love

songs

in motion

CHAPTER 1

Anatomy Of A
love Song

“If you want to study love songs, then you’ve come to the right place! But I’m not sure if we should really call them love songs. They are more like sadistic torture lessons in anatomy. About your internal organs being squeezed, your ribs broken, your heart exploding. For some reason, Somalis always associate love with pain…”

This chapter provides a dissection of Somali love songs’ “anatomy,” with a particular focus on the love and voice that animate these songs. It traces nearly a century’s worth of Somali love poetry and song, in four sections: the love poetry of Cilmi Boodhari; the emergence of qaraami, the earliest form of instrumentally-accompanied love song; the “Golden Era” of Somali music, under the socialist regime (1970s-80s); and musical production in the post-war period.

Page / 34-39

‘Cilmi is our Ka’bah’:Love(-Suffering) Finds Voice

The Love Of Women

“Caashaqa Haween (“The Love of Women”) is widely considered to be Cilmi’s first love poem – composed in response to his peers’ lack of understanding for his love-sick state.

It is composed in the gabay meter, and alliterates in “c”. The text of this poem was later set to music and performed by Cumar Dhuule. 

It was God the Just who long ago created the love of women

It reached the Lord whose light shone upon the world, and Ali

People have been bringing forth offspring since the time of Ise [Jesus], the prophet, till now

If they had all been of one sex they could not have sprung forth in an unpeopled land

They were made of two kinds so that they might inspire admiration in one another

Evil is the custom of Somalis – otherwise they would not revile me

 

Even though I cleanse my bosom, like a milk-vessel, with a fire brand

And wipe it then with a fiber rag, will anything pass my gullet? [i.e. will my appetite return?]

What I would wish to chew, I was refused, and I can do nothing but brush my teeth

The amulets written by men of religion failed to stop the sickness

I sought the sacred knowledge and medicines but failed to find a cure

You cannot wash away the love which turned into grey hair upon your head

 

Translation (excerpt) from:
Abdillahi, Mohamed Farah & B. W. Andrzejewski. 1967. “The Life of ‘Ilmi Bowndheri, a Somali Oral Poet Who is Said to Have Died of Love.” Journal of the Folklore Institute 4 (2/3): 191-206.

Cilmi’s poem “A Vain Love” reflects on the pain of his ill-fated love for Hodan.

(Translation from Andrzejewski, B. W. & I. M. Lewis. 1964. Somali Poetry: An Introduction. Oxford: Oxford University Press)

When the camels come back thirsty

From many nights of grazing in the Hawd

They are brought to a halt just short of the well

While a youth sings, trying to keep them calm

But they want to press forward, for already they hear

The “hoobay! hoobay!” of the watering-chant

 

I am like that when I hear you say “Hodon”!

Her name seems to you so simple

But to me it brings grief and woe

I shall never give up on her

Not till the day they tread earth into her grave

 

Rapt in a deceitful trance

I thought I was sleeping by her side

But it was a jinn, not she herself

A jinn made in the image of her sister

I tried to catch her by the hand

But the place by my side was empty

I found I was striving in vain

For there was no one there

I tossed from side to side, then suddenly awoke

I rumpled my bed like a prowling lion

I attacked the bedclothes and pounded them

As if it were they that had caused my loss

 

Like a hero against whom men have combined

I covered my face, all but my defiant eyes

I was humbled, like a boy who could not save from robbers

The herd [of camels] entrusted to his care [i.e. belonging to his clan]

I felt disgraced, as a woman does

When the words ‘I divorce you’ are said to her

 

It is degrading to yearn for what you cannot have

Alas, alas, what a disaster has befallen me!

 

Bodhari Bakery

Photograph of the author at a bakery in Berbera where Cilmi reportedly worked

Some of the Somali-language books recently written about Cilmi Boodhari

Cilmi’s story has inspired multiple poems and songs, as well as books. This poem was written after Hadraawi and some other artists went on a pilgrimage to his grave. The poem was set to music and performed as two songs: in the first song Hudhud, sung by Maxamed Mooge, the poet/singer addresses Cilmi in the afterlife; in Haatuuf, sung by Cumar Dhuule, Cilmi responds. Hudhud refers to the hoopoe bird, which carries messages between the living and the dead.

O my king among poets!

You who were driven onward to destruction

By your sorrows, by your helpless anger

And by the harshness meted out to you –

O Cilmi, you who died from passion’s griefs,

You are the very paragon of love!

The perfection of the poet’s art is in your lamentations –

Accept my greetings, praise and homage

 

I know full well you are requited now

For all the pains you suffered in this world,

But there are some questions I would ask you

Do you lodge in paradise? Do you lie in fresh, cool shade?

Do you pick ripe fruit, and do the houris sing for you?

Do they grant you whatever you want of them?

Have you and Hodan beheld each other in the court of God?

Have you spoken to her and she to you?

 

But why should I be concerned with any of womankind?

How can I ever be at peace with them

Or exert myself unstintingly on their behalf?

For it was they, was it not, who tempted you away

Beguiling you with a cloud that brought no rain

And a deceitful vision on the far horizon?

They who lured you to a dry and empty pool

To a place that was swept by hot an noxious winds?

When you were thirsty it was they, was it not,

Who filled you with vain longings

 

From their hands came suffering

And a robe of mourning.

They planted anguish in your flesh,

They stole away your sleep,

They enveloped you in darkness,

They cast you into a pit and covered you close,

They harried you to the top of a cliff

Only to hurl you headlong down.

 

Wounding you, they severed an artery,

And they struck you down on sandy ground

Throwing you into the dust.

You were abandoned in the wilderness

And there the hyenas and ravening beasts of prey

Gnawed at the flesh that clung to your bones

While scavenger crows and cultures

Pecked at the scraps that were left.

 

But my reflections on women must be tempered

Since it is of women, after all, that our mothers are born,

And the maternal breast will come to their aid,

Defending them against me, against my contentions

And against my manly pride.

If they had no such strong protection

Who would ever trouble about them?

Who would ever hunger after them?

Who would offer riches in exchange for them?

Who would bring them to their homesteads?

Who would ever bother to talk to them?

 

* * * * *

 

But I was telling how I was inspired to visit Cilmi’s grave,

To offer my homage, my salutations and my song.

It was my purpose to find out for sure his dwelling-place

And to know what wealth had been bestowed on him

When he arrived at last in the presence of God.

 

Then I asked him concerning Hodon, did I not?

To be sure, he has left for his eternal home,

But some links with this world he still must keep

That stretch, like telegraph wires, from here to there –

And I got my answer – was that not so?

 

For yesterday, as dusk began, I spied a hoopoe –

He who bears messages from the Other World –

And from afar, with nods and becks,

He signalled me to join him.

I was walking in the company of men,

So falling back, I sought him in his hidden haunt

And there I gathered all his news,

Prompting him now and again

With “Go on, then” and “Yes?”

 

The message that the hero sent me,

Entrusting it to the hoopoe’s care, was this:

“Listen, you who sought me out

So zealously and questioned me,

I know it was your sympathy with my fate

That brought you to my grave in this wild land of scrub.

You offered me homage and called me from my resting-place,

You who yourself excel in the poetic art –

Here, then are my tidings!

 

“It is only on earth that troubles dwell,

Only there that folk suffer from thirst,

Only there that men of true mettle

Are treated disdainfully when they have no wealth.

It is there that fortune favours women,

It is there that women hold men in poor esteem!

 

“But now I live in Paradise,

Where full contentment is assured

To those who showed forbearance when on earth –

No disappointments await them in their graves!

In the past, my life held hardship and misfortune

But recompense is granted in this Other World

I live here in a cool and shady homestead,

Sheltered by a cloud above my head,

Screened by thunder and lightning from the sun.

 

“I fill my water-pail from a pool that is ever full,

I linger beside clusters of ripe fruit

That gladden my eyes as I pick and eat

Like a child, whose mother is feeding him

Now from her right breast, now from her left –

Or like a suckling camel nourished by his dam.

No thought I give to Hodon or to love of her

For others have come to take her place.

Now there are houris to engage in amiable talk,

Houris who are commanded to sing for me

And who encompass me with the inner borders of their robes.

 

“But a herd of sturdy camels is thronging towards me now!

The water-pail is filled and ready – my task awaits me –

Farewell, my brother, farewell to you!”

Translation adapted from Andrzejewski, B. W., with Sheila Andrzejewski (trs.). 1993. An Anthology of Somali Poetry. Bloomington and Indianapolis: University of Indiana Press.

Page / 39-48

Of Broken Hearts and Broken Lorries: A Genre is Born

Belwo and qaraami drew on poetic, rhythmic and melodic conventions found in early genres of Somali orature, like gabay poems, work songs (hees-hawleedo) and dance songs (hees ciyareed). You can listen to some examples of these genres here:

This is a gabay, written by the poet-warrior Sayid Maxamed Cabdille Xasan, and performed by Aw Daahir Afqarshe (notated in Figure 1.1).

This is a camel-watering song (a type of work song), featuring a pentatonic melody and responsorial singing

When they first emerged, belwo would have been accompanied by clapping and drums; later, the oud was added, as in this video featuring Ibraahinm Garabyare, a contemporary of Cabdi Sinimo (notated in Figure 1.2). Although the “belwoy, hoy belwooy” invocation was short-lived, the melody remains popular and can be heard in these recordings by Guduudo Carwo (one of the earliest women performers), Maryan Mursal and Amina Farax.

Qaraami are set to melodies with long melismatic phrasing, many of which are attributed to Qarshe, like the following. Xaafuun, on the far left, is the song notated in figure 1.3.

Page / 48-54

Love and Revolution: Mainstreaming Music and Romance

Members Of Waaberi

Members of Waaberi, Somalia’s flagship musical collective. Khadra Daahir Ciige (the focus of chapter 3) is second to the left in the top row, standing beside Xasan Ganey.

 

Photo credit: https://muqdisho.online/remembering-waaberi-for-a-somalian-sunrise-and-re-birth/

Sweet Broken Dates

This album, Sweet as Broken Dates, is representative of the diverse instrumentation and cosmopolitan sounds of this era. The albums comprises tracks found in HCC’s sound archive.

Leexo (“Light Breeze”), sung by Hibo Nuura, is a love song that documents a woman’s frustration with her lover. 

In 1967, it was played on the radio at an opportune time during the lead up to the presidential election. While written as a love song, it was heard as a critique of the incumbent, who eventually lost. The song is thus sometimes known as the “the poem that overthrew a president” (see Johnson 2010).

Innakoo lammaane ah
Iyo laba naf-qaybsile
Talo geed ku laashee
Adigaa is lumiyo
Isu loogay cadowgoo
Libintaadii siiyee
Waadiganse liitee
Leexadu Ku sidatee
Hadba laan cuskanayee

[Refrain]

Liibaanteed adduunyada
Ruuxna laasan maayee
Maxaa lura naftaadii

Waa laac adduunyadu
Labadii walaalo ah
Midba maalin ladanyoo
Ruuxii u liil-galay
La mo loolo dhereggoo
Luggooyada ma geystee
Waadiganse laabtiyo
Lugaha is la waayaye
Meel sare lalanayee

Refrain
Aniga ba lafiyo jiidh
Waa kii i laastaan
Liqi waayay oontee
Adigaa lis caanood
Iyo laad xareediyo
Laydhiyo hadh diidee
Waadigan sidii liig
Laasimay ugaadhee
Waaclada u leexdee

Refrain

Dhaaxaad ladnaan rays
Sidaad aar libaax tay
Tallaabada ladhaaysoo
Anna lahashadaadii
Ledi waayay ciil oo
Liidnimo i raacdee
Lallabaa habeenkiyo
Ma libdhaan jacayl oo
Waa labalegdoodaan

While we were [yet] together
Helping each other in every way
You cast good counsel away, to the top of a [high] tree
You caused yourself distress,
And slaughtered yourself for your enemy
Giving your victory to him
Now you are so weakened
That light breezes bear you up
And from time to time, you grasp at a branch

 

For all the pleasures on this earth
One cannot full enjoy;
[Tell me] what causes you this distress?

The world is [but] a mirage
And for every two brothers,
only one being happy each day
The one who is fortunate
Should not abuse his prosperity
Should not maltreat [his neighbour]
And in your case, however,
[your] breast and feet were out of accord
For you are drifting up, up [into the air]


[Look at me]: my flesh and [all] my bones
Were completely consumed by him
I cannot even swallow food
The abundance of milk,
[Pure] rainwater,
Fresh air and rest in the cool shade, you have rejected
It is you who, like the male garanuug [a gazelle]
Left the [other] game, and
Turned to a desolate place

 

So often in the prosperity of the rains
As though you were a [proud] lion
You walked about majestically,
While I, because of your carousing
Had sleepless nights from impotent anger,
And [sometimes] behaved like a fool
The [beacon] fire in the [dark] night
And love, never disappear;
They roll on [after you, unrestrained]

Another Hibo Nuura song, “Ruuxa Gaala Abal,” reflects on the suffering that love can cause – and the pain that affects the sufferer’s bodily anatomy

Garkiyo wadnahaad
I kala goysoo
Gantaalihii jacalkaagii
Bay I ganaayee,
Inta anaan go’in
Godka aanan galinee
Ii soo gurmoo
I soo gaadheey

Ruuxa gala abaal
Mar baa loo gudaa,
Sida gacal labaa
Aan is-garabsanee

Gucliyoo orad baan
Intaa galayaa,
Ma gam’oo
Aragaagii baan goobayaa
Anoon galin xumaan
Haygu noqon gardiidee
ii garo samoo
I gacan siiyeey

Ruuxa gala abaal
Mar baa loo gudaa
Sida gacal labaa
Aan isgaramsanee

Gooriyoo maqribkiyo
Habeen galaboo
Ma gam’oo
Xusuustaadii baan gadmayaa,
Geed baad damqane,
Godob hayga galinee
Gu’gay waa yaryee
Gabow haygu ridinee

Ruuxa gala abaal
Mar baa loo gudaa
Sida gacal labaa
Aan isgarabsanee

My aorta and heart
Were cut off by you
The arrows of your love
Pierce me
Before I die
And enter the grave
Rescue me
Come help me

If someone does you a favour
[You might] return it sometime
As two partners
Let’s lean on each other

Running and jogging
Occupy me
I do not sleep
I am looking to see you,
Not making a mistake
Don’t reject me,
Do a favor for me
Give me a hand/help me,

If someone does you a favour
[You might] return it sometime
As two partners
Let’s lean on each other

Evening time
Night and afternoon
I do not sleep
Your thoughts weaken me,
A tree never feels love
Don’t hurt me
My age is small (I am young)
Don’t degenerate me

If someone does you a favour
[You might] return it sometime
As two partners
Let’s lean on each other

Page / 54-60

The Not-Yet-Archived: Love Songs in the Aftermath of War

Walaalaha Sweden was one of the first Somali musical bands to be established in the post-war period. This song is representative of a shift towards a reliance on electronic keyboards in the post-war era

Hoteellada: vocals by Hodan Cabdiraxmaan Dheere, lyrics by Laabsaalax

Inkastoon guyaal
Garaabkaaga taagna
Saw garaadku ima odhan
Caashaqaba ka gudub

Adigoo gafaad
Igaraw i leedahay
Anoo kuu go aad
Hadba galinba cayntahay
Anoo guur u
Jeedaad adna gaabsi jeceshay

Hay geyn hoteellada
Hay galaafanoo
Ha i seejin gabadhnimo
Markaad iga gun-gaadhana
Durba gooso hay odhan

Inta gabadh xishood
Edeb lagu galadayee
Guur way-dayee
Ragu galalafaa badan

Idinka gafiyo
Waxaad gaysataan
Ama aad gudaan
Marna kaba garaabine
Dhawan-guurku
Idinkuu ragaw
Gaar idin helay

Although I have been
Shoulder to shoulder to you
For many years;
My mind told me stop loving you

You made a mistake
Yet you want me to apologize you;
I devoted myself to you but
You are in different states all the time
My intention is legal marriage but
You like love affairs

Don’t take me to hotels
Don’t influence me badly
And cause me to lose my girlhood
When you quench your need
Don’t tell me to go away

There are so many bashful girls who
Were surrounded with courtesy and
Have not married
Men spoiled their lives

You disrespected women
Your wrongdoings
Or your actions
You have never acknowledged
Soon marriage
You men
[Will be] your sole responsibility

Naasib (Single Mother Song), vocals by Mural Muuse Cumar, lyrics by Laabsaalax

Ciiddiyo dhulkeenniyo
Wali carradda kumaan arag
cid aan dumarba Kula simoo
hayeeshee cuddooneey
cibaarada adduunkiyo
casharradda ifkaa badan
calmashada midkuu
dookhu calanka kuu sudhay
hadduu calafku kaa diray
cashaq lagu hungoobiyo
nin xuni ciilkuu ku baday
ragba hawga caagine
cidlo nolosha kalinimo
caku kuuma qalantee
cadradyahay gayaankaa
nasiibkaa mar kale cugo
mar kale celi
cugo!

In our soil and land
I have not seen yet in the world
Another with whom I can compare you
But Cuddoon! [woman’s name]
The world problems
And lessons are many
The one who you loved
And was connected you
If the destiny has separated you
And love has failed
And a bad man’s anger has fallen on you
Don’t avoid all men
The single life
Is not suitable for you
You young woman
Select another partner
Do it again
Select!

Aamina Aamisha, vocals by BK

Aklaaqada xishoodka
Asluubta adeeca
Dulqaadka limanka
Aadmigu kamaa sinaa
Aqoonta

Araxankiyo dadnimiyo
Abuurta afkaygu
Ma kobo amaantada
Ilaah kugu saday aamiina

Indhaha kaligaa ku eegta
Ilmana naxariisa la ooyo
Agtooda ka muuqa amiishaay

Aamina aamina amiisha

Ayaanka hubqaadka ilwaadka
Odhaahada runteeda abaarta
Ogaata dantayada asteesa
Ubudka aqalkiyo dhigtiisa
Oorida waligeed adkhaysa

Ahow samirkana ogaata

Indhaha kaligaa ku eegta
Ilmana naxariisa la ooyo
Agtooda ka muuqa amiishaay

Conduct, bashfulness,
Courtesy, obedience,
Patience, faith and intelligence,
According to all these traits
Human being are not same.

Your compassion, humanity
And divine characteristics, my mouth cannot summarize your praise which
Allah bestowed to you Amina.

The eyes stare only at you
And cry producing tears for tenderness
Appear near them

Aamina Aamina Amiisha

Lucky, well-dressed, beauty,
Tells the truth and
Cares for me
Be a woman who ever cares
For kids and house,

Be patient be patient

The eyes stare only at you
And cry producing tears for tenderness
Appear near them

Han iyo dookh, vocals by Faraax Murtiile and Farxiya Fiiska

[Farax Murtile]
Hibooy hodaalayeey
Hilaac muugdo tahoo
Habkii Hodan baad tahoo
Hilaac quruxda uga eeg
Xidhoodka hablaha huwanee
Hagoogta asluubta xiran
Hooyadii soo korisay baa
Hufnan lagu dheehayoo
Hor jooga iyo haybadana
Hiddaha diinteena iyo
Hibo iyo qurux baa u dheer
Hablaha Soomaaliyeed
Haweenka aduunka jira
Hormuudkoodi bay noqdeen
Hibana qurua baa u dheer
Ninkii helaa caw oleh

Anigu ku hanweyniyoo
Hadada kumanaaan habeen
Haasawaha ila wadoo
Hortanaa anaan is arag
Hibooy hadalkaga wacan
Marna ba kama haagayee

[Farxiya Fisk]
Haybow hoodaale wiil
Halyeey geesi baad tahee
Hubaan xidhanayay iyo
Go’aan huwanayay baa tahee
Labada hooyadu dhashee
Horaad wada nuugtay baan
Isaga hilib dhawnahoo
Hadh iyo geed bayno nee
Hiddo iyo Dhawan baynu nee
Hal iyo nirig baynu noo
Han iyo dookh baynu nahe
Sina ba uma kala hadhnee

Anigu kuu han weyniyoo

Hadaad ku manaan habeen

Haasaawaha ila wadoo
Hurdana aanaan is arag

Ogow hadalkaaga wacan

Haybow kama haagayee

Hey Hibo! You are my good luck
You appear like ligtheneing
You are like Hodan [Boodheri’s beloved]
Your beauty is like lightning
Girls cover their body with modesty/shyness
Put conduct over their heads [act good manner]
The mother who raised them
Is modesty
Beside the appearance and honor
Heritage of our religion
They have talent and beauty
Somali girls
Are recognized as the best
[Better] than all other women of the world
They have talent and beauty
The man who gets one is lucky

I am proud of you
If you chat with me
[For a] thousands nights
And I do not sleep
Hey Hibo, I will never get tired from
Your good speech


Hi Haybe! You are my good luck
You are brave
You are the cloth I wear
The sheet that I cover my body
Like two birthed by the same mother
And have suckled thesame breasts
We are closer than those
We are a tree and its shade
We are heritage and culture
We are a female-camel and its baby
We are ambition and choice
We cannot be separated in away

I am proud of you
If you chat with me
[For a] thousands nights
And I do not sleep
I will never get tired from
Your good speech, hey Heybe

Ruun, vocals by Lafoole, lyrics by Laabsaalax

Laf dhabarta adhaxda iyo
Unugyada dhiigee jidhkaa
Laxaadka intiisa kale
Adimadii celinayaay

Ubucda beerka iyo wadnaha
Adaa masallaha dhigtoo
Xubnaha jidkha unugiyo
Ruxaad ku abuurantoo
Irridda sambabbada degtoo
Cid kale looma ogolaa

Afadii dhibta ila martee
Samirka ila qaybsataay
Amaanada dhawrtaa eey
Balanta ila oofisaay
Abaalkaad iga mudnay
Waligay ma iloobayoo
Qalbigaad ku abuurantee
Ogow Ruuney ogow
Adaan ifka kuu jeclahay

Aroortii cir onkaday iyo
Udgoonki gufaacadaay
Xareedii i oon tirtiyo
Raxmadaan ku il doogsaday
Asaaskii udub dhigiyo
Awalka tiir isu hayaay
Siday u wiilshu ilmaheeda
Eegmada ugul laxawsataa
Uurkuu nugul seexatoo
Cid kale looma ogaloo

Ijabadaan ka aflaxaay
Ilayska nuur daalacshaay
Xubnaha jidhka unugiyo
Ruxaad ku aroortayoo
Iridka sababada degtoo
Cid kale looma ogalaa

Afadii dhibta ila martee
Samirka ila qaybsataay
Amaanada dhawrtaa eey
Balanta ila oofisaay
Abaalkad iga mudnayd
Waligay ma iloobayoo
Qalbigaad ku abuurantee
Ogow rakasey ogow
Adaan ifka kuu jeclahay

The back bone and
The blood cells and
Also the rest of the body
You hold them together

In the abdomen, liver and heart
You have laid out the prayer mat
You have roots in my body
In my organs and cells
And you are in the lungs
No one else is allowed

The wife who has gone through hardship with me;
And the one who share patience with me;
You are trust-worthy;
You are the one who keeps the promise with me;
The reward you are deserved, I will
Never forget it;
You are in my heart;
O Ruun! Know that,
I love only you in the world

Thundering rain in the morning
and you are like its good-scented breeze,
you are fresh water quenching my thirsty,
You are pleasant to my eye
you are the base and the pillar
that holds the house;
like the rhino
looks at her baby kindly,
you are in a heart that loves you,
nobody else is allowed

You are the person helped me succeed
You are rays of light
You have roots in my body
In my organs and cells
And you are in the lungs
No one else is allowed

The wife who has gone through the hardship with me and shared patience with me
You are trust-worthy
You are the one who keeps the promise with me
The reward you deserve, I will
Never forget i
You are in my heart;
O Rakasey! Know that
I love only you in the world

Laxaw, vocals by Lafoole, lyrics by Weedhsame

Annuu baa lallabayoo
Cashaqu i lulayee,
Shaw jacaylka laabtiyo
Lubbigaba kumaad hayn,
Kalgacaylkan leebkiyo
Ila laacay hootaduu
Annu buu i loodshee,
Shaw dhankaaga leydhiyo
Leexaba kumuu kicin,
Annu baa la liitoo
Ladi waayay jiifkee
Show adigu ladnaan baad
Raaxada ku lulataa,
Qalbigii laxiibkii
Ee kuga lamaanaa
Maad lexe- jecleyninee
Lumisaye ha raacdeeyn,
Annu baa lu’gayoo
Cashaqu I lurayee
Show adi layaab buu
Laxawgaygu kula yahay,
Annu baaba lahashada
U ahaa lilaahiyee
Ama kuuba lumayee
Show luqun jabkaygaba
Libin baad ka dhigataa,
Annu baa ladaabtoo
Kalgacaylka laacee
Show adigu liskiisii
Inanyahay ma baad liqin,
Qalbigii laxiibkii
Ee kuga lamaanaa
Maad lexe- jecleyninee
Lumisaye ha raacdeeyn.

I’m nauseous and
Love shakes me
But [little did I know] there’s no love in your heart Or on your mind
This painful infliction, like an arrow
Like a small sword
It hurts me alone
From your end, no gentle breeze
Or whirling wind moves your feelings
It weakens only me and
Disturbs my sleep
But you are happy
And enjoy,
The kind heart
That loves you
You don’t appreciate
And you neglect, then do not look for it
I wasted my time and
Loves irritates me
But my pain is
your surprise,
to the relationship/love
I am honest
And keen to you,
But for my broken heart
You feel won,
I fell in love
And feel the attachment alone,
But love’s compassion
girl, you don’t feel it,
The kind heart that
Loves you
You don’t appreciate it
Don’t bother looking for it