{"id":9848,"date":"2017-01-13T00:07:31","date_gmt":"2017-01-12T23:07:31","guid":{"rendered":"http:\/\/www.fjala.info\/?p=9848"},"modified":"2021-12-12T02:03:00","modified_gmt":"2021-12-12T01:03:00","slug":"bota-poetike-e-martin-camajt","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/bota-poetike-e-martin-camajt\/","title":{"rendered":"BOTA POETIKE E MARTIN CAMAJT"},"content":{"rendered":"

E p\u00ebrgatiti Prof. Zymer Mehani<\/strong><\/p>\n

Abstrakti<\/strong>
\nN\u00eb k\u00ebt\u00eb punim, me titull “Bota poetike e Martin Camajt<\/em>” kemi studiuar pun\u00ebn krijuese t\u00eb poetit dhe kemi konstatuar se brenda evoluimit dhe pasurimit t\u00eb bot\u00ebs s\u00eb tij poetike dallohen tri periudha, t\u00eb cilat si t\u00eb tilla edhe i kemi shqyrtuar ve\u00e7 e ve\u00e7, ashtu si\u00e7 e meritojn\u00eb.<\/p>\n

N\u00eb poezin\u00eb e Camajt t\u00eb krijuar n\u00eb periudh\u00ebn 1953-1967 kemi dalluar tri shtresa: poezin\u00eb e krijuar mbi baz\u00eb t\u00eb poezis\u00eb s\u00eb tradit\u00ebs (“Nji fyell nd\u00ebr male” (1953) dhe pjes\u00ebrisht “Kanga e v\u00ebrrinit” (1954); poezin\u00eb me tematik\u00eb nga legjendat dhe goj\u00ebdhanat tona popullore (v\u00ebllimi “Legjenda” (1964) si dhe poezin\u00eb me prirje modern (pjes\u00ebrisht “Kanga e v\u00ebrrinit” dhe “Lirik\u00eb mes dy moteve”(1967).<\/p>\n

Periudha e dyt\u00eb e poezis\u00eb s\u00eb Camajt (1967-1978) \u00ebsht\u00eb periudh\u00eb e vet\u00ebdij\u00ebsimit dhe e pjekuris\u00eb artistike. Poezia e k\u00ebsaj periudhe karakterizohet me p\u00ebrsosjen e vargut t\u00eb lir\u00eb dhe t\u00eb shprehjes artistike. Poezit\u00eb e k\u00ebsaj periudhe p\u00ebrfshihen n\u00eb v\u00ebllimin “Njeriu me vete e me tjer\u00eb” (Munchen, 1978).<\/p>\n

Periudha e tret\u00eb e poezis\u00eb s\u00eb Camajt p\u00ebrfaq\u00ebsohet me ciklet \u2018\u2019Nema\u2019\u2019 dhe \u2018\u2019Buelli\u2019\u2019 (1990). Poezia e periudh\u00ebs s\u00eb tret\u00eb t\u00eb Camajt nuk kuptohet dhe nuk receptohet leht\u00eb. Kjo poezi \u00ebsht\u00eb shembull dhe d\u00ebshmi tipike sesa njeriu mund t\u00eb pasurohet e t\u00eb fisnik\u00ebrohet shpirt\u00ebrisht nga vlera kulminante artistike.<\/p>\n

Hyrje<\/strong>
\nPoezia e Martin Camajt ruan n\u00eb gjakun e saj mbet\u00ebza t\u00eb kolektivitetit dhe t\u00eb etnografis\u00eb. Z\u00ebri i poetit q\u00eb e bazon poezin\u00eb edhe n\u00eb p\u00ebrb\u00ebr\u00ebs t\u00eb till\u00eb, do t\u00eb jet\u00eb p\u00ebrpjestimisht edhe koral. Ai e ka synuar ta p\u00ebrcjell\u00eb n\u00eb indet e poezis\u00eb entografin\u00eb dhe gjeografin\u00eb e fisit (Mal\u00ebsin\u00eb). Me qindra detaje t\u00eb tilla i jan\u00eb thadruar n\u00eb mosh\u00eb t\u00eb njom\u00eb n\u00eb psikik\u00eb. Ai sikur e ka peng ta \u00e7lir\u00eb k\u00ebt\u00eb mbres\u00ebl\u00ebnie q\u00eb ndryshon pak nga sh\u00ebmb\u00ebllesat e t\u00eb tjer\u00ebve.<\/p>\n

Moraliteti i poezis\u00eb t\u00eb Camajt i n\u00ebn\u00ebshtrohet n\u00eb nj\u00eb mas\u00eb jo t\u00eb pap\u00ebrfillshme mend\u00ebsis\u00eb tradicionale.
\nCamaj \u00ebsht\u00eb n\u00eb kap\u00ebrcyell t\u00eb mend\u00ebsis\u00eb tradicionale dhe asaj individualiste. Unin poetik ai e ka t\u00eb ndrojtur si mal\u00ebsor\u00ebt, t\u00eb matur, historik. Si nd\u00ebrgjegje e kolektivitetit t\u00eb kallur n\u00eb poezi, uni poetik \u00ebsht\u00eb i pjekur. Unin subjektivist, ai shpesh, e fsheh n\u00ebn parzmin e fisit.<\/p>\n

Bota shpirt\u00ebrore e poezive t\u00eb Camajt ka ngjashm\u00ebri me bot\u00ebn e amshuar me rregullime t\u00eb p\u00ebrjetshme, me rend gj\u00ebrash t\u00eb dh\u00ebna nga koh\u00ebt, t\u00eb parlindura, moraliteti i saj \u00ebsht\u00eb i pac\u00ebnuar. Njeriu i k\u00ebsaj poezie e di rendin e gj\u00ebrave, prandaj p\u00ebrs\u00ebritja e tyre \u00ebsht\u00eb e pranueshme. Ky \u00ebsht\u00eb pajtim i shpirtit me l\u00ebnd\u00ebn, ku dyshimi ekzistencial nuk njihet p\u00ebr arsyen e thjesht\u00eb, se koha e poezis\u00eb s\u00eb Camajt, s\u2019ka mb\u00ebrritur koh\u00ebn e ndryshimit t\u00eb rendit t\u00eb gj\u00ebrave dhe t\u00eb mospajtimit t\u00eb rendit t\u00eb gj\u00ebrave me inpulset shpirt\u00ebrore.<\/p>\n

Koha e poezis\u00eb s\u00eb Camajt \u00ebsht\u00eb koh\u00eb e pjekur, koh\u00eb e lumtur, koh\u00eb n\u00eb zenitin e saj, e paplasaritur nga brejtjet ekzistenciale.
\nAjo s\u2019\u00ebsht\u00eb nj\u00eb koh\u00eb antike e l\u00ebvizjeve dhe e formimit t\u00eb etnive, dokeve, moraleve, luftrave, etj. Ajo i p\u00ebrngjan nj\u00eb kohe m\u00eb t\u00eb von\u00eb, ku jeta vullkanike ka r\u00ebn\u00eb e fashitur dhe fisi \u00ebsht\u00eb pjekur, \u00ebsht\u00eb qytet-shtet dhe, ka nxjerr\u00eb nga p\u00ebrvoja mend\u00ebsin\u00eb, t\u00eb cil\u00ebn e mbar\u00ebshtron dhe ruan.<\/p>\n

Kjo qenie kolektive, e dal\u00eb n\u00eb histori nga marr\u00ebveshja e njeriut t\u00eb lir\u00eb, kjo principat\u00eb, flamur etj., v\u00ebmendje t\u00eb ve\u00e7ant\u00eb i kushton bukuris\u00eb s\u00eb femr\u00ebs, afrimit oborrtar drejt saj me status mbrojtjeje, pa mbrritur n\u00eb intimitetin e dashuris\u00eb.
\nShpesh kjo koh\u00eb, p\u00ebr plot\u00ebsin\u00eb, duket si e nx\u00ebn\u00eb n\u00eb universitete popullore dhe filles\u00ebn dhe koh\u00ebn poetike, i ka moshatare me simotr\u00ebn q\u00eb ka krijuar Lukreci n\u00eb poem\u00ebn traktat shkencor dhe filozofik, \u201cMbi natyr\u00ebn\u201d.<\/p>\n

Tri fazat e krijimtaris\u00eb s\u00eb Martin Camajt Martin Camaj \u00ebsht\u00eb poet lirik me forma e p\u00ebrmbajtje moderne, me faza t\u00eb ndryshme t\u00eb krijimtaris\u00eb poetike dhe kjo nga shkaku, sepse ka kaluar n\u00ebp\u00ebr kultura t\u00eb ndryshme. Gjat\u00eb q\u00ebndrimit n\u00eb ish- Jugosllavi e Kosov\u00eb do t\u00eb botoj\u00eb nj\u00ebri pas tjetrit dy v\u00ebllimet e para me poezi “Nj\u00eb fyell nd\u00ebr male”, Prishtin\u00eb 1953 dhe “Kanga e v\u00ebrrinit” Prishtin\u00eb 1954. N\u00eb Itali v\u00ebllimin \u2018\u2019Legjenda\u2019\u2019, Rom\u00eb 1964 dhe n\u00eb Gjermani librat e fundit poetik\u00eb “Lirika mes dy moteve”, Mynih 1967, “Njeriu me vete e me t\u00eb tjer\u00eb”, Mynih 1978, “Poezi 1953-1967”, Mynih 1981.(Grup autor\u00ebsh, Let\u00ebrsia bashk\u00ebk\u00ebhore shqiptare 4, Libri shkollor, Prishtin\u00eb, 2001, f. 72).<\/p>\n

Dy v\u00ebllimet e para t\u00eb Camajt t\u00eb botuara n\u00eb Prishtin\u00eb frym\u00ebzoheshin nga motivet e vendlindjes dhe ishin n\u00eb frym\u00ebn e s\u00eb ashtuquajtur\u00ebs “Shkoll\u00eb letrare e Shkodr\u00ebs”, pjes\u00eb e s\u00eb cil\u00ebs u b\u00eb dhe ai.<\/p>\n

N\u00eb p\u00ebrmbledhjet “Legjenda dhe lirika mes dy moteve” Camaj d\u00ebshmon me t\u00eb gjitha mjetet stilistike e estetike t\u00eb gjendurit n\u00ebn ndikimin e poezis\u00eb hermetike. Ky ndikim lidhej me koh\u00ebn studentore n\u00eb Rom\u00eb, kur Camaj kishte profesor poetin e madh hermetik Xhuzepe Ungareti.
\nI ndjesh\u00ebm tej mase ndaj motiveve t\u00eb vendlindjes e f\u00ebmij\u00ebris\u00eb ai n\u00eb gjith\u00eb poezin\u00eb e tij p\u00ebrpiqet t\u00eb universalizoj\u00eb elementet thell\u00ebsisht shqiptare, si peisazh, mitologji, mentalitet e karakter.<\/p>\n

Pjesa m\u00eb e r\u00ebnd\u00ebsishme e poezive t\u00eb Camajt i \u00ebsht\u00eb b\u00ebr\u00eb e njohur edhe lexuesit t\u00eb huaj me an\u00eb t\u00eb botimeve “Poesie”, Palermo 1985; Selected poetry, Nju Jork 1990; Palimpset, Nju Jork 1991; Gedichte, Mynih 1991.<\/p>\n

Jo vet\u00ebm po t\u00eb nisemi nga vendet e botimit, por mbi t\u00eb gjitha nga m\u00ebnyrat e ligj\u00ebrimit poetik, stilit dhe frym\u00ebs, mund t\u00eb vihen re qartazi tri faza t\u00eb krijimtaris\u00eb poetike ve\u00e7an\u00ebrisht e, letrare p\u00ebrgjith\u00ebsisht t\u00eb Martin Camajt:
\nFaza kosovare (ose klasike): 1953-1967;<\/p>\n

Faza italiane (ose paramoderne):1967-1978; Faza gjermane (ose moderne): 1978-1992.
\nT\u00eb tria k\u00ebto faza kan\u00eb l\u00ebn\u00eb shenja t\u00eb qarta n\u00eb krijimtarin\u00eb e tij:<\/p>\n

N\u00eb faz\u00ebn e par\u00eb ndihet mb\u00ebshtetja e fuqishme n\u00eb mjetet shpreh\u00ebse tradicionale e folklorike. “Mali e v\u00ebrrini” p\u00ebrb\u00ebjn\u00eb bot\u00ebn rreth s\u00eb cil\u00ebs sillet e rreh nervi poetik.<\/p>\n

V\u00ebllimi i tij i par\u00eb me varg klasik \u201cNji fyell nd\u00ebr male\u201d, Prishtin\u00eb 1953, dhe \u201cK\u00e2nga e v\u00ebrrinit\u201d, Prishtin\u00eb 1954 (K\u00ebnga e l\u00ebndinave), u frym\u00ebzuan nga banor\u00ebt e zonave ku lindi, mal\u00ebsor\u00ebt e veriut, mbas t\u00eb cil\u00ebve q\u00ebndroj shum\u00eb i af\u00ebrt shpirt\u00ebrisht edhe mbas shum\u00eb e shum\u00eb viteve n\u00eb m\u00ebrgim dhe pamund\u00ebsia p\u00ebr t\u2019u kthyer.<\/p>\n

“Lirika mes dy moteve”. N\u00eb k\u00ebt\u00eb syzim, autori i k\u00ebsaj p\u00ebrmbledhjeje lirikash nuk q\u00ebllimon t’i paraqes\u00eb vetveten lexuesve.
\nNga ana tjet\u00ebr, poezia nuk lyp shpjegime, edhe ajo flet p\u00ebr veten n\u00eb at\u00eb form\u00eb e struktur\u00eb q\u00eb ka. Ka vet\u00ebm nj\u00eb trajt\u00eb t\u00eb q\u00ebllueme e t\u00eb drejt\u00eb, nj\u00eb radhitje fjal\u00ebsh, gjithmon\u00eb n\u00eb gjuh\u00ebn amtare, p\u00ebrmes s\u00eb cil\u00ebs njeriu i paraqitet vetes e rrethit t\u00eb njer\u00ebzve q\u00eb jan\u00eb t\u00eb interesuem.<\/p>\n

N\u00eb faz\u00ebn e dyt\u00eb kemi pasurimin e elementeve shpreh\u00ebse me struktura m\u00eb t\u00eb komplikuara gjuh\u00ebsore, duke mos iu larguar kurr\u00ebsesi tharmit t\u00eb motiveve vend\u00ebse.<\/p>\n

“Njeriu me Vete e me tjer\u00eb”. Me kalimin e koh\u00ebs e ve\u00e7an\u00ebrisht me librin “Njeriu me vete e me tjer\u00eb”, poezia e Camajt e rrit karakterin e vet metaforik dhe simbolik si dhe zgjeron format e shprehjes gjuh\u00ebsore. Secili titull poezie paraqet nj\u00eb gjendje t\u00eb posa\u00e7me. Njeriu ndalet n\u00eb nj\u00eb shenj\u00eb vendi n\u00eb koh\u00eb, harron pun\u00ebn e p\u00ebrditshme dhe rr\u00ebmon n\u00eb vete p\u00ebr t\u00eb gjetur fillin e humbur t\u00eb kujtimeve e t\u00eb ndjesive t\u00eb tij:<\/p>\n

N\u00eb nadje vrejta rrethin e andrrave\/n\u00eb truell\/e gjeta fillin e tretun\/n\u00eb piken e ndaljes s\u00eb drit\u00ebs.
\n(Fill i gjetun<\/em>)<\/p>\n

Ngjan k\u00ebshtu q\u00eb mbas secilit varg t\u00eb fshihet nj\u00eb grim\u00eb ngash\u00ebrimi, i cili n\u00eb \u00e7astin kur autori ia p\u00ebrcjell t\u00eb tjer\u00ebve, shnd\u00ebrrohet n\u00eb g\u00ebzim.<\/p>\n

Nd\u00ebrmjet drit\u00ebs dhe territ p\u00ebr poetin m\u00eb shum\u00eb se njeriu \u00ebsht\u00eb hija e tij e cila s\u2019ka shqise, vet\u00ebm sy p\u00ebr vete. Po njeriu ku \u00ebsht\u00eb? – duket se pyet poeti. – Po ti ku je? Apo thjesht nj\u00eb th\u00ebngjill i zi pa zjarm. Mungesa e zjarrit e b\u00ebn jet\u00ebn t\u00eb vdes\u00eb, mungesa e drit\u00ebs e b\u00ebn koh\u00ebn t\u00eb vdes\u00eb, mungesa e tingujve e b\u00ebn njeriun t\u00eb vdes\u00eb.<\/p>\n

Te “Koh\u00eb e humbun” n\u00ebp\u00ebrmjet metaforave e simboleve t\u00eb fuqishme poeti e vendos udh\u00ebtarin, njeriun e thjesht\u00eb n\u00eb udh\u00ebkryqin midis koh\u00ebs reale t\u00eb v\u00ebrtet\u00eb dhe asaj t\u00eb p\u00ebrjetshme: Udh\u00ebtari, njeri i thjesht\u00eb, as tep\u00ebr i urt\u00eb, as poet, ndezi zjarrin e fikun n\u00eb hinin djeg\u00eb e p\u00ebrdjeg\u00eb n\u00eb vot\u00ebr. Zgjoi tingujt e ujit prej gjumit e preku rrezet e diellit n\u00eb syzit e bim\u00ebs n\u00eb dritare. Di\u00e7ka ish ndal\u00eb n\u00eb aj\u00ebr e priste n\u00eb heshtje si shpat\u00eb p\u00ebr t\u00eb ra. Vet\u00ebm at\u00ebher\u00eb u kujtue se koha nuk kishte kthye bashk\u00eb me t\u00eb n\u00eb plang … \u00c7asti i kuptimit t\u00eb bosh\u00ebsis\u00eb s\u00eb jet\u00ebs \u00ebsht\u00eb p\u00ebr poetin sfida e par\u00eb q\u00eb njeriu i b\u00ebn vdekjes.<\/p>\n

Temat si kontrasti midis s\u00eb vjetr\u00ebs e s\u00eb res\u00eb, pohimi i s\u00eb res\u00eb si dhe situata e njer\u00ebzve n\u00eb bot\u00ebn moderne, zhvillohen n\u00eb trajtimin e motiveve tradicionale dhe simboleve (Gur\u00ebt, zogjt\u00eb, zanat e malit etj).<\/p>\n

Shtat\u00eb vasha u \u00e7uen pesh\u00eb\/Kur ngjyra e korbit fluturoi\/P\u00ebrmbi shtyll\u00ebn e jet\u00ebs…
\nVargje si k\u00ebto jan\u00eb t\u00eb rralla n\u00eb tradit\u00ebn e poetik\u00ebs shqiptare.<\/p>\n

Po korbi jo gjithnj\u00eb \u00ebsht\u00eb ngjyra e vdekjes dhe sinonim i s\u00eb keqes. Si p\u00ebr t\u00eb treguar vler\u00ebn e nj\u00eb dite apo m\u00eb mir\u00eb t\u00eb nj\u00eb \u00e7asti p\u00ebrball\u00eb koh\u00ebs s\u00eb amshuar, Camaj shkruan poezin\u00eb “Nj\u00eb dit\u00eb e ka edhe korbi”. Nga ana tjet\u00ebr ndarja natyrore n\u00eb t\u00eb mir\u00eb e n\u00eb t\u00eb keqe, n\u00eb t\u00eb bardh\u00eb e n\u00eb t\u00eb zez\u00eb, p\u00ebr poetin nuk \u00ebsht\u00eb gjithnj\u00eb k\u00ebshtu. Teksa korbi v\u00ebshtron vallen e p\u00ebllumbave t\u00eb bardh\u00eb, ngriu n\u00eb vend dhe e pa veten m\u00eb t\u00eb zi se kurr\u00eb. Por ai nuk guxoi ta prish\u00eb vallen e tyre, t\u00eb jet\u00eb nj\u00eb njoll\u00eb e zez\u00eb n\u00eb at\u00eb sfond t\u00eb bardh\u00eb. Dhe p\u00ebr k\u00ebt\u00eb e mori shp\u00ebrbilmin: e ndjeu vehten korbi p\u00ebllumb n\u00eb shpirt…<\/p>\n

Tek v\u00ebllimi p\u00ebrmbledh\u00ebs “Njeriu me vete e me tjer\u00eb” jan\u00eb bashkuar poezit\u00eb, t\u00eb cilat i paraqesin njer\u00ebzit n\u00eb kostelacione t\u00eb ndryshme sipas ides\u00eb s\u00eb Camajt. Si elemente tematike dalin shpesh: shtegtimi, mosperfillja, vetmia. Kurse te poezia “Vetmija e jugores n\u00eb Veri” si kund\u00ebrv\u00ebnie e nj\u00eb jete t\u00eb larg\u00ebt, shfaqet gruaja m\u00eb e vetmuar se kurr\u00eb ndonjeher\u00eb: Vjen hana\/ e nis udhtimin televizori n\u00ebp\u00ebr bot\u00eb\/ n\u00eb heshtje deri n\u00eb mesnat\u00eb.\/ Mandej sheh andrra si rriten\/ dega lisash nd\u00ebr krah\u00eb.<\/p>\n

Situata e m\u00ebrgimit t\u00eb autorit del n\u00eb poezin\u00eb m\u00eb titull “Larg atyne q\u00eb flasin si un\u00eb”, i cili vihet n\u00eb raport me dukurit\u00eb e natyr\u00ebs q\u00eb ndon\u00ebse jan\u00eb universale, intimizohen kur \u00ebsht\u00eb fjala p\u00ebr vendlindjen: n’agim njeriu bekon diellin si un\u00eb.<\/p>\n

N\u00eb faz\u00ebn e tret\u00eb motivi vend\u00ebs mitizohet, “thahet” e shnd\u00ebrrohet n\u00eb nj\u00eb substanc\u00eb me esenc\u00eb t\u00eb fort\u00eb. Nga nj\u00ebra tek tjetra arti i tij b\u00ebhet p\u00ebrher\u00eb e m\u00eb formal larg strukturave tradicionale e ideve t\u00eb dit\u00ebs dhe synon t\u00eb b\u00ebhet universal. (Anton Berisha, Vepra letrare e Martin Camajt, Radhonjt\u00eb e zjarrit, Kozenca (Itali), 1994, f, 15). Por rrug\u00ebtimi i tij n\u00eb poezi kulmon me v\u00ebllimet “Nema”, “Buelli” dhe “Palimpsest”, q\u00eb n\u00eb fakt n\u00eb letrat shqipe nuk jan\u00eb shkruar ende nga askush tjet\u00ebr, por q\u00eb p\u00ebr nga shenj\u00ebzimet artistike p\u00ebrqaset me tekstet poetike t\u00eb Borhesit, Montales, Ungaretit, Eliotit etj\u2026, pra \u00ebsht\u00eb n\u00eb rezonim me shkrimin poetik t\u00eb p\u00ebrbotsh\u00ebm. Nga ana tjet\u00ebr, modernia e Camajt na zbulohet edhe n\u00eb sinkretik\u00ebn letrare Me poezin\u00eb e tij Camaj krijon nj\u00eb marr\u00ebdh\u00ebnie gati t\u00eb padukshme, ashtu si anonimati popullor, duke i l\u00ebne nj\u00eb vend t\u00eb lir\u00eb aktiv lexuesit; t\u00eb jet\u00eb ai q\u00eb t\u00eb p\u00ebrjetoj\u00eb apo t\u00eb meditoj\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb hapur dhe subjektive, p\u00ebr ta rib\u00ebr\u00eb poezin\u00eb e tij.<\/p>\n

Nj\u00eb karakteristik\u00eb e ve\u00e7ant\u00eb e poetik\u00ebs s\u00eb Camajt \u00ebsht\u00eb interesi i tij p\u00ebr figur\u00ebn gjuh\u00ebsore-formale, ku me an\u00ebn e nj\u00eb thjesht\u00ebsie t\u00eb ve\u00e7ant\u00eb ai e tematizon n\u00eb trajt\u00eb, duke p\u00ebrdorur me mjesht\u00ebri t\u00eb rrall\u00eb variantin gjuh\u00ebsor t\u00eb geg\u00ebrishtes. (Grup autor\u00ebsh, Let\u00ebrsia bashk\u00ebkohore\u20264, f.73-76).<\/p>\n

Poezia “Elegji e Par\u00eb”<\/strong>
\nMe k\u00ebt\u00eb poezi ndoshta nis epoka e pjekuris\u00eb artistike t\u00eb Camajt drejt modernitetit, gjuh\u00ebs s\u00eb kursyer dhe t\u00eb shum\u00ebkuptimshme. Si n\u00eb shum\u00eb poezi t\u00eb tjera edhe k\u00ebtu ndjehet ankthi i ndeshjes s\u00eb dy koh\u00ebve dhe hap\u00ebsirave: Femij\u00ebria n\u00eb malesit\u00eb e Shqip\u00ebris\u00eb dhe s\u00eb fundi vdekja n\u00eb malesit\u00eb e Gjermanis\u00eb s\u00eb jugut. Duket se autori drejton dy amanete nj\u00ebher\u00ebsh: nj\u00eb n\u00eb atdheun e larg\u00ebt (Tazes) dhe nj\u00eb n\u00eb vendbanimin e p\u00ebrkohsh\u00ebm (Gruas). Do t\u00eb jen\u00eb dy ceremoni mortore n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb: nj\u00eb n\u00eb Dukagjin me plakat dhe elementet e tjera autoktone dhe nj\u00eb tjet\u00ebr n\u00eb m\u00ebrgim mes njer\u00ebzve gjithmon\u00eb t\u00eb ngish\u00ebm.<\/p>\n

Poezin\u00eb e zot\u00ebron nj\u00eb ndjeshm\u00ebri e madhe muzikore dhe ritmike dhe pse e shkruar me vargje krejt\u00ebsisht t\u00eb lira e me struktura tregimtare. Ajo \u00ebsht\u00eb nj\u00eb elegji moderne, ku elementet autoktone dhe primitive tentojn\u00eb t\u00eb universalizohen e t\u00eb b\u00ebhen t\u00eb kuptueshme p\u00ebr t\u00eb gjith\u00eb. Ky n\u00eb p\u00ebrgjith\u00ebsi \u00ebsht\u00eb dhe \u00e7el\u00ebsi i gjith\u00eb poezis\u00eb s\u00eb Camajt.<\/p>\n

Poezia “Mosha e Qenit apo Dit\u00eblindja”<\/strong>
\n\u00cbsht\u00eb nj\u00eb nd\u00ebr poezit\u00eb m\u00eb t\u00eb bukura e nj\u00ebkoh\u00ebsisht m\u00eb private t\u00eb Camajt. \u00c7asti i festimit t\u00eb dit\u00eblindjes s\u00eb nj\u00eb burri t\u00eb vjet\u00ebr, q\u00eb fatalisht v\u00eb re s\u00eb koha, do t\u00eb thot\u00eb jeta, ka mbetur e vrar\u00eb brenda tij, p\u00ebrb\u00ebn frym\u00ebzimin tragjik t\u00eb poezis\u00eb.
\nAi s’di k\u00eb t\u00eb akuzoj\u00eb p\u00ebr vras\u00ebs t\u00eb koh\u00ebs s\u00eb vet, vras\u00ebsi ka mbetur anonim, ndaj dhe s’ka se kush t\u00eb paguaj\u00eb gjakun. N\u00eb k\u00ebto rrethana af\u00ebrsia me qenin b\u00ebhet sa e dhimbshme aq dhe humane.<\/p>\n

Koha i ka ngr\u00ebn\u00eb gjith\u00e7ka k\u00ebtij personali subjektiv, e ka nxjerr\u00eb kocke e l\u00ebkure. Simboli i lumit q\u00eb e pret n\u00eb fund t\u00eb poezis\u00eb mund t\u00eb lexohet edhe si vijimi i jet\u00ebs s\u00eb pasosur, por edhe si caku q\u00eb ndan dy jet\u00ebt e prej kah nis bota tjet\u00ebr. Poezia duket sikur s’ka fund. Gjith\u00e7a i lihet n\u00eb dor\u00eb lexuesit, vazhdimi, p\u00ebrparimi i paskaj, finalja e imagiinuar.
\nMe mjete thell\u00ebsisht hermetike, ku fjala e zhveshur nga cil\u00ebsor\u00ebt e panevojsh\u00ebm q\u00ebndron si monument, gur i r\u00ebnd\u00eb n\u00eb vendin e vet, perve\u00e7se flet n\u00eb m\u00ebnyr\u00eb t\u00eb drejtp\u00ebrdrejt\u00eb, m\u00eb s\u00eb shumti sugjeron kuptime e imazhe.<\/p>\n

Poezia “Mbramja asht Larg”<\/strong>
\nKjo poezi \u00ebsht\u00eb e nd\u00ebrtuar me nj\u00eb liriz\u00ebm t\u00eb thell\u00eb, t\u00eb fshehur prej trajtash tregimtare. Nj\u00eb \u00ebnd\u00ebrr erotike mes dy njer\u00ebzve larg njeri-tjetrit, qe nj\u00eb lum\u00eb dhe nj\u00eb mbr\u00ebmje imagjinare i ndan. Jan\u00eb dy bot\u00eb t\u00eb ndryshme larg n\u00eb hap\u00ebsir\u00eb, por edhe n\u00eb koh\u00eb. Kujtimi i nj\u00eb krijese fem\u00ebrore i sillet poetit n\u00eb krye, nj\u00eb krijes\u00eb pa form\u00eb a trajt\u00eb, e ngjashme me nj\u00eb frym\u00eb a shpirt (q\u00eb ka mot\u00ebr heshtjen) e q\u00eb jeton diku n\u00eb gji t\u00eb natyr\u00ebs. E ky p\u00ebr vete n\u00eb nj\u00eb bot\u00eb tjet\u00ebr, t\u00eb mekanizuar, me tram (treni i metros\u00eb).<\/p>\n

E gjitha \u00ebshte nj\u00eb \u00ebnd\u00ebrr q\u00eb i vjen poetit prej kujtimeve t\u00eb vjetra t\u00eb rinis\u00eb. Ndjehet i pamundur, por edhe i paepur deri n\u00eb fund (i l\u00ebshon vendin nj\u00eb m\u00eb t\u00eb vjetri). E vetmja gj\u00eb q\u00eb ka mbetur \u00ebsht\u00eb heshtja krijuar prej koh\u00ebs dhe hap\u00ebsir\u00ebs, heshtje krijuar nga num\u00ebrimi i gjurm\u00ebve t\u00eb diellit n\u00ebp\u00ebr qiell.<\/p>\n

Edhe kjo \u00ebsht\u00eb nj\u00eb poezi hermetike, e v\u00ebshtire p\u00ebr nj\u00eb lexim klasik, sugjeruese dhe sugjestionuese, ku fryma e mban n\u00eb k\u00ebmb\u00eb si nj\u00ebsi unike, e ku vargjet synojn\u00eb t\u00eb jetojn\u00eb n\u00eb vete e p\u00ebr vete.<\/p>\n

N\u00eb trash\u00ebgimin\u00eb poetike t\u00eb M. Camajt b\u00ebn pjes\u00eb edhe poezia \u201cShi mbi lum\u00eb\u201d, nj\u00eb poezi antologjike, q\u00eb p\u00ebrvijon artin magjik dhe mjsht\u00ebrin\u00eb e poetit. Kjo poezi sh\u00ebnon nj\u00ebrin prej kulmeve t\u00eb autorit, nj\u00ebherit edhe nj\u00eb kuror\u00eb t\u00eb mrekullueshme kushtuar natyr\u00ebs, ku si rrall\u00ebkund shp\u00eblosen ndjesit\u00eb m\u00eb t\u00eb holla poetike. Poezia \u201cShi mbi lum\u00eb\u201d mbart shenjat e artit t\u00eb Camajt, t\u00eb ngjizur si metaforik\u00eb e vendlindjes dhe e natyr\u00ebs, derdhur me nj\u00eb sharm poetik t\u00eb habitsh\u00ebm. Aty, n\u00eb materien e vargjeve, p\u00ebrmblidhen n\u00eb nj\u00eb t\u00eb vetme bukuria e natyr\u00ebs s\u00eb ashp\u00ebr shqiptare, n\u00eb nj\u00eb \u00e7ast pikant, t\u00eb zgjedhur bukurisht nga shkrimtari.<\/p>\n

P\u00ebrfundimi<\/strong>
\nCamaj \u00ebsht\u00eb p\u00ebrfaqsues i koh\u00ebs s\u00eb lumtur t\u00eb fisit, \u00ebsht\u00eb idealist. K\u00ebmb\u00ebngul me forc\u00ebn poetike t\u00eb ringrej\u00eb koh\u00ebn e lumtur me afshin e nj\u00eb tradicionalisti.<\/p>\n

Te Camaj, vuajtja poetike s\u2019vjen nga dyshimi p\u00ebr mosrregullimin e rendit t\u00eb gj\u00ebrave, ajo \u00ebsht\u00eb gjer n\u00eb kufijt\u00eb e kqyrjes s\u00eb lumturis\u00eb metafizike, q\u00eb ndonj\u00ebher\u00eb i mbyll shtigjet p\u00ebr mir\u00ebni.<\/p>\n

Besimi n\u00eb koh\u00ebn e p\u00ebrjet\u00ebshme, n\u00eb fuqin\u00eb e rendit t\u00eb gj\u00ebrave, e ushqyer nga marr\u00ebdh\u00ebniet q\u00eb pati me vendlindjen n\u00eb rinin\u00eb e par\u00eb, me Shkodr\u00ebn, e ushqyer nga fuqia e qytet\u00ebrimit per\u00ebndimor p\u00ebr t\u00eb mposhtur diktaturat, e ushqyer nga miq\u00ebsia dhe bashk\u00ebpunimi me Ernest Koliqin, I. Kodr\u00ebn, Gj. Gjok\u00ebn, arb\u00ebresh\u00ebt etj., i ruajti nj\u00eb drejt\u00ebpeshim shpirt\u00ebror t\u00eb shk\u00eblqyer dhe t\u00eb p\u00ebrkor\u00eb p\u00ebr ta par\u00eb atdheun n\u00eb koh\u00ebn e shkuar (t\u00eb p\u00ebrjet\u00ebshme), p\u00ebr t\u2019i kthyer atij pasqyra t\u00eb jet\u00ebs me thell\u00ebsi kohe, q\u00eb ai i kishte ruajtur si rrall\u00ebkush n\u00eb letrat shqipe.<\/p>\n

Metafizika e poezive s\u2019\u00ebsht\u00eb aq asnjanj\u00ebse sa duket s\u00eb jashtmi edhe pse e fshehur me nj\u00eb natyralitet lirik spontan. Jeta e njeriut Martin Camaj zgjon jet\u00ebn e poetit Martin Camaj, por edhe kryengritja te Camaj, \u00ebsht\u00eb lirike.<\/p>\n

Jeta e njeriut Martin Camaj shpie n\u00eb kufijt\u00eb e mosqenies p\u00ebr t\u2019ia l\u00ebn\u00eb vendin nj\u00eb kategorie m\u00eb t\u00eb plot\u00eb, m\u00eb p\u00ebrfaqsuese, jet\u00ebs s\u00eb nj\u00eb populli, i cili n\u00ebnkuptohet n\u00eb fatin historik. Camaj e modelon k\u00ebt\u00eb fat historik t\u00eb popullit me detaje, historin\u00eb e kthen n\u00eb poezi, madje n\u00eb lirik\u00eb.<\/p>\n

E sotmja, n\u00ebp\u00ebrmjet detajeve metafizike q\u00eb nd\u00ebrfut shpesh, humb konkret\u00ebsin\u00eb dhe lidhet me koh\u00ebn e kaluar. Nd\u00ebrfutja e koh\u00ebs metafizike n\u00eb koh\u00ebn e sotme, e anasjelltas, \u00ebsht\u00eb kaq fine, aq e natyrshme, sa p\u00ebrngjan si nj\u00eb trup. Koha asnj\u00ebher\u00eb s\u2019ngutet.
\nFryma njer\u00ebzore i jep asaj shpejt\u00ebsi m\u00eb shum\u00eb se sa e ka l\u00ebvizjen e p\u00ebrfyturuar ajo apo e l\u00eb n\u00eb pezulli.<\/p>\n

N\u00eb poezin\u00eb e Camajt, koha s\u2019\u00ebsht\u00eb as n\u00eb l\u00ebvizje me ngut, as n\u00eb pezulli. P\u00ebr at\u00eb mund t\u00eb thuhet se ajo si koha asnj\u00ebher\u00eb s\u2019ngutet. Ky pajtim i ritmit t\u00eb poezis\u00eb me ritmin natyral t\u00eb koh\u00ebs i jep ligj\u00ebrimit poetik trajt\u00ebn e t\u00eb q\u00ebnit n\u00eb \u00e7do \u00e7ast n\u00eb koh\u00eb. Koha, q\u00eb s\u2019ngutet asnj\u00ebher\u00eb, jepet me nj\u00eb sintaks\u00eb, q\u00eb ka p\u00ebr baz\u00eb vendosjen e fjal\u00ebve me nj\u00eb gramatik\u00eb normative, pa fjali t\u00eb nd\u00ebrkallura, pa gjymtyr\u00eb t\u00eb \u00e7vendosur.<\/p>\n

Koha e dlir historin\u00eb. T\u00eb nj\u00ebjt\u00ebn gj\u00eb mund t\u00eb thuhet edhe p\u00ebr Martin Camajn. Poezia e tij lirike e dlir njeriun. Koha e p\u00ebrjet\u00ebshme, q\u00eb ai e ka n\u00eb indet e ligj\u00ebrimit dhe dlir\u00ebsia poetike e b\u00ebjn\u00eb Camajn emblem\u00eb n\u00eb letrat shqipe.<\/p>\n

LITERATURA<\/strong>:
\nGrup autor\u00ebsh, Let\u00ebrsia bashk\u00ebkohore shqiptare 4, Libri shkollor, Prishtin\u00eb, 2001; Anton Berisha, Vepra letrare e Martin Camajt, Radhonjt\u00eb e zjarrit, Kozenc\u00eb (Itali), 1994; Martin Camaj, Njeriu me vete e me tjer\u00eb, Munchen, 1978; Martin Camaj, Nji fyell nder male, Prishtin\u00eb, 1953; Martin Camaj, Kanga e v\u00ebrrinit, Prishtin\u00eb, 1954.<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

E p\u00ebrgatiti Prof. Zymer Mehani Abstrakti N\u00eb k\u00ebt\u00eb punim, me titull “Bota poetike e Martin Camajt” kemi studiuar pun\u00ebn krijuese t\u00eb poetit dhe kemi konstatuar se brenda evoluimit dhe pasurimit t\u00eb bot\u00ebs s\u00eb tij poetike dallohen tri periudha, t\u00eb cilat si t\u00eb tilla edhe i kemi shqyrtuar ve\u00e7 e ve\u00e7, ashtu si\u00e7 e meritojn\u00eb. N\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":72229,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,8],"tags":[],"class_list":["post-9848","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-histori","category-letersi"],"yoast_head":"\nBOTA POETIKE E MARTIN CAMAJT - 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\/bota-poetike-e-martin-camajt\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"BOTA POETIKE E MARTIN CAMAJT - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"E p\u00ebrgatiti Prof. Zymer Mehani Abstrakti N\u00eb k\u00ebt\u00eb punim, me titull “Bota poetike e Martin Camajt” kemi studiuar pun\u00ebn krijuese t\u00eb poetit dhe kemi konstatuar se brenda evoluimit dhe pasurimit t\u00eb bot\u00ebs s\u00eb tij poetike dallohen tri periudha, t\u00eb cilat si t\u00eb tilla edhe i kemi shqyrtuar ve\u00e7 e ve\u00e7, ashtu si\u00e7 e meritojn\u00eb. 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