n

Kjo k\u00ebrkes\u00eb mb\u00ebshtetet n\u00eb faktin se shum\u00eb katunde arb\u00ebreshe ishin asimiluar e shuar dhe s\u2019kishte mbetur asnj\u00eb gjurm\u00eb e tyre. Ngulimeve t\u00eb tjera u kanosej i nj\u00ebjti rrezik. Kjo del sheshazi n\u00eb poezin\u00eb e Vorea Ujkos Un\u00eb kam shkuar<\/em>, ku autori jep tablo t\u00eb pazakonshme t\u00eb katundit t\u00eb mbetur thuaja pa njer\u00ebz, me sht\u00ebpit\u00eb pa em\u00ebr e me rrug\u00eb t\u00eb heshtura. Poeti shkon n\u00eb katund se t\u00eb ngarkoja trishtimin<\/em>, n\u00eb nj\u00eb gjendje kur koha (meq\u00eb katundi ngjan n\u00eb di\u00e7ka t\u00eb vdekur) ka mbetur pa t\u00eb nes\u00ebrmen, gj\u00eb q\u00eb shenj\u00ebzon se katundi ka mbetur pa njer\u00ebz, pa t\u00eb rinj[8]<\/a>.<\/p>\n

Duke qen\u00eb t\u00eb vet\u00ebdijsh\u00ebm p\u00ebr k\u00ebt\u00eb gjendje, intelektual\u00ebt arb\u00ebresh\u00eb, pra dhe shkrimtar\u00ebt, n\u00ebp\u00ebrmjet veprave t\u00eb tyre, gjakuan, si p\u00ebrmendem edhe m\u00eb par\u00eb, vet\u00ebdij\u00ebsimin e arb\u00ebresh\u00ebve p\u00ebr ruajtjen e bot\u00ebs e t\u00eb shpirtit t\u00eb tyre etnik, t\u00eb gjuh\u00ebs e t\u00eb trash\u00ebgimis\u00eb s\u00eb tyre, si thuhet poetikisht, p\u00ebr ruajtjen e rr\u00ebnj\u00ebve. K\u00ebshtu, n\u00eb nj\u00eb poezi t\u00eb poetit Zef Skiro Di Maxho-s, Laerti i p\u00ebrcjell t\u00eb birit, Odiseut, qen\u00ebsoren e gjallimit e t\u00eb veprimit, si\u00e7 vepruan e duhet t\u00eb veprojn\u00eb p\u00ebrher\u00eb edhe arb\u00ebresh\u00ebt.<\/p>\n

K\u00ebrko t\u2019i vizatosh t\u00ebt bir<\/em>
\nprofilin e tok\u00ebs sate<\/em>
\nq\u00eb ta mbaj\u00eb ngulur n\u00eb kujtes\u00eb<\/em>
\ne ta dashuroj\u00eb. B\u00ebj q\u00eb t\u00eb kuptoj\u00eb<\/em>
\nse u p\u00ebrket shpirtrave fisnik\u00eb<\/em>
\nruajtja e rr\u00ebnj\u00ebve t\u00eb veta[9]<\/strong><\/a>.<\/em><\/p>\n

Nevoja e ruajtjes s\u00eb bot\u00ebs arb\u00ebreshe shprehet dhe n\u00eb poezit\u00eb e p\u00ebrshpirtshme, ku poet\u00ebt k\u00ebrkojn\u00eb ndihm\u00eb prej Hyjit. Kjo ndonj\u00ebher\u00eb del fare konkrete, si\u00e7 ndodh kur poeti, Zef Skiroi, i drejtohet Sh\u00ebn M\u00ebris\u00eb Virgj\u00ebr, q\u00eb e em\u00ebrton Mburoj\u00eb e Shqip\u00ebris\u00eb<\/em> – t\u2019i ruaj\u00eb ata, t\u2019ua ruaj\u00eb fen\u00eb dhe bot\u00ebn e tyre, pastaj gjuh\u00ebn arb\u00ebreshe, me t\u00eb cil\u00ebn ata do t\u2019i luten Zotit, ashtu si b\u00ebn\u00eb t\u00eb Par\u00ebt e tyre dhe kryetrimi Skanderbeg.<\/p>\n

ti, \u00e7\u00eb ruajte gjyshrat tan\u00eb
\n<\/em>t\u00eb mos zbirj\u00ebn sh\u00eajten bes\u00eb,
\n<\/em>te ku ndodhen edhe jan\u00eb,
\n<\/em>Arb\u00ebreshvet k\u00edj kujdes.<\/em><\/p>\n

Sot edhe, si kurdoher\u00eb,
\n<\/em>nj\u00eb d\u00ebsh\u00edr ka z\u00ebmbra e jon\u00eb;
\n<\/em>Arb\u00ebresh\u00eb e t\u00eb Kr\u00ebshter\u00eb,
\n<\/em>t\u00eb q\u00ebndroj\u00ebm p\u00ebr gjithmon\u00eb;<\/em><\/p>\n

Sa t\u2019i falemi t\u2019in\u2019 Zoti
\n<\/em>po me gluh\u00ebn \u00e7\u00eb na dha;
\n<\/em>po si falej Kastrioti
\n<\/em>e gj\u00ebr\u00eda ng\u00e1 zbresj\u00ebm na<\/em>[10]<\/strong><\/em><\/a>.<\/em><\/p>\n

Kjo m\u00ebnyr\u00eb e shqiptimit letrar artistik pati nj\u00eb r\u00ebnd\u00ebsi t\u00eb madhe e luajti nj\u00eb rol t\u00eb pazakont\u00eb p\u00ebr bot\u00ebn arb\u00ebreshe dhe p\u00ebr mbijetimin e saj.<\/p>\n

Natyrisht pun\u00ebn q\u00eb b\u00ebri dhe rolin q\u00eb luajti arti letrar arb\u00ebresh e ndihmuan dhe e plot\u00ebsuan edhe format dhe veprimet e tjera t\u00eb shumta q\u00eb arb\u00ebresh\u00ebt b\u00ebn\u00eb gjat\u00eb gjallimit n\u00ebp\u00ebr koh\u00eb, sidomos doke e zakone t\u00eb ndryshme t\u00eb tradit\u00ebs, riti fetar bizantin[11]<\/a>, pastaj shoqatat, revistat, publikimet, po edhe format e tilla si\u00e7 ishin kongreset e gjuh\u00ebs arb\u00ebreshe t\u00eb organizuar nga De Rada n\u00eb bashk\u00ebpunim me arb\u00ebresh\u00eb t\u00eb tjer\u00eb.<\/p>\n

\n

[1]<\/a> Jeronim De Rada, Parime t\u00eb estetik\u00ebs.<\/em> N\u00eb Jeronim De Rada, Vepra letrare 3. \u201cNaim Frash\u00ebri\u201d, Tiran\u00eb 1987, f. 276.<\/p>\n

[2]<\/a> Anton Nik\u00eb Berisha, Antologji e poezis\u00eb gojore arb\u00ebreshe. Antologia della poesia orale arb\u00ebreshe<\/em>. Transkriptimin e teksteve Fran\u00e7esko Altimari, P\u00ebrktheu dhe rishikoi p\u00ebrkthimet Vin\u00e7enco Belmonte. Rubbettino, Soveria Mannelli, Catanzaro, 1998, f. 226.<\/p>\n

[3]<\/a> Anton Nik\u00eb Berisha, Antologji e poezis\u00eb gojore arb\u00ebreshe<\/em>, vep. e p\u00ebrm., f. 80. Shih m\u00eb gje-r\u00ebsisht p\u00ebr k\u00ebt\u00eb n\u00eb punimin Mbi poezin\u00eb gojore t\u00eb arb\u00ebresh\u00ebve t\u00eb Italis\u00eb<\/em>.<\/p>\n

[4]<\/a> Shih p\u00ebr k\u00ebt\u00eb dukuri m\u00eb gjer\u00ebsisht n\u00eb punimin p\u00ebr vepr\u00ebn e J. Varibob\u00ebs Gjella e Sh\u00ebn M\u00ebr\u00eds Virgj\u00ebr.<\/em><\/p>\n

[5]<\/a> Vorea Ujko, G\u00ebrmime n\u00eb dhimbje<\/em>. Zgjodhi, shtjelloi dhe shkroi parath\u00ebnien Anton Nik\u00eb Berisha. Editrice \u201cil Coscile\u201d, Kozenc\u00eb 1998, f. 129.<\/p>\n

[6]<\/a> Lluka Perrone, Uj\u00ebvar\u00eb lotngrir\u00eb<\/em>. Zgjodhi, shtjelloi dhe shkroi parath\u00ebnien Anton Nik\u00eb Berisha. Radhonjt\u00eb: Shkrimtar\u00eb arb\u00ebresh\u00eb 1, Kozenc\u00eb 1999, f. 35.<\/p>\n

[7]<\/a> Giuseppe Schir\u00f2, Opere IV<\/em>. Te dheu i huaj (ed. del 1940). A cura di Matteo Mandal\u00e0. Rubbettino. Soveria Mannelli, (Catanzaro, Italia) 1997, K\u00ebnga IX, v. 180 \u2013 185, f. 358.<\/p>\n

[8]<\/a> Shih punimin Mbi disa qen\u00ebsi t\u00eb poezis\u00eb s\u00eb Vorea Ujkos.<\/em><\/p>\n

[9]<\/a> Giuseppe Schir\u00f2 Di Maggio, Dove antico dollore. Dhembje e ngrir\u00eb.<\/em> Scelta, note e introduzione di Anton Nik\u00eb Berisha. Quaderni di Biblos, Palermo 1998, f. 19.<\/p>\n

[10]<\/a> Giuseppe Schir\u00f2, Canti Sacri delle colonie albanesi di Sicilia<\/em>, Napoli 1907, f. 74 – 75.<\/p>\n

[11]<\/a> Duke folur p\u00ebr r\u00ebnd\u00ebsin\u00eb q\u00eb pati riti greko-bizantin p\u00ebr arb\u00ebresh\u00ebt, Fran\u00e7esko Altimari thekson nd\u00ebr t\u00eb tjera: \u201c\u00cbsht\u00eb e njohur q\u00eb n\u00eb t\u00eb kaluar\u00ebn, duke filluar nga koha e vendosjeve t\u00eb para n\u00eb Itali (shek. XV \u2013 XVI), gjuha arb\u00ebreshe dhe riti fetar greko \u2013 bizantin paraqitnin dy instrumente themelore t\u00eb vetidentifikimit dhe tiparet e ve\u00e7anta t\u00eb identitetit vetjak etnik p\u00ebr t\u00eb gjitha komunitetet arb\u00ebreshe.\u201d Shih, Francesco Altimari, Studi sulla letteratura albanese della \u201cRilindja\u201d<\/em>. Quaderni di Zjarri, n. 11, Grottaferrata 1984, f. 84.<\/p>\n","protected":false},"excerpt":{"rendered":"

Anton Nik\u00eb Berisha Gjuha arb\u00ebreshe dhe t\u00eb folurit arb\u00ebrisht ka qen\u00eb dhe mbetet p\u00ebrb\u00ebr\u00ebsi m\u00eb qen\u00ebsor i gjallimit dhe i ruajtjes s\u00eb bot\u00ebs dhe shpirtit arb\u00ebresh n\u00ebp\u00ebr koh\u00eb. Mir\u00ebpo, let\u00ebrsia arb\u00ebreshe, gojore dhe e shkruar, po ashtu pati nj\u00eb r\u00ebnd\u00ebsi t\u00eb madhe dhe luajti nj\u00eb rol t\u00eb shum\u00ebfisht\u00eb p\u00ebr ruajtjen dhe pasurimin e k\u00ebsaj bote. […]<\/p>\n","protected":false},"author":1,"featured_media":73693,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35,8],"tags":[],"class_list":["post-73691","post","type-post","status-publish","format-standard","has-post-thumbnail","category-kulture","category-letersi"],"yoast_head":"\nR\u00cbND\u00cbSIA E LET\u00cbRSIS\u00cb ARB\u00cbRESHE P\u00cbR RUAJTJEN DHE\u00a0PASURIMIN E BOT\u00cbS DHE E SHPIRTIT ARB\u00cbRESH - 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\/rendesia-e-letersise-arbereshe-per-ruajtjen-dhe-pasurimin-e-botes-dhe-e-shpirtit-arberesh\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"R\u00cbND\u00cbSIA E LET\u00cbRSIS\u00cb ARB\u00cbRESHE P\u00cbR RUAJTJEN DHE\u00a0PASURIMIN E BOT\u00cbS DHE E SHPIRTIT ARB\u00cbRESH - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Anton Nik\u00eb Berisha Gjuha arb\u00ebreshe dhe t\u00eb folurit arb\u00ebrisht ka qen\u00eb dhe mbetet p\u00ebrb\u00ebr\u00ebsi m\u00eb qen\u00ebsor i gjallimit dhe i ruajtjes s\u00eb bot\u00ebs dhe shpirtit arb\u00ebresh n\u00ebp\u00ebr koh\u00eb. 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Mir\u00ebpo, let\u00ebrsia arb\u00ebreshe, gojore dhe e shkruar, po ashtu pati nj\u00eb r\u00ebnd\u00ebsi t\u00eb madhe dhe luajti nj\u00eb rol t\u00eb shum\u00ebfisht\u00eb p\u00ebr ruajtjen dhe pasurimin e k\u00ebsaj bote. 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