In the poetics of the road: the crossings of Moulay Hammad Ehihi
“The only good that is like gold is the road.” Sargon Polos
Rarely does the listener of the musical and poetic works of the musician Moulay Hammad Ehihi find a separation from the poetics of the road, as this poetry remains a special characteristic and a feature evident in his poetic worlds, in which the senses stumble with vocabulary that belongs to the semantic world of the road, with places of crossing and by feet, with labyrinths and with apprehension about getting lost and lost, as they should That his steps be balanced and what he calls Milan, with paths, reefs, travel, his trips, companionship, and the mind that checks destinations and impenetrable paths. Amazigh, who made the hormone of travel one of the hormones of entitlement to affiliation, and who made tourism on earth the necessary condition for creating poetry.
Moulay Hammad Ehihi’s poetry is a poetic that gives the road its special status, and is preoccupied with clarifying the requirements of the cosmic cultural metaphor, which considers life in general as a bridge to cross to other worlds, and it is the metaphor that operates in the religious and mythic imaginary cosmic and constitutes a cultural synthesis existing self, according to which a narrative is based Existence on specific moments, the moment of existence in the earthly world, the moment of the apocalyptic borders, and the moment of the upper world, and from this established narrative flows glorifying aesthetic and cultural images of transit, and in it the form of the human imagination for itself places that embody the desire for the next residence of the reality of travel, as we find in Ithaca and in Mount Qaf Ali way of representation.
Moulay Hammad is one of those who know cosmic rhythms, but he is a poet of the road, not because the Amazigh poet has made his existence similar to Troubadour, but because the road, his poetic obsession, which he looks at contemplates his experience in all the works he formed through a fertile poetic path; Which this paper assumes is the imaginary symbolic structure that organizes its semantic worlds, and accordingly the research in this aspect can play an exploratory role for the manifestations of the presence of the road as a poetic place and as a symbolic structure.
In his tagged text “Prevent time,” we find the following passage:
Imn3a zman imn3a zman
Ik sarbh rebbi awdagh ifln akn tugh
Ahli thnagh igut flla watan nk
The loneliness of the traveler on the road shows us what is a space for crossing, a metaphor for life, and the truth in its complexities, an isolation that tramples the depths of the poetic self, pain and a heavy burden that impedes the smoothness of step and puts traps on the body.
In another poetic text marked with “Maybe the seed of Islakamen and Riglon,” the poet exclaims in search of ways that lead and save the being from the possibility of loss and the possibility of wandering, in his search for the eye that does not exhaust and does not wear out, wondering about the best springs to be the aspiration and goal of the soul, thus the question arises Possessed by the desire for knowledge.
Maygan ugug iaamern ur sar ijla amani
In praise of the road, the poet writes with the same arrogance in his text “Egaknig Choras” about high places and the necessity of being patient, because the road is not crossed by the being with the feet alone, but with the heart, which requires flexibility and perseverance.
Imlagh lgherb imudal Ighd ngiz ngas
adar Ighak nigh
chwras iwul nk awa chowras
Tadsa d lferh wadan ak sul isalan azal Zik
sul ayad ayadar ighdi trmit imudal
Walking on the path of the night is not the same as walking on the path of the day, when night joy becomes a daytime tragedy, the realization of which led the poet to beg the feet to stand on the outskirts of the road before fatigue overwhelms the body and soul alike.
In the same place, the body reported that the road has its soul and its being, and it began to ask about its distant unknowns, and about its destinations, expecting it to know its destination, as in the text of “Gili Satawi Takut Aman”
Atasukt ur ihudin mani satawit
Kulu magim itazaln ira sul rmin
Where love advances as a being's guide to the
paths of path Aragh imal lhub nkra tigharasin
and the sense is equal to the signal generator and unibody in his Ontology travel.
And just as the road guides the body, it makes the mind feel hardships and keeps it under terror and torment due to the length of the journey and the distance to the destination, says Moulay Hammad
Ihihi
The road is not a place for human beings to cross alone, it is also a space for crossing feelings ,
states and obsessions
idarn
In many cases, treachery, delusion, and loneliness are not the nature of the road, but it is also the nature of the old, in his poetic work “Here to Aarak Abu Wazar.” The poet says
Ar jaflah atasanu tgit tahwawit
Ar nlla zund igigil ur sul nhda yat
Irhmek asidi hmu bab
Ifnumargmannan adar lighayjlu idukan
The road and its poetry is a poetry of pain, it is not just a distance that the self crosses to reach, the urgency of that may lead the being to doom, the pleasure is in crossing, not in reaching, the poet says
Ha laar nk abouwazar asik ur izerb udar
that the path of the road that the poet crosses in a text entitled “The passion Daumark Imimn” is represented in two moments, the moment of the journey, where the search for passion and inspiration, and the moment of arrival, where the desire for friendship is with the people of passion and
the
youth
of the
Amark atassa ibrayn manigh
Rad afigh isafrn ijruh nm
Thus love is almost like a road, in its need for patience and perseverance, they are confused in entwining a path, necessarily difficult
Tayri tmn3a tga asawn awalit
Ur isen agis itjeramn the poetic
self’s need for companionship to acquaint himself and to keep away from the loneliness of the road, is what was expressed in the text “
Urufigh mada tmunagh nga bda wahduyagh
Wana mi nagh anmun ina waxa tabaaghi
Yumzagh afous ifkagh jilunis a
The path remained the poet’s destiny, his heaven and his hell, and the search for a companion to sympathize with him continued to be his ideal goal. In the text of “Ayasmun” we read the following passage describing what the poet’s soul experienced in its harsh
passages. Wayay yay ayasmun
Njla fllak ikhfinu nasi did
Ng aghribi
Laaql da fak trssa dunit
idayy nklla du ugharas ider flllagh l3ajaji
Irwas ukkan izd lherz ayi turit nzugi
My existence has been destined to find vacancy in the streets, looking for love that resides in impossibility, tormented by the mirage that the eye can imagine and seduces all the senses.
The wandering is the truth of the way, in a poetic text entitled “Wa wurid a vein” the poetic self chants begging her lover to return before the veil falls on her and the sign that guides her to the straight paths is
lost. Wa wurid urid akra tjli maradak
skrgh
Izwaragh udarnagh
Adrar amid isutul
Laaql kad ur nla
ur nsn madagh ira , in the text marked “Izwaragh udarnagh Adrar,” the being becomes submissive to that mysterious desire
. A particular path is difficult, the poet says in his poetic record “Ghikad Atket”
Agutn igharsn gh igi wakal gan akk
Atasa ira lghchim ayjlu ngr isafn
Igh ida ard izerb udar yan idu laht
Ukan ifk ilkhla tillas agha tgawarn.
However, the road requires, according to the poet Moulay Hammad Ahihi, the balance of steps, the unity of awareness and the vigilance of the soul, and that is what it requires in order to avoid horrors. Han amdn
ya yichwern arnit tnjahn
Igha ftun anit izga tawdans Kulma tzrit
ikhla maygan sibans
Idfur zin aligh ijla tagada ns
Tourism and wandering are impossible in Moulay Hammad Ihya’s poems as a means of exploring knowledge and gaining secrets towards travel. He makes the self take the path and its journey a form of temptation and temptation, the poet says in his text “Talimont”
Anmun nki dik rwah
Njlu ka gh igi wakal
Ard nsn magis illan In
the same text the poet addresses his foot, urging it to return after his foresight and intuition that a particular road is blocked . Life is nothing but a bridge in a poetic imaginary in which the text of “Ayamark” reveals that life in general is a travel station, so the question rises from the depths of the poetic self , Adunit mayftan mad ighaman , his companion in his crossings is the Amarak with all its semantic intensity in the Amazigh symbolic life, with what is verbally shared by longing and poetry. Is ukan dik nmun ard nzer manik Aaaayamargi
* Ahmed Bouzid: Moroccan writer
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