Nga prof. Sabri Hamiti<\/p>\n
<\/p>\n
Milosao (1836) i Jeronim de Rad\u00ebs, q\u00eb po shkon kah mosha dyshekullore, tashm\u00eb njihet si kryevepra poetike e autorit dhe nj\u00eb nga kryeveprat e lirik\u00ebs shqipe. Mir\u00ebpo, secili tekst letrar, n\u00eb \u00e7astin e leximit, b\u00ebhet bashk\u00ebkohor, bile i tash\u00ebm. Formulimi Milosao im p\u00ebrpiqet t\u00eb theksoj\u00eb natyr\u00ebn e vepr\u00ebs poetike, q\u00eb \u00ebsht\u00eb e lexueshme dhe e shkrueshme, n\u00eb v\u00ebshtrimin e Rolan Bartit, m\u00eb tep\u00ebr se sa t\u00eb relativizoj\u00eb evidencat e leximeve t\u00eb p\u00ebrparshme, t\u00eb autorit (q\u00eb shkroi tri variacione t\u00eb vepr\u00ebs), apo t\u00eb interpretuesve n\u00eb shekujt e fundit.<\/p>\n
<\/p>\n
Formulimi m\u00eb tep\u00ebr mundohet t\u00eb relativizoj\u00eb e t\u00eb personalizoj\u00eb leximin, q\u00eb b\u00ebhet i ndrysh\u00ebm dhe i ndryshuesh\u00ebm nga koha n\u00eb koh\u00eb. Q\u00eb kur Lexuesi b\u00ebhet aktant i shpalimit t\u00eb kuptimit t\u00eb vepr\u00ebs, edhe i larguar nga tendenca e Autorit, ai zbulon q\u00eb Milosao \u00ebsht\u00eb vep\u00ebr e shkrueshme dhe e rishkrueshme, si gjith\u00eb poezia moderne, q\u00eb t\u00eb lodh n\u00eb lexim e n\u00eb k\u00ebrkim. Mendimi \u00ebsht\u00eb i r\u00ebnd\u00eb, k\u00ebrkimi \u00ebsht\u00eb i r\u00ebnd\u00eb; se thell\u00ebsia \u00ebsht\u00eb e err\u00ebt, theksonte Eqrem \u00c7abej duke shkruar p\u00ebr lirik\u00ebn e Lasgush Poradecit. At\u00ebher\u00eb del n\u00eb pah Lexuesi si Ego (Vete) p\u00ebr ta p\u00ebrvet\u00ebsuar tekstin, m\u00eb par\u00eb p\u00ebr ta plot\u00ebsuar sesa p\u00ebr ta arsyetuar. \u201cKy \u00ebsht\u00eb Rasini im\u201d u p\u00ebrgjigj Barti, se i than\u00eb q\u00eb nuk i konsideronte t\u00eb v\u00ebrtetat p\u00ebr Rasinin n\u00eb tekstin e vet interpretues. N\u00eb hije t\u00eb k\u00ebsaj mund t\u00eb kuptohet edhe komunikimi poetik nd\u00ebrmjet Milosaos (1836) t\u00eb Jeronim de Rad\u00ebs dhe Milosaos son\u00eb t\u00eb vitit 2014.<\/p>\n
Jeronim de Rada: Milosao<\/strong><\/p>\n Jeronim de Rada mori fam\u00ebn romantike t\u00eb krijuesit e t\u00eb protagonistit t\u00eb sojit t\u00eb Bajronit e Hygos\u00eb, t\u00eb Leopardit e t\u00eb Pushkinit, ve\u00e7se k\u00ebrkoi edhe protagonizmin n\u00eb fush\u00ebn e kultur\u00ebs nacionale n\u00ebp\u00ebrmjet let\u00ebrsis\u00eb s\u00eb shkruar identitare. K\u00ebtu na del themelor k\u00ebrkimi dhe identifikimi i tij n\u00eb kryevepr\u00ebn poetike t\u00eb rinis\u00eb, Milosao, e jo k\u00ebrkimi i ideologjis\u00eb s\u00eb tij p\u00ebr protagoniz\u00ebm nacional. K\u00ebrkimi i identifikimit poetik i v\u00eb n\u00eb raport De Rad\u00ebn me Milosaon, Emrin me Pseudonimin, ose Autorin me Personazhin. N\u00eb struktur\u00ebn tekstore t\u00eb Milosaos autori shpesh e m\u00eb shpesh nj\u00ebjt\u00ebsohet me personazhin, emri lidhet me pseudonimin; pra Rada afrohet me Milosaon. Kat\u00ebrmb\u00ebdhjet\u00eb k\u00ebng\u00ebt e para t\u00eb Milosaos rr\u00ebfehen alternativvisht prej autorit e prej personazhit (heroit). De Rada e Milosao jan\u00eb aty dy qenie artistike, q\u00eb alternohen me Un\u00eb e Ti (uni tjet\u00ebr); pra, nga dysia kthehen n\u00eb Nj\u00ebsi: prosede ky i shkrimit autobiografik; nj\u00eb diskurs i past\u00ebr i dashuris\u00eb.<\/p>\n Poezia e dialektit<\/strong><\/p>\n Milosao \u00ebsht\u00eb shkruar n\u00eb arb\u00ebrisht, gati n\u00eb t\u00eb folmen e autorit. Kjo nuk \u00ebsht\u00eb pos ve\u00e7anti e k\u00ebsaj vepre, apo e autorit t\u00eb saj, mbasi poezia shqipe n\u00eb pes\u00eb shekujt e vet t\u00eb shkruar del n\u00eb dialekt. \u00c7\u00ebshtja \u00ebsht\u00eb q\u00eb shkrimi n\u00eb dialekt p\u00ebrb\u00ebn ve\u00e7ori n\u00eb strukturimin poetik t\u00eb vepr\u00ebs dhe n\u00eb komunikimin e saj. Mbasi lirika \u00ebsht\u00eb thelbi i krijimit, at\u00ebher\u00eb domosdo lirika \u00ebsht\u00eb edhe krijimi i thelbit. Elementariteti dhe esencialiteti, q\u00eb karakterizojn\u00eb k\u00ebt\u00eb vep\u00ebr, mund t\u00eb p\u00ebrkufizohen si liri (poetike) q\u00eb p\u00ebrmbys retorik\u00ebn si bindje dhe detyrimin si ideologji. Paradigma (zgjedhja) e t\u00eb folmes s\u00eb krahin\u00ebs mir\u00ebkupton ngushtimin e fjalorit, q\u00eb zgjerohet n\u00eb metafor\u00eb, ashtu edhe sintagm\u00ebn (kombinimin), q\u00eb zgjerohet n\u00eb figur\u00eb. Ljis jet\u00e1 kish\u00eb nd\u00ebrr\u00faar \u00ebsht\u00eb thelbi, zanafilla e vepr\u00ebs poetike. Thelbi i pjes\u00ebs s\u00eb par\u00eb t\u00eb poems nyj\u00ebzohet n\u00eb vargjet e Kangj\u00e9ljit I:<\/p>\n Ljis jet\u00e1 kish\u00eb nd\u00ebrr\u00faar, uj t\u00eb r\u012b nd\u00eb dejtit Kjo gjuh\u00eb elementare e formul\u00ebsuar n\u00eb gjuh\u00eb poetike, nis e sos, e modelon fraz\u00ebn metaforike t\u00eb vargut t\u00eb lir\u00eb t\u00eb Milosaos, thekson figurat themelore, t\u00eb Malit e t\u00eb Detit, duke u lidhur me kryefigur\u00ebn e binjak\u00ebzuar t\u00eb Lisit e t\u00eb Hijes s\u00eb Lisit, q\u00eb paraqet jet\u00ebn (dashurin\u00eb) e vdekjen. N\u00eb an\u00ebn tjet\u00ebr elementariteti i dialektit arb\u00ebrisht do t\u00eb b\u00ebhet \u00e7\u00ebshtje e komunikimit t\u00eb vepr\u00ebs n\u00eb shqip. Lexuesit shqiptar p\u00ebr ta shijuar gjuh\u00ebn e Milosaos I duhet ta m\u00ebsoj\u00eb arb\u00ebrishten ose t\u00eb k\u00ebnaqet me adaptime t\u00eb tekstit n\u00eb shqipen standarde, pa njohur vler\u00ebn origjinare.<\/p>\n Rr\u00ebfimi lirik i dyfisht\u00eb<\/strong><\/p>\n \u201cSajova rr\u00ebfimin tim lirik t\u00eb dyfisht\u00eb\u201d. K\u00ebshtu i shkruan De Rada mikut t\u00eb vet n\u00eb Maqi, m\u00eb 1834, lidhur me krijes\u00ebn e vet poetike, q\u00eb do t\u00eb botohej n\u00eb Napoli, me titullin Milosao, dy vjet m\u00eb von\u00eb, m\u00eb 1836. Ky rr\u00ebfim lirik i dyfisht\u00eb, deri m\u00eb sot ka marr\u00eb interpretime t\u00eb ndryshme. Edhe tani ky venerim mund t\u00eb provohet n\u00eb disa nivele.<\/p>\n N\u00ebse provohet n\u00eb nivelin struktural t\u00eb vepr\u00ebs, rr\u00ebfimi i dyfisht\u00eb \u00ebsht\u00eb: rr\u00ebfimi autorial e rr\u00ebfimi i protagonistit. N\u00ebse k\u00ebrkohet n\u00eb nivelin paraqit\u00ebs, at\u00ebher\u00eb kjo dyfishs\u00ed zb\u00ebrthehet n\u00eb d\u00ebftimet \u00a0autobiografike e n\u00eb d\u00ebftimet poetike universalizuese. N\u00ebse shtrohet n\u00eb nivel t\u00eb modelit formal krijues, at\u00ebher\u00eb mund t\u00eb dallohet shkrimi simbas modelit popullor vend\u00ebs dhe modelit t\u00eb cultures shkrimore. Edhe m\u00eb tutje, n\u00ebse \u00e7\u00ebshtja shtrohet n\u00eb nivelin e cil\u00ebsimit t\u00eb subjektivitetit n\u00eb tekstin lirik, at\u00ebher\u00eb dyfishs\u00eda p\u00ebrfshin at\u00eb q\u00eb n\u00eb lirik\u00ebn e k\u00ebtij lloji quhet personale dhe at\u00eb tjetr\u00ebn q\u00eb quhet subjektive. Nj\u00ebra e ve\u00e7ant\u00eb, e jetuar si De Rada; tjetra e p\u00ebrgjith\u00ebsuar, e imagjinuar, si Milosao. N\u00eb 14 k\u00ebng\u00ebt e para flet uni (i n\u00ebnkuptuar) i autorit, duke u b\u00ebr\u00eb nj\u00eb me protagonistin e dashuruar. Rina, si protagoniste e dashuruar, me em\u00ebr p\u00ebrmendet vet\u00ebm n\u00eb K\u00ebng\u00ebn XIV. N\u00eb an\u00ebn tjet\u00ebr, Milosao si personazh, me em\u00ebr, p\u00ebrmendet s\u00eb pari n\u00eb K\u00ebng\u00ebn XV, n\u00eb trajt\u00ebn e vargut: \u201cMilosao: Si ja th\u014dn k\u00ebtij kat\u00fandi\u201d.<\/p>\n Pastaj n\u00eb K\u00ebng\u00ebn XVI, Milosao shenjohet tri her\u00eb n\u00eb dialog me Vorean (Veriun \u2013 Er\u00ebn). N\u00eb K\u00ebng\u00ebn XXIII, protagonisti del te vargjet: \u201cMilosau: Si nj\u00eb r\u0113 me sh\u012b t\u00eb sh\u00e9ghur\u201d dhe \u201cMilosao: \u00c7\u2019\u00e9 k\u00ebj\u00f3 fj\u0101lj? \u00cbngj\u00ebl oj v\u00e1sh\u201d; \u201cMilosao: S\u2019\u00e9 vol\u00e1 e t\u2019\u00cenzot\u201d. N\u00eb k\u00ebng\u00ebn e fundit, XXX, \u00ebsht\u00eb p\u00ebrfundimi i vepr\u00ebs n\u00eb form\u00ebn \u201cS\u2019\u00e9 m\u00e9 e Milos\u0101t\u201d.\u00a0 Pra, emri i protagonistit del vet\u00ebm n\u00eb pjes\u00ebn e dyt\u00eb t\u00eb poem\u00ebs, at\u00ebher\u00eb kur imagjinohen ndodhit\u00eb e tij, madje p\u00ebrshkruhet vdekja e tij.<\/p>\n Poema romantike<\/strong><\/p>\n Vepra e Jeronim de Rad\u00ebs, Milosao, \u00ebsht\u00eb poezi lirike, e strukturuar n\u00eb 30 k\u00ebng\u00eb, q\u00eb t\u00eb tuf\u00ebzuara marrin trajt\u00ebn e poem\u00ebs romantike. Subjektiviteti i derdhur n\u00eb shkrim, shkrimi autobiografik, madje heroi autobiografik,emocionaliteti, shpirt\u00ebsia p\u00ebrpara veprimit fizik, t\u00eb gjitha jan\u00eb karakteristika t\u00eb lirik\u00ebs romantike, aq sa edhe modeli i krijimit popullor bashk\u00eb me mitizimin p\u00ebr zhvendosjen e poezis\u00eb n\u00eb koh\u00eb t\u00eb shkuar.<\/p>\n Ve\u00e7antia e saj \u00ebsht\u00eb strukturimi lirik, q\u00eb e b\u00ebn t\u00eb hyj\u00eb n\u00eb modelin e k\u00ebng\u00ebve romantike e mesdhetare t\u00eb dashuris\u00eb, q\u00eb rishfaqen edhe n\u00eb modernitet. N\u00eb k\u00ebt\u00eb pik\u00eb ka pasur nj\u00eb moskuptim nga kritika shqipe, q\u00eb \u00ebsht\u00eb munduar me \u00e7do kusht t\u00eb rind\u00ebrtoj\u00eb nj\u00eb subjekt, n\u00eb v\u00ebshtrimin e strukturuar t\u00eb k\u00ebsaj tufe lirike. K\u00ebsaj m\u00ebsymje nuk i shp\u00ebton as Arshi Pipa, mbase interpretuesi m\u00eb preciz i lirik\u00ebs s\u00eb De Rad\u00ebs deri m\u00eb sot.<\/p>\n Edhe ky, n\u00eb monografin\u00eb e vet Jeronim de Rada, p\u00ebrpiqet t\u00eb rind\u00ebrtoj\u00eb syzheun e vepr\u00ebs, duke propozuar nj\u00eb nj\u00ebsi ndodhie p\u00ebr secil\u00ebn nga 30 k\u00ebng\u00ebt e vepr\u00ebs. \u00cbsht\u00eb \u00e7\u00ebshtje krejt tjet\u00ebr struktura dramatike e tekstit, ku k\u00ebnga k\u00ebndohet apo artikulohet kryesisht nga heroi, monostrofat k\u00ebndohen nga heroina, kurse k\u00ebng\u00ebt q\u00eb k\u00ebndon kori marrin edhe karakterin e antistrof\u00ebs. Mbi t\u00eb gjitha, karakteristikat e Milosaos jan\u00eb rr\u00ebfimi lirik metaforik, e n\u00eb kuad\u00ebr t\u00eb k\u00ebtij prosedimi poetik natyra p\u00ebrher\u00eb shenj\u00ebzuese e gjendjeve shpirt\u00ebrore t\u00eb protagonist\u00ebve.<\/p>\n Fantazit\u00eb n\u00eb koh\u00eb e n\u00eb hap\u00ebsir\u00eb<\/strong><\/p>\n Milosao i vitit 1836, me t\u00eb cilin merremi n\u00eb k\u00ebto venerime, botohet me titullin Poezi shqipe t\u00eb shekullit XV, K\u00ebng\u00ebt e Milosaos, bir i sundimtarit t\u00eb Shkodr\u00ebs, por me titullin vet\u00ebm n\u00eb italisht. As variantet e vonshme nuk kan\u00eb titull n\u00eb shqip. Tradita e p\u00ebrkthimit t\u00eb titullit n\u00eb shqip ka vijuar e dyzuar deri m\u00eb sot: a jan\u00eb k\u00ebto K\u00ebng\u00eb t\u00eb Milosaos apo jan\u00eb K\u00ebng\u00eb t\u00eb Milosaut? Dyzimi mbetet hapur: a ndodh kjo p\u00ebr shkak t\u00eb origjin\u00ebs gjuh\u00ebsore t\u00eb emrit t\u00eb personazhit, apo p\u00ebr shkak t\u00eb skajimit t\u00eb tij n\u00eb gjuh\u00eb t\u00eb ndryshme. Sado q\u00eb titulli paraqit\u00ebs formalisht k\u00ebmb\u00ebngul n\u00eb nj\u00eb koh\u00eb, n\u00eb nj\u00eb vend e n\u00eb nj\u00eb origjin\u00eb, q\u00eb k\u00ebtu nisin fantazit\u00eb deradiane n\u00eb koh\u00eb e n\u00eb hap\u00ebsir\u00eb, q\u00eb shp\u00ebrfaqen n\u00eb tekstin e Milosaos. Edhe vet\u00eb De Rada (autor i mo\u00e7\u00ebm) kur merr mundin t\u2019i ofroj\u00eb referenca kohe e hap\u00ebsire De Rad\u00ebs (autor i ri) rreth zhvillimeve t\u00eb Milosaos, vet\u00ebm sa e shton fantazin\u00eb e koh\u00ebs e t\u00eb hap\u00ebsir\u00ebs. Sepse k\u00ebto fantazi jan\u00eb n\u00eb themel t\u00eb vepr\u00ebs Milosao t\u00eb vitit 1836. \u00c7\u00ebshtja \u00ebsht\u00eb q\u00eb prosedimi themelor poetik I Jeronim de Rad\u00ebs te Milosao (e kudo tjet\u00ebr) \u00ebsht\u00eb i past\u00ebr romantik. Kjo do t\u00eb thot\u00eb, moskuptim me realen, grindje me realen, apo p\u00ebrmbysje e saj.<\/p>\n Ky konflikt me realen nuk zgjidhet duke imituar at\u00eb, por duke imagjinuar at\u00eb. Frym\u00ebzuesi i madh i zhvendosjeve n\u00eb koh\u00eb e n\u00eb hap\u00ebsir\u00eb \u00ebsht\u00eb shpirti shtegtar, q\u00eb gati kurr\u00eb nuk \u00ebsht\u00eb aty ku \u00ebsht\u00eb trupi, \u00ebsht\u00eb p\u00ebrher\u00eb n\u00eb l\u00ebvizje p\u00ebr dikund tjet\u00ebr. Ndodhia nuk \u00ebsht\u00eb n\u00eb realitet, po n\u00eb \u00ebnd\u00ebrr, n\u00eb imagjinim. Situatat dhe situimet fundamentale n\u00eb dramatik\u00ebn dashurore t\u00eb Milosaos prosedohen apo shp\u00ebrfaqen si \u00ebndrra e \u00ebnd\u00ebrrime, formalisht e esencialisht. Pra, vet\u00ebm vdekja qenka reale?! Edhe k\u00ebsaj Milosao i De Rad\u00ebs i p\u00ebrgjigjet me figur\u00ebn e vet fantastike, mu n\u00eb fund t\u00eb vepr\u00ebs: 7. \u00cbndrra e \u00cbnd\u00ebrrimi<\/strong><\/p>\n Mbasi jeta qenka \u00ebnd\u00ebrr, at\u00ebher\u00eb krejt Milosao mund t\u00eb jet\u00eb \u00ebnd\u00ebrr poetike, edhe dashuria q\u00eb luhatet n\u00eb flet\u00eb pem\u00ebsh si n\u00eb val\u00eb deti. At\u00ebher\u00eb le t\u00eb na ndihmoj\u00eb poetologu fr\u00ebng Gaston Bashlar q\u00eb shkroi Poetik\u00ebn e hap\u00ebsir\u00ebs e n\u00eb ve\u00e7anti Poetik\u00ebn e \u00ebnd\u00ebrrimit. Me ndihm\u00ebn e tij mund t\u00eb prodhohet paradoksi binar: \u00cbndrra i p\u00ebrket atij q\u00eb \u00ebsht\u00eb i fjetur i zgjuar, kurse \u00cbnd\u00ebrrimi i p\u00ebrket atij q\u00eb \u00ebsht\u00eb i zgjuar i fjetur. \u00cbnd\u00ebrrimi e Imagjinimi, madje si fiksim. Romantiku i madh fr\u00ebng, Viktor Ygo do ta thoshte me vargun e vet Do t\u00eb ec me sy t\u00eb ngulur n\u00eb mendime. E tha vet\u00eb Jeronim de Rada, te Parimet e estetik\u00ebs, q\u00eb poezia (lirika) \u00ebsht\u00eb thelbi i artit dhe nuk duron imt\u00ebsit\u00eb, detajet. Prandaj, shp\u00ebtimi i lirik\u00ebs \u00ebsht\u00eb figura.<\/p>\n 8. Mesazhi, Imazhi e Metafora<\/strong><\/p>\n Milosao \u00ebsht\u00eb nj\u00eb poezi q\u00eb lidh n\u00eb m\u00ebnyr\u00eb asociative mesazhe, imazhe, figura, edhe at\u00ebher\u00eb kur pretendohet q\u00eb rr\u00ebfen di\u00e7ka, edhe at\u00ebher\u00eb kur pretendon q\u00eb p\u00ebrshkruan di\u00e7ka. Pamja, gjesti, \u00a0pasioni, \u00ebndrra, p\u00ebrjasht\u00ebsia, p\u00ebrbrend\u00ebsia; t\u00eb gjitha kthehen n\u00eb metafor\u00eb. Shumica e k\u00ebng\u00ebve nisin me nj\u00eb metafor\u00eb p\u00ebrshkruese t\u00eb pamjes s\u00eb natyr\u00ebs, p\u00ebr t\u2019u shoq\u00ebruar me nj\u00eb gjendje shpirt\u00ebrore t\u00eb heronjve t\u00eb vepr\u00ebs. Mal e Det, Er\u00eb e Uj\u00eb, Bor\u00eb e Ngric\u00eb, Blerim e Kalt\u00ebrsi e, n\u00eb fillim e n\u00eb fund, Lisi e Hija e Lisit. Me metafor\u00eb shprehet edhe mesazhi final e i tmerrsh\u00ebm p\u00ebr romanseron e dashuris\u00eb, kur e vdes dashnorin p\u00ebr t\u00eb lindur heroin, dy her\u00eb Milosa.<\/p>\n Ljis jet\u00e1 kish\u00eb nd\u00ebrr\u00faar, <\/p>\n Dreq rahjet \u00e9 dejtit <\/p>\n Friti era prapa shpivet Kangj\u00e9lji XXVI T\u00eb gjitha k\u00ebto pamje t\u00eb figuruara t\u00eb jashtme nisin apo sugjerojn\u00eb ndodhi e disponime t\u00eb heronjve t\u00eb vepr\u00ebs, apo zhvillohen n\u00eb nivel t\u00eb dyt\u00eb t\u00eb figur\u00ebs njer\u00ebzore.<\/p>\n","protected":false},"excerpt":{"rendered":" Nga prof. Sabri Hamiti Milosao (1836) i Jeronim de Rad\u00ebs, q\u00eb po shkon kah mosha dyshekullore, tashm\u00eb njihet si kryevepra poetike e autorit dhe nj\u00eb nga kryeveprat e lirik\u00ebs shqipe. Mir\u00ebpo, secili tekst letrar, n\u00eb \u00e7astin e leximit, b\u00ebhet bashk\u00ebkohor, bile i tash\u00ebm. Formulimi Milosao im p\u00ebrpiqet t\u00eb theksoj\u00eb natyr\u00ebn e vepr\u00ebs poetike, q\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":20159,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"footnotes":""},"categories":[11,14,15],"tags":[],"yoast_head":"\n
\nkaljth\u00ebruar te dit\u2019 e r\u0113. Kangj\u00e9lji XXX
\n(k\u00ebnga p\u00ebrmbyll\u00ebse e vepr\u00ebs) nis me vargjet:
\nFriti \u0113r e m\u00e1ljevet
\ne rr\u00ebzoj hj\u0113n e ljisit:
\ngjaku im te ljum\u2019 i Vodhit.<\/p>\n
\nU m\u2019i lj\u0113 si \u00ebnd\u00ebrr\u00ebz<\/p>\n
\nuj t\u00eb r\u012b nd\u00eb dejtit Kangj\u00e9lji I
\nkaljth\u00ebruar te dit\u2019 e r\u0113.
\nVreshtat \u012bn t\u00eb verdhul\u00f3re;
\nerth k\u0101 malji dh\u00e9ljp\u00ebra Kangj\u00e9lji II
\nme t\u00eb ljodh\u00ebta t\u00eb b\u00edljat
\nIsh e diela men\u00e1t
\ne i bir\u2019\u00ed zonj\u00ebs madhe Kangj\u00e9lji IV
\nngjitej tek e b\u00fakura
\nt\u00eb m\u2019i ljip\u00ebn nj\u00eb pik uj
\n\u00c7\u00eb t\u00eb v\u0113n nd\u00eb deitit
\nnoer\u012bt z\u00ebm\u00ebra ime? Kangj\u00e9lji V
\nR\u0101 bor\u00e1 nd\u00eb dejtit,
\ne m\u00eb zbardhi vudh\u00ebvet Kangj\u00e9lji VI
\nkr\u0101gh\u00ebt \u00eb shqitez\u00ebs<\/p>\n
\ng\u00ebzoj dita e k\u00e1ljth\u00ebr\u00ebz Kangj\u00e9lji VII
\nval\u00e9vet kopiljevet.
\nMn\u012bz e v\u00e9r\u00ebs bardhul\u00f3re
\nbiu nj\u00eb r\u0113 monos\u00e1qe Kangj\u00e9lji VIII
\np\u00ebr nd\u00eb mest gur\u00ebvet
\nDur\u00f3 z\u00ebm\u00ebr e dur\u00f3
\ns\u0101 dur\u00f3j m\u00e1lji me b\u014dr Kangj\u00e9lji XI
\nSi suv\u0101lj nd\u00eb deitit
\nparu e trubul si nj\u00eb m\u00e1lj Kangj\u00e9lji XII
\nn\u00ebng r\u00faan m\u00e9 se an\u012bn
\nPr\u0101 \u00e7\u00eb dieli i r\u0101 te shtrati
\nm\u2019u pat\u00e1ks mix\u00f3ria, Kangj\u00e9lji XIV
\nv\u016b njinj\u00e9 t\u00eb v\u00e9shurat
\nd\u00faal ka rr\u012bj i bir\u2019i zotit
\nAir\u00ed \u00e7\u00eb nd\u00e9qit m\u014dn
\nfriti k\u0101 deiti Kangj\u00e9lji XVI
\nFjetat \u012bn t\u00eb mb\u012btura
\ndieli i sq\u00e9pur r\u00eashit, Kangj\u00e9lji XX
\np\u0101 or\u00e9ks z\u00ebm\u00ebr\u2019e gr\u00e2vet,
\nk\u016br u rroth nj\u00eb shkunduljim
\nSi nj\u00eb r\u0113 me sh\u012b t\u00eb sh\u00e9ghur,
\nmb\u012b kat\u016bnd shum\u00eb e b\u0101rdh Kangj\u00e9lji XXIII
\n\u00e7\u00eb s\u00eb d\u012b ku t\u00eb push\u014dnj
\nD\u012b dit mj\u00e9gul e sh\u012b
\nver\u00ebn d\u00f3jn t\u00eb na r\u00e9sht\u00ebjin Kangj\u00e9lji XXV<\/p>\n
\nmot\u00ebra ime v\u00f3g\u00eblja
\nUjt\u00eb ghumbur, r\u0101 vorea,
\nMalje e sh\u00e9she u vsh\u00ebtin. Kangj\u00e9lji XXIX
\nFriti \u0113r e m\u00e1ljevet
\ne rr\u00ebzoj hj\u0113n e ljisit.
\nKangj\u00e9lji XXX<\/p>\n