Oulamba the hunter has an important role in the story despite how little we actually see of him. In a scant few pages he is gone and never seen again, but seems to display qualities of heroism. If it were not for his actions this story would not have taken place.
He was initially seen with his brother Oulani wandering into the kingdom of Mali with a maiden in tow, a young Songlon. "Two young hunters, handsome and of fine carriage, were walking along preceded by a young maid." (6). He then recalls a story to the royal court of his travels and adventures.
Oulamba and Oulani were on a journey, wandering and hunting. The idea of a trek, an adventure has been a theme that has run rampant throughout all the heroic epic literature that we have read. While in the land of Do, they learn of a red bull that has been terrorizing the citizens; "We met two hunters, one of whom was wounded and we learnt from them that an amazing buffalo was ravaging the countryside of Do....The king, Do Mansa-Gnemo-Diarra, had promised the finest rewards to the hunter who killed the buffalo." (7). They decide to try their luck where so many others had failed. This is similar to just about every other story we've read; a quest to defeat an unbeatable mythic creature. It's a very heroic trait.
As the quest continued they came upon an old, battered, hungry woman who everyone else ignored. "Touched by her tears, I approached and took some pieces of dried meat from my hunter's bag. When she had eaten well she said 'Hunter, may God requite you with the charity you have given me.'" (7). This is reminiscent of The Ramayana and its ideas about karma. The hero Rama had good things happen to him in response to his good actions, and the same with the bad.
However, it turns out that the old woman actually is the buffalo in question, but decides to help the hunter in return for his kindness. She gives very explicit directions as to how to defeat her when he finds her, and also how to accept the king's rewards, directing him to, when the king allows him to choose of any maiden to marry, to pick out Sogolon, the ugliest one of the crowd. He follows these instructions precisely as told, obedient like Dante the hero of The Inferno.
As he offers Sogolon to the king of Mali, he is the one ultimately responsible for all the events of the book, setting up the birth of Sundiata.
Tuesday, April 15, 2008
Monday, April 14, 2008
BA#10 Manding Bory/Manding Boukari
1. Manding Boukari aka (Manding Bory) first appears on page 16 of Sundiata when he is born and named.
2. Manding Bory is the third son of King Naré Maghan (Sundiata’s father) and his third wife, Namandjé. He is Sundiata’s youngest brother and best friend. Although he was to be instructed in sorcery, he “had no gift of sorcery” (27).
3. Manding Bory is similar to several sidekicks we have seen. He is like Gilgamesh’s Enkidu, Rama’s Lakshmana and Telemachus’ Pisistratus. He, like the other side kicks of our main heroes, is always with Sundiata to offer support, encouragement, loyalty and friendship.
4. Manding Bory is a hero because he is Sundiata’s “right hand” (16). He is to Sundiata “like a man and his shadow” (23). He stands up for Sundiata when he is too “angry” to speak (27) just like Lakshmana stands up for Rama when he is removed from the throne.
2. Manding Bory is the third son of King Naré Maghan (Sundiata’s father) and his third wife, Namandjé. He is Sundiata’s youngest brother and best friend. Although he was to be instructed in sorcery, he “had no gift of sorcery” (27).
3. Manding Bory is similar to several sidekicks we have seen. He is like Gilgamesh’s Enkidu, Rama’s Lakshmana and Telemachus’ Pisistratus. He, like the other side kicks of our main heroes, is always with Sundiata to offer support, encouragement, loyalty and friendship.
4. Manding Bory is a hero because he is Sundiata’s “right hand” (16). He is to Sundiata “like a man and his shadow” (23). He stands up for Sundiata when he is too “angry” to speak (27) just like Lakshmana stands up for Rama when he is removed from the throne.
BA #10 Balla Fesseke
1) Balla Fesseke, son of Gnankouman Doua, first appears on page 17. He is the inheritor of the griot position to the protagonist Sundiata; his grandfather and father having filled the role to the previous generations of kings in lineal descent to Sundiata (17).
2) Though it is still early in the epic's development Fesseke has already begun to demonstrate, with heroic devotion, a fulfillment of his role as griot to the prince Sundiata, unveiling a character of principled discipline that embraces his responsibilities. When Sundiata requests an iron rod it is Fesseke that quickly obliges, speaking prophetically in a manner suited to a griot when asked by the smith if Sundiata's time has come: "[t]oday is a day like any other, but it will see what no other day has seen" (20). Subsequently, upon each of Sundiata's supernatural feats of turning the iron rod into a bow and stepping the length of a giant's pace, Fesseke records the moments in song (21). By versifying the accomplishments of the leader he has pledged himself to, and being instrumental in carrying out his commands, he has displayed the characteristics of an effective griot. That his fidelity was begun during the time of Sundiata's lame disfavor adds a heroic honesty to his service.
3) Bella Fesseke reminds me of Lakshmana from the Ramayana. When compared, they share a childhood kinship with their centrally heroic protagonists. Additionally, they are royal characters that are cast out of a kingdom and must continue in their leader's service until fortune allots their return.
4) In the Preface, D. T. Niane briefly describes the historically central role the griot played within ancient African Society: "the griot appears as one of the most important of this [pre-colonial] society, because it is he who, for want of archives , records the customs, traditions and governmental principles of kings" (xxiii). In this setting the griot operates as an embodiment of the culture's conscience, so that as a character within the work his heroic proportions are judged on more of a moral scale of the effectiveness of his confidences with Sundiata. The more physical acts which have been the basis by which we have generally applied to the central heroes of the previous works do not apply as readily for Fesseke. It is as an advisor and intellectual compass that the developement of his heroism will (probably?) take place, even-though his devotion, reminiscent of Enkidu, is already evident. In this way he is not the classic hero wrought from the mold of Gilgamesh, Ramayana and Ulysses. If we assess his heroism it will have to be in terms of heroic support along the lines of Enkidu, Lakshmana and Athena.
2) Though it is still early in the epic's development Fesseke has already begun to demonstrate, with heroic devotion, a fulfillment of his role as griot to the prince Sundiata, unveiling a character of principled discipline that embraces his responsibilities. When Sundiata requests an iron rod it is Fesseke that quickly obliges, speaking prophetically in a manner suited to a griot when asked by the smith if Sundiata's time has come: "[t]oday is a day like any other, but it will see what no other day has seen" (20). Subsequently, upon each of Sundiata's supernatural feats of turning the iron rod into a bow and stepping the length of a giant's pace, Fesseke records the moments in song (21). By versifying the accomplishments of the leader he has pledged himself to, and being instrumental in carrying out his commands, he has displayed the characteristics of an effective griot. That his fidelity was begun during the time of Sundiata's lame disfavor adds a heroic honesty to his service.
3) Bella Fesseke reminds me of Lakshmana from the Ramayana. When compared, they share a childhood kinship with their centrally heroic protagonists. Additionally, they are royal characters that are cast out of a kingdom and must continue in their leader's service until fortune allots their return.
4) In the Preface, D. T. Niane briefly describes the historically central role the griot played within ancient African Society: "the griot appears as one of the most important of this [pre-colonial] society, because it is he who, for want of archives , records the customs, traditions and governmental principles of kings" (xxiii). In this setting the griot operates as an embodiment of the culture's conscience, so that as a character within the work his heroic proportions are judged on more of a moral scale of the effectiveness of his confidences with Sundiata. The more physical acts which have been the basis by which we have generally applied to the central heroes of the previous works do not apply as readily for Fesseke. It is as an advisor and intellectual compass that the developement of his heroism will (probably?) take place, even-though his devotion, reminiscent of Enkidu, is already evident. In this way he is not the classic hero wrought from the mold of Gilgamesh, Ramayana and Ulysses. If we assess his heroism it will have to be in terms of heroic support along the lines of Enkidu, Lakshmana and Athena.
BA# 10 Sogolon Djata/Sundiata
1. Sundiata possesses many names, such as Sogolon Djata, Nare Maghan Djata, etc. and he appears at birth on page 13.
2. Sundiata is described as one with a difficult childhood, as he could not walk on his legs until seven and did not possess the beauty of his father. Sundiata, however, was unlike his peers in other ways as well: his intelligence surpassed his age and his father was able to speak to him like an adult, he found things that a child would be amused with boring and did not lash out against the ridicule towards himself or his mother.
3. Sundiata is much different than the current antagonist of the story, Sassouma Berete, the first wife of the king and the queen-wife after he dies. Sassouma shows incredible jealousy and malice towards Sundiata and Sologon with her "fierce laughter which cut through your flesh and penetrates right to the bone" (p19) and with her desire to "put an end to this popularity (Sundiata's) by killing Sundiata." (p24)
4. Sundiata is clearly portrayed as a hero even this early in the book and his life. When he was born "Thunder began to rumble and swift lightning rent the clouds ... A flash of lightning accompanied by a dull rattle of thunder burst out..." (p13), which is indicative of someone of great importance being born. Sundiata possesses both physical strength, "his arms had the strength of ten" (p23) and also a sound grasp of moral justice, which is evident in his response to the test of the old witches, "Each time that you run short of condiments come to stock up here without fear." (p25) Thus far, Sundiata is portrayed as an incredibly gifted child in many ways.
2. Sundiata is described as one with a difficult childhood, as he could not walk on his legs until seven and did not possess the beauty of his father. Sundiata, however, was unlike his peers in other ways as well: his intelligence surpassed his age and his father was able to speak to him like an adult, he found things that a child would be amused with boring and did not lash out against the ridicule towards himself or his mother.
3. Sundiata is much different than the current antagonist of the story, Sassouma Berete, the first wife of the king and the queen-wife after he dies. Sassouma shows incredible jealousy and malice towards Sundiata and Sologon with her "fierce laughter which cut through your flesh and penetrates right to the bone" (p19) and with her desire to "put an end to this popularity (Sundiata's) by killing Sundiata." (p24)
4. Sundiata is clearly portrayed as a hero even this early in the book and his life. When he was born "Thunder began to rumble and swift lightning rent the clouds ... A flash of lightning accompanied by a dull rattle of thunder burst out..." (p13), which is indicative of someone of great importance being born. Sundiata possesses both physical strength, "his arms had the strength of ten" (p23) and also a sound grasp of moral justice, which is evident in his response to the test of the old witches, "Each time that you run short of condiments come to stock up here without fear." (p25) Thus far, Sundiata is portrayed as an incredibly gifted child in many ways.
Wednesday, April 2, 2008
BA#8 - Post 2
1.) An anti-hero that emerges in Canto XIII are the Harpies. "They have broad wings, a human neck and face, clawed feet, and swollen, feathered bellies" (13.11-12).
2.) The Harpies are one of the scariest demons readers have encountered so far in Dante's Inferno. "They caw their lamentations in the eerie trees" (13.12-13). "Eager as greyhounds off the leash, Black bitches filled the woods, avid and quick. They set their teeth on the one who stopped to crouch, and tore his limbs apart" (13.118-121). The Harpies are violent creatures, who's eerie caws fill the 2nd ring of the 7th circle. They deliver pain to all souls which reside there with a vicious eagerness, acting as a machine to serve punishment to those who have sinned.
3.) Like other demons such as the centaurs which keep souls from escaping the boiling blood they are sentenced to spend eternity in and Minos, the demon who judges and assigns the souls their proper place, the Harpies serve a purpose in Hell. "Feeding on the foliage [souls], [they] create Pain, and an outlet for the pain as well" (13.94-95). Every ring in Hell has its respective entity to carry out that ring's punishment. In the 2nd ring of the 7th circle of Hell, we see that the Harpies are that entity.
4.) The Harpies are truly not heroes. Residing as a deliverer of punishment in Hell, they do not fulfill any defining traits which make a hero. They are not humble, self-sacrificing, noble, brave, or any other hero like quality. The Harpies are anti-heroes because they are truly evil entities, which exist for the sole purpose of delivering Pain.
2.) The Harpies are one of the scariest demons readers have encountered so far in Dante's Inferno. "They caw their lamentations in the eerie trees" (13.12-13). "Eager as greyhounds off the leash, Black bitches filled the woods, avid and quick. They set their teeth on the one who stopped to crouch, and tore his limbs apart" (13.118-121). The Harpies are violent creatures, who's eerie caws fill the 2nd ring of the 7th circle. They deliver pain to all souls which reside there with a vicious eagerness, acting as a machine to serve punishment to those who have sinned.
3.) Like other demons such as the centaurs which keep souls from escaping the boiling blood they are sentenced to spend eternity in and Minos, the demon who judges and assigns the souls their proper place, the Harpies serve a purpose in Hell. "Feeding on the foliage [souls], [they] create Pain, and an outlet for the pain as well" (13.94-95). Every ring in Hell has its respective entity to carry out that ring's punishment. In the 2nd ring of the 7th circle of Hell, we see that the Harpies are that entity.
4.) The Harpies are truly not heroes. Residing as a deliverer of punishment in Hell, they do not fulfill any defining traits which make a hero. They are not humble, self-sacrificing, noble, brave, or any other hero like quality. The Harpies are anti-heroes because they are truly evil entities, which exist for the sole purpose of delivering Pain.
Tuesday, April 1, 2008
Capaneus; BA#8
Capeneus was first introduced in Canto 14, page 113 on line 38.
Capeneus is a spirit in the third ring in the seventh circle who is being punished for blaspheming against a god. He is an example of someone who is not a hero. Those who committ blasphemy are self righteous and full of pride. They dont see fault in themselves and think they are superior to everyone, even divine powers. While on earth, Capeneus was a successful king who "besieged"(Notes: Canto 13-14; 326) a city called Thebes. The victory was a reason to celebrate but he went as far as to claim that he was undefeatable even against the "great god" (Notes: Canto 14-15; 327) Jove. For his haughty attitude, he was proven wrong and struck to death. Even after he was put to death and sent to hell, his "distainful"(Canto 14.39) demeanour and "scowling"(Canto 14.39) expression showed that his attitude didn't change. Virgil describes him as a spirit with "unquenched pride" (Canto 14.52). This shows that he did not learn from punishment and adopt a humble attitude.
Capeneus is a spirit in the third ring in the seventh circle who is being punished for blaspheming against a god. He is an example of someone who is not a hero. Those who committ blasphemy are self righteous and full of pride. They dont see fault in themselves and think they are superior to everyone, even divine powers. While on earth, Capeneus was a successful king who "besieged"(Notes: Canto 13-14; 326) a city called Thebes. The victory was a reason to celebrate but he went as far as to claim that he was undefeatable even against the "great god" (Notes: Canto 14-15; 327) Jove. For his haughty attitude, he was proven wrong and struck to death. Even after he was put to death and sent to hell, his "distainful"(Canto 14.39) demeanour and "scowling"(Canto 14.39) expression showed that his attitude didn't change. Virgil describes him as a spirit with "unquenched pride" (Canto 14.52). This shows that he did not learn from punishment and adopt a humble attitude.
BA 8
1. Dante, appears first page.
2. Dante is the main character and narrator of Dante's Inferno. He, along with his new companion, Virgil, are making their way through the levels of hell. Dante encounters many spirits that he interacts with and observes the torments which they undergo all day, everyday.
3. Dante can be compared to Gilgamesh in the sense that each under went trials to learn about the morals of life and the effects of poor choices. "Speak to me with the answers that I crave about these souls and the sepulchers they fill:"(X.5).
4. Dante it is arguable that Dante is or is not a hero in the poem, but as an author and narrator of hell his is a hero. Dante is a hero for showing and telling others about hell. He tells of the sins that will place sinners in specific levels of hell and what torments the sinner will be faced with. Dante is a hero.
2. Dante is the main character and narrator of Dante's Inferno. He, along with his new companion, Virgil, are making their way through the levels of hell. Dante encounters many spirits that he interacts with and observes the torments which they undergo all day, everyday.
3. Dante can be compared to Gilgamesh in the sense that each under went trials to learn about the morals of life and the effects of poor choices. "Speak to me with the answers that I crave about these souls and the sepulchers they fill:"(X.5).
4. Dante it is arguable that Dante is or is not a hero in the poem, but as an author and narrator of hell his is a hero. Dante is a hero for showing and telling others about hell. He tells of the sins that will place sinners in specific levels of hell and what torments the sinner will be faced with. Dante is a hero.
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