This book constitutes a precious resource for scholars interested in Swahili poetry, literary translation and comparative literature. In my view, two fundamental sources of potential arise from the volume. Firstly, even if its release as an academic publication would probably mean distribution on a small scale, the translation of these creative writings into Italian contribute to enhancing the visibility and presence of Swahili literature in the international literary market. Secondly, the publication of the translation into Italian might be an important factor in promoting exchange between the fields of Swahili literature and the comparative criticism of African-language literatures in Italy.

Uandishi kuhusu ushahidi wa maingiliano katika Bahari ya Hindi katika karne ya 18 na 19 umechukua sura mpya mara baada ya washairi mashuhuri wa Kiswahili kugusia masuala ya utamaduni wa manukato au tarabizuna katika kazi zao. Washairi hao kama vile Liyongo, Mwanakupona, Sikujua, Himidi, Abdalla na wengineo wamegusia suala la manukato kama sehemu ya utamaduni uliokopwa kutoka Asia-Arabuni au Umangani hadi pwani ya Afrika ya Mashariki. Ni kwa nini suala la manukato linatumika kama kigezo cha kuathiriana kitamaduni baina ya Wahindi, Waarabu na Waswahili? Makala haya yanajenga hoja kuwa motifu ya manukato ni mojawapo ya kielelezo cha maingiliano ya kitamaduni baina ya wadau wa Bahari ya Hindi katika kazi hizo za sanaa. Makala yanatoa fursa ya kuliangalia swala la manukato linavyoibua mfumo wa kijamii na suala zima la usawa wa kijinsia, osmolojia, mahusiano ya ndoa, utambulisho na sanaa ya mapambo. / Writing about the evidence of the Western Indian Ocean connections in the eighteenth and nineteenth centuries have taken a new turn following manifestation of the perfumery customs in the works of Liyongo, Mwanakupona, Sikujua, Himidi, Abdalla and others who are classical celebratory Swahili poets and yet they have evoked the perfumery trope in their works as part of the adapted oriental customs in the Swahili coastal littoral. Why is the perfumery trope used as an emblematic entity of influence and contact between Asia, Arabs and African Swahili? This article argues that the motif of perfume in those Swahili poems represents the study of cultural hybridity around the Western Indian Ocean rim. This study gives opportunity for scholars to examine how the perfumery trope symbolizes social issues, osmology (power and marginality), marital relations, identity, and ornamentation customs.

Makala hii inachambua sitiari katika Kichomi, diwani ya kwanza ya marehemu Euphrase Kezilahabi. Mashairi yaliyochunguzwa yanahusika na dhamira tatu za kijumla: maana ya maisha, udhalimu wa kikoloni, na hali ya sasa ya Afrika. Mashairi yanayochambuliwa ni: “Nimechoka”, “Mwamba Ziwani”, “Fungueni Mlango”, na “Kisu Mkononi” (dhamira ya “maana ya maisha”); “Hadithi ya Mzee” (dhamira ya “udhalimu wa kikoloni”); “Afrika na Watu Wake”, “Kumbe”, na “Namagondo” (hali ya sasa ya Afrika). Mashairi haya yako kwenye muundo usiofuata urari wa vina na mizani. Lengo la makala hii si kufanya uchambuzi wa kina bali ni kuonyesha kuwa sitiari ni mbinu ya msingi ya mshairi katika kuwasilisha maana na mtazamo wake katika dhamira kadhaa. Nimeteua mashairi hayo tu ili kudhihirisha mbinu ya kisitiari katika dhamira zilizotajwa. Uchambuzi wa sitiari umezingatia mkabala wa kisemantiki unaotambua vipengele vitatu katika muundo wa sitiari: kifananishi, kitajwa na kiungo (taz. Richards 1936; Leech 1969). Hitimisho muhimu ni kwamba sitiari ni mbinu inayoyawezesha mashairi hayo kuchanuza mawazo na hisia kwa uwazi na athari nzito. / This article analyses metaphors in Kichomi, the first collection of poems by the late Euphrase Kezilahabi. The poems analysed deal with the following main themes: the meaning of life, colonial oppression, and the current state of Africa. The poems under discussion are: “Nimechoka” (I Am Tired), “Mwamba Ziwani” (Rock in Lake), “Fungueni Mlango” (Open the Door), na “Kisu Mkononi” (Knife in Hand; theme: meaning of life); “Hadithi ya Mzee” (An Old Man’s Tale) (theme: colonial oppression); “Afrika na Watu Wake” (Africa and Its People), “Kumbe” (That’s Why ), and “Namagondo” (Namagondo; theme: current state of Africa). The structure of these poems does not follow the conventional rules of metre and rhyme. The aim of this article is not a thorough analysis, but to show that metaphor is a fundamental device for the poet to present meaning and his view concerning a variety of themes. I have selected these poems only in order to make the device of metaphor clear concerning the mentioned themes. The analysis proceeds on a semantic approach which recognizes three aspects of metaphor: vehicle, tenor and ground (cf. Richards (1936); Leech (1969:153-56)). An important conclusion is that metaphor is a device which enables the poems to evoke thoughts and feelings in a candid manner and with a deep impact.