Dyol Wazk

“The Pemye Khi, known more commonly to the non-Khafkii population as the Dyol Wazk, five tragedies that forever ripple in culture. Because of it we have phrases such as: a lady who wields a needle is more powerful than the greatest warrior.”

— Abigaíl Nof Lukchi, member of Khre Nyijebish Strenklaz

The Dyol Wazk is an epic (in particular a Mekeer Nupuu, a type of Khafkii storytelling) within the Khakfii community, known to them as the Pemye Khi. Less common than the The Jul Bre Nog (which is often told alongside the Dyol Wazk and originally come from the tale, at least according to some) in its original form due to its lengths, but arguably more influential in culture both doe.

Origins

The tale of the Dyol Wazk has been common since at least the 500s DEV, at least historians theorise it was. The first fragment of a recording was produced in the late 600’s, only describing one of its 5 khe, or parts.

Summary

The Dyol Wazk is a tale of the Khafkii persecution as well as life through the eyes its five principal characters: Aaw, Niny, Aakfe, Maar̈ and Ohke.

Khe, one - The Maidservant

“We are sisters in faith. I am deaf and blind in the day whilst I work. I wash, I clean, and I dress you. But I hold a thousand of you secrets. And one day they will leave your blood on the floor due to my hand.”

Aaw is near the end of her rope and her anger is hard to conceal behind the smile she wears out of her own fear. They claim her circumstances are better than others due to her status as a house ‘servant’. But she has begun to question everything, especially now after being taught to read the The Currean Script. When she is not under strict surveillance, she reads. And it gives her some dangerous ideas which might just be her downfall.

Khe, two - The Seamstress

“I do not know who I am even after tasting the sweet honey of liberty. I now know what is darkness and light. But yet I am still robbed of my identity. Rather than it be by the crack of a whip or a sword hitting grass. I am robbed of it by the blood that I bleed whilst I sew.”

Niny is free, unlike many of her sisters and brothers. But she is still limited in what she can do with her life. So, her life is wasted as she sews away until she meets Chepa - a foreigner - and with him comes ideas of revolution and rebellion. And as she begins to spread word, she is easy prey.

Khe, three - The Prisoner

“I know that I have done wrong, and I should be cleansed. But hate is all I have got, for both the rich and the poor that condone my twenty years a slave!”

Stealing food for a group of starving children - his own children - was Aakafe’s greatest mistake in life. Twenty years he was punished for it with hard labour but now he is freed. Yet he is not passive any longer. Although, once again every single little action he takes to snub society’s prejudices will soon lead to his death.

Khe, four - The Assassin

“Me and my brothers wait behind a building in the streets of Jazm. We blend in with the urban scenery. More poor rascals down upon their luck. But we have come here with a different fury, and it is pointed at another man’s deeds.”

Maar hates Ferdinand Khrowmi, governor of Jazm. And even hate is a light word for his feelings towards him. He is one of the reasons freedom has grown to be rarer within the Khafkii people. So, over multiple evenings is crafted a simple plot with a few of his brothers and friends: kill Khrowmi at all costs, even if it kills you.

Khe, five - The Singer

“I like it most when she sings. She is nearly harmless when destroyed by emotion, even if she is prettier when she remains silent. But the brightest amongst us claims it is a ruse and her fury remains true. So he curses her name when she sings and claps and plays us all dumbstruck.”

Ohke lives a glamorous life, at least according to those that surround her, dancing and singing in taverns to keep a roof over her head and to provide medicine for her child. But as the money begins to be no longer enough to keep her sickly son living, she begins to question why is it that she never sees a mark of what she is meant to earn. It is she who is singing. That is when she begins to write and draw for the revolution. But it all comes for a price. Her voice and her life.

Adaptations

“Their tellings of the Pemye Khi are the reasons I have become what I have become.”

— Norwaa Liimekeer

Novels

There have been many adaptations of sections from the Dyol Wazk into different works. Chief amongst them is Laaymaa, a minor character from the 2nd Khe of the Dyol Wazk which is considered a masterpiece in its own right. There is also The Fabrics of Revolution a modernised retelling of the 2nd Khe. Some others include

- The Bloody Maidservant; another side of the story

- Aaw’s execution

- Her cries, her blood

- Why Freedom should not Cost a Farthing

- Twenty Years in Bondage

- The Prisoner’s Children, written by Adelphia Ittel

- Sympathy does not Come from Murder

- Khrowmi’s life

- The Screams of a Desperate Mother

- The Songbird and her Little Girl

Alongside many more

On Stage

Many pioneering pieces in the Musical Theatre Movement have either been adaptations or at least inspired by the themes of the Dyol Wazk or at least it's highly controversial translation.

The Five Evenings

Considered a masterpiece, The Five Evenings is a set of theatrical pieces telling the Peyme Khi through the use of dialogue, dance and singing. Through this play, Norwaa Liimekeer̈, who played Laamyaa, Niny and Aaw at different points, was discovered and began her career in theatre - propelling her to be a celebrity throughout the nation.

Laaymaa’s story

The adaption of the novel named after its principal character, Laaymaa’s story is also a pioneer like The Five Evenings although with less renown, and less praise heaped upon it, especially due to their disastrous cast decisions and the bad luck that has plagued it.

Bread Thief

Bread Thief was a short-running play commissioned by Clímaco Ittel to pacify Queen Leyre Larramendi after having annoyed her gravely. Outside of that is little known due to its short time performing on stage and having little impact upon the theatre as an artform.

The Servant

More an opera than anything, it stirred up controversy for the fact it did not use a word of Khafkii language, instead either translating or cutting out sections of dialogue commonly left in the language due to old laws (which had been abolished years ago) to do with the Khafkii and other minority languages. The controversy was mainly contained to those working in theatre and entertainment of Khafkii heritage, though.

Related Ethnicities

Khafkii

Type

Imagery, Artistic

Medium

Oral Tradition / Word of Mouth