Figure 20
Ustadh Mahmoud Mau together with his children, Aboud (in the middle), Hannan (on the right) and Azra (behind)
1 Hapo zamani za yana (“Once upon a Time”)*
This is a poem that Ustadh Mau’s father, Ahmad Abdulkadir Abdulatif (1915–1970), composed for him around the time he was born in 1952. Ustadh Mau was the firstborn of his father’s six children. Most of his father’s poems have been lost; just a few survive. Ustadh Mau read this poem when he was a boy; it even helped him get used to reading Swahili in Arabic script. Ustadh Mau also keeps the copy in Arabic script that his cousin Abdulkadir Muhammad Abdulkadir reproduced from the original. Ustadh Mau had asked him to copy the poem in order to have a copy for himself.
Ustadh Mau’s father passed away when he was around fifty-five years old. He was a heavy smoker of cigarettes, which may have contributed to his early death. His father’s death marked a substantial change in Ustadh Mau’s life, since, being the firstborn son, he had to rearrange his priorities and stop studying in order to take care of the family. From 1971 to 1973, he worked as a shopkeeper in Dar es Salaam. His father had been a marine engineer and the first to have a motorboat (boti ya machine), which allowed people to travel from Mokowe, where the buses from Mombasa and Malindi stop, to Lamu. In the last verses of the poem, we find metaphors of sea life: the Prophet is compared to the captain who guides the boat, a metaphor of human life, into the harbor.
In the typical style of an admonitory or advisory utenzi, that is a wasiya, it is the father’s intention to provide his son with guidelines on how to live, drawing from his own experiences as well as the existing lore of advisory poetry, Islamic literature, and popular wisdom. In stanza 17 ff., for instance, he refers to the popular tradition of Nasrudin, widespread in the Islamic world. Nasrudin, though partly fusing with trickster traditions, is also venerated as an exemplary wise scholar and theologian. It was his wisdom that made Ustadh Mau’s father wish for a son whom he could name after him. Accordingly, he also addresses his son as both Mahmoud and Nasrudin in the poem. The poem makes reference not only to popular tales, but also to the Qurʾān, and summarizes important tenets of belief for the young Ustadh Mau, which he would take to heart from early childhood onward: the names of the caliphs, the important wars during the Prophet’s lifetime, the angels, and the importance of Zakat and Zakat al-Fitr.
The poem echoes the context of its composition but, even more importantly, already outlines many of the concerns that come to assume the utmost importance to the son, Mahmoud Ahmad Abdulkadir, and that also recur in his own poetic practice. Even the “format” of passing on one’s dearest concerns is the same: for both father and son, the utendi is the genre into which one casts the wasiya, or intellectual and spiritual heritage.
The poem adopts the personal, caring tone of a father, looking for the right words of lasting meaning, which he wants to pass on to his son. Ahmad’s own father passed away in the same year that Mahmoud was born, which probably added to his motivation to write this poem, as a kind of heritage to pass on. Although he does not make reference to his own father, in a number of stanzas he emphasizes the brevity and vanity of life, stressing that death will spare no one, reflecting on his own life. This is a common topic not only in the Qurʾān, but also in Swahili poetry: the rhetorical wawapi “where are those” or wangapi “how many” questions (stz. 32, as well as stz. 22, 90 ff.) remind the addressee that none of the previous generations, even those in power, were able to avoid death.1 This is one of the essential cornerstones on which the ethics of the poem are built: all human beings are God’s creation and, accordingly, are meant to die. Accordingly, all human beings are equal, since they share the same destiny. This notion, which questions the abuse of power that the hierarchical social structure on Lamu seems to favor, rather urges for solidarity and care. The seemingly parallel tenets of the Riyadha Mosque and the anti-establishment movement around Habib Swaleh played important roles in Mahmoud’s family; Ahmad Abdulkadir Abdulatif urges his son not to discriminate against poor people or those of lower social rank. He underlines the importance of caring for his wife, family, siblings, and parents, including visiting the graves of those who have passed away. His son should take care of and give alms to the poor and not mistreat those working for him. The notion of responsibility for the family as well as for the community at large—which his father underlines, also being conscious of his role as a community leader—finds an echo in Ustadh Mau’s own poems and his way of caring for and about others.
In this poem, Ahmad takes a look at various facets of life, seeking to advise his son on how to live. To a large extent, the poem also reads as an exemplificationof a mungwana’s prescribed behavior and social role. He firstly cautions his son to carefully choose the woman he wants to marry—a concern later echoed in the Haki za watoto, which Mahmoud wrote as advice for his own son, Aboudi. The future wife is supposed to be humble and considerate, neither spending too much money nor spreading rumors. Discretion toward one’s own wealth, also in times of financial difficulty, is an important quality of the mungwana that Mahmoud’s father highlights. His son should neither be arrogant nor too outspoken about his own problems—and his wife should be the same:2 he should maintain his composure no matter how difficult a situation is, being faithful and reliable.
There is another respect in which the poem resembles many of Ustadh Mau’s own: it stresses education, elimu, and reading, kusoma, as important values also for the next generation. In stz. 78, the father warns the son not to study “devilish” writings. According to Mahmoud Ahmad Abdulkadir, the father was referring to secular or Christian education, of which he was deeply suspicious—like many others of the local Islamic elite, who would proudly stick to their own, erudite tradition of learning. Therefore, he never let his son study at a colonial school, but only at the madrassa, which Mahmoud is proud of. However, in his poetry (see for instance Kiswahili), Mahmoud does not stick to the same ideal, but rather stresses the importance of all kinds of education, including the natural sciences (see also the poem Bandari ina mawimbi), while also highlighting the value of local knowledge, language, and Islamic education in Swahili and Arabic. Times have been changing: while in his father’s time, many more traditional institutions of learning existed and there was a high level of Islamic scholarship, the nationalization of Kenya and the compulsory implementation of secular school education after independence has had a damaging effect on many local institutions as well as the value of education. It is the fall of this high culture and local forms of learning and studying, that Ustadh Mau fights against in many of his poems.
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1. |
Hapo zamani za yana Nalopokuwa kijana Hata ndevu siyavuna Haya naliyasikia |
Once upon a time, When I was still a boy, When I had not yet even grown a beard, I heard these words: |
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2. |
Mtu akipija faliI Ghalibu yake hunaliII Tumeona na dalili Nyingi na kuzisikia |
If a man chooses a good omen, Mostly he gets what he wishes; We have seen and heard of Much evidence. |
I fali “good omen, auspice.” Ustadh Mau: Kuna mithali isemayo “fali hunali” kwa mfano mimi nilimuita binti yetu mmoja Azra ambalo ni lakabu ya Maryam mamake mtumi Issa. Kwa hivyo, nalipija fali binti huyu awe mfano wa Maryam katika ucha Mungu na utiifu wake. Na baba aliniita mimi Nasurdin akipija fali. Baada ya kusikiya hadithi au kiswa kumuhusu mtoto hoyo Nasrudin nae akapenda apate mtoto awe kama hoyo Nasrudin (“There is a proverb that says: ‘a good omen comes true.’ For instance, I called one of our daughters Azra, which is a nickname of Maryam, the mother of the Prophet Issa. Therefore, I chose the name as a good omen for our daughter, so that she will be as God-fearing and obedient as Maryam. And my father wanted a good omen for me, and called me Nasrudin. After hearing the story or tale of Nasrudin, he also wished to have a child who would be like Nasrudin” (see stanza 17 below).) But his aunt later objected: she had lost her child, Mahmoud, and insisted that the baby should have his name. | II -nali “to receive” (Std. -pata)
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3. |
Baba ingawa ni mwangaI Kijana chake hutunga Kula yambo la muanga Hupenda kumuuswia |
Even if a father is evil-minded, He takes care of his child. Every clear bit of advice, He likes to pass on to his child. |
I mwanga “an evil person, a witch doctor” (Std. mganga)3
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4. |
Ukiitaka harusi Mke kwanda mdasisi Ulimi ukiwa mpesi Wata kumkaribia |
If you want to get married, First investigate the woman; If she is a gossiper, Avoid approaching her. |
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5. |
Mambo twalia mfano Hutaupata usono Utaziuma zitanoI Kimoya kutosalia |
Consider other cases: You will never find any rest. You will bite your five fingers in regret; Not even one will be spared. |
I -uma zidole “to bite one’s fingers” is a sign of regret.
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6. |
Mke simuonye mali Ingawa kitu akali Taitia mashughuli Apate kukwandolea |
Don’t show a woman your wealth, Even if it is just a little; It will be her only concern, Taking everything away from you. |
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7. |
Ataifanya mwalimuI Hazitokoma karamu Nduze wakazi wa Amu Na wangine wa kungia |
She will pretend to be well educated. She won’t stop organizing banquets; Her relatives living in Lamu And others will also come. |
I mwalimu, lit. “teacher”; here it refers to the social status of a learned person, which she will pretend to have.
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8. |
Mtu akikosa chake Hutukiwa na nduzake Ina hitwa mwendazake Wendani hukukimbia |
If a person loses his wealth, He is hated by his companions. By name, he is called “Go Away”; Good friends run away from you. |
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9. |
Mpe chakula kizuri Na libasi ya fakhari Nduze wakaa madariI Ito wakimzindia |
Give her good food And prestigious dresses So that her relatives living in elegant, many-storied houses Will cast an envious eye on her. |
I madari “floor, attic”; “étage, espace entre deux planchers ou terrasses” (Scl. 164), here referring to Lamu’s elegant, many-storied houses, an architectural style that became prominent in the eighteenth and nineteenth century, and that only rich people could afford.
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10. |
Mfanye na bangili Na mkufu ulo mali Phete na hizo zipuli Kama na majasiI pia |
Give her bracelets And an expensive chain necklace, Rings and earrings As well as a flesh tunnel. |
I jasi “flesh tunnel,” a hollow piece of jewelry worn in a hole made in the earlobe (Scl. 183)4
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11. |
Mfunge na marijani SukurubuI shikioni Na kipini cha puani Ni sawa ukimtia |
Adorn her with red corals, Earrings for her ears, And you should also give her A ring for her nose. |
I sukurubu; Mau: aina ya urembo unaotiwa shikiyoni la mwanamke. Wangine waita stadi huwa ni ya dhahabu au fedha (“a kind of jewelry that is worn on the ears of a woman. It is also called stadi. It is made of gold or silver”).
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12. |
Mtu wa sirakaliniI Usimfanye mwendani Mwana haramuII nyumbani Usiweke kumyeaIII |
A government official, Don’t make him your friend. A child born outside of marriage, Do not bring him home to raise him. |
I According to Ustadh Mau, on Lamu at that time, a representative of the colonial government was considered a spy and hence could never become a trustworthy friend. | II mwana haramu, lit. “an illegal child,” “a bastard.” There are many stereotypes with regard to children whose fathers are not known. It is said that they don’t hear well or they are not clean people. However, as Ustadh Mau adds, according to Islam, no one can be blamed for the mistake of someone else. Before claiming that a person is a mwana haramu, one needs to have real evidence. If it is not true, the one who claimed it is beaten eighty times for disrespecting the other. | III -yea “to bring up” (Std. -lea)
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13. |
Na iwapo huna budi Ni kadhwa si makusudi Tasahilia wadudi Muyuzi wa siri pia |
And if you have no choice, If it happens, but not intentionally, God will make it easier for you, The one who knows all the secrets. |
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14. |
Na kama hukuswadiki Jaribu wangu rafiki Utaiona hilaki Itakayokushukia |
And if you don’t believe in it, Try it, my friend: You will see the tragedy That will befall you. |
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15. |
Nduzangu nisaidini Katika wangu uneni Mngu atie auni Mahmoudi kutumia |
Help me, my brothers, In my speech. May God offer his help For Mahmoud’s benefit. |
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16. |
Asili yake yuani Nalikuwepo dukani Mimi na wangu wendani Hadithi nikasikia |
I will let you know the reason for this poem: I was in a shop With my friends, And then I heard a story. |
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17. |
Alinena BahasaniI Kisa cha NasurudiniII Moyo wangu katamani Ina hili kutumia |
Bahasani told The story of Nasrudin. My heart longed to Use this name. |
I Bahasani was an Islamic scholar who lived on Lamu. His real name was Muhammad bin Said Ali Badawy. He was the greatgrandchild of the renowned Habib Swaleh, who founded the Riyadha Mosque on Lamu. | II According to Ustadh Mau, Nasrudin was an Arab or Turk renowned for his cunning. He was like Abu Nuwas. In fact, stories about him are widespread in the Middle East and Central Asia as well as in Turkish tradition. He is a kind of trickster character: an apparent fool, who, however, often unravels the truth. His stories also merged with the Juha trickster tradition. Historically, Nasrudin was an important theologian (see Shah, Idries. The Pleasantries of the Incredible Mulla Nasrudin. (London, Jonathan Cape, 1968).)
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18. |
Akajirisha Azizi Mtukufu wa ujuzi Isitimu hata mwezi KabuliI ikatimia |
God made it happen The most Knowledgable Not even a month passed Before the wish was fulfilled. |
I kabuli “God’s acceptance of an invocation”5
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19. |
Nikamuoa mamako Akapata mimba yako Kakwandika ina lako Nasurudini sikia |
I married your mother. She became pregnant with you. I gave you your name. Nasrudin, listen. |
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20. |
Litimize ina lake Na zote zitendo zake Yambo ovu usishike La kukhalifu sharia |
Live up to this name, Together with all his deeds. Don’t adopt evil manners That violate the sharia. |
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21. |
KikuiliaI shetwani Soma daftari hini Ufuate yalo ndani Henda yakakwapukia |
If the devil comes to you, Read this writing; Follow what is inside So that evil will stay far away from you. |
I ilia < -ya “to come” (Std. -ja)
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22. |
Keti sanaI duniani Ni ndia si masikani Wangi walo washindani Wamezie kwangamia |
Live in this world in a decent way, Which is transitory, not a place to stay. Many who have looked for competition Have already perished. |
I sana, here “well,” syn.: kwa uzuri; “well” does not mean “so as to enjoy oneself,” but rather has the moral connotation of behaving appropriately. Ustadh Mau refers to a similar use of sana in the famous didactic poem Utendi wa Mwana Kupona. He quotes the following stanza from memory: jambo ukitaka nena / washawiri wa maana / wakikuambia si sana / kheri kuinyamalia (“If you want to say something addressing important people, and if they tell you it is inadequate, it is better to keep quiet.”) We could not trace the stanza Mau quotes in either Allen’s or Werner’s editions of the Utendi wa Mwana Kupona, which hints at a later oral variation. Werner gives the following similar stanza 18: Neno nao kwa mzaha / Yawatiayo furaha / Yawapo ya ikiraha / Kheri kuinyamalia (“Talk with them cheerfully / Of things which give them pleasure / But when the words might give offense / it is better to hold oneself silent”)6
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23. |
Hakutumiki kizaziI Wala uyuzi wa kazi Lifuate la Azizi Bwana wa amri pia |
No lineage is of use, Nor your professional skills. Just follow His Majesty, The Lord having the power. |
I According to Mahmoud, this is an intertextual reference to sura 23, āyah 101 of the Qurʾān, which refers to Judgment Day: “For when the Trumpet is blown, that Day that shall be no kinship, any more between them, neither will they question one another” (Abr., 350). The stanza reminds the audience to trust primarily in God and not in one’s relationships, family background, or skills.
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24. |
Wangapi walo na mali Na ushujaa kamili Afia na ikibali Wameiwata dunia |
How many of the wealthy Who were also really brave Healthy, and lucky Have left this life?I |
I This rhetorical question is a productive trope that recurs in Swahili poetry, evoking the brevity and vanity of life. The most renowned poem in which a whole series of stanzas is constructed around the question is the Al-Inkishafi.7
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25. |
Sikia yangu lisani Ya shehe Nasurudini Usizungue sukani Mwambani ukaitia |
Listen to my words About Sheikh Nasrudin; Do not turn the rudder, Or you will end up on a reef. |
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26. |
Wewe ndie awali Ituze yako akili Ufahamu na ahaliI Wako na jirani pia |
You are the firstborn. Be sober-minded; Mind your relatives, And also your neighbors. |
I Mau: ahali “family,”, used here primarily to refer to his wives.
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27. |
Ukitumwa mtaani Usifanye kisirani Asokabili sokoni Sawa kumtumikiaI |
If you are sent to the neighborhood Don’t object; It is only fair to help someone Who is not allowed to go to the market. |
I In his father’s time, women were not allowed to go to the market. Thus, boys were asked to take over that task.
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28. |
Wafahamu na nduzako Walio wanunaI zako Na sute wazee wako Siwate kutujulia |
Take care of your siblings, Those who are younger than you, And of us, your parents. Do not forget to inform us. |
I wanuna Baj. “the small ones” (Std. wadogo). On Lamu, the word appears only in literary works and is part of an elevated style.
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29. |
Ukifanya yako kazi Usisahau wazazi Yapokuwa ni kwa mwezi Ziarani kupitia |
Even if you are busy with your work, Don’t forget your parents. Even if [just] once a month, Pass by to visit their graves. |
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30. |
Usidharau sadaka Hata kikandaI kwa mwaka Ndio taa iso shaka Ya akhira na dunia |
Do not look down on alms. Even if it is a small amount per year, This is the light, without any doubt, For this world and the afterlife. |
I kikanda “small amount,” literally, a traditional tax that farmers pay to landowners.
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31. |
Sighurike na ujana Ovu yambo ukanena Mkumbuke wako Bwana Au utaiyutia |
Don’t be deceived by boyish pranks So that you utter evil words; Remember your Lord, Or you will regret it. |
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32. |
IWalinae bibi yako Na bibi wa bibi yako Wawapi matoni mwako Wote wametangulia |
You had your grandmother And your great grandmother; Where are they before your eyes? They have all gone ahead leaving this world. |
I This stanza again is meant to remind him of the fragility of life.
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33. |
Kuna hayo mambo mane Kabisa usiyaone Mziwie na mngine Akitaka kutumia |
There are four things That you should not try; Also restrain someone else If he wants to do them: |
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34. |
Usitumie kulewa Urongo mwingi na kwiwiaI Na lane sitofunua Mwenyewe yatakweleya |
Don’t drink alcohol; Don’t be a liar, or steal. The fourth one, I will not reveal it to you; You will discover it on your own. |
I kukwiwia “to steal” (Std. -iba). Ustadh Mau assumes that the fourth sin, which his father did not want to warn him about explicitly because he was addressing his son as a child, was adultery.
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35. |
Wangapi walokirisi Walo na nyingi nafasi Wameziwata julusi Kaburini wameingia |
How many of those who inherited And had a lot of wealth Had to abandon the sitting room And went to the grave? |
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36. |
Yepue yambo la wandiI Kazi hio siwe fundi Au utakuwa pandiII Motoni utaitia |
Keep yourself far from backbiting; Do not master this habit, Or you will be like a grasshopper: You will throw yourself into the fire. |
I wandi “to backbite,” “to gossip” (Std. -sengenya) | II pandi “grasshopper” (Std. panzi), an insect that symbolizes stupidity and vanity, since it is attracted to fire.
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37. |
La kwamba na kunongona Ameziwia Rabana Ghalibu hukusanyana Mambo hayo kutumia |
Backbiting and revealing secrets Is rejected by God. Mostly, they come together And are used together. |
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38. |
Situmie ujeuri Ndio shina la kiburi Mja kwake ni khatwari Mara hupotea ndia |
Don’t be arrogant; This is the root of pride. This is dangerous for a human being Who easily loses his way. |
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39. |
Mtu kitaka shauri Mpe lema lenye kheri Haifai kumghuri Kizani ukamtia |
If someone needs advice, Give him good and virtuous counsel. It is not good to deceive someone, Leaving him in darkness. |
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40. |
Mtu akikupa siri Simtolee khabari Mtu atatahayari Kwa watu wakisikia |
If someone tells you a secret, Don’t spread it. He will feel ashamed When people hear it. |
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41. |
Upitapo barazaniI Penye watu na wendani Salamu uibaini Ndio sawa fahamia |
If you pass by a baraza Where people are sitting with their friends, Greet them loudly. That is the right way—understand it. |
I baraza “verandah,” “porch”; “a stone seat or bench table, either outside of the house or in the hall, where the master sits in public and receives his friends” (Krp. 22).
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42. |
Usihishimu mungwana Ukadharau mtumwa Wote mbwake Subhana Ewe kijana sikia |
Do not respect the patrician And despise the slave; They all belong to God. Oh my son, listen! |
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43. |
Masikini kiaI kwako Simwambie nenda zako Mmoya mkate wako Sawa ni kumvundia |
If a poor man comes to you, Do not tell him, “Go away!” Rather, give Some of your bread to him. |
I kia < -ya “to come” (Std. akija)
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44. |
Wala usishike tamaI Kwa yoyote ukasema Ihimidie Karima Ndio hali ya dunia |
And never hang your head, Whatever you say. Praise the Generous One This is how life is. |
I -shika tama lit. “to hold the cheek,” a sign of sadness
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45. |
Ukiya kwako nyumbani Pija hodi mlangoni Mtu alioko ndani Nguo akiivutia |
When you come home, Knock at the door So that the one who is inside Can get properly dressed. |
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46. |
Singie kama kijana Asiyejua kunena Utakosa lako ina Fahamu nimekwambia |
Do not enter like a child Who can’t speak; You will spoil your name. Understand what I am telling you. |
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47. |
Mtu akipowa siri KuisitaI ni khiari Mtu ni kukuaziri Khabari kukutolea |
If someone is given a secret, It is his choice to keep it hidden, But he will disgrace you If he reveals your secret. |
I -sita “to hide” (Std. -ficha). The stanza warns the addressee to choose wisely the one whom to share a secret with (see also the following stanza).
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48. |
Watu nena nao sana Wazee hata zijana Siri yako ya maana Teua wa kumwambia |
Speak wisely to people, To elders and the youth, With regard to your important secret. Choose whom you want to tell it to. |
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49. |
Ihifadhi siri yako Khaswa ya nyumbani kwako Usitoe matamko Yoyote ukamwambia |
Keep your secret, Especially if it concerns your house. Do not talk about it, Divulging it to anyone. |
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50. |
Ukiwa na siri yako Mwambie mzee wako Au alo damu yako Na yoyote kizazi kimoya |
If you have a secret, Tell it to your parent, Or to someone else of your own blood, Or to anyone of the same descent. |
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51. |
Simpe mtu wa mbali Asiokuwa ahali Kwake haiwi muhali Habari kukutolea |
Don’t tell it to a person who is far from you, Who is not a relative. For him, it would not be difficult To spread the news. |
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52. |
Yambo ukitaka nena Washawiri wa maana Wakikwambia si sana Yafaa kuwashikia |
If you want to talk about it, Ask true advisers. If they tell you that it is not good, It is better to agree with themI. |
I Ustadh Mau adds here that it is important to choose wisely whom to speak to. He adds, La mtu sishike takughuri kisa akuteke (“Don’t agree with someone’s advice who will laugh about you later”).
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53. |
Washawiri na nduzako Ingawa wa nuna zako |
Ask your siblings, Even if they are younger than you. |
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Kheri itakuya kwako Ufanyalo kukwendea |
The advice’s benefit will come to you; Whatever you will do will go well. |
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54. |
Wala situkue dhwanaI Wenzio wakikunena Na dalili ungaona Moyo wako shaka tia |
Do not become suspicious That your friends are backbiting you. Even if you have evidence, Doubt it within yourself. |
I dhwana “suspect,” “suspicion.” Ustadh Mau paraphrases the stanza as follows: Ukiona watu wanakusema wewe usifikiriye kuwa watu hao wanakusengenya wewe. Hata ukiona dalili wewe usiamini kuwa hao watu wakusengenya wewe. Moyo wako shaka tiya, yaani labda wanamsengenya mtu mngine sio mimi (“If you find people talking about you, do not think that they are speaking ill of you. Even if you come across signs, do not believe that those people are backbiting you. Doubt it by thinking: maybe they are backbiting someone else, not me.”) The poet explains that, very often, people are obsessed with the idea that everyone is speaking ill of them. This can turn into a real psychological illness that prevents them from living in peace. So, for Ustadh Mau’s father, it is important to stop worrying about other people’s behavior and speech. In a way, the father is also urging the son never to think badly of others, but in favor of them, to pardon them or at least not to care too much about gossip.
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55. |
Ukipata yako mali Usisahau ahali Ukaifanya bakhili Kesho yatakutongea |
If you acquire some wealth, Do not forget your own family. If you are a tightwad, It will come back to you in the hereafter. |
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56. |
Warahamu watu wako Na hoyo mwalimu wako Mekufunda matamko Ya akhera na dunia |
Be kind to your people, And to your teacher, Who taught you things For this world and the afterlife. |
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57. |
Usiwatupe nduzako Na wana wa ami zako Hasa wa shangazi yako Sana ni kuwangalia |
Don’t neglect your siblings, Or the children or your uncles, Especially those of your paternal aunt: Take good care of them. |
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58. |
Watunge sana wazazi Kwa yambo la kuwahiziI Kama usiku wa mwezi Maridadi kutembea |
Take good care of your parents, To avoid things that would shame them, Like a beautiful woman walking On a bright full-moon night. |
Ustadh Mau explains the stanza as follows: the usiku wa mwezi, the full-moon night, is a “night without darkness” (usiku usikuwa giza), so a beautiful woman needs to take extra care veiling herself well so her beauty cannot be seen, since this would mean bringing shame on the parents.
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59. |
Wafahamu walalapo Asubuhi waamkapo Usile chakula hapo Bila ya kuwayulia |
Pay attention to them when they sleep, And when they wake up in the morning. Do not start eating your breakfast Without greeting them in the morningI. |
I Mau adds his own reflection: “this is what your parents did for you when you were a child—they fed you first and took you to bed before caring about themselves. So, as an adult, you can pay them back.”
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60. |
Sandamane na muinga Asoyua kuitungaI Takuvutia matanga Mtu hayakufiliaII |
Do not seek the company of a silly person Who does not protect your dignity; It will cause you grief, Even before someone has died. |
I kuitunga “to take care of it” (Std. kuichunga); the object pronoun -i- refers to heshima, i.e. -chunga heshima yako “take care of your dignity.” | II According to Ustadh Mau, the second part of the stanza means that a friend who does not protect your dignity, will “cause you shame and disgrace, even before you have committed any mistake” (takusababishiya mambo ya aibu na fedheha kabla hujafanya makosa).
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61. |
Usimwandame dhalimu Yapokuwa isilamu Kwani utakuwa sumu Watu watakutukia |
Don’t seek the company of tyrants, Even if they are Muslims, Because you will be poisonous And people will hate you. |
I sumu “poison,” here referring to the “poisonous effect” someone turning into a tyrant has on his or her social environment.
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62. |
Ukimtuma hamaliI Mpe ijara kamili Usiifanye mkali Kisakisa kumwambia |
If you give someone a task, Give him the full payment. Do not be mean; Do not delay and say, “Later, later!” |
I hamali “a minor, additional job (for example, carrying loads)”
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63. |
Mpe ijara kamili Ukisa yako shughuli Usibadilike hali Ukamwambia rejea |
Give him the full amount When he completes his work; Do not change your behavior By telling him, “Come back later!” |
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64. |
Zungumza taratibu Ndio kistaarabu Utakuwa mahabubu Kula utakapongia |
Speak deliberately— This is the civilized way— And you will be beloved Wherever you enter. |
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65. |
Itangulize awali Kuuliza mtu hali Usiifanye mgoliI Mtu kakutangulia |
Be the first In greeting someone; Do not think yourself better than others So that they should greet you first. |
I mgoli Ustadh Mau: “someone superior” (mtu bora kuliko wangine).
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66. |
Usidharau sharifu Kwani ndio watukufu Wala usifanye swafu Mmoya ukatukia |
Do not despise the descendants of the Prophet, Because they are the saints, And do not discriminate By hating one of them. |
This stanza, on the one hand, reflects the high social status of the masharifu on Lamu and Ustadh Mau’s father also underlines their particular, unquestionable baraka: “they are the saints.” But, on the other hand, urging his son not to despise them could possibly refer to a more general change in attitude toward them and the influence of modernist and reformist currents of Islam on Lamu at that time.
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67. |
Kiwa na haja jirani Siitie shingo ndani Ingawa hana rahani Yafaa kumtendea |
If your neighbor is in need of something, Don’t let him down. Although he cannot give you any security, It is good to do something for him. |
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68. |
Fukara na mwenye mali Wape nzuri kauli Uwambie yalo kweli Urongo kutotumia |
The poor and the wealthy, Tend to them equally well. Tell them the truth; Do not tell falsehoods. |
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69. |
Aibu usibaini Ya mwendio na jirani Hata mkeo nyumbani Haifai kumwambia |
Do not expose the shame Of your friend or neighbor, Even to your wife at home; It is better not to tell her. |
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70. |
Hakuna usio tembeI Mpunga una uwambeII Na kwetu sute ziumbe Qadhwa hutusikilia |
There is no rice plant that does not have a broken grain of rice. The rice plant is full of dust, And all of us human beings, We each have our fate. |
I tembe “grain” (Std. chembe) | II uwambe “dust,” meaning that there is no family without anything shameful.
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71. |
Ukifanya karamu Usikhusu waadhamu Kuambia wenye memuI Fakhari kuizengea |
If you invite people for food, Do not target only the respected ones Considered to be of high rank, Looking for prestige. |
I memu, according to Ustadh Mau: “high rank” (cf. madaraka, cheo, mtu mtukufu).
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72. |
Ifanye kama huoni Cha mtu usitamani Muombe Mola Mannani Aweza kukutendea |
Pretend not to see; Don’t long for something from someone else. Pray to God, the Giver; He can do it for you. |
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73. |
Mwekelee Mola wako Umuombe haja yako Situkue cha mwenzako Kitu kitakutongea |
Turn to your God; Ask Him for what you need. Don’t take it from your fellow man; This will bring trouble on you. |
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74. |
Ingiapo ramadhani Siketi sana nyumbani Enenda miskitini Mno ukiisomea |
When Ramadan comes, Do not only sit at home. Go to the mosque; Read a lot on your own. |
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75. |
FitiriI usisahau Wala usiidharau Itapotea nafuu Mwezi uloifungia |
Don’t forget to pay your Zakat al-Fitr alms, Nor despise the task. Otherwise, you will lose the blessing Of the fasting month. |
I Before the Eid al-Fitr prayer at the end of Ramadan, the “fasting month,” every adult Muslim who possesses food in excess of his or her needs must pay Zakat al-Fitr (Fitrana). The head of the household can also pay Zakat al-Fitr for dependents such as children, servants, or any dependent relative. Zakat al-Fitr can be paid during Ramadan, at the latest before the Eid al-Fitr prayers, so that the poor can enjoy the day of Eid. The minimum amount due according to Mau is the equivalent of about 2 kg of wheat flour, rice, or other staple foodstuffs per member of the household, including dependents, even if they do not live in the same house.
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76. |
Mambo ya ulimwenguni Wewe mno sitamani Alitawafa AminiI Hakuna wakusalia |
The things of the world, Do not desire them. Even the Prophet passed away; There is none who will remain. |
I Muhammad al-Amini: According to Ustadh Mau, a praise name of the Prophet, “Muhammad, the faithful,” which was given to him because of his steadfast character, even before God’s revelations.
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77. |
Fungamana na kusomaI RafikiII mwenye hatima Hawezi kukusukuma Kaburini ukiingia |
Let us embrace reading the Qurʾān, A friend who will be with you until the end. He cannot push you away, Even if you enter the grave. |
I kusoma—Here the father is referring particularly to reading the Qurʾān. | II According to Ustadh Mau, rafiki is used here as a metaphor for the Qurʾān, which accompanies a pious Muslim until his death.
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78. |
Usimsome shetwani I Wewe soma Qurani Ufuate yalo ndani Kheri utaionea |
Don’t read the devil. Read the noble Qurʾān; Follow what is inside. This will be better for you. |
I shetwani “devil”; here, this means secular education, which in the beginning was considered haram (“impure,” “illegal”) and a wicked strategy to make pupils lose their religion. Ustadh Mau’s father strongly supported this view, as did Mahmoud’s teacher, Said Hassan Badawi. A primary school was built in Lamu in the ’50s, after World War II. Before, there were evening classes for learning how to read and write. These classes were attended, for instance, by his father. Despite his father’s own distrust of secular education, Ustadh Mau wanted a good education for all his children, and they all went to school, mostly up to secondary school. Some of his children, such as Nadia, Fatih, Azra, and Hannan, also went to university.
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79. |
Nakuombea Wadudi Utimu hunu mradi Ina lake Ahmadi Ndie babake RabiaI |
I pray to God, the Beloved: May I accomplish this projectII. His name is Ahmad, The father of Rabia. |
I Rabia is Ustadh Mau’s sister, the third child after him and Aziz; Amina was the last-born. Nuru and Sofia are the fourth and fifth, respectively. | II This project here implies the project of composing this poem.
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80. |
Usifanye ushindani Uyualo ukakhiniI Haifai duniani Mtu hila kutumia |
Do not create rivalry If you know something and withhold it; It is not appropriate in this world If you use schemes. |
I -hini “to prevent others from using what you have in your hand”8
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81. |
Ikiwa ni la makosa Usilifanye kabisa Waalimu wa madrasa Haya wamezuilia |
If there is something wrong, Do not do it at all. The teachers of the madrassa, They don’t allow mistakes. |
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82. |
Baba pulika maneno Kiumbe ni radhi tano Ndipo apate usonoI Wa akhira na dunia |
Son, listen to these words: There are five blessings [that allow] men To find peace Here and in the afterlife. |
I usono “rest”
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83. |
Radhi nitazibaini Upate yua yakini Usiulize wendani Ni hizi takutajia |
I will make these blessing clear to you So that you may know them in detail. Do not ask your friends. I will mention them: |
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84. |
Ni Mungu na mtumiwe Baba na mama wayue Na mke ni ya mumewe Mno imekariria |
There is God’s and His Prophet’s blessings, and Those of the father and the mother; take note of it. A wife gets blessings through her husband; This has been repeated many times. |
I See for instance Mwana Kupona, which in stz. 24 reminds us, naawe radhi mumeo/siku zote mkaao/siku mukhitariwao awe radhi mekuwea “Please your husband all the day you live with him and on the day you receive your call, his approval will be clear”9
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85. |
Wasikize ami zako Na mama na bibi yako Wasipate ovu lako Muini kulisikia |
Listen to your uncles, And your mother and grandmother. Do not let them discover any evil of your doing That they may hear about in town. |
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86. |
Usiitie muini Kwa tarumbeta na beni Koti likawa rahani Zitakutukia ndiaI |
Do not spread it around town With a trumpet and a band; If your coat is put in a pawnshop, The people in the street will reject you. |
I ndia Am. “way,” “street” (Std. njia), here referring to the people in the street, i.e. the town.
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87. |
Utimizapo timamu Ewe kijana ghulamuI Mno utaona tamu Ya akhira na dunia |
If you stick carefully to what I have told you, You, young boy, You will enjoy the sweetness Of the hereafter and of this world. |
I ghulamu (Ar.) “young boy”
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88. |
Alozawa na mamake Mwiso wake henda zake Huyatupa mali yake Na mamboye yote pia |
The one born of his mother, In the end, he will leave this world. He will throw away his goods, And everything he has. |
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89. |
Kitokacho matumboni Hakidumu duniani Mwisoe ni mtangani Nyumba kitakwenda ngia |
Nothing coming from a womb Remains in this world, But finds its end in the sand. That is the house it will enter. |
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90. |
Usisahau mauti Yambo halina wakati Siwe mno asharatiI Itakughuri dunia |
Don’t forget about death. You do not know when it comes. Don’t be malicious, Otherwise life will mislead you. |
I asharati “adulterer”; for Ustadh Mau, “troublemaker,” “insurgent.” Bakhressa: Asharati matendo maovu, mambo yasiokuwa na muruwa; mambo ya hasharati yameharamishwa na dini (Bak. 106): (“Asharati: evil deeds; matters that are not virtuous; bad things that have been forbidden by religion”).
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91. |
Hao wenye manuariI Warumu na wa Miswiri Hawakupowa khabari Ya kuiwata dunia |
The ones with military power, The Romans and Egyptians, They were not aware That they had to leave this world. |
I manuwari, lit. “war ships,” “military equipment” (< the English expression “man-of-war”).
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92. |
Yandie tangu Adamu Maana hawafahamu Ndio waloona tamu Nao hawakusalia |
Death started with Adam, But people do not understand its meaning, Those who enjoyed life, Did not remain. |
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93. |
Nalikiketi na hari Nyumbani nikifikiri Kiyatunga mashairi Haya nimezokwambia |
I was sitting and sweating, Thinking at home About composing this poem That I am reciting to you. |
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94. |
Ukitembea ndiani Angalia ghorofani Na walio makutini Wote watapita ndia |
If you walk through the streets, Look at those in the multi-storied houses, And those in the huts thatched with palm leaves: They all go the same way. |
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95. |
Waka nyumba ya akhira Kwako itakuwa bora Utaona na ishara Hapa katika dunia |
Build a house in the hereafter; For you, this will be better. You will see the signs Here in this world. |
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96. |
Utaona moyo wako Waipenda dini yako Na kumcha Mola wako Alama nimekwambia |
You will see that your heart Loves your religion And fears your God. These are the signs—I am telling you. |
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97. |
Hapa basi nimekoma Siwezi tena kusema Yatosha ukiyandama Haya nimezokwambia |
Here I have come to an end; I can speak no longer. It is enough for you to follow What I have recommended to you. |
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98. |
Alotunga ni Azizi I Kumpa nduye hiriziII Awapo ni mumayizi Apate kuitumia |
The composer of this poem is called Aziz. He composed it to give it to his brother as an amulet When he is a mature So that he may use it. |
I Azizi is another son of Ustadh Mau’s father; he is using his son’s name as a way to include all his children. In fact, the composer is the father himself: Ahmad Abdulkadir Abdulatif. | II hirizi recalls the similar verse uttered in Mwana Kupona: twaa nikupe hirizi/uifungeto kwa uzi/uipe na taazizi/upate kuyangalia (stz. 8); “Take the amulet that I give you; tie it firmly with cord; honor it and pay attention to it”.10 The poem teaches the addressee and thus works as a protective charm.
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99. |
Na zaka uzifahamu Wakatiwe ukitimu Usiifanye mgumu mali yatakutongea |
Don’t forget to give alms When the time arrives; Do not be stingy with your wealth, Otherwise this will cause you problems. |
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100. |
Ufahamu na KaruniI Aliiza ya Mannani Alitiwa ardhini Na mali yake pamoja |
Consider the example of Qarun, Who rejected God’s orders. He was buried in the soil, Together with his wealth. |
I The story of the very rich tyrant Qarun is told in the Qurʾān, sura 28, āyāt 76–84, as a warning to those who desire high rank and wealth, exploiting others without thinking about their fleeting nature. Qarun was a boastful character who praised his own capacities without fearing God. The ones enjoying this life envied him, and the pious warned him. In the end, “We made the earth to swallow him and his dwelling and there was no host to help him, apart from God, and he was helpless” (āyah 81, Abr., 401).
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101. |
Maka itie moyoni Na kumzuru Amini Kafu kutounga nuniI Mungu takutimizia |
Nourish the intention of going to Mecca To visit the Prophet. Say “be” so that it “is”; God will accomplish your wish. |
I Kafu kutounga nuni literally “before ‘kaf’ joins ‘nun.’ ” The two Arabic letters refer to the verbal form
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102. |
Siku hio makureshi Walipanga nakishi Zilo ndiani jaishi Msafara ya ngamia |
On that day, the Quraish had a discussion Concerning the caravan That he found along the way. |
Ustadh Mau explains the stanza as follows: when the Prophet told the Quraish that he had traveled from Mecca to Jerusalem and to heaven in just one night, they did not believe him. They asked him about a caravan he found along the way to challenge him and to prove that he was a liar. However, he was able to provide them with details about the caravan and some other things he witnessed to make them see that he had really traveled that great distance all in one night. The stanza underlines the power and veracity of the Prophet, which no one should doubt.
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103. |
Itukuze na mirajiI Kwani ni siku ya taji Alipazwa mtumwajiII Kuonana na Jalia |
Honor the day of the Prophet’s ascension, Because it is a supreme day. The Prophet was uplifted To meet with the Powerful One. |
I On the twenty-seventh of Rajab, the story of the Prophet’s night journey, the miraji, is read in the mosque, and afterwards there is chai for everyone. Ustadh Mau used to participate when he was a child, but no longer. However, he preaches about the miraji and what one can learn from it in the sermons that he delivers on or around that day. For Ustadh Mau, one cannot and should not refer to a specific date, because the date is uncertain, and he believes it was added in the course of transmission. | II mtumwaji “the one who was sent,” referring to the Prophet; unusual nominal derivation (conditioned by the rhyme) from the verb -tuma using the derivative of habitual agent nouns in -aji.
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104. |
Umuyue wa awali Aliyetoa kauli Kumtukuza rasuli Mbee ya makureshia |
Know the first person Who began speaking, Venerating the Prophet In front of the Quraish. |
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105. |
AbubakariI Swadiqi Mbee watu khalaiki Alivunda wanafiqi Akamwandama nabia |
Abubakar, the faithful, In front of plenty of people, He opposed the hypocrites And supported the Prophet. |
I Here the father mentions the Four Caliphs, starting with Abubakar. He was the first man who believed in the Prophet. He had been his close friend even before.
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106. |
Na Ali HaydarI Athmani na Omari Makhalifa mashuhuri Yafaa kuwayulia |
And Ali Haydari And Uthman and Omari Are the renowned caliphs Who deserve to be mentioned. |
I Ali Haydar, who is the main protagonist of many tendi, was the fourth caliph after the Prophet. He married the daughter of the Prophet, Fatimah. Omari was the second caliph, Athmani the third; nevertheless, in the stanza, the order is subverted in accordance with the rhyme in -ri.
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107. |
Uyue na makureshi Walipofunga jaishi Madina kwenda kughashi Yaliyowasikiliya |
Consider the Quraish, When they prepared for battle And went to destroy Medina— Remember what happened to them. |
This stanza refers to the third war in the history of Islam, which is mentioned in sura 33, āyāt 10 ff. Before were the battles of Badr and Uhud, in which the Prophet’s followers fought against those opposing Islam.
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108. |
Ufahamu na Huseni Na ndugu yake Hasani Wazee wake ni nyaniI Mama alowazalia |
Remember Hussein And his brother Hasan. Who were their parents? The mother who gave birth to them? |
I The question is a rhetorical one, because it is widely known that Hassan and Hussein are the two sons of Fatimah, Ali’s wife, and are the Prophet’s grandchildren.
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109. |
Takwepulia weusi Moyoni mwako Mkwasi Akuwashie fanusi Mwanga wa kamaria |
May the Generous One remove the darkness From your heart. May he light a lantern for you, Shining like moonlight. |
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110. |
Kuna malaika mauti Mtoa ruhu umati Kula kilicho hayati Henda kuitwalia |
The angel of deathI, Who removes the soul from the body, Everything that exists in the life, He goes and takes it away. |
I Implying the angel of Azrael.
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111. |
Ndie mpazaI majumba Ndie mnyakua simba Kijana ndani ya mimba Henda akiitwalia |
He is the one who uproots the houses; He is the one who grabs the lion. Even an infant from within the womb— He can go and snatch it. |
I -paza “to grind maize,” “to lift”
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112. |
Nasurudini sikiza Haya nimezokweleza Tuyandame ya nahuza Bandari tupate ngia |
Nasrudin, listen To what I have explained to you. Let us follow the captain So that we may enter the port. |
Here, life is compared to a journey by ship, which will reach the port at the end of one’s life. The metaphor of the ship is also widely used by Ustadh Mau himself. The captain, nahuza (Std. nahodha), refers to the Prophet, who guides and steers the ship.
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113. |
Tufuate la Amini Tulihai duniani Kesho tumaiti jizani Mahali pakushukia |
Let us follow the lessons of the Trustworthy One While we are still alive in this world. Tomorrow we will be dead, lying in darkness In the place to which we descend. |
The dark place mentioned at the end of the stanza is the grave.
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114. |
Tuifunde na ilimu Ovu lema tufahamu Askari wa KiramuI Tuyuwe hutwandikia |
Let us become educated So that we can differentiate good from bad. The soldiers take note; Record our deeds. |
I According to Ustadh Mau, the “soldiers” refers to the two angels, which record people’s good and bad deeds. One of them is called Raqib, and the second one Ateed (see also Qur. sura 50, āyāt 17–18).
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115. |
Hoyo hana kusahau Toto akalidhwarau Zaidi ya Mwanatau Kabuli akipokea |
He never forgets. Even tiny issues, he does not neglect them. He is more diligent than MwanatauI, Who reacts when she receives your prayer. |
I According to Ustadh Mau, “Mwanatau was a woman from Siu, a member of the Saggaf clan, who lived a long time ago. People believed that if you prayed to God using Mwanatau as an intermediary, God would accept your prayer.” (Mwanatau ni mwanamke wa Siu aliyezaliwa zamani—mwanamke wa kabila ya Saggaf. Watu waamini kwamba ukiomba Mungu kwa kupitia ya Mwanatau, Mungu atapokea dua yako.)
Ustadh Mau remembers a marvelous tale about her: Kulikuwa na jahazi iko baharini, jahazi ikazuka/ikatoboka tundu. Maji yakaingia kwenye jahazi. Watu waliosafiri kwenye jahazi ile wakapiga kelele wakasema eeh Mwanatau tuokoe! Mwanatau alikuwa ako Siu chooni, akasikia ile sauti ya wale wasafiri; akarusha kiatu chake cha biti. Kiatu kikenda pale pale kwenye jahazi kikaziba ile tundu na jahazi ikasafiri salama mpaka ikafika bandarini pale ilipotoka. Ilipofika Mwanatau akaenda akatoa kiatu chake (“There was a dhow on the open sea that sprung a leak. Water entered the dhow. The people traveling in that dhow started shouting, “O Mwanatau, save us!” Mwanatau was in the bathroom in Siu. When she heard the voices of those traveling, she threw her wooden slipper—and the slipper arrived directly in the dhow and covered the hole. The dhow traveled safely until it reached the harbor it had left. When it arrived, Mwanatau went to retrieve her slipper”).
Ustadh Mau does not believe in those tales, but there are people who do still believe in her, as he says. There is even a person called Mwanatau, belonging to the Saggaf clan, who lives in Lamu nowadays.
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116. |
Haghafiliki hakika Hata kwa nusu dakika Kazi yake ni kuandika PaoniI hatopokea |
He does not forget, for sure, Not even for half a minute. To write is his job; He does not accept any pounds as a bribe. |
I paoni “pounds,” corresponding to 20 shillings at that time.
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117. |
Maisha mangi hakuna Kama karne za yana Yafaa kuuswiana Safarini tumengia |
Life has not become longer Than in the last centuries; It is good to remind each other That we are on a journey. |
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118. |
Tumekuomba Karima Tupe mashukio mema Tutanganye na hashima Mwana wa makureshia |
We pray to you, Generous One; Grant us a good stay. Keep us close to the Prophet, The son of the Quraish. |
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119. |
Waadhi muufahamu Si wake pweke ghulamu Mbwetu sute isilamu Wa Hawa na Adamia |
You have to understand that this admonishment Is not meant for boys only: It is for all of us Muslims, Descendants of Eve and Adam. |
2 Tunda (“Fruit”)
Ustadh Mau wrote this poem for his firstborn, Fati. He was born in October 1976. The young father was overwhelmed with joy. He compares the son to a long-awaited fruit that has taken time to ripen. The fruit is not an uncommon metaphor for a child, often also a young girl in the context of Swahili poetry.11 The narrator, the father, compares himself to a gardener, carefully watering the plant every day—also not an unusual metaphor for the endless care and anxiety of a parent who can no longer wait for the child to be born. After the child’s birth, the point of narration of the poem, the narrator depicts himself as short of words: the joy taking hold of him makes concentration a difficult task.
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1. |
Siyui ninene nni, ili niweze wayuza Niwambiye neno gani, ambalo litaweleza Furaha zilo moyoni, yeo tunda kupasuza Tunda nilolitamani, nyaka nyingi kiliwaza |
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I do not know how to express myself so that I can let you know. Which words should I use to express The happiness that fills my heart? Because today, the fruit has sprouted, The fruit that I have longed for; for many years I have thought of it. |
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2. |
Tunda hili kwa hakika, limenituza fuadi Sana nimefurahika furaha ziso idadi Tunda hili kualikaI, kama uwa la waridi Namshukuru Rabbuka kutupa hizi zawadi |
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For sure, this fruit has calmed my heart. I am so happy; endless joy has taken hold of me. For this fruit to blossom like a rose, I thank God that he has granted us this gift. |
I -alika “to blossom”
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3. |
Tunda nililolipenda, na hamu kulishikiya Kula siku kilitunda, kwa hima kilinosheya Ni tunda langu la kwanda, ambalo limetokeya Rabbi Mola talilinda, alipe njema afiya |
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I was so excited about the fruit I loved. Every day I looked after it and carefully watered it. It is my first fruit to sprout; God will protect it and bestow good health on it. |
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4. |
Talihifadhi Mannani, lisikumbwe na uovu Likuwe pake mtini, hata liwe ni komavu Wala lisanguke tini, liketi kwa ushupavu Lisingiwe aswilani, lidumu na uwangavu |
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The Bestower will protect it, so that no evil will befall it, So that it can grow on its tree until it is ripe enough. It should not fall down; let it stay firmly So that it shall not be infested by insects, but continue shining. |
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5. |
Kauli yangu tammati, kwamba mangi sitoweza Nilonazo si katiti, furaha menizimbiza Sina makini kuketi, kalamu kucharaza Kwa hizi tano baiti, shairi nalifupiza |
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This is the end of my talk; I cannot say much. What I have is not little; joy has overwhelmed meI. I am lacking the concentration to sit down and further guide my pen; That is why I have shortened this poem to these five verses. |
I -zimbiza “to overeat”
3 Kipande cha ini (“Piece of My Liver”)
Ustadh Mau started composing this poem after the short period of the maulidi celebrations, which he spent with Azra on Lamu before she went back to Faza with her maternal grandmother. Her grandmother Abuba (Bi Rukiya) raised her because her mother was studying in Eldoret. Azra was two years and several months old when he wrote this poem for her. When her mother returned from Eldoret, Azra also returned to Lamu, also because the school was better.
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1. |
Az’raaI kusafiri mno nimesikitika Kama ni yangu khiyari mwanangu hungeondoka Kwani umeniathiri na sitaki kukwepuka Saa zote hukumbuka ya mwanangu mazoea |
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Azra, your traveling has made me so sad. If I could choose, my daughter, you would not depart, Because you have captivated me and I don’t want to be far from you. I always recall the time I used to spend with my daughter. |
I Az’raa epithet of Mary, the virgin. Mahmoud gave his daughter the name Azra after his niece, who, after studying in Saudi Arabia, opened a Muslim school (Muslim Girls Training College) in Pangani, Nairobi. For Ustadh Mau, she was the role model that his newborn daughter should emulate. The name was meant to influence Azra’s destiny. In a similar way, Ustadh Mau himself was at first called Nasrudin by his father (as the poem Hapo zamani za yana shows).
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2. |
Niwapo nawe mwanangu na mimi huwa kijana Kasahau ulimwengu kwa raha ninayoona Na hupungua tewenguI shida zote kawa sina Khaswa twapotwanena mimi na wewe pamoja |
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When I am with you, my daughter, I also turn into a child: I forget the world for the joy I feel. Worries decrease and I forget all my problems, Particularly when we talk to each other, you and me together. |
I tewengu “worries” (Std. makero)
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3. |
Sauti yako laini na maneno nusu nusu Husikiza kwa makini kila mara kikubusuI Kukosa langu ini ni kama kutiwa kisu Ni wewe nimekuhusu kwenye nduzo wote piya |
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Your soft voice and half-spoken words, When I listen to you carefully, always kissing you— To miss you, my heart, it feels like a knife is stabbing me. I wrote this poemII for you from among all your siblings. |
I kubusu mtoto “to kiss the child.” This is only done when the child is young; the relationship changes once the child grows up, as Mau underlines. | II The title of this poem, Kipande cha ini, (Ar. faldhat alkibdi) “a piece of liver,” is taken from Mau’s memory of an Arabic poem by the Arabic poet Hatwan Innu Almualla, with a line reading, “our children are livers walking the earth.”
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4. |
Kuwa nawe ni anasa ni pumbao kubwa sana Ni raha isiyokwisa kuwa nawe wangu mwana Starehe nimekosa na rafiki wa kunena Dhiki mno nimeona ghafula kunikimbia |
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To be with you is an entertainment; it is a great delight. It is an endless happiness to be with you, my daughter. I have lost interest in all pleasures and have no friends to talk to; I am full of agony because of your sudden departure. |
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5. |
Mwanangu nikikulisha ziyazi mayai nyama Na niwapo na kunywesha soda matama matamaI Mwanangu hunikumbusha mke wangu wako mama Kawaza mengi ya nyuma siku zilotangulia |
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My daughter, when I feed you potatoes, eggs, and meat, And when I give you small sips of soda to drink, My daughter, you remind me of my wife, your mother. I have been thinking a lot about our past, in former times before you. |
I kupiga tama “to take a sip”
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6. |
Mwana ukija dukani kumwuliza AmitaI Ukingia hata ndani alipo kumfuata Hata naye masikini mayondi amempata Hana tena wa kumwita na maneno kumwambiya |
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My daughter, when you come to the bakery, you look for Amita. Whenever you would come in, you would go to where he was. Even he is now sad, taken by grief; He has nobody to call him nor speak to him. |
I Amita: mchomaji wa mkate katika duka “one of the bakers in the bakery” whom Azra liked very much.
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7. |
Mwanangu sineni sana kanena yasoneneka Kipenda Mola Rabbana mwanangu hutosumbuka Na siku ya kukutana natumai itafika Siku hiyo tatushika mno kukukumbatia |
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My daughter, let me not talk too much, lest I say words that should not be uttered. God willing, my daughter, you will not suffer. And I hope the day for us to meet will come soon. On that day, I will hold you tight and embrace you. |
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8. |
Yondi lako Azraa litengenye na wengine BaliteI sasa hiyau ana hamu akuone Muhudati hasahau kukutaya ukezene Na bibiyoII nimuene ungiziye mazoea |
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When you leave, you also make others sad. Balite longs to see you immediately; Muhadati doesn’t fail to mention you constantly. I have seen your grandmother; she has grown used to your presence. |
I Balite refers to Azra’s half-sister Barike, who was born to Mahmoud’s other wife and is one year older than Azra. When she was little, Azra could not pronounce her name well; thus, she called her “Balite.” Muhadati refers to Azra’s half-brother, who is the same age as her. | II Bibiyo here refers to Ustadh Mau’s mother.
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9. |
Kauli yangu tammati hapa nafunga shairi Nakuombeya kwa dhati na dua tazikariri Mungu akupe bahati kama mwezi unawiri Uwe na moyo wa ari, wa umma kutumikiya |
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My words have reached their end; I am concluding the poem here. I am praying for you with all my heart, and I recite these prayers. May God grant you good luck so that you shine like the moon And that your heart is determined to serve the community. |
4 Mola zidisha baraka (“God Increase Your Blessings”)
Ustadh Mau composed this poem in shairi form on behalf of his daughter Hannan on the occasion of the one-hundredth anniversary of the school she attended. Kenya High School is one of the most prestigious and traditional boarding schools for girls in Kenya, whose graduates typically hold high-ranking positions in Kenya (see also stanzas 2 and 3). The school, located in Nairobi, traces its beginnings to 1910. Originally a colonial school for British pupils, the first African girl was admitted in 1961. In 1974, the Kenyan government took over the school. It is very rare for children from the coast to attend this school, since enrolment depends on excellent results at school and on the national test.
The poem takes the form of a dua, a prayer or invocation, which is emphasized from the first stanza and throughout the chorus—the last line of each stanza. The dua gives the poet the opportunity both to express his gratitude and to list the merits of the school, while at the same time praying for a blessed future. The poet refers to different positions in the school; to a large extent, the school has retained functions and institutions that date back to colonial times: the symmetrical architecture of boarding houses supervised by matrons (see stz. 6) and prefects. Mahmoud compares the headmistress to a captain (nahodha) in firm control of a ship, i.e. the school. He underlines the importance he attributes to education in a “changing world” (stz. 13) and, particularly, encourages the girls to work hard and not consider themselves different from boys (stz. 14). Concluding the poem (see the last stanza), Mahmoud does not sign the poem in his name, but rather in the name of his daughter Hannan, ascribing the poem’s composition to her. This is not unusual: in poems composed on commission, he does not mention himself as the author of the poem. The poem was first translated by Ustadh Mau’s daughter Azra, whose translation we have slightly amended here.
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1. |
Twamshukuru Mannani Mola wetu msifika Kamili moja karini shule imekamilika Kenya High nda zamani bado haijazeeka Mola zidisha baraka |
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We thank the All-Knower, our Lord, the most exalted. One full century, this school has reached. Kenya High is antique, but it has not become old. God, increase your blessings. |
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2. |
Kupitia shule hini ni wengi wamezotoka Wameenea nchini hata ng’ambo wamefika Watele madarakani makubwa wameyashika Mola zidisha baraka |
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Through this school, many have passed, Scattered all over the country, even lands overseas. Plenty have reached positions high up in the hierarchy. God, increase your blessings. |
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3. |
Walotoka hapa ndani alifu tano hakika Ni kama nyota angani wameta wamemetuka Kenya High kwa yakini ni shule ya kutajika Mola zidisha baraka |
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Those who came out of there, for sure, five thousand in number, They are like stars in the sky, shining so bright. Certainly Kenya High is a school with a reputation. God, increase your blessings. |
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4. |
Uvionavo majini vinaolea kumbuka Vimeundwa kwa makini imara vikaundika Hayawi kwa kutamani mambo kwa kuwajibika Mola zidisha baraka |
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The boats you see floating on the water, remember, They were meticulously made; strong they have been built. The boats cannot be made by just wishing them into being; producing the boats takes responsibility. God, increase your blessings. |
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5. |
Kenya High mujueni chombo kisotingisika Kwanza mshika sukani ni nahodha asoshaka Rose Mary ni makini na hana kubabaika Mola zidisha baraka |
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Know that Kenya High is an unwavering vessel. First and foremost, the steersman is a real captain, without a doubt. Rose MaryI is confident, with no apprehensions. God, increase your blessings |
I Rose Mary refers to Rosemary Saina, who was the headmistress of the school from 1999 to 2015.
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6. |
Ana na wake wendani pamoja wajumuika Walimu madarasani vema wamelilimika Wasimamizi mabweniI ni wazuri kadhalika Mola zidisha baraka |
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And she has her colleagues; they all come together. Teachers in the classrooms, well educated they are. And the dormitory matrons, they are also good. God, increase your blessings. |
I Kenya High School still retains the original structure of the school, dating back to colonial times, consisting of ten boarding houses (mabweni). There is a resident matron for each block, mostly consisting of two dormitory houses.
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7. |
Askari mlangoni kwa kazi hana dhihaka Na wale walo jikoni ni mafundi wa kupika Kadhalika ofisini hisabu wema waweka Mola zidisha baraka |
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The watchman at the gate, he takes his job seriously, And those in the kitchen, they are specialists in cooking. Also, in the office, the accounts are well kept. God, increase your blessings. |
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8. |
Bodi yetu ya shuleni ni sana wahangaika Wafanya juu na chini bidii bila kuchoka Shule hakukosekani kila cha kuhitajika Mola zidisha baraka |
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Those on our school board struggle a lot; They do everything they can, relentlessly making an effort. The school does not lack anything that is needed. God, increase your blessings. |
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9. |
P.T.A. kumbukeni mwito sawa yaitika Wa wajibika kazini mzigo waloitweka Hawalumbi asilani na wala kulalamika Mola zidisha baraka |
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Also think of the PTA;I it answers its call. Those who have taken over responsibility at work have shouldered a burden; Yet they do neither proclaim, nor do they complain. God, increase your blessings. |
I PTA = Parent-Teacher Association, one of the oldest committees of its kind in Kenya.
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10. |
Twakariri shukrani kwenu nyute wahusika Mwaijenga shule hini na kazi yatambulika Twawaomba sichokeni na wala kupumzika Mola zidisha baraka |
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We reiterate our gratitude to all of you concerned. You are building this school, and your work is recognized. We ask you not to stop, nor to take a break. God, increase your blessings. |
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11. |
Tukaribu kikomoni shairi kumalizika Twaomba Bwana mbinguni dua yetu kuitika Atubariki suteni Mungu kwa zake baraka Mola zidisha baraka |
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We are reaching the conclusion; the poem is coming to an end. We ask God the Most High in heaven to answer our prayer. May God bless us all with his blessings. God, increase your blessings. |
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12. |
Tupe nchini amani, tuzidi kumakinika Nchi yetu tujengeni ipate kunawirika Kwa shime tumalizeni ufisadi kutoweka Mola zidisha baraka |
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Give us peace in our country; stable we shall become. Our country we should build, so that it blossoms. With vigor we must finish it; corruption should disappear. God, increase your blessings. |
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13. |
Kabla kueka chini kalamu niloshika Wasichana tusomeni tutukue madaraka Nyuma tusijiwekeni dunia yenda haraka Mola zidisha baraka |
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Before I put down the pen I am holding, Girls, let us get educated; let us take responsibility. Behind we should not stay; the world is moving fast. God, increase your blessings. |
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14. |
Hatuna la punguani ametuumba Rabbuka Sawa na wetu wendani wanaume bila shaka Tusiiyone ni duni na moyo tukavundika Mola zidisha baraka |
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We are not deficient in the way God has created us. No doubt, we are equal to our fellow men. We should not look down on ourselves or be discouraged. God, increase your blessings. |
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15. |
Twashukuru wageni kuja tumefurahika Ndenu nyinyi shukrani nyingi zisomalizika Na mwisho ni kwaherini karibuni mukitaka Mola zidisha baraka |
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We thank our guests; we are happy you came. You deserve many, even countless thanks. Lastly, I say goodbye, and welcome back if you want to return. God, increase your blessings. |
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16. |
Jina langu ni Hannani shairi nimeandika Kushukuru wa mbinguni kutimiza mia nyaka Shule yetu twathamini daima twaikumbuka Mola zidisha baraka |
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My name is Hannan; I wrote this poem. I praise the One in heaven; may He let the school reach one hundred years. We value our school, and will always remember it. God, increase your blessings. |
5 Yasome na kukumbuka (“Read and Remember”)
Ustadh Mau composed this poem for his daughter Nadya on the occasion of her wedding on May 28, 2010. The poem is composed in utendi meter and consists of only twenty-one stanzas. The poet calls it a short letter, which he decided to compose for her because she is departing from home and starting a new life with her husband. Having been composed for a specific occasion, the poem was conceived as a gift that the father and poet Ustadh Mau felt the urge to compose. As in many other poems, Ustadh Mau does not refrain from speaking the truth about the life that his daughter is about to embark on, i.e. the ups and downs, problems, rough tides, and turbulent winds she will have to face. He exhorts his daughter to be ready for all of this, and portrays her as a good captain gifted with calmness, charm, and intelligence. Nadya is the fourth child born from his first wife; she is their second daughter. Ustadh Mau urges his daughter to read and to heed his warnings and wishes. We have revised the previous translation of Mohamed Karama here.
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Bismillahi ar-raḥmān ar-raḥīm |
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1. |
Bismillahi awwali Nakuombawe Jallali Unifanye sahali Kwamba nalokusudiya |
In the name of Allah, first and foremost, I ask you, Lord: Make it easy for me To say what I intend to say. |
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2. |
Nia na yangu kusudi Ni machache kuradidi Kumpa yawe zawadi Binti yangu Nad’ya |
My aim and goal Is to repeat a few points, To give them as a gift To my daughter Nadya. |
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3. |
Binti yangu kumbuka Sasa kwenu huondoka Wendao kujumuika Na watu wako wapiya |
My daughter, remember, You are departing from your home now. You are going to intermingle With your new kinsmen. |
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4. |
Fahamu wangu binti Watu huwa tafauti Sharuti uidhibiti Kuishi nao pamoya |
Understand, my daughter: People are different. You need to control yourself To live with them. |
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5. |
Ifunde uvumilivu Usitamke maovu Wala usiwe mzivu Wangine kutegemeya |
Teach yourself endurance. Do not utter bad words. Do not be lazy So that you need to depend on others. |
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6. |
Ya kinya twabiya yako Siiwate hata hoko Singiliye liso lako Angaliya moya moya |
Silence is your character trait; Do not give it up, even there. Do not poke your nose into something that is not yours; Take care of one thing at a time. |
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7. |
Mwendo kitenda makosa Jaribu kuikukusa Yakikushinda kabisa Huna budi kumwambiya |
When your fellow man makes a mistake, Try to restrain yourself. When you are absolutely not able to, You have no choice but to tell him. |
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8. |
Mwambiye kwa taratibu Sidhihirishe ghadhabu Wala sikose adabu Ya matango ukataya |
Talk to him softly; Do not show anger, And do not lose your good manners, So that you don’t utter bad words. |
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9. |
La wajibu tekeleza Na zaidi ukiweza Mwendo kikaza regeza Kushindana siyo ndiya |
Fulfill your duties, And go beyond them if you can. When your fellow man pulls the rope tightly, loosen it; Quarreling is not the right way. |
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10. |
Mwanangu kula wakati Kukizuka tafauti Sipende kuweka kitiI Nguo mai kuvuliyaII |
My child, every time A disagreement erupts, Do not make any effort to prolong it By rolling your sleeves up to fight. |
I -weka kiti lit. “to put a chair”—an idiomatic expression that means “to provoke an argument and make it go on.” Ustadh Mau notes, Ikitokea tofauti kukosana na mtu, pengine na mtu yeyote nyumbani, shemeji yake ama mama ya mumewe, asifanye mambo marefu ya kugombana na kujibizana maneno. Yaani usifanye ule ugomvi ukajiandaa na ukataka uendelee (“If a disagreement surfaces and she has an argument with someone else, e.g. the brother-in-law or the mother of her husband, she should not make any effort to prolong the fight or the exchange of words”). | II nguo mai kuvuliya lit. “to take off the clothes to have a bath”; it is an idiomatic expression: “to be eager,” “to be prepared for something,” here “not to be able to wait,” or in this context “to be prepared or even eager to fight.” Ustadh Mau notes, kujitayarisha kwa ugomvi. Ikiwa inatokea kwamba kwa bahati mbaya wamekoseana asiwe amejitayarisha mapema, amejiandaa kugombana (“to prepare oneself for a fight. If it unfortunately happens that they do wrong to each other; she should not be the one prepared and eager for a fight”).
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11. |
Jaribu sana kwepuka Utesi utapozuka Ndipo utasalimika Amanini kusaliya |
Try as much as possible to avoid Indulging in conflict; Then you will be secure. In peace you shall reside. |
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12. |
Jaribu kumfahamu Mwendo ni mwanaadamu Hupatwa na hali ngumu Mambo yakamtatiya |
Try to understand him: Your partner is a human being. He is confronted with hard times, And things may trouble him. |
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13. |
Elewa kuwa maisha Hushusha na kupandisha Mara huzinya huwasha Ndiyo yake mazoweya |
Know that in life, There are ups and downs. Sometimes the fire smolders, sometimes it’s stoked: That is its nature. |
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14. |
Kuna jongo na kunyoka Na mambo kubadilika Mara miuya huzuka Shuwari ikapoteya |
There is roughness and smoothness in life, And things change. When huge waves appear, Calm waters no longer exist. |
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15. |
Kuwa na sawa zipimo Kwa kubishaI na ya homoII Aso taa ni tomomoIII Haidumu hali moya |
Be in good balance, Traveling against or with the wind. The one who does not have a small basket, has a long one, But they do not persist for long. |
I kubisha “to cross with a boat,” a difficult way of steering a dhow against the wind, since one has to change the sail’s position again and again. | II ya homo, “an easy journey going with the current and the wind”; Ustadh Mau adds, Safari haina shida yeyote, upepo mzuri, maji yanasaidia. Wewe unakaa kwenye mashua ama jahazini na huna taabu yoyote (“Such a journey does not cause any problems, since there is a good wind and the water current also helps. You just stay in the boat or dhow without any problem”). Kubisha and ya homo are antonyms. Ustadh Mau adds, Haidumu hali moya. Maisha si sampuli moya kila siku. Siyo siku zote kwamba una furaha, wakati mwingine, mambo ni ya maudhiko (“The situation never remains the same. Life is not the same every day. It is not that you are happy every day. Sometimes, things are also painful”). | III taa “a kind of small, narrow basket with a handle”; tomomo “a kind of long basket, primarily used by builders of dhows (mafundi wa kuunda jahazi).” Aso taa ni tomomo is a saying meaning that one is either in a situation of happiness or despair, but as the last kipande adds, neither of them lasts for long.
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16. |
Mwanangu kuwa tayari Kwa mambo yatayojiri Kuwa nahuza hodari Kukitokeya miuya |
My daughter, be ready For everything that will happen. Be a good captain When rough tides come. |
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17. |
Kwa shuwari sighurike Kwa wimbi sibabaike Sukani yako ishike Na dira kuangaliya |
And calm water should not deceive you; High waves should not worry you. Hold your steering wheel, And look at the compass. |
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18. |
Maisha yana asali Na hayakosi subili Na mja mwenye akili Yote huyatarajiya |
Life has honey in it, And does not lack aloe, And the intelligent human being Expects both. |
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19. |
Mwanangu mwendao mbali Kuishi nae mvuli Tafauti yako hali Nduzo walotanguliya |
My daughter, who is going away To live with her husband, Your situation is different now: Your siblings have already gone through it. |
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20. |
Ndipo nami kaandika Hunu mfupi waraka Usome na kukumbuka Nimekupa ni wasiya |
That is why I wrote This short letter, For you to read and remember. I have given you a poetic legacy. |
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21. |
Kauli yangu tammati Hukuombeya kwa dhati Nyota njema ya bahati Mwanangu kukuwaliya |
I conclude my words. Earnestly I pray for you; A star of good fortune Should be yours, my child. |
A recording of this poem is freely available online at
See Clarissa Vierke, “Im Gebälk die Fledermäuse. Figurationen der Vergänglichkeit und der Täuschung in der klassischen Swahili-Dichtung,” in From the Tana River to Lake Chad. Research in African Oratures and Literatures. In Memoriam Thomas Geider, ed. Lutz Diegner, Raimund Kastenholz, Uta Reuster-Jahn, and Hannelore Vögele, Mainzer Beiträge zur Afrikaforschung (Cologne: Köppe, 2014), 285–309.
The dilemma of the mungwana, who cannot speak about his financial crisis and is accordingly judged as arrogant, is the topic of the poem Mlango.
See also Mohammed H. Abdulaziz, Muyaka: 19th Century Swahili Popular Poetry. (Nairobi: Kenya Literature Bureau, 1979).
See also the picture in James Vere de Allen. (ed.). Al-Inkishafi. Catechism of a Soul by Sayyid Abdalla Bin Ali Bin Nasir. With a translation and notes by James Vere de Allen. (Nairobi, East African Literature Bureau, 1977).
See Abulaziz Muyaka, 272.
Allen, Tendi: Six Examples of a Swahili Classical Verse Form, 69, stz. 18.; Werner, Alice and William Hichens. The Advice of Mwana Kupona upon the Wifely Duty. The Azanian Classics 2. (Medstead: Azania Press, 1934).
William Hichens. al-Inkishafi: The Soul’s Awakening. (London: Sheldon Press, 1939).
Abdulaziz, Muyaka: 19th Century Swahili Popular Poetry, 223.
Allen, Tendi: Six Examples of a Swahili Classical Verse Form, 60–61.
Allen, Tendi: Six Examples of a Swahili Classical Verse Form, 58–59.
See Clarissa Vierke. “Frau Betelpfeffer und die lustvollen Stunden. Die Inszenierung sinnlicher Erfahrung, Erinnerung und Erwartung in früher Swahili-Dichtung,” In Lena Henningsen, Kai Wiegandt and Caspar Battegay (eds.): Gegessen? Essen und Erinnerung in den Literaturen der Welt. (Berlin: Neofelis, 2019), 125–148.