Book Excerpts
Presented here are selected excerpts to provide the reader with a sense of breadth and depth to the overall tone and structure of the book.
The initial passages introduce the topic and describe the rigors of travel to Siwa. Then follows a description of the Marzuk-Iskander festival (mulid) and the physical setting where the Siwan elders chant the epic …
From the Introduction:
Five elders stood before us as the drumming increased in tempo and the fires cast their spitting embers skyward. The five walked slowly to a semi-circular place below the ruins of Aghourmi Mountain – a flat-topped outcrop – capped by the temple ruins. There, they took their seats of honor. We attending remained still in anticipation as tensions rose and flowed across the clearing. The evening cold was muted by an acacia brush and animal dung fire whose flames cast flickering shadows upon the smooth rock wall below the temple. Moonlight revealed the eager faces of hundreds seated on the dusty flat of cracked dried salt at the base of the rising mountain fortress.
The drumming crescendo increased in sound and tempo as gnarled hands continued their rhythmic pounding. The drumming resounded from cliffs ringing the valley. The tempo increased further: a blurred motion of hands striking the taunt dried skins of stinking sheep bladders stretched across elongate cylinders of clay. Rhythmic patterns darted across the darkness entering the spines of those assembled sending shivers of anticipation. The dung and brush desert fire flared and spit: sparks swirled skyward into the darkness of the star-studded sky.
All eyes rested upon the five elders who were dressed in robes of spun white wool, garments that resembled ancient Greek togas. The elders took their places at the edge of the flickering boundary of dark and light. The assembly grew still in anticipation, only the shrill cries and sounds of night-time birds and insects pierced the stillness. The eldest elder stood and raised his hand slowly; he gazed at the crowd seated on the ground near him. He motioned to his right (to the north) – towards the largest of the signal drums: it was beaten once, then three times more. We were frozen in silence: no sound… as the chant began …
The eldest elder spoke first. When his verses were completed he returned to his chair as the second elder stood to take his turn. The chanted words enveloped the assembly. At the end of each verse the assembly repeated the last line in counterpoint as the elders pulsed and swayed to the rhythms of the drums. Time passed as the chant continued, the sounds rising and falling in intensity: rivulets of sweat flowed down the elders’ faces. Reflected light from the full moon revealed the elders in more detail. Facial cuts and scars denoted their manhood initiation rites and tribal history. Two of the elders had foreheads marked by smallpox scars. As the chanting continued we slipped backward into history as the valley hummed with sounds of syncopated drumming …..
Then follows the author’s English translation of the epic, a story that consists of 2465 lines chanted during the course of the evening …
From the epic [translation] …
1. Back three million fiery dawns, when time was young and distant cold,
2. Westward from the land of Chem, past the sandy sea of fire,
3. Lay the hidden valley Siwa, filled with tauts of water cool.
4. Ringed by cliffs of golden bronze, that changed to silver with the night,
5. No one walked inside the Siwa, this before the time of man.
Assembly: This before the time of man.
6. Back three million fiery dawns, near the sea once called the Vanton,
7. Hunters lived in caves of stone, inside the mountains safe from beasts.
8. Ice was grinding slowly southward, bringing cold and chilling rain.
9. Hunters dressed in skins and masks, painted symbols in their caverns,
10. Signs of magic brushed with blood, chanting for the gods’ protection.
Assembly: Chanting for the gods’ protection.
***
After the oldest lines of the saga are chanted, the verse pattern changes as per these examples …
342. Through the blood red mists of birthing,
343. Gosla screamed – I am the Queen,
344. By her words she stayed the knife,
345. That would have slayed one of her twins.
Assembly: That would have slayed one of her twins.
346. No one heeded spoken warnings,
347. From that distant night of pain,
348. When two are birthed at mother’s time,
349. One must for the other die.
Assembly: One must for the other die.
***
1026. Tella, King of eastern Qara,
1027. Face to face with King Ferzin,
1028. Words were hurled across the clearing,
1029. Ancient words of death-duel challenge.
Assembly: Ancient words of death-duel challenge.
***
1034. Both men rushed towards one another,
1035. Feinting, lunging seeking weakness,
1036. Ever cautious feinting, lunging,
1037. He that erred would find quick death.
Assembly: He that erred would find quick death.
***
1998. Where the river broadened wide,
1999. Helmsmen set against the shore.
2000. Across the desert plain of Sokkar,
2001. Sekhmet guided loving priests,
Assembly: Sekhmet guided loving priests.
***
2014. Mourners carried Nep-et’s coffin,
2015. To the place of highest honor,
2016. Near the crypt where thousands waited,
2017. Near the tomb of god Im-Ho-Tep.
Assembly: Near the tomb of god Im-Ho-Tep.
***
2106. Cambyses traveled through the Black Land,
2107. Erased the names of Chemi Kings,
2108. Destroyed the fine-carved words of Amon,
2109. I am god Cambyses claimed.
Assembly: I am god Cambyses claimed.
***
2118. Cambyses smashed the ark of cedar,
2119. Desecrated god’s own treasure,
2120. Stole the bars of gold and silver,
2121. Stones that shone like greenish eyes.
Assembly: Stones that shone like greenish eyes.
***
2406. Deep inside Aghourmi’s temple,
2407. Ima tended Amon’s image,
2408. She the sacred bride of god,
2409. Knew Zagilie’s prophecy –
Assembly: Knew Zagilie’s prophecy –
2410. He who trembled would take rest,
2411. Stay among them but would leave,
2412. He who trembled – he the Third Priest,
2413. Would return again to Siwa.
Assembly: Would return again to Siwa.
The book has four appendices that complement the text:
- Synopsis of the epic;
- Maps of geographical locations mentioned in the manuscript;
- List of personal names and Arabic/Berber vocabulary for terms identified in the epic;
- Selected original ancient accounts that support elements of the Song of Siwa.
The works of two artists illustrate the Song of Siwa manuscript:
Siwa-related paintings by Egyptian artist Refaat Ahmed appear on the front cover.
Siwa-related sketches by American artist Alison Smith complement the interior text.
Song of Siwa: The Marzuk-Iskander Festival 