Has love been blood-written by Hadrawi

Has love been blood-written by Hadrawi

Maxamed Ibraahim Warsame 'Hadraawi' is considered by many to be the greatest living Somali poet. Born in northern Somalia (the present self-declared Republic of Somaliland) in 1943, he was educated in Aden and went on to a career in teaching in the early 1970's. At this time he began to become well known for his poetry and plays. Aside from the love lyrics (one of which is the poem translated here), he was a powerful commentator on the political situation and critic of the then military regime in Somalia. Imprisoned between 1973 and 1978, he was again in public life as director of the arts section of the Academy of Science, Arts and Literature from 1978 to 1982, when he joined the opposition Somali National Movement based in Ethiopia. He was a very powerful voice in the ensuing years of civil war and the repressive military regime, and continues to be a very important poet commenting on the predicament the Somalis face.

The poem translated here, which became very popular in the early 1970s, was composed in response to an incident which made an impression on the poet. Some time in the early 1970s a famous Somali woman singer called Magool visited Sudan to give some concerts. At one of these a Sudanese man fell in love with her and wrote a letter in Arabic which she received after returning to Somalia. Not knowing Arabic, she passed it to Hadraawi to translate. He was at first surprised to see the letter written in what seemed to be red ink, and as he read on an explanation made itself known. The man had extracted some of his own blood to write the letter and from this Hadraawi's poem sprang.

The poem is of a type known as hees, a modern sung form with musical accompaniment (see general introduction), and is composed in a metre from another poetic genre known as jiifto, a metre commonly used for such hees. It was made particularly famous through performances sung by Magool herself. The poem speaks for itself in a way understandable to a non-Somai audience and is composed in a series of negative questions which have largely been retained in the translation.

Has love been blood-written
(Jacayl Dhiig ma lagu Qoray)

Has love been blood-written
has marrow yet
been poured for it
a person peeled
the skin from their back or ribs
has expression of this
been offered in flesh
cut from the cheeks
has blood been extracted
its colour still red
uncoagulated
been scooped from the arteries
poured into a milk vessel
have two people offered it
one to the other
as they would fresh milk
have they shared it happily

time-separated in spirit
in body as by a thorn fence
sworn to each other
one morning have two
after first soaking rain
the damp mist dense
in an unpeopled place
where apart from the trees
nothing stirred
become aware
of each other's rustle

did that true meeting
seem a vision to them
brought by love's plight
or its mirage
from time to time
as if suddenly waking
out of a dream
did their speech
desiring utterance
pass from a mouth
if just a howl

did words elude them
was the situation soured by this

did spots of ceaseless rain
emotion's tears
spill from their eyes
did it soak their clothes
did they sweat compassion

disoriented with but
a stutter of movement
they were stuck
each time a word
no link with others
lacking substance
limped out alone
was it ten days later
their tongue and palate
found strength for it

but they are born for success
of equal standing
parted for so long
did they greet one another
exchanging stories
did each for their part
pass on the trials
sustained through their love
did they read the message
exchange the news

love was a food store
which when it was heated
with charcoal and fire
the glowing embers
of emotions stirred
did they fill a large pot
time after time
drag the enclosure's
night-time gate
each one with tender eyes
seeing nothing harmed the other
did they listen thus
for a whole year

did the talking end
did they then spend
half a day
in this silent way
as the daylight fell
from their staring gaze
their inflamed thoughts
did they pass that night
like the camel herders
in nocturnal endurance
of cold and dark
difficulties bringing illness

did the dawn then glow
and the sun call out
approaching each other
not crossing the boundary
of mores and modesty
longing for a balm
with a mere forearm
between them did they stand
bodies held straight
opposite each other
avoiding the step
of moving closer
resisting the play-touch
the youthful way
the taste glimpsed
in the distance
did they just behold each other
through their eyes

they stood on the spot
each one gazing
standing upright
did it last a thousand nights

the legs of the termite
emerged from the earth
breaking the surface skin
did is peel their bodies
consume the flesh
did it wound the veins
pass to the nerves
persisting
to the very inside of the bone

the bad news
it places in you
that you look on with fear
is the trials and your death
did they welcome it
with their whole body and a smile

there's a flower which blooms
after morning's compassion
has refreshed it with dew
it brings forth a red liquid
for the mouth to sip
its stamen and stigma
entwine like a rope
was it this they exchanged
offering as a legacy
did they present it to taste
as the last earthly food of love
did they place at the other's ear
the word which was missing

the termite gathered up
sand and detritus
forming clay diligently
rendering and plastering
did it transform those two
did a building arise
did it mould from them
a structure of wonder
a lofty termite mound
famed for its thickness and strength

roaming in the sun-heat
of daytime did people
in the dry season grazing lands
rest in its shade
then move away in the evening
unaware of the reality
of the story that deep inside
this shady backbone support
two souls await the outcome of truth

if self sacrifice is not made
the breath of life not exchanged
if one does not wait
for an enduring legacy
the building of a house upright
children and earthly sustenance
then the kisses and intentions
are nothing but superficial
a poison sipped to satisfaction
in that one same moment
like hyenas snatching
a girl of good repute
as they hide themselves
in the higlo tree
to pounce out quickly
each man is expectant
for what will fall to him
a hyena and his grave hole
the honour he has trampled
the modesty he has snatched
the lying illusion
this does society harm

did he strive for the highest level
of fulfilment of love
that closest to honour
or is something still missing

SOMALI TRANSLATION: JACAYL DHIIG MA LAGU QORAY

Jacayl dhiig ma lagu qoray
Weli dhuux ma loo shubay
Qofna saanta dhabarkiyo
Ma u dheegey feedhaha
Dhabanada cad laga jaray
Hadalkii ma lagu dhigay
Xinjir aan is dhalan rogin
Midabkeedu dhiin yahay
Laga dhuray halbowlaha
Weli dhiil ma lagu shubay
Laba mays dhansiiyeen
Sida dhayda xoolaha
Dhag dhag maw wadaageen
Weli laba is dhaarsaday
Beryo dhacan nasiib iyo
Dhul ku kala cillaalaa
Subax dharabku kowsadey
Dhedaduna cuddoon tahay
Cidla aan dhir mooyee
Wax dhaqaaqayaa jirin
Jabaq maysku dhaadeen.
Kulankii dhabta ahaa
Riyo dhiifi keentiyo
Dhalanteed ma moodeen
Sida ay dhadhabayaan
Dhawr jeer ma seleleen
Af dhabaan dhab jamashada
Ma ka dhoofay hadalkiii
Bal dhaqaaq na kay tahay
Dhihidii ma waayeen
Ma ka dhabaqday xaajadu
Ilma dhalatay xiisuhu
Sida dhibic ma hiigaan
Ma ka qubatay dhaayaha
Ma ku qoyey dharkoodii
Naxariis ma dhidideen
Iyagoo dhanqalankii
Dheel dheelli mooyee
Dhegna aanay kaga jirin
Kolba erey dhex roorkiyo
Dhumucdii ka maqantahay
Dhitinaaye keligii
Ka dib tooban dharaarood
Carrabkiyo dhanxanagii
Dhirindhirid ma ku heleen
Laba guul u dhalatoo
Isu dhiganta weeyee
Dabadeed dhabeeshii
Hanadkii ku dheeraa
Dhudi mays bariidsheen
Dhubbad qaadka sheekada
Qofba dhagarta caashaqa
Wixii dhaaxo soo maray
Ma dhex galay kalkiisii
Ma akhriyey dhambaalkii
Warka maysu dhiibeen.
Kalgacayl dhito ahaa
Dhamac iyo dab huriyeen
Dhuxuliyo ladh soo kacay
Hadba dhoon ma buuxsheen
Kolba dhacan ma jiideen
Dhacdadiyo u jeedada
Qofba dhaadashada guud
Qofka kale dhankiisii
Inaan looga soo dhicin
Ma ku dhaabadeeyeen
Sannad mays dhegeysteen
Ma dhalaalay waagii
Dhag ma tidhi cadceedii
Intay soo dhaqaaqeen
Iyagoon ka dheeraan
Dhaqankiyo xishoodkii
Dhaymana u jeel qaba
Iyadoo dhexdoodii
Dhulka suxul banana yahay
Dhibta maysla taageen
Wax intaa ka sii dhow
Ma ku dhiiran waayeen
Dhayal laysu taabtiyo
Dhallinyaro habkeedii
Ma ka dhega adaygeen
Dhadhansiga miliilica
Isha mayska dhawreen
Dhabbaday is taageen
Qofba dhaabaddiisii
Sara joog dhankiisii
Kun habeen ma dherernaa
Dhudhummada aboorkii
Dhulka hoose kaga baxay
Dhilashada jidhkoodii
Ma dhanbalay sartii guud
Ma dhammeeyey hilibkii
Xidididada ma dhaawacay
Ma u dhaafay seedaha
Lafta hoose maw dhacay
Dhiilluu ku geliyaa
Ama waad dhalliishaa
Dhagartiyo wedkaagee
Dhimashada kal iyo laab
Ma ku soo dhaweeyeen
Dhoollaha ma ka qosleen
Ubax dheelka subaxdii
Naxariis ku dhaashtoo
Afka dhiin cas mariyoo
Dhaddigiyo labkisii
Laba dhude isugu maran
Ma is dhaafsadeenoo
Dhaxal maysu siiyeen
Dhuuni kawlka caashaqa
Maysu sii dhadhamiyeen
Ereygii dhinaa hadal
Dhegta maysu saareen
Dhafan dhaaf aboorkii
Ma dhufsaday cammuudii
Ma u qaatay dhoobada
Dhab-dhabkiyo kabkabidii
Labadaba ma dhalan rogey
Dhismo kale ma soo baxay
Ma ka dhigay wax yaabliyo
Dudun dherer ku caanoo
Dhumuc iyo laxaad weyn
Dhalan dhoolka maantii
Dadku dhacarta jiilaal
Ma dhasaday dharaartii
Ma ka dheelmay galabtii
Iyadoon la dhaadayn
Sheekada dhabteediyo
Dhabar weyntan hooska leh
In dhexdeeda laba ruux
Runta kaga dhur sugayaan
Haddaan laysu dhamanayn
Nafta laysu dhiibayn
Ama dhaxal tis qaadiyo
Dhismo aqal la taagiyo
Ubad iyo dhaqaaliyo
Dhaqan reer la kala sugin
Dhunkashiyo u jeedadu
Tahay dhaayo guudkood
Waabay la dhabaqsado
Dhereg iyo markaas qudha
Ama sida dhurwaayada
Hilbo gabadh dheg roonoo
Higlo loogu dhuuntoo
Dhakhso loogu kala baxo
Ninba waxa dhabbacashada
Dabinkiisa ugu dhaca
Dhidar iyo xabaashii
Sharaf lagu dhabcaaliyo
Dhawrsooni laga tegey
Dhalanteedka beenta ah
Bulshadaa u dhaawacan
Hab jacayl u dhaqan galo
Ma holladay ka ugu dheer
Maamuusna ugu dhow
Mise weli wax baa dhiman

Translated by Martin Orwin ( Modern Poetry in Translation, New Series, No.17, 2001)

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