PRAYER BEFORE BIRTH translation of poem

TALBA TA' QABEL IT-TWELID
(Qlib tal-poezija "Prayer Before Birth" ta' Louis MacNeice)

Jien ghadni ma twelidtx; iss' isimghuni.
Thallux lill-farfett il-lejl, reddiegh id-demm,
thallux lill-gurdien xih, jew l-ermellin,
jew l-ihirsa, jersqu lejja.

Jien ghadni ma twelidtx; issa farrguni.
Nibza' minn dawk li ghandhom mnejn
wara hitan gholjin jaghlquni,
bi drogi qawwija jraqqduni,
b'gideb mahsub minn qabel, jigbduni u jhajruni,
fuq ghodda sewda ta' hqir jifnuni,
go banjijiet tad-demm igerbuni.

Jien ghadni ma twelidtx; ahsbuli ghall-ilma
biex wara, fih inkun nista' nitbahbah;
ghall-haxix ha' jikber biex jaghtini l-hajja;
ghas-sigar ha' jkellmuni, ghas-sema ha' jghannili,
ghall-ghasafar u ghad-dawl jixghel go mohhi
biex jurini triqti.

Jien ghadni ma twelidtx; ahfruli bil-quddiem
ghad-dnubiet li d-dinja mhabba fija ghad taghmel,
ghal fommi meta jlissen x'hemm mistur go fija,
ghal hsiebi li hu x-xebh tieghi nnifsi,
ghat-tradiment tieghi, imheggeg u mixghul
minn tradituri li ma llahhaqx maghhom,
ghal hajti meta joqtlu bis-sahha ta' jdejja,
ghal mewti meta jwellduni.

Jien ghadni ma twelidtx; ghallmuni bil-quddiem
kif ingib ruhi max-xjuh
meta jwissuni;
u meta l-kbarat jhedduni;
meta l-igbla bla tarf jehduha mieghi u jcanfruni;
jiddiehku bija l-mahbubin;
meta l-mewg abjad isejjahli ghal frughu,
ix-xaghri jghajjatli biex nintemm go fih,
u t-tallâb
ma jilqax l-imhiba li naghtih
u wliedi stess jishtuni.

Jien ghadni ma twelidtx; isimghu talbi.
Thallux lil dak il-bniedem li hu bhima
jew li jahseb l'hu xi alla,
joqrob lejja.

Jien ghadni ma twelidtx; minn issa mlewni
b'sahha ta' ggant
ghall-glieda mistennija ma' dawk kollha
li jridu jkesshu r-ruh ta' bniedem li jien;
li jridu jahqruni u jgibuni bniedem vojt,
jisirquli sahansitra hsiebi,
li jridu jaghmlu minni sinna go magna,
haga b'wicc wiehed,
haga biss u xejn aktar;
u ma' dawk li jridu jxejnuni,
u bhall-ghallis 'l hawn u 'l hemm
itajruni
jew 'l hawn u 'l hemm bhall-ilma minn hofret l-id
ixerrduni ma' l-art.

Thalluhomx jaghmlu minni gebla
u thalluhomx ixerrduni bhall-ilma.
Inkella oqtluni.

JOE SALIBA (tradittur)

GANNI SAPIANO-LANZON

GIOVANNI SAPIANO-LANZON
(1858 -- 1918)
IL-POEZIJA POPOLARI
TAS-SEKLU DSATAX

Fl-istorja tal-letteratura Maltija tad-dsatax il-seklu l-poezija popolari kienet imfittxa hafna. Dawk li kienu jiktbuha kienu ta' spiss responsabbli ghall-pubblikazzjonijiet taghhom u kienu johorgu l-versi u t-tqabbil taghhom f'xi ktejjeb ta' sittax-il pagna, jew f''xi fuljett jew gurnal ta' dak iz-zmien, bhal nghidu ahna Il-Habbar Malti u In-Nahla Maltija. Kien hemm numru sabih ta' kittieba, imma ftit huma li baqghu jissemmew.
Numru sabih minnhom kienu aktar maghrufa ghat-tqabbil milli ghall-poezija akkademika. Mill-ahjar kienu xi poeti tajba bhal Gananton Vassallo, Dwardu Cachia, u Guzè Muscat-Azzopardi. Mal-poeti nsibu wkoll il-versifikaturi, il-qabbiela li, b'versi hfief kienu jiktbu ballati, kurunelli, innijiet religjuzi u fatti u rakkonti minn xi stejjer Maltin jew Taljani. Fil-versi ta' dawn il-kittieba, ghalkemm nieqsa mill-irqim u mimlija sentimentalità, naraw hafna oqsma tat-tigrib ta' kuljum, bhall-imhabba u xi cajta jew taghlima.
Wiehed minn dawn il-qabbiela popolari kien Giovanni Sapiano-Lanzon (1858-1918). Kien poeta, editur, tradittur u stampatur imfittex. Ghandi tnax mill-kotba tieghu li kien johrog regolarment, u naturalment bl-ortografija ta' zmienu. Dak li ser nikkwota mill-versi tieghu ser ingibu bl-ortografija tal-lum. Dawn huma xi ismijiet tal-pubblikazzjonijiet tieghu: Taqbil Malti, Il-Kitarra Skurdata - Jew - Gabra ta' Ghana Amorus, Il-Fraxketta - Fatt Poezija u Il-Habib tal-Ghannej - Jew - Gabra ta' Ghana Malti. Ma ninsewx li dax-xoghlijiet hargu daqs mitt sena ilu.
Wahda mill-ghanjiet favoriti tieghi hi din li gejja, fejn bi kliem drammatiku, dirett u spontanju, deskrizzjoni naturali tas-sentimenti tal-mahbubin, u b'gheluq mhux mistenni, Sapiano-Lanzon jaghtina gost naqrawh illum, kif bla dubju ta' xejn, ferrah lil dawk li semghuh seklu ilu. Ghaddew erba' generazzjonijiet u ma tbiddel xejn...imhabba, namur, u relazzjonijiet personali, bil-ferh u n-niket li jgibu maghhom…

BURRAXKA KBIRA

X'qieghda nilmah? L-ajru msahhab!
Dan kif tqalleb it-temp f'daqqa?
Xita qliel, sajjetti tfaqqa'
Wahda f'wahda; hwejjeg kbar!
Miskin hu min lahaq hareg
U jinsab boghod mid-dar.

Is-silg niezel, u x'kull wahda!
Daqs gellewza tista' tghid.
Jien ma nafx, ma nafx inghid
X'qieghda nhoss fuqi dal-hin:
Ghax Toninu l-mahbub tieghi
M'hemmx li jigi, x'wahda din!

O li kien ma jdumx, jahasra!
Dak il-gojja tal-qalb tieghi.
Dan il-wahx jekk hu jkun mieghi
Malajr kieku kien imur:
Ma kontx nibqa' izjed bezghana;
Hu jderrili kien zgur.

Oqghod: qieghda fil-bghid nilmah
Zaghzugh gej imghaggel lejja;
Jekk jaraw tajjeb ghajnejja
Hadd m'hu hlief Toninu tieghi.
Iva, hu. Jien qalbi qaltli
Li ma jdumx ma jkun hawn mieghi.

Ara, x'jigri! Kif sar xraba!
Kos, miskin, gie biex jarani!
Skenn xi mkien, Nin, biex fi hdani
Xraba toqtor ma tigix.
Ghalfejn hi dil-ghagla kollha?
Jaqaw hsibt li ma ssibnix?

X'qieghda nilmah, destin kiefer!
Mishut l'hu kif tqarraq bija.
Dak mhux Ninu, dak Mallia,
Sid id-dar li 'l hawnhekk gej.
Ghandu jiehu tliet xhur kera;
Imma jien ma ghandix mnej!!

Barra mir-rakkonti ta' xi disgrazzja, poeziji ta' mhabba, sunetti lil hbiebu, tqabbil fuq iz-zwieg, ghanjiet fuq in-natura, tifhir u pariri lil dawk li kien jaf, osservazzjonijiet fuq ix-xebbiet, il-moda ta' dak iz-zmien u l-brikkunati tan-nisa u tal-irgiel, Sapiano-Lanzon jghidilna li kien dejjem lest biex jiehu l-pariri ta' haddiehor, jekk dawn ikunu ta' siwi ghalih. Hafna mit-tghajjir u l-insulti jidher li qed jaghmilhom biex jiccajta, mhux biex joffendi, kif dejjem ghamlu l-ghannejja, anke ta’ zmienna.
Ghazilt dawn l-istornelli mill-kotba tieghu u s-suggett, ghal darb’ohra, hu l-imhabba.

STORNELLI

Fjur tar-rummien!
Inti tlaqtni, mort qbadt iehor;
X'kont tghid kieku tlaqtek jien?

Fjur tal-pitravi!
Morru ghand Nina, ghidulha, jiena
Qed fis-sodda nghodd it-travi.

Fjur tal-bellus!
Halli nghanni ghax ferhana,
Ghamilt paci mal-gharus!

Fjur tal-buzbiez!
Billi 'l hadd ma sibt min riedni,
Kelli mmur nidhol man-nies.

Fjur tar-rancis!
Kxift ma' min qieghda tinnamra,
U jien nafu: bahri Ingliz!

Fjur tal-bzar!
Ta' hmistax jien bdejt ninnamra,
Ta' hmistax sofrejt l-imrar.

Fjur tan-naghnigh!
Fost il-fjuri l-fjur ta' mhabbti
Nara jien l-iktar sabih.

Nittama li hadtu pjacir taqraw mieghi dawn il-ftit versi helwin ta' kittieb li hadem kif seta' mal-ohrajn ahjar minnu biex l-ilsien Malti jibqa' haj. Ganni Sapiano-Lanzon miet fl-1918, imma xoghlu ghadu maghna, kif nittamaw li jibqa' lsienna f'dal-kontinent tal-Awstralja mitt sena ohra u izjed.

JOE SALIBA

Nota: id-disinn fuq huwa xoghol habiba tieghi minn New Zealand maghrufa bhala Wiki.

WAS SHAKESPEARE A RACIST?

THE MERCHANT OF VENICE

WAS SHAKESPEARE A RACIST?

DID HE SUPPORT THE GROUP IN POWER?

In some of his plays Shakespeare (1564-1616) dwells on the problems which arise from power, their origins, their deviations and their consequences. In The Merchant of Venice (1596?) even where Shakespeare is able to appear sympathetic to the outsiders in his society, he tends to support the values of the group in power and thus to maintain the group in power and the status quo.

The story line of the play is uncomplicated. Antonio, the merchant, signs a bond in order to borrow money from Shylock, a Jew, for Bassanio, the lover of Portia. If the loan were paid within three months, only the principal would be required; if not, the Jew should be at liberty to claim a pound of flesh from Antonio’s body. The ships of Antonio being delayed, the merchant was unable to meet his bill, and the Jew claimed the forfeiture. Portia in the dress of a law doctor, conducted the defence and saved Antonio by reminding the Jew that the pound of flesh gave him no drop of blood.

In this play the outsider is Shylock the Jewish money-lender, whilst the group in power are the members of the Christian nobility, namely, Antonio, Portia, Bassanio and their friends. Shakespeare certainly ‘appears’ sympathetic towards Shylock and gives some good reasons why the audience should have sympathy for him as we shall see later. As the play develops, however, Shylock’s actions reveal that he is repulsive and unattractive, even though his actions and general attitude are in response to his enemies’ treatment of him. By emphasising the commendable values condemns Shylock. Thus in the long run we see where Shakespeare’s preferences lie, that is, that the friendship, love and harmony of the Christian group, despite the fact that their sense of revenge is not dissimilar to Shylock’s, should be preferred.

One can see Shylock the Jew as either the villain or as the wronged outcast. Both approaches are extremes. By revealing Shylock’s cruelty and cunning, Shakespeare depicts him as one to be despised. On the other hand, the treatment the money-lender receives from the Christian group in power deserves our pity. Generally speaking, although Shakespeare appears to want us to sympathise with Shylock, in fact he does the opposite. By indirectly praising the nobility and rewarding it, Shakespeare condemns the Jewish money-lender. The play, therefore, although it problemises the situation and makes judgement difficult if not impossible, the conclusion reached at the end of the play where we find the nobility rewarded and the outcast punished makes Shakespeare appear more sympathetic towards the ruling class.

Shylock is a Jew, an outsider in Shakespeare’s society. Shakespeare’s audience, as all European countries at the time, were prejudiced against the Jews. Prejudice against the Jews in continental Europe was more violent, where they were confined to ghettos. The practice of usury, denounced by the Christian Church, was sufficient to inspire hatred against the Jewish race, a hatred which no doubt was temporarily intensified by the trial and hanging of Dr Roderigo Lopez, a Jewish physician to Queen Elizabeth, and a spy for Spain, for his alleged attempt to poison the Queen in 1594.1 The Jewish people were traditionally associated with witchcraft and child-stealing, blamed for natural disasters and generally regarded as cruel, loathsome, the scum of the earth and worse than dogs. Shakespeare was brought up in an accepted tradition of anti-Semitism which he may have questioned but never rebelled against.2
Shakespeare gives Shylock some convincing human reasons why he should hate his Christian persecutors. On the surface the playwright seems to echo Sir Walter Raleigh’s comment: “Shylock is a man more sinned against than sinning...[he] pleads the cause of the common humanity against the cruelties of prejudice and has in it something of the nobility of patriotic passion.”3 Two of Shylock’s reasons for his revenge on Antonio are that the Christian merchant lends money gratis, thus endangering Shylock’s own livelihood as money-lender in Venice (1:3:40-41), and because of Antonio’s vile habit of spitting on Shylock’s beard and calling him cut-throat dog. Antonio has no desire to change:
“I am as like to call thee so again,
To spit on thee again, to spurn thee too.” (1:3:122-123)

In two great speeches Shakespeare makes Shylock look human, deserving of sympathy and a mouthpiece for the whole persecuted nation. The first is his passionate rhetoric to Salarino:
“He [Antonio] hath disgrac’d me...laughed at my losses, mocked at my gains, scorned my nation...and what’s the reason? I am a Jew. Hath not a Jew eyes?... hands...affections, passions? Fed with the same food, hurt with the same weapons...as a Christian is... if a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge!” (3:1:46-63 passim)

Shylock’s plea here is not for tolerance but revenge, which, he says, is also a Christian practice. It is difficult to ignore Shylock’s charge and logic. This is not complimentary in view of Antonio’s insults and Gratiano’s eagerness to meet vengeance with vengeance. It is noted that Shylock’s charges are not effectively answered, except perhaps in the “Quality of Mercy” speech. As a point of debate Shakespeare wants to show Shylock’s humanity, and though an usurer and a Jew, he is still a man. Shylock’s argument for Jewish and Christian kinship is based only on fleshly similarities. Shylock’s speech may give the impression that he is pleading for sympathy but actually he is putting up his case why he should also take revenge as Christians do. Shylock tries to put himself on the same level of the rest of society by indicating that he also has feelings. Therefore he should also take his revenge as the Christians. However his kind of argument would have been ridiculed by the Elizabethan society who regarded minority groups such as the Jews outcasts of society. Yes, social prejudices would have been very high. For Elizabethan audiences the laughable aspect of his argument is that he cannot understand his alienation from the Christian world because he is an outcast Jew, different to the rest of society and therefore has no equal rights to anything, least of all revenge.

The second speech that creates a sense of sympathy for Shylock is his answer to the Duke’s appeal for mercy at the trial:
“You have among you many a purchas’d slave,
Which, like your asses and your dogs and mules,
You use in abject and in slavish parts,
Because you bought them: shall I say to you,
Let them be free, marry them to your heirs?
............................................You will answer
‘The slaves are ours’: so do I answer you:
The pound of flesh, which I demand of him,
Is dearly bought; ’tis mine and I will have it.” (4:1:89-99)
Shylock argues that the pound of flesh is now his, as it would be foolish to ask the Christians to part with their slaves. Although this argument sounds less convincing than the previous speech, the Duke’s plea for mercy looks artificial on account of the equally unmerciful Christian behaviour.

What evidence do we have of the contrary, that is, that Shylock is more a man sinning than sinned against? The loss of his daughter Jessica seems to Shylock a trifle compared with the loss of his money and jewels (2:8:24). Her loss is almost nothing to Shylock. He is more concerned about the loss of his money and precious jewels. It would have been the opinion of the society of that time to regard Shylock as a villain because of his attitude towards his daughter. Jessica’s elopement, her hatred of her father and hellish home (2:3:2), her flight with the Christian Lorenzo, and her theft are to a large extent all justified in the eyes of the Elizabethan and Christian audiences. No doubt, that despite the intense racial prejudice against the Jewish nation some people in the audience would feel some qualm and would judge the matter according to their conscience. Moreover, Jessica’s sympathy for “poor Antonio” (3:2:281-285) brands Shylock as an outcast, not only from the Christian world but from all humanity. Shylock makes himself appear a complete villain by his diabolical wish, “I would my daughter were dead at my feet and the jewels in her ear” (3:1:77).

There is not one line in the entire play in which Shylock expresses affection for his daughter. Jessica’s values are not those of her father. Her unhappiness at home is substantiated by the Shylock who goes to dinner in “hate, to feed upon the prodigal Christian [Bassanio]” (2:5:15), who scorns music and merriment, instructs Jessica to “let not the sound of shallow poppery enter my sober house”, and leaves her behind locked doors (2:5:28-35). Shakespeare depicts Shylock unable to express affection, whilst Antonio, for all his faults, is portrayed as one who understands what love is all about. Shakespeare characterises Shylock as cruel and repulsive with the aim that society might turn to the nobility and its attractive elements of love and generosity.

Shylock despises Antonio. From the moment he creates the bond, Shylock longs for forfeiture, and reminds Antonio’s friends, “Let Antonio look to his bond” (3:1:43). He is willing to take an outside chance that his fondest dream of vengeance will be fulfilled and he would carve from Antonio a pound of flesh. So engrossed in revenge, Shylock refuses to give to the Duke his reason why he prefers “a weight of carrion flesh” (4:1:41) to three thousand ducats. Shylock’s point would be that his reason is not relevant to this aspect of the bond. There is nothing more fiendish to a Christian audience than to demand death for a noble, generous gentleman as Antonio, without a reason!

It was the duty of all Renaissance Christians to bring everyone into the noble Christian household. Launcelot’s leaving Shylock and joining in Bassanio’s service is an indication of the clown’s salvation from the alleged barbaric and evil ways of the Jewish usurer. By this episode of Launcelot deserting his master Shylock whom he describes as mean and “the very devil incarnal” (2:2:23), and by the tormenting of Shylock by Tubal (a Jew and a fellow-usurer) (3:1:105), we are led to believe that Shylock does not deserve sympathy. It has been suggested that by emphasising the loss of money and jewels through Jessica’s elopement, Tubal was really tormenting or torturing Shylock perhaps for some grudge he might have had for Shylock, or because of jealousy.

Though Shakespeare gives good reasons for Shylock’s vengefulness, which we see acted out by the other characters, he also makes him an object of contempt and derision. A Jew’s revenge on a Christian, however good its reasons, would be viewed as an atrocity, and Christian persecution as justifiable retaliation. It is clear that Shakespeare deliberately weighted the scales very heavily against the Jew. Any transient sympathy for Shylock disappears in support of the values of the group in power, the nobility. Shakespeare wants us to know that the nobility’s attributes for friendship, generosity and love are to be honoured, commended and approved whilst Shylock’s avarice and vengeful spirit are to be condemned. Thus in the play Shakespeare creates a number of rewards to those who show noble values.

To emphasise, therefore, the attractiveness of the nobility - and Antonio as a merchant would have been regarded by the Elizabethan society as a member of the upper class, the group in power, and thus by association, part of the nobility, the genteel society - Shakespeare puts the spotlight on Antonio’s generosity, friendliness and calm endurance. He is extolled by his many friends, especially Bassanio who declares to Portia:
“The dearest friend to me, the kindest man,
The best condition’d and the unweari’d spirit
In doing courtesies, and in whom
The ancient Roman honour more appears
Than any that draws breath in Italy.” (3:2:287-291)
Antonio goes as far as borrowing from his arch-enemy Shylock to finance Bassanio’s courtship and signing such a sinister bond that even Bassanio is alarmed at the risk involved. As an effective symbol of wronged innocence, Antonio appears helpless and down trodden, thus evoking more sympathy. This makes Shylock’s revenge look monstrous and Portia’s verdict presumably just. Shylock’s failed attempt to get his pound of flesh makes him look more monstrous in the eyes of society and thus Antonio even more attractive than before. As soon as Shylock’s plot is foiled, Antonio stands out as an even more ideal Christian gentleman, a perfect example for the group in power to emulate.

Antonio is the exemplary Renaissance man. He represents the idea of nobility in friendship. Shakespeare and his contemporaries fully believed that nobility in friendship reflected nobility of heart. We are constantly reminded of the extent of Antonio’s virtues. He promises Bassanio his “purse”, his “person” and his “extremist means” (1:1:138) to win for himself lady Portia. Before the trial, Portia, learning of Antonio’s danger, unhesitatingly sends away her newly acquired husband Bassanio with an offer of payment to Shylock:
“Pay him six thousand and deface the bond.
Double six thousand, and then treble that,
Before a friend of this description
Shall lose a hair through Bassanio’s fault.” (3:2:300-304)
Given power over his “murderer” Shylock, he seeks the man’s salvation and not his destruction as he recommends that Shylock should be made a Christian. Provided with the means of restoring his lost wealth, he thinks first of Lorenzo and Jessica whom he wants to inherit Shylock’s wealth (4:1:386), even though his ships do come in after all. In the trial scene he also meets Shylock’s senseless rage with “quietness of spirit” (4:1:12). In the end Antonio’s friendship and generosity are rewarded. He does not fall victim to Shylock’s revenge, but instead, his circle of friends increases through Portia and her household.

There are bountiful rewards also for the noble and handsome Bassanio. He wins Portia and her fortune. For his sake, she wishes that she were “A thousand times more fair, / Ten thousand times as rich” (3:2:154). In the world of romance, money and love are complementary to each other. Riches, according to the play, are merely another expression of the happy wealth and plenty surrounding the Christian world. Even though this is a marvellous justification for greed, the group in power is made to appear to be accepted and preferred and recognised as ideal. Thus its ways are justified.

Love also comes to Jessica and Lorenzo. Her disassociation from the isolated life in her father’s house signifies her freedom from evil and corruption. For the Elizabethan Christian audience Jessica’s deception and theft would be tolerated acts because her marriage to Lorenzo is the only means of her salvation. By becoming a Christian through her marriage, she is abundantly rewarded. She enters the world of Belmont where love, friendship, generosity and wealth abound. Of course there is irony in all of this. But the Elizabethan society, even though she steals from her father, is driven to the point of blind approval of her elopement.

The nobility returns to Belmont. No one mentions ducats, bonds or knives. Shylock is forgotten, the nobility is intact and Shakespeare has delivered his message - the virtue of the ideal Christian world rewards itself and casts away its enemies at all levels - Portia her un-Christian suitors, Jessica her heritage, and Antonio his antagonist. Although our sympathies might be aroused because Shylock is shown no mercy and he leaves the court a suffering and broken old man, we are also amazed at those who hate him who receive much more than they are entitled to. The status quo has been approved and preserved and once again good, despite its many weaknesses, has triumphed over what is envisaged as evil. Approval, however, is no guarantee that a thing is right in itself, but that hopefully its faults are few.
* * * * *

NOTES
The quotations followed by their act, scene and verse number are from the following text:
SHAKESPEARE , The Merchant of Venice, edited by Taylor A. B., Oxford University Press, Melbourne, 1953.
1. SHAKESPEARE, The Merchant of Venice, edited by Taylor A. B., Oxford University Press, Melbourne, 1953, p. 19.
2. EDITORIAL BOARD, The Merchant of Venice, Coles Notes, Coles Publishing Co., Canada, (no date), p. 17.
3. SHAKESPEARE, loc. cit..
ESSAY COMPLETED ON 20.7.1983

JOE SALIBA

RIGU BOVINGDON STUDJU

RIGU BOVINGDON

Rigu (Roderick) Bovingdon twieled H’Attard fl-1942 minn Rebekka Debono u Henry Charles Bovingdon, Ingliz imwieled l-Afrika t’Isfel. Wara xi snin is-Seminarju siefer ma’ familtu u wasal l-Awstralja fl-1959.

Hadem go fabbrika tal-hwejjeg, imbaghad ma’ kumpanija tal-inxurjans, dahal ma’ tal-Muzew u studja mal-Patrijiet Kapuccini.Telaq u beda x-xoghol tieghu bhala infermier psikjatriku waqt li kompla jistudja l-psikologija u l-psikjatrija minfejn spicca mjegat bhala Ufficjal Amministrattiv mal-Gvern Statali ta’ N.S.W.

Fl-1965 izzewwweg lil Iris Pace u ghandu zewg subien.

Il-kontribuzzjonijiet tieghu huma varji u mumeruzi: ko-pijunier tad-diska Maltija fl-Awstralja; ghannej u kantawtur; awtur ta’ studji serji ta’ kritika letterarja u lingwistika; intervistatur ma’ personalitajiet prominenti Maltin u barranin; kelliemi fuq ir-radju etniku dwar il-lingwa taghna l-Maltin; minn tal-ewwel li ghaqqad klassi ghat-taghlim tal-Malti fl-Awstralja; jinpenja ruhu fil-gurnalizmu u r-ricerka storika dwar l-ewwel Maltin li ssetiljaw fl-Awstralja; u kiseb il-bacellerat fl-Arti bl-Unuri fil-Lingwistika mill-Universita’ ta’ Malta. Fi ftit kliem, Rigu “sikwit spikka fl-art il-gdida, fost il-protagonisti ewlenija fit-tmexxija tal-Kawza Maltija”.

Awtur tal-kotba ta’ poeziji BEJN HALTEJN u APORIJA u ko-awtur m’ohrajn fl-Awstralja tal-pubblikazzjoni IRJIEH. Wiehed mit-tliet rebbieha tal-Premju Francis Ebejer bid-dramm tieghu TABU’.


MILL-GDID MALTI

Mhux lewn il-gilda jew kunjom idakkrek;
il-Bajda u Hamra biss qatt kelli f'qalbi.
Tas-safa l-bjuda, minn gebbieda twila
ta' qalbenin Maltin; kburin bil-hmura
ta' demm, ibaqbaq l-ghajta ta' gensih.
U Bajda u Hamra biss qatt kienet fija,
li f'namra kolonjali mn'omm rahlija,
ma' l-Union Jack, intrabtet il-bandiera
u tnissilt jien; wild l-Anglu ma' Maltija.
Go rahal eqdem minn Stonehenge jew Mnajdra,
fejn jekk tissemma' sew, il-eku taqbad
tal-vina pura -- wild il-art Maltija.
Kemm bkejt! Ghalejt! Turmenti kbar ghaddejt
bla hadd li jifhem tal-gewwien l-ugigh!
Kemm ljieli twal tqallibt u dmughi carcru
fil-qalb ta' qalbi nrahham il-gustizzja!

Mill-guf matern mibzuq, snin twal, imcahhad,
nittallab, bhall-mofqara, drittijieti.
Meghlub, mifni, miflug, imghattan, mghakkes --
l-imhabba ma tlift qatt ghall-ideal.
Ghotort! Inxift! il-hajr’ ghall-hajja tlift!
'Ma kliemi, ghelmi, ghozzti, kollhom kxift.

Wil-Bajda w Hamra li fic-cpar inhbiet
ghal ftit waqtiet, minghajr ma qatt intfiet
ghalkemm imkasbra mill-gewwien tad-dar,
bil-gamar tat-trobbija baqghet fija
sakemm wara kalvarju ta' turmenti,
mill-gdid fuq l-orizzont ilmiet id-dija
go qalb li qatt ma cahdet l'hi Maltija.

RIGU BOVINGDON
Dil-poezija ghandha 88 nota ta’ spjepazzjoni mizjuda mill-awtur.
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ANALIZI U XI RIFLESSJONIJIET
WARA LI QRAJT IL-POEZIJA
‘MILL-GDID MALTI’
TA' RIGU BOVINGDON

(STUDJU KRITIKU)

Ghal xi raguni jew ohra, ghadd sabih ta' poeti Maltin sabu ruhhom fizikament barra minn Malta, bhala turisti, ghal xi avventura, ghall-istudju jew ghax-xoghol. Ohrajn immaginaw ruhhom f'artijiet barranija. Hafna minnhom hallewlna l-esperjenzi taghhom fil-kitba. Hemm differenza kbira fi hsibijiet il-poeta li jsiefer bl-immaginazzjoni biss, jew l-iehor li jhalli Malta ghal xi ftit zmien ghax jaf li ghandu jmur lura, jew l-iehor li jsiefer bil-ghan li jissetilja f'pajjiz iehor, bhall-Awstralja. It-tielet tip ta' poeta Malti emigrant aktarx jasal zmien meta jhossu mifrud, maqtugh, izolat minn Malta. Mhux ta' xejn, mela, li, fil-poezija tieghu 'L-Ghanja Ta' Wiehed Imsiefer' fil-ktieb NIRIEN, il-poeta Karmenu Vassallo jimmagina l-emigrant Malti jitniehed ghall-hlewwa ta' art twelidu. Fil-fehma tieghi dat-tnehid ikun aktar qawwi meta dak l-emigrant ikun poeta wkoll.
It-tnehida tal-poeta Malti-Awstraljan tiehu ghamliet varji, bhal, nghidu ahna, hsus u hsibijiet nostalgici, referenzi diretti u indiretti ghal Malta u l-kultura Maltija, espressjonijiet li jixhdu t-trobbija f'Malta, u lessiku u lingwagg awtentici Maltin. Fil-kaz tal-poeta Malti-Awstraljan Rigu Bovingdon, dit-tnehida kienet rizultat mhux biss tas-safar imma wkoll ta' "drittijiet” michudin lilu.
Nammetti li qabel ma qrajt 'Mill-Gdid Malti' u n-noti fuqha, jien qatt ma kont nobsor li Bovingdon kien klassifikat bhala proxxmu Ingliz u mhux Malti. Infatti, kif jgharrafna hu stess, dam 25 sena (1964-1989) jithabat mal-burokrazija biex jinghad bhala sudditu Malti.
M'ghandix ghalfejn noqghod nigbed fit-tul biex infisser il-hidma letterarja, socjali u kulturali ta' Bovingdon. Inghid biss li hadem qatigh, u xi drabi kien ukoll ta' l-ewwel, qalb il-Maltin u l-barranin fl-Awstralja, biex ilsienna u l-kultura taghna jibqghu hajja u jikbru dejjem izjed. Dan ghamlu, u ghadu jaghmlu, bil-kitba u bil-kelma.
Is-sorpriza tieghi m'hix bla bazi. Fil-versi tieghu ppublikati s'issa, qabel dil-poezija, jien qatt ma rajt xejn li jirreferi ghall-qaghda straordinarja tieghu. Bovingdon ma jidher qatt li kiteb, jew ghallanqas ippublika, xi versi fuq is-sitwazzjoni tieghu ta' wiehed Malti-li-m'hux-Malti. Bil-maqlub, Bovingdon dejjem ftahar b'art twelidu: "ninsab fizikament hawn, spiritwalment ghadni nghix Malta." (INTERVISTI -- Jitkellmu Kittieba Maltin-Awstraljani, Joseph Chetcuti, Phillip Institute Of Technology, 1985, p. 38). Hekk kiteb fuqu Oliver Friggieri fid-dahla ghal ktiebu BEJN HALTEJN (1982): "Dan il-qtugh mill-pajjiz hu reali, izda ma jmissx it-territorji ta' l-ispirtu." Friggieri jishaq fuq l-elementi l-aktar qawwija tal-ktieb, jigifieri l-imhabba, ir-rispett u l-passjoni ta' Bovingdon lejn art twelidu.
B'dis-sorpriza tieghi ma rridx inwarrab il-possibiltà li jista' jkun hemm xi referenza ghall-qaghda Bovingdonjana fil-versi li hareg. Fil-ktieb tieghu BEJN HALTEJN u fl-iehor IRJIEH (1986) li tieghu hu ko-awtur, wiehed jista' forsi jara xi hjiel ta' izolament spiritwali u abbandun, kagun tac-cahda tac-cittadinanza Maltija. Kollox jiddependi kif wiehed jinterpreta l-versi. Niehu xi ezempji mill-ewwel ktieb. Ghalkemm mhux imfisser car u tond, ma nistaghgibx jekk Bovingdon kellu f'mohhu jew fis-sukkonxju din ic-cahda u r-reazzjoni naturali tieghu meta kiteb il-poezija 'Illuzjoni' (p. 25):
Bit-tbissima fuq xoffejja,
O kemm nistor dipressjoni!
Kulma ridt u hlomt f'zghoziti
Illum sibtu illuzjoni.
Naraw f'dal-versi mumenti ta' tnehid gewwieni, qtigh il-qalb u ghaja mentali. Tinghafas il-qalb tal-poeta waqt li jipprova juri wicc ferhan, hu u jzomm go fih l-insult kbir li ghamillu hajtu xmara ta' niket. Fl-istess ktieb, Bovingdon ghandu poezija bl-isem 'Il-Ballata Ta' Truganini' (p. 26). Truganini kienet l-ahhar principessa jew mexxejja aborigni fit-Tazmanja qabel ma l-Ewropej tefghuha l-habs u qatluha. X'seta' harrek lill-poeta li jikteb fuq dil-grajja sewda fl-istorja kolonjali ta' l-Awstralja? Forsi hass li kellu mitt ragun li jidentifika ruhu maghha, ghax bhalu, hi kienet vittma ta' dawk li ma kellhomx jedd fuqha u fil-fatt hi nqatlet f'pajjizha stess. Ix-xebh fiz-zewg cirkostanzi hu ovvju.
It-tbatija psikologika tal-poeta minhabba n-nuqqas ta' gustizzja immeritata, ghandha mnejn tixref ukoll f'xi versi ta' IRJIEH. Per ezempju, f''Qirda' (p. 101) jisthajlu, forsi, bhat-tajra tal-passa li tinqered fejn hasbet li ser issib l-hena u l-mistrieh? It-tajra ssib il-mewt fejn xtaqet li ssib il-hajja. Gralu hekk il-poeta, simbolikament? Ihossu mitluf, miftum u nieqes minn xi haga essenzjali tal-hajja fil-poezija 'Meta L-Qalb' (p. 95):
Meta l-qalb ma tkunx f'sikkitha
.....
thossha zejda, imkeccija.
U l-mewt tal-mahbub missieru fl-elegija 'Lilek' (p. 98) tnikktu u fl-istess hin tfarrgu bil-fatt li missieru m'ghadux ibati bhalu, f'did-dinja ta' wgigh u niket. Izda hu, il-poeta, ghadu jissielet kontra l-ingustizzji li sarulu. Min miet qed jistrieh:
m'hemmx niket ghal min heles mit-tbatija.
Minkejja l-ftit versi mferrxin li semmejt li wiehed jista' jinterpretahom bhala hjiel zghir tal-glieda gewwinija ta' Bovingdon, is-suggett shih tal-poezija 'Mill-Gdid Malti' hu gdid ghalija. Dil-bicca xoghol letterarja-awtobijografika nisthajjilha sajjetta u raghda mhux mistennija: sajjetta, ghad-dawl gdid li titfa' fuq il-hajja tal-poeta, u raghda, ghall-effett taghha li ghadu jdamdam f'mohhi.
Issa nigu ghall-poezija nfisha. Il-hsieb taghha hu r-realtà tas-sitwazzjoni partikulari ta' Bovingdon. Mitwieled Malta minn omm Maltija u missier Ingliz, il-poeta kien meqjus Ingliz skond il-ligi. Madankollu hu dejjem ghodd lilu nnifsu bhala Malti. L-identità tieghu ma setghetx tkun ghajr dik Maltija. Fuq hekk, thabat hafna biex ikun maghdud ufficjalment bhala sudditu Malti. Minkejja t-tfixkil u n-nuqqas ta' kooperazzjoni minn hafna nahat, il-glieda ta' 25 sena fl-ahhar spiccat favur tieghu. L-akbar xewqa ta' hajtu rnexxiet. Id-dawl rebah fuq id-dlam. Biex wiehed jifhem ahjar id-dettalji ta' dal-kaz in-noti ta' l-awtur huma essenzjali.
Il-process tal-kitba li Bovingdon jiehu f'idejh biex jaghtina l-messagg tal-versi tieghu bl-istadji mehtiega sakemm jasal ghas-soluzzjoni tal-problema tieghu, jibda billi jistabbilixxi l-identità tal-poeta, bniedem li twieled Malta u li kiber f'dak l-ambjent. L-enfasi qieghed fuq twemmin l-awtur li hu, bla ebda dubju, "wild il-art Maltija", wild dak il-gens b'demm ahmar ibaqbaq, mimli qlubija u kburija, bicca mill-"vina pura" li gejja mill-ibghad zminijiet. L-abjad tal-bandiera Maltija jinhass bhala simbolu ta' gens safi, fis-sens li hu uniku u gej mill-boghod, car u identiku. L-ahmar tal-bandiera jirrifletti l-qlubija tal-Maltin. Il-kelma "qalb", ma' xi kliem iehor li gej minnha, tidher hames darbiet matul id-29 vers tal-poezija. Ghax il-qalb minn dejjem kienet sinonima ma' l-imhabba, ma tidhirx li hi xi kumbinazzjoni li l-awtur dahhal dil-kelma daqshekk drabi, bhala xhieda ta' mhabbtu lejn artu li bdiet ma' twelidu f'H'Attard. L-importanza ta' l-identità Maltija tieghu tizdied aktar meta jtarrfilna li H'Attard hu aktar qadim mill-bini arkeologiku ta' Stonehenge jew l-Imnajdra.
F'BEJN HALTEJN niltaqghu ma' hafna referenzi ghall-imhabba tal-poeta lejn Malta, poeziji bhal 'Tfuliti F'Malta' (p. 60), 'Lil Filfla' (p. 17), 'Quddiem L-Istatwa Ta' Ninu Cremona' (p. 41), u 'Lill-Gens Malti' (p. 13). F'din ta' l-ahhar jinghaqdu flimkien l-imhabba, il-qima u r-rispett ta' Bovingdon lejn art twelidu:
Ja Malta! Malta Tieghi!
Daqs ommi nqimek jiena.
Fil-poezija 'Lilek' (p. 90) f’’IRJIEH jiftakar b'ghozza kbira dawk il-jiem li qatta' ma' missieru jigri fil-kampanja Maltija. Kollox ma' kollox, l-identità Maltija li l-poeta jhoss li saret bicca mill-personalità tieghu, tidher mill-ghazla tal-lessiku u l-lingwagg, mis-sensibiltà ta' l-awtur u mill-bixra ta' l-atmosfera lokali li ma tistax titfixkilha ma' ta' xi artijiet ohra. Il-kunjom u l-lewn tal-gilda ma jghoddu xejn fid-decizjoni ta' min hu u m'hux Malti tassew. Il-qalb u l-imhabba u l-lealtà assoluta jiddeciedu li twieled Malti u li hu tassew "wild il-art Maltija".
Il-paradoss fl-adorazzjoni tal-poeta ta' artu jinsab fir-realtà ta' kif in-namur, l-imhabba u l-ghaqda ta' zewg mahbubin, ragel Ingliz u mara Maltija, gabulu did-dilemma f'hajtu. L-irbit taz-zewg nahat ta' razztu, bil-kuntrasti u l-paraguni li jirrizultaw minnhom, jixirfu fl-uzu ta' gruppi ta' kliem maghzulin ghal dan l-effett. Fuq in-naha tar-razza t'ommu ghandna "omm rahlija", "rahal eqdem", u "Mnajdra"; u fuq in-naha ta' gens missieru nsibu "Stonehenge", "anglu", u "Union Jack". U fuq kollox jaqa' d-dell ta' "namra kolonjali", li flok ma gabet hena u risq f'hajjet il-poeta sensittiv, gabet in-niket u c-cahda.
Hasra li r-rizultat ta' l-imhabba tal-genituri kien ta' "turmenti kbar" ghall-poeta minn hafna mkejjen. Hadd ma kellu s-setgha jifhem l-ugigh ta' qalb li ghadda minnu, waqt li bhal tallab saqqaf wiccu biex tintwera gustizzja. Imma l-gustizzja baqghet ghamja u truxa. Hekk imwarrab, minsi u michud, hassu "mill-guf matern mibzuq", deskrizzjoni qawwija u f'waqtha ta' realtà u simbolizmu fejn il-qtugh u l-firda donnhom kienu jghoddu kemm ghal ommu tad-demm u l-laham u kemm ghal ommu l-ohra, Malta. Deherlu li kien irrifjutat, maqtugh, mifrud minn dak li kien tieghu. U "meghlub, mifni, miflug, imghattan, mghakkes", hekk li ddejjaq mill-hajja, Bovingdon ma stahax juri ghommtu ma' haddiehor. Kien hemm dawk li ppruvaw jghinuh u dawk, sahansitra, ta' gewwa, li ddiehku bih minhabba l-entuzjazmu qawwi li wera ghall-ideal.
Wasal zmien meta kien ghoddu qata' jiesu li jirbah il-battalja. Ghal xi waqtiet l-ilwien li tant habb donnhom bdew jisparixxaw taht it-toqol ta' ghommtu, ghalkemm qatt ma tilfu t-tifsira taghhom. L-imhabba u l-identità tieghu baqghu jmexxuh lejn il-quccata ta' l-ideal tieghu. It-triq kienet iebsa, u l-moghdija, mimlija "turmenti kbar", issa nbidlet f'"kalvarju ta' turmenti". It-telgha saret aktar wieqfa, u l-kalvarju seta' sfalu jew mewt dejjiema jew hajja ta' dawl u dija. Il-"gamra tat-trobbija" bhala Malti ssoktat tkebbsu u theggu, b'tama ta' rebh.
It-trijonf misthoqq jaghtihulna bi ftit kliem adattat:
mill-gdid fuq l-orizzont ilmiet id-dija
go qalb li qatt ma cahdet l'hi Maltija.
Jekk is-27 vers ta' qabel dawn it-tnejn ta' l-ahhar huma realistici ghall-ahhar, il-poeta deherlu li l-bidla u r-rebha jitfissru ahjar bi kliem simboliku, mistiku, u ftit li xejn ermetku, bix-xbieha tal-jum wara l-lejl, id-dija wara d-dlam, id-dija fil-quccata ta' kalvarju mdallam. It-tragedja ta' tigribu issa ntemmet kif xtaq hu. Dak li kien imcahhad minnu, issa sar tieghu kif jisthoqqlu. It-tnehida tal-poeta-emigrant-imcahhad inbidlet f'ghajta ta' ferh u celebrazzjoni.
Fil-versi ta' 'Mill-Gdid Malti' Bovingdon irnexxielu jaghtina kwadru haj ta' dilemma risolvuta, ta' kif il-ligijiet umani li, l-ghan taghhom hu li jzommu lill-bniedem qawwi u shih u 'l boghod mit-tigrib, jistghu, f'xi cirkostanzi, jaghmlu l-maqlub u jghattnu 'l dak li jkun taht il-madmad taghhom. Fuq kollox, nitghallmu mill-kuragg u d-determinazzjoni ta' Rigu Bovingdon li wassluh f'dak l-imkien minn fejn hu qatt ma tharrek jew tbieghed spiritwalment. Ghalhekk nifirhu mieghu li hu 'Mill-Gdid Malti'.

15.5.1990

Dan l-istudju ta’ Joe Saliba deher fit-’Taqsima Letterarja’ tal-gazzetta IL-MALTIJA ta’ Marzu, 1997 u fil-pubblikazzjoni ta’ Bovingdon innifsu bl-isem APORIJA (2002).