{"id":12828,"date":"2013-06-13T07:45:08","date_gmt":"2013-06-13T06:45:08","guid":{"rendered":"http:\/\/fjala.info\/?p=3037"},"modified":"2013-06-13T07:45:08","modified_gmt":"2013-06-13T06:45:08","slug":"oktavio-paz-poezia-ceremoni-ne-katakombe","status":"publish","type":"post","link":"https:\/\/fjala.info\/2009-2015\/oktavio-paz-poezia-ceremoni-ne-katakombe\/","title":{"rendered":"Oktavio Paz – Poezia – Ceremoni n\u00eb Katakombe"},"content":{"rendered":"

\"\" (“Ars Poetica” Nr. 4, Shkurt 2008<\/em>)<\/p>\n

(Fjala e mbajtur me rastin e marrjes s\u00eb \u00e7mimit letrar \u201cTomas Stern Eliot\u201d<\/em>)<\/p>\n

S\u00eb pari e ndiej veten t\u00eb nderuar me vet\u00eb k\u00ebt\u00eb \u00e7mim shkaku se p\u00ebr t\u00eb jan\u00eb t\u00eb huaja dy pasione q\u00eb e z\u00ebvend\u00ebsojn\u00eb kultur\u00ebn ton\u00eb: ideologjia dhe nacionalizmi. Pastaj edhe p\u00ebr shkak t\u00eb fam\u00ebs q\u00eb g\u00ebzojn\u00eb pararend\u00ebsit e mi fitues t\u00eb k\u00ebtij \u00e7mimi, H. L. Borhesi, E. Janesko dhe B. S. Najpali. Dhe n\u00eb fund, p\u00ebr shkak t\u00eb vet\u00eb T. S. Eliotit. Ndon\u00ebse po e p\u00ebrmend t\u00eb fundit, fakti q\u00eb \u00e7mimi mban emrin e poetit anglo-sakson ka p\u00ebr mua r\u00ebnd\u00ebsi tejet t\u00eb madhe, edhe intime, edhe simbolike. \u00cbsht\u00eb m\u00eb shum\u00eb se nj\u00eb \u00e7mim, \u00ebsht\u00eb nj\u00eb shif\u00ebr sekrete. Kam qen\u00eb mjaft i ri, pothuajse n\u00eb mosh\u00ebn djaloshare, kur e kam lexuar p\u00ebr her\u00eb t\u00eb par\u00eb Eliotin dhe ai m\u2019i ka hapur dyert e poezis\u00eb moderne; me t\u00eb marr\u00eb t\u00eb k\u00ebtij \u00e7mimi q\u00eb mban emrin e tij, jet\u00ebn time e shoh si nj\u00eb nism\u00eb t\u00eb gjat\u00eb, e cila s\u00ebrish, pas m\u00eb shum\u00eb se nj\u00eb gjysm\u00eb shekulli q\u00ebkur hyra p\u00ebr her\u00eb t\u00eb par\u00eb n\u00eb bot\u00ebn e t\u00eb rriturve, m\u00eb kthen n\u00eb t\u00eb kaluar\u00ebn, te nj\u00ebri nga mjesht\u00ebrit e rinis\u00eb sime.<\/p>\n

N\u00eb vitin 1930 i kisha 17 vjet dhe poezin\u00eb po e lexoja me pasion. N\u00eb k\u00ebto vite grupi i shkrimtar\u00ebve meksikan\u00eb e drejtonte revist\u00ebn letrare \u201cBashk\u00ebkoh\u00ebsit\u201d (Contemporaneos). Emri i revist\u00ebs d\u00ebftonte q\u00ebllimin jet\u00ebsor t\u00eb saj: t\u00eb hapte gjer\u00ebsisht dyert dhe dritaret q\u00eb ajri i fresk\u00ebt i kultur\u00ebs bot\u00ebrore t\u00eb hynte n\u00eb Meksik\u00eb. N\u00eb numrin e gushtit 1930 u paraqit n\u00eb faqet e saj ajo poezia e gjat\u00eb dhe e pazakont\u00eb t\u00eb cil\u00ebn un\u00eb e lexova me admirimin m\u00eb t\u00eb thell\u00eb, i magjepsur dhe duke e mrekulluar pafund. Poem\u00ebs Tok\u00eb e shkret\u00eb i printe nj\u00eb parath\u00ebnie inteligjente e p\u00ebrkthyesit, e poetit t\u00eb ri meksikan Enrike Mungie (Enrique Munguia), i cili vdiq disa vjet m\u00eb von\u00eb. Enriken nuk e kam njohur kurr\u00eb, por sot emrin e tij e kujtoj me respekt t\u00eb thell\u00eb e dhembje. <\/p>\n

Nuk \u00ebsht\u00eb v\u00ebshtir\u00eb t\u00eb merret me mend se \u00e7\u2019trazim m\u00eb pati shkaktuar leximi p\u00ebr her\u00eb t\u00eb par\u00eb i poezive t\u00eb Eliotit: kam qen\u00eb i stepur, tep\u00ebr kureshtar, i lajthitur. E kam lexuar s\u00ebrish dhe p\u00ebrs\u00ebri arrita t\u00eb gjeja nj\u00eb p\u00ebrkthim tjet\u00ebr t\u00eb botuar n\u00eb Madrid. Lexova at\u00ebbot\u00eb edhe poezi t\u00eb tjera n\u00eb spanjollisht (ato dit\u00eb kishte shum\u00eb p\u00ebrkthime t\u00eb poezis\u00eb s\u00eb tij, posa\u00e7\u00ebrisht n\u00eb Meksik\u00eb). M\u00eb von\u00eb, kur e zot\u00ebrova m\u00eb mir\u00eb gjuh\u00ebn angleze, nisa ta lexoja n\u00eb origjinal. Me kalimin e viteve, edhe p\u00ebrfytyrimi im p\u00ebr poetin nd\u00ebrroi n\u00eb p\u00ebrputhje me kthesat q\u00eb p\u00ebsuan mendimet e tij e t\u00eb miat dhe t\u00eb shkruarit. P\u00ebrfytyrimi ndryshoi, por jo edhe lidhja ime me poezin\u00eb e tij. Megjith\u00eb vitet e kaluara dhe kthesat q\u00eb kam b\u00ebr\u00eb, Tok\u00eb e shkret\u00eb \u00ebsht\u00eb p\u00ebr mua edhe sot e k\u00ebsaj dit\u00eb nj\u00eb obelisk i mbuluar me shenja q\u00eb nuk mund ta d\u00ebmtojn\u00eb as moda, as koha.<\/p>\n

Si \u00ebsht\u00eb e mundshme q\u00eb nj\u00eb djalosh meksikan t\u00eb ket\u00eb nj\u00eb pasion kaq t\u00eb fuqish\u00ebm p\u00ebr nj\u00eb vep\u00ebr hermetike t\u00eb shkruar n\u00eb gjuh\u00ebn angleze? As q\u00eb \u00ebsht\u00eb fare e nevojshme p\u00ebr t\u2019i dh\u00ebn\u00eb p\u00ebrgjigje k\u00ebsaj pyetjeje: forca q\u00eb m\u00eb ka pushtuar ka qen\u00eb p\u00ebrsosuria e poem\u00ebs, konstruksioni rigoroz i saj, thell\u00ebsia e vizionit, llojshm\u00ebria e pjes\u00ebve t\u00eb saj dhe uniteti madh\u00ebshtor i t\u00ebr\u00ebsis\u00eb. Po s\u2019ishte vet\u00ebm p\u00ebrsosuria e shk\u00eblqyeshme, po edhe risia dhe par\u00ebndom\u00ebsia e saj. Forma e poezis\u00eb ka qen\u00eb nj\u00eb e papritur: nd\u00ebrprerjet, kap\u00ebrcimet e befasishme, lidhjet e parashikueshme, natyra fragmentare e \u00e7do sekuence dhe arbitrariteti iluzor i kompozicionit, amalgama e personazheve t\u00eb ndryshme, kund\u00ebrv\u00ebnia koh\u00ebs dhe hap\u00ebsir\u00ebs – shekulli i nj\u00ebzet\u00eb dhe mesjeta, Aleksandria dhe Londra, ritualet e frytshm\u00ebris\u00eb dhe luftrat punike, kombinimi i fjal\u00ebve t\u00eb p\u00ebrditshme me tekstet religjioze dhe me tekstet poetike greke dhe sankrishte. <\/p>\n

Poezia nuk i sh\u00ebmb\u00ebll\u00ebnte asnj\u00ebr\u00ebs q\u00eb kisha lexuar m\u00eb par\u00eb. M\u2019u b\u00eb sikur fare pak i gjasonte let\u00ebrsis\u00eb e m\u00eb shum\u00eb piktur\u00ebs moderne, p\u00eblhurave kubiste ose kolazheve t\u00eb Brankos. Nuk gabova. Disa vjet m\u00eb von\u00eb zbulova se metoda e kompozicionit t\u00eb poem\u00ebs Tok\u00eb e shkret\u00eb \u2013 si dhe metoda e kompozicionit t\u00eb Kantoseve t\u00eb Erza Paundit, dhe e poezive t\u00eb tjera t\u00eb k\u00ebsaj kohe \u2013 ka ndjekur po ato parime q\u00eb i kan\u00eb frym\u00ebzuar kubist\u00ebt: fragmentet kund\u00ebrshtuese jan\u00eb shkrir\u00eb n\u00eb realitetin piktural deri at\u00ebher\u00eb t\u00eb papar\u00eb, nj\u00ebkoh\u00ebsisht besnike ndaj realitetit t\u00eb nj\u00ebmendt\u00eb.<\/p>\n

Megjithat\u00eb, nd\u00ebrmjet kubist\u00ebve dhe poezis\u00eb s\u00eb Paundit dhe t\u00eb Eliotit ekziston nj\u00eb dallim thelb\u00ebsor: ndon\u00ebse teknika \u00ebsht\u00eb e nj\u00ebjt\u00eb, megjithat\u00eb figura e paraqet realitetin, nd\u00ebrsa poezia e thot\u00eb tregimin. Ose, th\u00ebn\u00eb n\u00eb nj\u00eb m\u00ebnyr\u00eb tjet\u00ebr, figura \u00ebsht\u00eb statike, kurse poezia rrjedh n\u00ebp\u00ebr koh\u00eb. Po megjithat\u00eb, prejardhja e v\u00ebrtet\u00eb e k\u00ebsaj paraqitjeje simultane t\u00eb realitetit ka qen\u00eb kubiste. Shprehjet e para kubiste n\u00eb let\u00ebrsi kan\u00eb qen\u00eb krijimet e Apolonierit dhe t\u00eb Sendrarit. Rrug\u00ebn e tyre e ka vazhduar Riverdi por, duke qen\u00eb m\u00eb radikal se pararend\u00ebsit e tij, ai i ka m\u00ebnjanuar t\u00eb gjitha elementet narrative. <\/p>\n

P\u00ebrkundrazi, Paundi dhe Elioti e kan\u00eb ruajtur narracionin, dometh\u00ebn\u00eb, l\u00ebvizjen dhe ndjenj\u00ebn e koh\u00ebs. Paundi gjithnj\u00eb ka pohuar se nj\u00eb paraqitje e k\u00ebtill\u00eb, si\u00e7 e ka quajtur ai, e ka prejardhjen nga ideogramet kineze. \u00c7far\u00ebdo q\u00eb t\u00eb ken\u00eb qen\u00eb shkaqet p\u00ebr nj\u00eb deklarat\u00eb t\u00eb \u00e7uditshme \u2013 parashikimi, sqima, obsedimi me Orientin \u2013 \u00ebsht\u00eb e qart\u00eb se poet\u00ebt francez\u00eb kan\u00eb qen\u00eb nism\u00ebtar\u00eb t\u00eb modernizmit, sidomos Apolinieri dhe poezit\u00eb e tij \u201cZona\u201d, kan\u00eb qen\u00eb vendimtare p\u00ebr Paundin. E kam t\u00eb njohur se kritik\u00ebt e hap\u00ebsir\u00ebs gjuh\u00ebsore angleze nuk jan\u00eb t\u00eb k\u00ebtij mendimi, mir\u00ebpo \u00ebsht\u00eb ngush\u00ebllim t\u00eb rikujtojm\u00eb se poeti Kenet Reksrot (Keneth Rexroth) ka menduar nj\u00ebsoj sikurse un\u00eb.<\/p>\n

E kam th\u00ebn\u00eb se risia e poem\u00ebs Tok\u00eb e shkret\u00eb e shpjegon arsyen pse ajo m\u00eb ka magjepsur; nd\u00ebrkaq, kur risia letrare dhe stilistike \u00ebsht\u00eb harxhuar, \u00ebsht\u00eb shfaqur nj\u00eb tjet\u00ebr. Me pasqyrimin e fatit njer\u00ebzor poema e ka d\u00ebshmuar pakoh\u00ebsin\u00eb e vet, e kjo \u00ebsht\u00eb ajo q\u00eb i jep asaj thell\u00ebsin\u00eb dhe bashk\u00ebkohor\u00ebsin\u00eb e p\u00ebrhershme. <\/p>\n

Vet\u00eb poema nuk ka qen\u00eb aq novatore, sa ka qen\u00eb tema e historis\u00eb. Poezia i \u00ebsht\u00eb kthyer epit. Si\u00e7 ndodh n\u00eb \u00e7do ep, poezia rr\u00ebfen tregimin e shnd\u00ebrruar n\u00eb mit. Pos k\u00ebsaj, ky \u00ebsht\u00eb epi q\u00eb mb\u00ebrthen n\u00eb vetvete t\u00eb sotmen, dhe p\u00ebr k\u00ebt\u00eb arsye ai \u00ebsht\u00eb edhe film, edhe raport gazete, edhe kronik\u00eb.<\/p>\n

Homeri nuk \u00ebsht\u00eb Akili as Virgji \u00ebsht\u00eb Eneu, person qendror i poem\u00ebs Tok\u00eb e shkret\u00eb, i shfaqur hapur ose fshehur, \u00ebsht\u00eb vet\u00eb poeti Eliot. (Po kjo ndodh, vet\u00ebm n\u00ebn nj\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb theksuar, edhe n\u00eb Kantoset e Paundit). Si n\u00eb Komedin\u00eb hyjnore t\u00eb Dantes, edhe heroi i poem\u00ebs Tok\u00eb e shkret\u00eb \u00ebsht\u00eb alegori mbi shpirtin njer\u00ebzor t\u00eb humbur n\u00eb purgatorin e historis\u00eb tok\u00ebsore. Heroi i vepr\u00ebs \u201cZona\u201d i sh\u00ebmb\u00ebllen Bodlerit: ky \u00ebsht\u00eb poeti i p\u00ebrhumbur n\u00eb qytet; heroi i poem\u00ebs Tok\u00eb e shkret\u00eb mish\u00ebron historin\u00eb per\u00ebndimore dhe r\u00ebnien e saj. Kjo r\u00ebnie shnd\u00ebrrohet n\u00eb depresion, n\u00eb s\u00ebmundje nervore dhe n\u00eb m\u00ebkat vdek\u00ebsor. <\/p>\n

Shkrirja e un\u00eb subjektives dhe e ne historike, dometh\u00ebn\u00eb, ndeshje fatesh shoq\u00ebrore dhe individuale, ka qen\u00eb dhe ka mbetur risi e madhe edhe e vepr\u00ebs Tok\u00eb e shkret\u00eb, edhe e Kantoseve. P\u00ebrshtatja e form\u00ebs poetike t\u00eb nisur n\u00eb Franc\u00eb, n\u00eb t\u00eb cil\u00ebn paraqitja dhe rr\u00ebfimi jan\u00eb kombinuar, ua ka b\u00ebr\u00eb t\u00eb mundshme q\u00eb t\u00eb dy poet\u00ebve t\u00eb ringjallin tradit\u00ebn qendrore t\u00eb poezis\u00eb s\u00eb madhe per\u00ebndimore dhe t\u00eb na ofrojn\u00eb, n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, pasqyr\u00ebn e realitetin bashk\u00ebkohor. Simbolizmi e p\u00ebrzuri historin\u00eb nga poezia; me poem\u00ebn Tok\u00eb e shkret\u00eb poezia i kthehet koh\u00ebs historike dhe konkrete. Koha: njeriu si mish\u00ebrim i koh\u00ebs dhe i vet\u00ebdij\u00ebs historike.<\/p>\n

Ndon\u00ebse i magjepsur me Tok\u00eb e shkret\u00eb, e kam par\u00eb fort mir\u00eb mosp\u00ebrputhjen nd\u00ebmjet bindjeve t\u00eb mia dhe ideve e shpresave q\u00eb krijojn\u00eb k\u00ebt\u00eb poem\u00eb: T\u00eb gjitha vizionet e historis\u00eb, duke p\u00ebrfshir\u00eb edhe at\u00eb q\u00eb ka zhvilluar pozitivizmi, p\u00ebrmbajn\u00eb edhe metahistorin\u00eb. Ajo q\u00eb e v\u00eb n\u00eb levizje poem\u00ebn Tok\u00eb e shkret\u00eb, ka qen\u00eb dhe ka mbetur n\u00eb kund\u00ebrshtim me idet\u00eb dhe besimet e mia. Jo vet\u00ebm q\u00eb nuk kam vuajtur p\u00ebr sistemin e krishter\u00eb mesjetar, por as nuk kam mundur t\u00eb shoh si shp\u00ebtim kthimin n\u00eb Rom\u00ebn e lasht\u00eb (Edhe Elioti, t\u00eb themi kalimthi, \u00ebsht\u00eb ndalur n\u00eb gjysm\u00eb t\u00eb rrug\u00ebs, n\u00eb kish\u00ebn anglikane). <\/p>\n

P\u00ebrkundrazi, tashm\u00eb un\u00eb isha shkuror\u00ebzuar me p\u00ebrkat\u00ebsin\u00eb time t\u00eb dyfisht\u00eb spanjolle-amerikane \u2013 me traditat katolike dhe liberale. Kam besuar n\u00eb revolucionin universal q\u00eb do ta transformonte shoq\u00ebrin\u00eb dhe njeriun. M\u00eb kan\u00eb mashtruar gjeometrit\u00eb e ardhm\u00ebris\u00eb dhe mrekullia e fillimeve t\u00eb historis\u00eb. Asgj\u00eb tjet\u00ebr nuk ka ekzistuar p\u00ebrtej Eliotit, asgj\u00eb m\u00eb t\u00eb mrekullueshme se vizioni i bot\u00ebs i Rusoit dhe i Furijes: shpellat e eg\u00ebrsirave dhe kopshtet irrituese falanstere. Po megjithat\u00eb, magjepsja ka mbetur. \u00c7\u2019\u00ebsht\u00eb ajo q\u00eb m\u00eb ka t\u00ebrhequr n\u00eb Tok\u00eb e shkret\u00eb? Tmerret e bot\u00ebs moderne. Para shkat\u00ebrrimit t\u00eb saj, edhe konservatori dhe i humburi ndihen nj\u00ebsoj:<\/p>\n

\nMidis ideve
\nDhe realitetit
\nMidis l\u00ebvizjes
\nDhe aktit
\nBie Hija.\n<\/p><\/blockquote>\n

Kan\u00eb kaluar shum\u00eb vjet dhe bashk\u00eb me bot\u00ebn ton\u00eb kan\u00eb ndryshuar edhe idet\u00eb dhe ndjenjat e mia. Viktim\u00eb e madhe e luftrave dhe e revolucioneve ka qen\u00eb ardhm\u00ebria. Sot, kur ndodhemi n\u00eb udh\u00ebkryqin e historis\u00eb, askush nuk di se \u00e7\u2019na pret: shkat\u00ebrrimi, err\u00ebsira e barbaris\u00eb apo ringjallja e s\u00ebrishme. N\u00eb qiell po shfaqen shenjat, po ato jan\u00eb t\u00eb paqarta; pak kush ia del q\u00eb t\u2019i lexoj\u00eb; po edhe ata q\u00eb po i lexojn\u00eb, nuk i d\u00ebgjon askush. Elioti ka besuar n\u00eb besnik\u00ebrin\u00eb e autoritetit dhe t\u00eb tradit\u00ebs; disa n\u00eb mesin ton\u00eb besojn\u00eb n\u00eb subversionin dhe n\u00eb ndryshimin. Sot dim\u00eb se sh\u00ebndeti shpirt\u00ebror dhe politik jeton n\u00eb fjal\u00ebt e ndryshme, m\u00eb pak t\u00eb ngjyruara me ide absolute. K\u00ebto fjal\u00eb q\u00eb i kan\u00eb krijuar koh\u00ebt moderne, kan\u00eb qen\u00eb demokracia, toleranca, pranimi i tjetrit dhe i t\u00eb tjer\u00ebve. <\/p>\n

Th\u00ebn\u00eb shkurtazi – demokracia. E di se demokracit\u00eb moderne kan\u00eb qen\u00eb indiferente – dhe shpesh t\u00eb marra dhe mizore – ndaj poezis\u00eb. Q\u00eb nga koha e romantizmit poezia ka qen\u00eb e d\u00ebnuar t\u00eb jetoj\u00eb n\u00eb periferi t\u00eb shoq\u00ebris\u00eb. Nga fundi i shekullit t\u00eb nj\u00ebzet\u00eb margjinalizimi i poezis\u00eb sa vjen e shtohet. Ajo sot \u00ebsht\u00eb ose ceremoni n\u00eb kotakombe, ritual n\u00eb shkret\u00ebtir\u00ebn urbane, fest\u00eb n\u00eb podrum, ose e ringjallur n\u00eb supermarket. \u00cbsht\u00eb e v\u00ebrtet\u00eb se n\u00eb regjimet totalitare poet\u00ebt jan\u00eb t\u00eb p\u00ebrndjekur; n\u00eb vendet demokratike atyre u \u00ebsht\u00eb lejuar t\u00eb jetojn\u00eb, madje edhe jan\u00eb t\u00eb mbrojtur. Mir\u00ebpo, p\u00ebr fatin e tyre t\u00eb keq, ata jan\u00eb t\u00eb ngujuar mes kat\u00ebr mureve t\u00eb nd\u00ebrtuara jo nga gur\u00ebt po nga heshtja. <\/p>\n

\"\"
\nN\u00eb shoq\u00ebrit\u00eb e pasura t\u00eb Per\u00ebndimit, t\u00eb preokupuara me biznesin dhe zbavitjen-nuk ka vend p\u00ebr poezin\u00eb. Megjithat\u00eb, tradita poetike nuk \u00ebsht\u00eb k\u00ebputur dhe as q\u00eb ka p\u00ebr t\u2019u nd\u00ebrprer\u00eb ndonj\u00ebher\u00eb. Po t\u00eb ndodhte kjo, fjala kishte p\u00ebr t\u2019i fikur n\u00eb buz\u00ebt tona, kurse bisedat tona do t\u00eb shnd\u00ebrroheshin n\u00eb ul\u00ebrim\u00eb majmuni. Vazhdim\u00ebsia e poezis\u00eb \u00ebsht\u00eb vazhdim\u00ebsi e fjal\u00ebs njer\u00ebzore, e qytet\u00ebrimit. P\u00ebr k\u00ebt\u00eb arsye p\u00ebr poezin\u00eb dhe nj\u00eb em\u00ebr tjet\u00ebr, n\u00eb koh\u00ebn si kjo jona, vazhdim\u00ebsi. Vazhdim\u00ebsia \u00ebsht\u00eb premtim dhe shpres\u00eb e ringjalljes.<\/p>\n

P\u00ebrktheu: Dem\u00eb Topalli<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

(“Ars Poetica” Nr. 4, Shkurt 2008) (Fjala e mbajtur me rastin e marrjes s\u00eb \u00e7mimit letrar \u201cTomas Stern Eliot\u201d) S\u00eb pari e ndiej veten t\u00eb nderuar me vet\u00eb k\u00ebt\u00eb \u00e7mim shkaku se p\u00ebr t\u00eb jan\u00eb t\u00eb huaja dy pasione q\u00eb e z\u00ebvend\u00ebsojn\u00eb kultur\u00ebn ton\u00eb: ideologjia dhe nacionalizmi. Pastaj edhe p\u00ebr shkak t\u00eb fam\u00ebs q\u00eb g\u00ebzojn\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"yoast_head":"\nOktavio Paz - Poezia - Ceremoni n\u00eb Katakombe - FjALA e LIR\u00cb - Arkivi<\/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:\/\/fjala.info\/2009-2015\/oktavio-paz-poezia-ceremoni-ne-katakombe\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Oktavio Paz - Poezia - Ceremoni n\u00eb Katakombe - FjALA e LIR\u00cb - Arkivi\" \/>\n<meta property=\"og:description\" content=\"(“Ars Poetica” Nr. 4, Shkurt 2008) (Fjala e mbajtur me rastin e marrjes s\u00eb \u00e7mimit letrar \u201cTomas Stern Eliot\u201d) S\u00eb pari e ndiej veten t\u00eb nderuar me vet\u00eb k\u00ebt\u00eb \u00e7mim shkaku se p\u00ebr t\u00eb jan\u00eb t\u00eb huaja dy pasione q\u00eb e z\u00ebvend\u00ebsojn\u00eb kultur\u00ebn ton\u00eb: ideologjia dhe nacionalizmi. 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