{"id":10248,"date":"2025-08-14T00:26:29","date_gmt":"2025-08-14T00:26:29","guid":{"rendered":"https:\/\/revistakuvendi.org\/?p=10248"},"modified":"2025-08-14T00:26:29","modified_gmt":"2025-08-14T00:26:29","slug":"rrethi-i-mbyllur-i-dashurise-se-plages","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=10248","title":{"rendered":"RRETHI I MBYLLUR I DASHURIS\u00cb S\u00cb PLAG\u00cbS"},"content":{"rendered":"<h2><strong><a href=\"http:\/\/revistakuvendi.org\/wp-content\/uploads\/2025\/08\/Timo-Merkuri.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10249\" src=\"http:\/\/revistakuvendi.org\/wp-content\/uploads\/2025\/08\/Timo-Merkuri.jpg\" alt=\"\" width=\"217\" height=\"220\" srcset=\"https:\/\/revistakuvendi.org\/wp-content\/uploads\/2025\/08\/Timo-Merkuri.jpg 217w, https:\/\/revistakuvendi.org\/wp-content\/uploads\/2025\/08\/Timo-Merkuri-50x50.jpg 50w\" sizes=\"auto, (max-width: 217px) 100vw, 217px\" \/><\/a>Nga Timo M\u00ebrkuri\u00a0\u00a0 <\/strong><\/h2>\n<h2><strong>\u00a0<\/strong>Poezia \u201crrethi cirkuit\u201d e Armela Hysit vjen si nj\u00eb p\u00ebrplasje e mpreht\u00eb mes vetes dhe tjetrit, ku kufijt\u00eb mes \u201cun\u00eb\u201d dhe \u201cti\u201d treten, bashkohen e prap\u00eb ndahen, e shfaqur kjo n\u00eb nj\u00eb m\u00ebnyr\u00eb q\u00eb m\u00eb s\u00eb shumti i ngjan nj\u00eb pasqyre t\u00eb dyzuar. N\u00eb k\u00ebt\u00eb poezi, \u2018un\u00eb\u2019 dhe \u2018ti\u2019 nuk jan\u00eb dy brigje t\u00eb ndara nga nj\u00eb lum\u00eb; ato jan\u00eb dy uj\u00ebra q\u00eb takohen n\u00eb t\u00eb nj\u00ebjt\u00ebn shtratit t\u00eb turbullt, duke humbur kufijt\u00eb derisa nuk dihet m\u00eb se kush pi dhe kush mbytet. \u00cbsht\u00eb nj\u00eb poezi thell\u00ebsisht moderniste, jo vet\u00ebm n\u00eb form\u00ebn fragmentare dhe simbolet q\u00eb nuk shpjegohen plot\u00ebsisht, por edhe n\u00eb vet\u00eb nd\u00ebrtimin psikologjik, aty ku rr\u00ebfimi nuk ka vij\u00eb narrative klasike, por \u00ebsht\u00eb nj\u00eb puls i nd\u00ebrprer\u00eb mendimesh dhe imazhesh. K\u00ebtu, modernizmi nuk \u00ebsht\u00eb thjesht nj\u00eb kostum formal, por \u00ebsht\u00eb nj\u00eb m\u00ebnyr\u00eb e t\u00eb menduarit q\u00eb e shp\u00ebrb\u00ebn realitetin p\u00ebr ta rind\u00ebrtuar n\u00eb gjuh\u00ebn e tensionit t\u00eb brendsh\u00ebm. Hysi ka arritur t\u00eb &#8220;mendoj\u00eb&#8221; poezin\u00eb n\u00eb k\u00ebt\u00eb nivel moderniteti.<\/h2>\n<h2>I- N\u00eb thelb, poezia \u00ebsht\u00eb k\u00ebrkim i p\u00ebrhersh\u00ebm i identitetit, nj\u00eb qark i mbyllur ku dashuria, urrejtja, faji dhe d\u00ebshira elektrizohen, duke e mbajtur \u201cun\u00eb-in\u201d brenda nj\u00eb rrethi pa dalje.<\/h2>\n<ol>\n<li>\n<h2>Risia e par\u00eb q\u00eb hasim n\u00eb k\u00ebt\u00eb poezi \u00ebsht\u00eb n\u00eb shkrirjen e un\u00eb-tjetrit n\u00eb nj\u00eb identitet t\u00eb rr\u00ebshqitsh\u00ebm, si l\u00ebngu. N\u00eb poezin\u00eb shqipe, p\u00ebrplasja e &#8220;un\u00eb&#8221; me \u201ctjetrin\u201d shpesh \u00ebsht\u00eb shfaqur n\u00eb trajta metaforike t\u00eb dashuris\u00eb a mallit. Por k\u00ebtu, Armela Hysi e zhvendos k\u00ebt\u00eb marr\u00ebdh\u00ebnie drejt nj\u00eb simbioze t\u00eb dhunshme dhe t\u00eb nd\u00ebrlikuar. Risia q\u00ebndron n\u00eb faktin se \u201cti\u201d nuk \u00ebsht\u00eb thjesht objekt dashurie, a kund\u00ebrshtie, \u201cti\u201d \u00ebsht\u00eb nj\u00eb pasqyrim deformues i vetes. Kur thot\u00eb: \u201c<em>ti je po aq un\u00eb sa je gjith\u00eb \u00e7\u2019urren m\u00eb tep\u00ebr\u201d <\/em>ajo ngre nj\u00eb raport t\u00eb \u00e7uditsh\u00ebm ku af\u00ebrsia \u00ebsht\u00eb e baraslarguar me refuzimin. \u00cbsht\u00eb nj\u00eb bashkim i pashmangsh\u00ebm, por edhe nj\u00eb helm i p\u00ebrhersh\u00ebm, nj\u00eb frym\u00eb e re q\u00eb e sjell marr\u00ebdh\u00ebnien un\u00eb\u2013tjetri nga l\u00ebmi i ndjenjave te terreni i psikik\u00ebs dhe vet\u00ebshkat\u00ebrrimit. \u00cbsht\u00eb nj\u00eb af\u00ebrsi q\u00eb ngroh dhe djeg n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, si nj\u00eb drit\u00eb q\u00eb nuk vjen nga dielli, por nga nj\u00eb zjarr i brendsh\u00ebm q\u00eb s\u2019di si t\u00eb shuhet.<\/h2>\n<\/li>\n<li>\n<h2>N\u00eb poezi haset nj\u00eb risi jo e natyrshme; modernizimi poetik n\u00eb gjuh\u00ebn e figurave q\u00eb nuk zbuten. Poezia nuk ndjek nj\u00eb linearitet narrativ, por rrjedh si val\u00eb goditjesh mendore, duke p\u00ebrdorur figura t\u00eb forta dhe shpesh t\u00eb ashpra. Kjo \u00ebsht\u00eb nj\u00eb risi n\u00eb poezin\u00eb shqipe, ku shpesh metafora sh\u00ebrben p\u00ebr zbukurim, nd\u00ebrsa k\u00ebtu ajo \u00ebsht\u00eb mjet ther\u00ebs i shprehjes: \u201c<em>jam nj\u00eb me ty q\u00eb t\u00eb fitoj dhe t\u00eb humb \/ n\u00eb nj\u00eb poker klasik deliresh\u201d<\/em><\/h2>\n<\/li>\n<\/ol>\n<h2>Ky imazh modernist, &#8220;pokeri\u201d shkrin kumtin e loj\u00ebs s\u00eb rrezikshme me veten dhe tjetrin n\u00eb nj\u00eb metafor\u00eb urbane, t\u00eb p\u00ebrditshme, q\u00eb p\u00ebr\u00e7on nervoziz\u00ebm dhe absurditet nj\u00ebkoh\u00ebsisht. Nuk ka p\u00ebrpjekje p\u00ebr ta zbutur shijen e hidhur,\u00a0 poezia e l\u00eb lexuesin me gjuh\u00ebn e saj t\u00eb mpreht\u00eb e t\u00eb pal\u00ebmuar. K\u00ebtu nuk luhet me letra, por me plag\u00eb t\u00eb hapura mbi tryez\u00eb, ku \u00e7do fitore \u00ebsht\u00eb thjesht nj\u00eb humbje e re e maskuar.<\/h2>\n<ol start=\"3\">\n<li>\n<h2>N\u00eb shum\u00eb poezi shqiptare, vet\u00ebreflektimi \u00ebsht\u00eb nj\u00eb akt qet\u00ebsimi ose rr\u00ebfimi intim. Tek Armela Hysi, ai merr trajt\u00eb rituali penal, nj\u00eb d\u00ebnim i vet\u00ebvendosur: \u201c<em>sillesh me mua ekzakt\u00ebsisht si\u00e7 sillem un\u00eb me veten time\/ n\u00eb em\u00ebr t\u00eb d\u00ebnimit t\u00eb madh hyjnor\u201d.<\/em><\/h2>\n<\/li>\n<\/ol>\n<h2>K\u00ebtu nuk kemi vet\u00ebm introspeksion, por nj\u00eb lloj manuali t\u00eb vet\u00eb-shkat\u00ebrrimit, ku \u00e7do faqe e pashkruar \u00ebsht\u00eb nj\u00eb p\u00ebrvoj\u00eb q\u00eb rip\u00ebrs\u00ebrit plag\u00ebn. Kjo krijon nj\u00eb hap\u00ebsir\u00eb t\u00eb re n\u00eb poezin\u00eb shqipe, ku introspeksioni nuk \u00ebsht\u00eb as terapik, as pajtues, por nj\u00eb qark i mbyllur ku ndjenja dhe vet\u00ebdija ushqejn\u00eb nj\u00ebra-tjetr\u00ebn n\u00eb pafund\u00ebsi. K\u00ebt\u00eb ndjesi e krijon nj\u00eb situat\u00ebs r\u00ebnduar psikologjike, prej t\u00eb cil\u00ebs mendon se s&#8217;ke shp\u00ebtim, mendim i cili t\u00eb shpie ne mosreagim. \u00cbsht\u00eb nj\u00eb burg i \u00e7uditsh\u00ebm, ku roja dhe i burgosuri flen\u00eb n\u00eb t\u00eb nj\u00ebjt\u00ebn qeli, madje n\u00eb t\u00eb nj\u00ebjtin krevat, e n\u00eb t\u00eb nj\u00ebjtin kurm dhe \u00e7el\u00ebsi mbahet brenda, jo jasht\u00eb.<\/h2>\n<ol start=\"4\">\n<li>\n<h2>Nj\u00eb element tjet\u00ebr q\u00eb e dallon k\u00ebt\u00eb poezi \u00ebsht\u00eb p\u00ebrdorimi i trupit si fush\u00eb beteje t\u00eb mendimeve, dukuri q\u00eb haset kryesisht te poetet e m\u00ebdha europiane. Nuk \u00ebsht\u00eb erotik\u00eb p\u00ebr hir t\u00eb bukuris\u00eb, por erotik\u00eb q\u00eb sh\u00ebrben p\u00ebr t\u00eb thelluar konfliktin shpirt\u00ebror: \u201c<em>pa gjuh\u00ebn shijuese \/ n\u00eb nofullat bluese q\u00eb m\u00eb shtyn drejt patosit t\u00ebnd t\u00eb \u00e7mendur\u201d.<\/em><\/h2>\n<\/li>\n<\/ol>\n<h2>Kjo \u00ebsht\u00eb nj\u00eb gjuh\u00eb e re, ku sensualiteti p\u00ebrzihet me ashp\u00ebrsin\u00eb, ku intimiteti nuk sh\u00ebron, por e shtyn subjektin drejt nj\u00eb humbjeje m\u00eb t\u00eb thell\u00eb t\u00eb vetvetes. K\u00ebtu trupi nuk \u00ebsht\u00eb nj\u00eb kopsht ku lul\u00ebzojn\u00eb ndjenjat, por nj\u00eb terren me mina, ku \u00e7do prekje mund t\u00eb b\u00ebhet shp\u00ebrthim.<\/h2>\n<h2>Poezia \u201crrethi cirkuit\u201d shfaqet si nj\u00eb\u00a0 qark i tensionit t\u00eb pand\u00ebrprer\u00eb, ajo nuk \u00ebsht\u00eb nj\u00eb poezi q\u00eb k\u00ebrkon t\u00eb p\u00eblqehet \u2013 ajo k\u00ebrkon t\u00eb trondit\u00eb gjer n\u00eb nivelin e nj\u00eb t\u00ebrmeti shpirt\u00ebror lexuesin, thua se n\u00ebp\u00ebrmjet k\u00ebtij t\u00ebrmetimi do t&#8217;i vij\u00eb ndihma dhe dhe shp\u00ebtimi. Risia e saj n\u00eb poezin\u00eb shqipe q\u00ebndron n\u00eb shkrirjen e &#8220;un\u00eb&#8221; me &#8220;tjetrin&#8221; n\u00eb nj\u00eb marr\u00ebdh\u00ebnie t\u00eb l\u00ebngshme e t\u00eb dhimbshme, n\u00eb gjuh\u00ebn pa filtra q\u00eb nd\u00ebrthur erotiken me d\u00ebshp\u00ebrimin, dhe n\u00eb struktur\u00ebn moderniste ku mendimet rrjedhin si goditje t\u00eb nj\u00eb qarku elektrik pa dalje. Si\u00e7 thot\u00eb vet\u00eb poezia: <em>\u201c\u00e7do molekul\u00eb e imja \u00ebsht\u00eb e nj\u00ebjt\u00eb me at\u00eb t\u00eb liris\u00eb dhe qiellit\u201d<\/em><\/h2>\n<h2>Por kjo liri nuk \u00ebsht\u00eb shp\u00ebtim, \u00ebsht\u00eb nj\u00eb liri e mbyllur n\u00eb vetvete, si rryma q\u00eb qarkullon brenda nj\u00eb rrethi t\u00eb mbyllur, duke e ushqyer dhe djegur nj\u00ebkoh\u00ebsisht.<\/h2>\n<h2>II\u2013 Dialogu me dhimbjen<\/h2>\n<h2>N\u00eb thelb t\u00eb poezis\u00eb \u201crrethi cirkuit\u201d q\u00ebndron edhe nj\u00eb dimension m\u00eb i thell\u00eb, nj\u00eb dialog me AT\u00cb q\u00eb shkakton dhimbjet, qoft\u00eb kjo prani reale, kujtim apo nj\u00eb krijes\u00eb e nd\u00ebrgjegjes. \u00cbsht\u00eb nj\u00eb marr\u00ebdh\u00ebnie q\u00eb nis me vetveten dhe p\u00ebrfundon n\u00eb pasqyr\u00ebn ku dhimbja diktohet dhe, n\u00eb m\u00ebnyr\u00eb t\u00eb \u00e7uditshme, bashk\u00eb-shkruhet nga t\u00eb dy pal\u00ebt. N\u00eb k\u00ebt\u00eb loj\u00eb t\u00eb dhimbjes b\u00ebhemi bashk\u00eb-fajtor\u00eb t\u00eb tortur\u00ebs psikologjike, mendore apo edhe trupore. Dhe k\u00ebtu lind dilema m\u00eb e nd\u00ebrlikuar: A do t\u00eb m\u00eb doja edhe mua?<\/h2>\n<h2>Por p\u00ebrgjigjja pengohet nga nj\u00eb forc\u00eb e err\u00ebt, q\u00eb nuk lejon dashurin\u00eb t\u00eb jet\u00eb thjesht e lir\u00eb, sepse kemi m\u00ebsuar ta kuptojm\u00eb dashurin\u00eb vet\u00ebm p\u00ebrmes sakrificave, p\u00ebrmes dh\u00ebnies s\u00eb vetes deri n\u00eb dhimbje. K\u00ebtu dashuria \u00ebsht\u00eb si nj\u00eb zog q\u00eb ka m\u00ebsuar t\u00eb fluturoj\u00eb vet\u00ebm brenda kafazit, duke e marr\u00eb hekurin p\u00ebr horizont. Ky dialog i brendsh\u00ebm dhe i dhimbsh\u00ebm thellon poezin\u00eb duke e kthyer marr\u00ebdh\u00ebnien \u201cun\u00eb\u2013ti\u201d n\u00eb nj\u00eb rreth t\u00eb mbyllur psikologjik, ku subjekti e pranon rolin e tij si bashk\u00ebautor i tortur\u00ebs, ndoshta si m\u00ebnyra e vetme p\u00ebr t\u00eb jetuar brenda dhimbjes. N\u00eb k\u00ebt\u00eb aspekt, poezi t\u00eb tilla q\u00eb nuk shmangin err\u00ebsir\u00ebn e shpirtit, por e p\u00ebrballojn\u00eb at\u00eb me nj\u00eb sinqeritet t\u00eb hidhur, nuk jan\u00eb vet\u00ebm reflektim i nj\u00eb vuajtjeje personale, por edhe pjes\u00eb e nj\u00eb tradite m\u00eb t\u00eb gjer\u00eb n\u00eb poezin\u00eb moderne europiane. Edhe gjuha q\u00eb p\u00ebrdor, \u201cT\u00eb m\u00eb doja, \u00ebsht\u00eb n\u00eb vet\u00ebn e pare, q\u00eb n\u00eb fakt nuk p\u00ebrdoret n\u00eb shqip, por Hysi nuk e sjell si huazim, nga gjuh\u00ebt q\u00eb e p\u00ebrdorin, por si trajta e vetme p\u00ebr t\u00eb pyetur.<\/h2>\n<h2>K\u00ebshtu, poezi t\u00eb cilat i japin trupit dhe vet\u00ebdijes nj\u00eb rol q\u00eb shkon p\u00ebrtej estetik\u00ebs dhe b\u00ebhen aren\u00eb e marr\u00ebdh\u00ebnieve t\u00eb nd\u00ebrlikuara shpirt\u00ebrore, gjejn\u00eb jehon\u00eb te disa nga z\u00ebrat m\u00eb t\u00eb fuqish\u00ebm t\u00eb poezis\u00eb bashk\u00ebkohore.<\/h2>\n<h2>III-Dashuria e plag\u00ebs<\/h2>\n<h2>N\u00eb k\u00ebt\u00eb udh\u00eb t\u00eb err\u00ebt t\u00eb ndjenj\u00ebs, shfaqet ajo q\u00eb psikanaliza e njeh si sindroma e viktim\u00ebs q\u00eb bie n\u00eb dashuri me xhelatin. Nj\u00eb lidhje e krijuar jo vet\u00ebm nga frika apo var\u00ebsia, por edhe nga nj\u00eb nevoj\u00eb e \u00e7uditshme p\u00ebr t\u2019i dh\u00ebn\u00eb kuptim dhimbjes, p\u00ebr ta veshur at\u00eb me petkun e dashuris\u00eb, q\u00eb t\u00eb mos duket krejt e pashpjegueshme. K\u00ebshtu, d\u00ebmtuesi shnd\u00ebrrohet n\u00eb pik\u00eb referimi, n\u00eb boshtin rreth t\u00eb cilit rrotullohet shpirti i plagosur, derisa dhimbja b\u00ebhet gjuh\u00eb e p\u00ebrbashk\u00ebt dhe sakrifica forma e vetme e dashuris\u00eb s\u00eb mundshme. \u00cbsht\u00eb dhimbje e madhe dhimbja e shpirtit, sidomos kur ta shkakton i dashuria q\u00eb shndrohet n\u00eb xhelat. Dhe k\u00ebshtu, n\u00eb m\u00ebnyr\u00eb t\u00eb heshtur, dhimbja merr t\u00eb drejt\u00ebn e autorit mbi kujtimet tona, duke i n\u00ebnshkruar me gjakun e saj.<\/h2>\n<h2>IV-N\u00eb m\u00ebnyr\u00ebn se si Armela Hysi e zhvendos marr\u00ebdh\u00ebnien un\u00eb\u2013tjetri n\u00eb terrenin e psikik\u00ebs, me nj\u00eb gjuh\u00eb t\u00eb drejtp\u00ebrdrejt\u00eb, shpesh t\u00eb ashp\u00ebr dhe pa filtra, ajo t\u00eb kujton intensitetin emocional dhe \u00e7ilt\u00ebrsin\u00eb e dhimbshme t\u00eb Sylvia Plath, ku brendia e njeriut \u00ebsht\u00eb nj\u00eb fush\u00eb beteje me vetveten.<\/h2>\n<h2>Edhe prania e trupit si metafor\u00eb p\u00ebr mendimin dhe ndjenj\u00ebn, e ngjashme me m\u00ebnyr\u00ebn se si Bachmann e p\u00ebrdorte sensualitetin p\u00ebr t\u00eb \u00e7ar\u00eb tabut\u00eb, e afron k\u00ebt\u00eb poezi me nj\u00eb tradit\u00eb ku trupi \u00ebsht\u00eb hap\u00ebsira ku nd\u00ebrthuren d\u00ebshira, dhimbja dhe vet\u00ebdija. Nga ana tjet\u00ebr, nd\u00ebrtimi modernist, me fragmente q\u00eb nuk synojn\u00eb linearitet, por kumte t\u00eb goditura e t\u00eb papritura, na kujton stilin e Paul Celan, sidomos n\u00eb m\u00ebnyr\u00ebn se si figura poetike nuk shpjegohet plot\u00ebsisht, por t\u00eb l\u00eb t\u00eb humb\u00ebsh n\u00eb at\u00eb. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, Hysi nuk q\u00ebndron e mbyllur n\u00eb nj\u00eb hap\u00ebsir\u00eb thjesht shqiptare; ajo komunikon natyrsh\u00ebm me nj\u00eb poezi europiane q\u00eb ka guxuar t\u00eb jet\u00eb intime, e err\u00ebt, dhe nj\u00ebkoh\u00ebsisht estetikisht e lir\u00eb.<\/h2>\n<h2>Un\u00eb nuk e di n\u00ebse ky komunikim &#8220;b\u00ebhet&#8221; n\u00ebp\u00ebrmjet leximeve apo \u00ebsht\u00eb shp\u00ebrthim i talentit t\u00eb saj poetik, bashkuar me psikologjin\u00eb, n\u00eb kushte t\u00eb caktuara jetese apo frym\u00ebzimi, por gjithsesi un\u00eb duhet t\u00eb t\u00ebrheq v\u00ebmendjen e lexuesit ndaj nj\u00eb talenti jo t\u00eb vog\u00ebl q\u00eb vjen me emrin e saj.<\/h2>\n<h2><\/h2>\n<h2><em>Sarand\u00eb, m\u00eb korrik-gusht 2025<\/em><\/h2>\n<h2><\/h2>\n<h2>Armela Hysi<\/h2>\n<h2><\/h2>\n<h2>rrethi cirkuit<\/h2>\n<h2>ti je po aq un\u00eb<\/h2>\n<h2>sa je gjith\u00eb \u00e7&#8217;urren m\u00eb tep\u00ebr.<\/h2>\n<h2>un\u00eb jam\u00eb po aq ti<\/h2>\n<h2>sa \u00e7&#8217;jam\u00eb dhe rrethi cirkuit i vdekjes.<\/h2>\n<h2>sa \u00e7&#8217;jam premtim i shkruar mbi<\/h2>\n<h2>brym\u00ebn e ngrir\u00eb agsholit.<\/h2>\n<h2>kristalet formojn\u00eb emrin tim<\/h2>\n<h2>\u00e7do molekul\u00eb e imja \u00ebsht\u00eb e nj\u00ebjt\u00eb<\/h2>\n<h2>me at\u00eb t\u00eb liris\u00eb dhe qiellit<\/h2>\n<h2>nga ku jam b\u00ebr\u00eb sh\u00ebmb\u00ebllim.<\/h2>\n<h2><\/h2>\n<h2>shum\u00eb e hutuar p\u00ebr ta kuptuar<\/h2>\n<h2><\/h2>\n<h2>jam nj\u00eb me gjith\u00eb \u00e7&#8217;luftoj dhe gjith\u00eb \u00e7&#8217;i fshihem<\/h2>\n<h2>jam nj\u00eb me ty q\u00eb t\u00eb fitoj dhe t\u00eb humb<\/h2>\n<h2>n\u00eb nj\u00eb poker klasik deliresh<\/h2>\n<h2>sipas tekave t\u00eb th\u00ebllimit tim<\/h2>\n<h2>dhe oreksit seksual t\u00eb gjymtyt\u00ebs t\u00ebnde gjinore.<\/h2>\n<h2>mendimi im<\/h2>\n<h2>jam mendimi im shtazarak<\/h2>\n<h2>pa dig\u00ebn e huajtur t\u00eb gris\u00eb s\u00eb veshur<\/h2>\n<h2>jam mendimi im q\u00eb hesht dhe toksikon<\/h2>\n<h2>qelizat e miaa t\u00eb posht\u00ebruara.<\/h2>\n<h2><\/h2>\n<h2>ti je un\u00eb<\/h2>\n<h2>po aq sa un\u00eb s&#8217;dua t\u00eb jem ti.<\/h2>\n<h2>sillesh me mua<\/h2>\n<h2>ekzakt\u00ebsisht si\u00e7 sillem un\u00eb me veten time<\/h2>\n<h2>n\u00eb em\u00ebr t\u00eb d\u00ebnimit t\u00eb madh hyjnor<\/h2>\n<h2>dhe flijimeve p\u00ebr m\u00ebrit\u00eb q\u00eb i mbaj vetes<\/h2>\n<h2>porosis\u00eb gj\u00ebmat q\u00eb m\u00eb sjell kaq papritsh\u00ebm<\/h2>\n<h2>n\u00eb nj\u00eb manual t\u00eb pashkruar q\u00eb t\u00eb d\u00ebftoj \u00e7do dit\u00eb<\/h2>\n<h2>faqe m\u00eb faqe.<\/h2>\n<h2><\/h2>\n<h2>dhe do t\u00eb isha m\u00ebsuar<\/h2>\n<h2>p\u00ebr at&#8217;Zot do t\u00eb isha m\u00ebsuar t\u00eb m\u00eb dashuroja<\/h2>\n<h2>pa neuronin p\u00ebrgjat\u00eb palc\u00ebs s\u00eb qull\u00ebt t\u00eb vet\u00ebdijes<\/h2>\n<h2>dhe pa syt\u00eb do t\u00eb qe \u00e7do gj\u00eb m\u00eb e leht\u00eb<\/h2>\n<h2>pa gjuh\u00ebn shijuese<\/h2>\n<h2>n\u00eb nofullat bluese q\u00eb m\u00eb shtyn drejt<\/h2>\n<h2>patosit t\u00ebnd t\u00eb \u00e7mendur.<\/h2>\n<p>&nbsp;<\/p>\n<p>Tetor 2010<\/p>\n<p>nga libri \u201cUjdhes\u00ebs s\u00eb p\u00ebrrall\u00ebs t\u00ebnde\u201d (Armela Hysi 2013-Milosao)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Nga Timo M\u00ebrkuri\u00a0\u00a0 \u00a0Poezia \u201crrethi cirkuit\u201d e Armela Hysit vjen si nj\u00eb p\u00ebrplasje e mpreht\u00eb mes vetes dhe tjetrit, ku kufijt\u00eb mes \u201cun\u00eb\u201d dhe \u201cti\u201d treten, bashkohen e prap\u00eb ndahen, e shfaqur kjo n\u00eb nj\u00eb m\u00ebnyr\u00eb q\u00eb m\u00eb s\u00eb shumti i ngjan nj\u00eb pasqyre t\u00eb dyzuar. N\u00eb k\u00ebt\u00eb poezi, \u2018un\u00eb\u2019 dhe \u2018ti\u2019 nuk jan\u00eb dy&hellip;<\/p>\n","protected":false},"author":1,"featured_media":10249,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-10248","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-letersi"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/10248","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10248"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/10248\/revisions"}],"predecessor-version":[{"id":10252,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/10248\/revisions\/10252"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/10249"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10248"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10248"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10248"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}