TEMPORAL TAPESTRY: NAVIGATING THE ESSENCE OF TIME THROUGH

MYTHOLOGY, LITERATURE, AND SONG

January 1, 2024

By Mahmoud M. Jama

________

Time is too slow for those who wait.

Too swift for those who fear,

Too long for those who grieve,

Too short for those who rejoice,

But for those who love, time is eternity.

Henry Van Dyke (1852–1933)

In ancient Greek mythology, Chronos, Aion, and Kairos collectively offer different
perspectives on the complex nature of time.

1. Chronos: Represented as the personification of time, Chronos is often depicted as an

old, wise man. Unlike Kairos, he is associated with the concept of linear, sequential
time—the measurable and chronological aspect of time.

1. Aion: Aion is a deity representing the concept of eternal time or the eternal and
cyclical nature of the cosmos. Often depicted as a cosmic deity, Aion symbolises time
in a broader, cosmic sense, transcending the linear nature of Chronos.

1. Kairos: The god of opportune moments, Kairos is often depicted as a young man
with a lock of hair hanging down over his face. Unlike Chronos, who represents
chronological time, Kairos embodies the opportune moment, emphasising the
qualitative and timely nature of specific events.
The exploration of time as a potent force shaping destinies is a universal and powerful
theme in human storytelling, found across cultures and literary works. From the timeless
works of Shakespeare and Dickens to the poignant verses of Somali poetry, literature
collectively bears witness to the profound significance of time. Despite our evolved
understanding since the era of mythology, the enduring connection between emotions and
seasons persists, prompting individuals to perceive time as a deity shaping destiny. This
shared human perception, depicted in Western classics and Somali poetry, transcends
cultural boundaries, emphasising the marvel of time.

In the opening lines of Charles Dickens' "A Tale of Two Cities," he eloquently captures the
contrasting sentiments and opinions of people in the depicted time, highlighting how the
best of times for some may be the worst of times for others:

"It was the best of times; it was the worst of times; it was the age of wisdom; it was the age of
foolishness; it was the epoch of belief; it was the epoch of incredulity; it was the season of light; it was
the season of darkness; it was the spring of hope; it was the winter of despair; we had everything
before us; we had nothing before us; we were all going direct to heaven; we were all going direct the
other way."

An example of the omniscient portrayal of time can be found in Gabriel Garcia Marquez's
"One Hundred Years of Solitude." In this novel, time is depicted as cyclical and
interconnected, with the narrator possessing an omniscient view of the Buendía family's
history. The narrative spans generations, blending past, present, and future seamlessly.
Events and characters' fates are revealed with a sense of inevitability, creating a rich tapestry
that underscores the timeless and interwoven nature of the story's temporal dimension.

***

Previously mentioned, in both poetry and songs, time is depicted as a deity with
characteristics resembling an all-powerful force. This portrayal is exemplified in the
Sudanese song "‫( "يا زمن‬Oh, Time), where time is presented as possessing immense power,
personified to the extent of deserving reverence. The lyrics convey a perspective where time
is not merely a passive observer but an active participant in shaping destinies:

"O, time, pause for a few moments. O, time, have a little mercy.

"‫اهدى لى لحظات هنيه‬....‫يازمن أرحم شوية‬....‫"يا زمن وقف شويه‬

The chorus implies a profound acknowledgment of its influence, suggesting that time holds
the key to both challenges and blessings. This portrayal reflects a cultural recognition of
time's significance and its impact on human experiences.

"The philosophy of time among Somalis is evident in various customs, reflecting a rich
cultural tapestry. In some pre-Islamic practices, such as 'Nayrus' in coastal communities
with historic ties to Iran or Persia and 'Istunka' among inland people situated between two
rivers for harvesting rituals, we witness a nuanced understanding of time. Nowruz,
associated with the Zoroastrian tradition, exemplifies this intricate tapestry, signifying the
Persian New Year and the onset of spring. Celebrated originally by Iranian peoples, Nowruz
has transcended borders, reaching various parts of the world, including Central Asia, East
Africa, the Caucasus, South Asia, Northwestern China, the Crimea, and certain groups in the
Balkans."

Even though these traditions have faded away due to Islam, the psychology of Somalis has
retained them, and this phenomenon is still observable in Somali literature and songs.
Specifically, Tubeec's "Heesta Sannadka Cusub" serves as a reflection of ancient Nayruus
rituals. In Nayruus, people would hurl fire forward in an attempt to combat the
approaching year, chanting "shuushow bax," meaning "let no calamity come." Similarly, the
narrative in the song "Sannadka" addresses the upcoming year, urging it to be favorable. It
states:

“Sannad waliba hoodiyo

Hawl iyo dhibaatiyo

Wuxu haddimo leeyahay

Waa laga helaayoo

Hadhow lagu xasuustaa

Kii noo hagaagee

Noqo loo hanwaynyahay.”

"As each year unfolds with memories, carrying both joy and strife, I call upon you, (coming
year), to be the vessel that fulfils our hopes and desires."

In the Somali songs, the portrayal of time often carries a negative connotation, with each
verse emphasising its role as a symbol of hardship. This recurrent theme suggests a
prevailing sentiment of struggle and challenges within the cultural context. The lyrical
emphasis on the difficulties associated with time might reflect broader societal experiences
and the resilience required to navigate them. For example, when you listen to some of the
most popular Somali songs, they often address the theme of "time" in the following way:

Amina Abdullahi:

"Weligeed adduunyada

Waqtigaa qof saacida

Midnawaayahaa xidha

Labadaasi waxan ahayn

Horaa looga waayo,

Waa nin iyo waagii."

Saalax Qaasim:

"Waqtigu nacasaysana

Waayuhu yaab badan ogaa"

Shaymire Dacar:

"Adduunyadu wareeriyo

Welwel iyo dhibaatiyo

Alla waaya badanaayeey;

Waqtibay la sarakaceey."

Xalwayste:

"Waayaha adduunyada

Werwer iyo dhibaatiyo

Wareer lagama waayo."

Tubeec:

"Waqtiyoow dhibaatada

Dhalinyaro intaan ahay

Haysoo dhawaynine

Waxaan ii dhamaynayn

Sharaftayda dhawrayn

Dhagaha iyo aragaba

Ka dheeree agtayda"

All these songs reflect a poignant critique of 'Time', portraying it as a merciless force that
denies the fulfilment of our desires; they explicitly claim that time is solely responsible for
our fate. This perspective not only serves as a commentary on individual struggles but also
hints at broader societal challenges influenced by the pessimism of time.
In the eloquent verses of Maxamuud Carraale's soulful song, "Waalalley," the introductory
lines resonate with optimism, portraying time as a benevolent force that nurtures personal
growth and shields individuals from life's disturbances.

“Marbuu ku wanaajiyaa,

Wakhtigu kuu hiiliyaa,

Walaalkii, kaa dhigaa

Sidii waqal kuu da'aa.”

**

Mar baad kala weecataan,

Waayuhu, cadaw kuu noqdaa

Wacdiga aadmiga fartaa,

Marbuu wari kuu dhalaa,

Adduunyooy waalalleey”

These words paint a canvas of hope, where time becomes an ally, guiding one towards
aspirations. Yet, as the lyrical journey unfolds, a poignant shift occurs. Carraale's sombre
verses unveil a more pessimistic perspective, casting time as a deliberate antagonist capable
of inflicting ruthless wounds upon humanity. The poet's poignant personification of time
reveals a nuanced exploration of emotions, capturing the dichotomy between its nurturing
and merciless facets.