PORTFOLIO

IN
SURVEY OF AFRO-ASIAN
LITERATURE

Submitted by: Submitted to:

GLADYS A. MESIONA MS. REZZA MAE C. SOLANO

BSEDE-3 EL 114- Instructor

EL114: SURVEY OF AFRO-ASIAN LITERATURE

 FIRST SEMESTER S.Y 2022-2023

Instructor: Rezza Mae C. Solano

Email: [email protected]

Name: Gladys A. Mesiona

BSDEDE-3

ACTIVITY 1: ANCIENT INDIAN LITERATURE

Instructions:
A. Vedas
Discuss the historical background of Indian Literature by discussing the literary scripts
in Ancient India, specifically the Vedas. Discuss comprehensively and scholarly the Vedas
and the following literary piece inclusion:

According to Indainonline, Indian literature is the oldest form of literature, and

has served as a model for other cultures. The phrase alludes to ancient literary works
written in various Indian languages. The literary work used to be transmitted orally in
earlier times. Hindus attribute a supernatural origin to the Vedas from their numerous
revered scriptures. Only these four books (Rigveda, Yajurveda, Samveda, and
Atharvaveda) may be relied upon to disclose life's fundamental truths. Hindus believe
this knowledge has always existed in the form of vibrations that may be heard across the
cosmos. Moreover, these elusive vibrations went unnoticed until some Indian sages with
spiritual hearing, beginning some 3,200 years ago, finally heard and recorded them in the
Sanskrit language. Therefore, the Vedas primarily use hymns and chants because they are
believed to replicate the sounds of the universe itself at the moment of creation and
moving forward. One is supposed to actively participate in the universe's creative song,
which gave rise to all things visible and invisible from the beginning of time, by reciting
the Vedas.
a. Rigveda
According to Baird F. & Heimbeck, R.
S. (2005), The Rig Veda, which has 1,028
hymns organized into ten books known as
mandalas, is the most extensive and
regarded as the most significant of the
group. He added that one of the most
influential writings in Hinduism is the Rig
Veda, the oldest of the four Vedas. It is a
sizable collection of hymns to the gods that
are chanted at different rites. They were
written in Vedic, an ancient tongue that
eventually gave rise to classical Sanskrit. 
The ten volumes, or maalas, make up Rig
Veda's 1028 hymns.

b. Yajurveda
As Kulke, H. & Rothermund D (2006), the
Yajur Veda is divided into the White and
Black halves and contains prose
commentaries on how religious sacrifices
should be performed. The Yajur Veda, also
known as "Worship Knowledge" or "Ritual
Knowledge," is made up of chants, mantras,
and recitations used in worship ceremonies.
Like the Sama Veda, its substance is derived
from the Rig Veda, but the 1,875 verses'
primary subject is the liturgy of religious
observances. It is typically thought of as
having two "components" aspects of the total rather than separate pieces. The less
precise and awkwardly organized verses are referred to as the "dark Yajur Veda,"
whereas the more understandable and well-organized verses are called the "light
Yajur Veda."
c. Samveda
Kulke, H. & Rothermund, D
(2006) further noted that the verses
of the Sam Veda are taken almost
entirely from the Rig Veda but
arranged differently so they may be
chanted. The Sama Veda is a collection
of liturgical hymns, chants, and
writings meant to be sung. Its name
means "Melody Knowledge" or "Song
Knowledge." The Rig Veda serves as the
lyrics to the Sama Veda's melodies. As
some historians have noted, the
material of the Sama Veda is virtually
entirely taken from the Rig Veda. It
has 1,549 verses, split into two parts: the gana (melodies) and the arcika (verses).
It is said that the songs inspire dancing, which, coupled with the lyrics, lifts the
soul.
*Note: Photos are retrieved from Wikipedia.com

d. Atharvaveda
Finally, Keay, J. India (2018) anchored that the
Atharva Veda includes charms and magic
incantations written in the style of folklore. In
contrast to the other three, the Atharva Veda
("knowledge of Atharvan") focuses on magical
spells to fend off evil spirits or danger, chants,
hymns, prayers, initiation rituals, marriage and
funeral ceremonies, and observations on daily
life. The priest Atharvan, who is reputed to have
been well-known as a healer and a religious
innovator, is supposed to be the source of the
name. He mentioned that the work is believed to
have been created by a single person (perhaps
Atharvan, but that is unlikely) or a group of
individuals about the same period as the Sama Veda and Yajur Veda (c. 1200-1000
BCE). There are 730 hymns in 20 volumes, some of which are based on the Rig
Veda. Some theologians and academics have rejected the work as a legitimate Veda
due to the nature of the work, the language utilized, and the form it takes.
Because it deals with later information that is recalled rather than the earliest
knowledge received, it is accepted by certain but not all Hindu groups today.

B. Epics
Discuss the central theme, implication, moral, and influence of the following epics in
Ancient Indian literature:
 As discussed by Dr.Y.Ramesh (2016), the Vedas and Puranas, along with the two
major epics, the Mahabharata and the Ramayana, provide the sturdy and long-lasting
foundation of the majestic, age-old structure of Indian culture and civilization. The ever-
lasting attractiveness of these treatises continues to significantly impact the cultural
life and behavior of millions of Indians. Mainly, the Ramayana and the Mahabharata are
durable and essential elements of popular culture in India, where oral and visual history
has been used as a form of knowledge transmission for ages. Everywhere in Indian
villages and towns, people love to sit in a circle and listen far into the night to the
recitations and songs of these poems; many thousands of people devote a set period each
day to reading the Ramayana aloud, starting again at the beginning as soon as the end is
reached; even poor and isolated villages have puppet shows, dramas, or plays based on the
epics.

A. Ramayana by Valmiki
Millions of people worldwide get inspiration, wisdom, and moral guidance from the Valmiki-
Ramayana. I am one of those millions of people knowing that I
have read this fantastic literature way back during my 8 th
grade, a magnificent expression of the majestic concepts of
the seer poet Valmiki. It overcomes the constraints of space,
time, and situation and offers a global allure to people of
various linguistic backgrounds, national origins, and religious
convictions; furthermore, in Cultural Heritage of India, Vol
II. P.-23 stated that the Ramayana had an enduring and
irrevocable impact on family life and the social, cultural, and
literary lives of those who live in different regions of India
and other countries. Being the oldest Indian epic, the
Ramayana provides a wealth of knowledge on ancient India's
social and political climate social and political climate of
ancient India as well as a repository for all learning. It holds
a special place in the development of literature and religious
ideas. Additionally, it significantly had impacts significant
impact on the actions and perspectives of later generations of Indians. In addition to being a
reasonably well-known epic, it also serves as the Hindus' moral code. Finally, the principles of
the Ramayana's ethical themes make it simple to understand.

B. Mahabharata by Maharishi Vedvyas

Noted to Doniger, W. (2022, August 22), one of the two Sanskrit epic poems of
ancient India is the Mahabharata, which translates as "Great Epic of the Bharata Dynasty" (the
other being the Ramayana). It is more than just an epic; it is also a representation of Indian
culture and expertise. For Indians, the Mahabharata is
more than just an epic; it is sacred literature where their
blood resides, their bones flourish, and their
consciousness becomes omnipresent by relocating their
souls. One of the essential life lessons from the
Mahabharata is this. Vedas and Upanishads were
combined into one extensive Indian treatise through the
Mahabharata. It also develops a resource for information
on all relevant practical issues, from statecraft to
administration complexities. Because this massive epic is
focused on matters of political corruption,
evil characters, and the community, it might be said to be
a story for modern humanity. Furthermore, the
characters and circumstances in this nocturnal story keep
worsening as we proceed. After the conclusion of the
Mahabharata, it starts. It portends the start of a gloomy
world rife with rage, unease, disappointment, jealousy,
deprivation, disappointments, disgust, grief, alienation, etc. This vast epic claims that
other horrible events will characterize the quarrel or contention in which we live and other
horrific events that will describe us will be represented by other terrible events till the end of
the world. The vast epic Mahabharata serves as the guiding light in this situation. Moreover, an
excellent portrayal of Indian culture and spirit may be found in the epic Mahabharata, which
has retained much of its captivating allure. Additionally, it explores the development of
Hinduism and its relationships with other major religions, in addition to countless descriptions
of mythology. Because it coincided with the conversion of the Veda to Hinduism, the time when
the Mahabharata was written is of great historical significance.

ACTIVITY 2: MEDIEVAL PERIOD

Instructions: Discuss the focus, characteristics, authors, and literary pieces of

different Indian literature in various Indian languages:

Assamese, Bengali, Bhojpuri, Gujarati, Kannada, Konkani, Malayali, Manipuri, Marathi, Mizo,
Oriya, Punjabi, Rajasthani, Tamil, Telugu, and Urdu.

1. ASSAMESE
Focus and Characteristics- The Assamese people speak Assamese as their native tongue.
According to location, there are primarily two varieties of Assamese: Upper Asomia and
lower Asomia. There are also several subdialects of it. Additionally serving as a lingua
franca is Assamese. Although it is a member of the Indo-Aryan language family, contact
with the local Tibeto-Burman dialects has impacted its lexicon, pronunciation, and
grammatical structure. Moreover, because of its strong ties to Tibeto-Burman dialects in
the area, Assamese has changed its lexicon, phonetics, and structural elements. Its
grammar is renowned for its highly inflected forms, and both honorific and non-honorific
formulations might utilize various pronouns and plural noun markers.

Authors and Literary Pieces- There are notable authors who have Assamese literary
pieces, namely; Indira Goswami (The Moth-Eaten), Birendra Kumar Bhattacharya
(Mrityunjay-Immortal), Arupa Patangia (Mariam Austin Othoba Hira Barua), and Amulya
Barua (Achina-The Stranger).

2. BENGALI
 Focus and Characteristics-98% of Bangladeshis speak Bengali as their mother tongue,
making it the official and country language. West Bengal, Tripura, and the Barak Valley
portion of the Indian state of Assam all have Bengali as their official languages. With its
lengthy and illustrious literary history, Bengali helps unite a culturally diverse region . In
addition, Bengali’s verbal and written forms display diglossia; two distinct writing styles
with substantially different vocabularies and grammar have developed. The cursive Bengali
abugida, a dialect of the Eastern Nagari script, is the writing system used in Bengali.

Authors and Literary Pieces- There were notable authors together with their literary
pieces in the Bengali language. Sarat Chandra Chattopadhyay ( Badadidi-1907), Bankim
Chandra Chatterjee (Durgeshnandini), Michael Madhusudan Dutt (Tilottama Sambhava
Kavya-1861), and Kazi Nazrul Islam (Chakrabak -The Flamingo- 1929)

3. BHOJPURI
Focus and Characteristics- It denotes both a language and the speakers of that language.
People speak Bhojpuri in its distinctive regional varieties in several districts in western
Bihar, eastern Uttar Pradesh, a few areas in Jharkhand, and a small region of Nepal next
to the lower range of the Himalayas. Magahi and Maithili are their nearest relatives.
Bhojpuri is a direct descendant of Sanskrit, but because there are no written records of
its early history, nothing is known about it. Even though Bhojpuri isn't one of India's more
well-known literary languages, it has a long history of oral literature. Bhojpuri syllables can
start with a consonant or end with one. Only in the final places do consonant clusters occur.
Two vowels may also follow one another.

Authors and Literary Pieces- There were notable authors together with literary pieces
that were in the Bhojpuri Language. Mahendar Misir ( Krishna Gitawali), Swami Sahajanand
Saraswati (Karmakalap, in Sanskrit and Hindi), and Dharni Das (Shabd Prakash)

4. GUJARATI
Focus and Characteristics- It is recognized as an official language in the union territories of
Dadra and Nagar Haveli and Daman and Diu as well as the state of Gujarat in India. With 55.5
 million speakers or roughly 4.5% of the entire Indian population, Gujarati is the sixth most spoken
language in India by native speakers as of 2011[2]. As of 2007, it was the 26th most spoken
language overall by native speakers. Gujarati literature is occasionally divided into two major
categories: poetry and prose, with the former enjoying a long history extending back to
the sixth century. A pillar of medieval Indian times, poetry was viewed as a means of
conveying religious judgments and views.

Authors and Literary Pieces- There were notable authors together with literary pieces
that were in the Gujarati Language. Rajendra Keshavlal Shah ( Grihapravesh -1957),
Dalpatram (Mithyabhiman-1870), Umashankar Joshi ( Viswashanti -World Peace), and
Mirabai (Bhakti for Krishna).

5. KANNADA
Focus and Characteristics- The oldest language is Kannada, followed by Prakrit, Sanskrit,
and Tamil. In southern India, particularly in Karnataka, it is spoken as a first language by
38 million people and as a second language by an additional 9 million people. Additionally, it
is said in the close-by states of Tamil Nadu, Maharashtra, and Andhra Pradesh.
Furthermore, Kannada has a set of ten vowels, which is one of the language's most
intriguing features. As a result, almost every word in the language ends with a vowel.
According to the world's linguistic giants, this is one of the most unusual facts about the
queen of all languages. This particular trait can also be used to pinpoint a solid Sanskrit
influence. In terms of its phonology, grammar, and lexicon, the spoken and written forms
of the language differ significantly. While numerous regional varieties of Kannada are told,
the written form has mainly remained consistent.

Authors and Literary Pieces- There were notable authors together with literary pieces
that were in the Kannada Language. Jain Sivakotyacharya ( Vaddaaradhana), Nagachandra
(Ramachandracharita Purana), Nayasena (Dharmamrata), and Nagavarman II (Karnataka-
bhasa-bhusana)

6. KONKANI
 Focus and Characteristics- Konkani is a member of the Indo-Aryan language family. It
belongs to the family of southern Indo-Aryan languages called Marathi-Konkani. It is an
Indo-Aryan language mainly used by the Konkani people along India's western coast
(Konkan). It is spoken throughout India's Konkan coast, including the state of Goa.
Additionally, it is said in Kerala, Karnataka, and Maharashtra, three nearby states. Also, it
is rigid and closer to Sanskrit than other contemporary Indo-Aryan languages. Linguists
classify Konkani as a combination of different Prakrit languages. The influx of immigrants
might explain what the Konkan coast has experienced. Unsurprisingly, this language is only
spoken and lacks a written script. The Devnagari script, used in most north Indian
languages, was chosen as Konkani's official script. The sweetness of the language and the
rhythmic nature of the words make it beautiful, almost like singing.

Authors and Literary Pieces- There were notable authors together with literary pieces
that were in the Konkani Language. Pundalik Narayan Naik ( Ransundari), Damodar Mauzo
(Gathon 1971), Ravindra Kelekar (Navi Shala), and Shenoi Goembab (Albuquerquan Goen
Koshem Jiklem)

7. MALAYALI
Focus and Characteristics- Three significant regional dialects of Malayalam as well as
several lesser ones exist. There are some linguistic differences along class, especially
caste, lines. These elements have led to the development of diglossia in the Malayalam
language, which is the separation of formal, literary language from informal speech. Three
significant regional dialects of Malayalam as well as several lesser ones exist. There are
some linguistic differences along class, especially caste, lines. These elements have led to
the development of diglossia in the Malayalam language, which is the separation of formal,
literary language from informal speech.

Authors and Literary Pieces- Paremmakkal Thoma Kathanar (Thirunizhalmala), Johann

Ernst Hanxleden (Puthen Pana), and Vengayil Kunhiraman Nayanar (Vasanavikriti)

8. MANIPURI
 Focus and Characteristics- Commonly known as Meitei (Meetei), this Tibeto-Burman
tongue is primarily spoken in the northeastern Indian state of Manipur. There are smaller
speech communities in Bangladesh, Myanmar, the Indian states of Assam, Mizoram, and
Tripura (Burma). The local name for the Manipuri script is Meitei Mayek. The Tibeto-
Burman family extended and diversified from the Manipur state and its surroundings,
making it highly challenging to genetically assign the region's languages. However, Manipuri
shares Tibeto-Burman genetic traits. There are three positional occurrences of the velar
nasals, widespread stem homophony, semantic verb bleaching, duplication or elaboration,
final particles, a preference for aspect over tense, a lack of gender marking in the verb-
final word order, and agglutinative verb morphology with extensive suffixation and less
extensive prefixation.

Authors and Literary Pieces- Writers namely; Hijam Anganghal Singh (Khamba Thoibi),
Khwairakpam Chaoba Singh (Lavangalata), and Lamabam Kamal Singh (Lai Pareng) are among
the most significant Meetei authors of the 20th century.

9. MARATHI
Focus and Characteristics- Marathi has a three-way gender system that includes the
neuter in addition to the masculine and feminine and distinguishes between inclusive and
exclusive forms of the word "we." It contrasts alveolar with retroflex laterals and apico-
alveolar with alveopalatal affricates in its phonology. Indo-Aryan language is spoken in
western and central India. In 1966, it was made the official language of the state of
Maharashtra. Its geographical range stretches from north of Mumbai along the western
coast past Goa and eastward over the Deccan. The standard form of speech is that of the
city of Pune (Poona) (Poona). Of all the modern Indian languages, the literature in this one
is among the oldest. The Varhadi dialect and Standard Marathi are the two main varieties
of the language.

Authors and Literary Pieces- There were notable authors together with literary pieces
that were in the Marathi Language. Dnyaneshwar ( Amrutanubhav), Mukundaraja
 (Paramamrita), Vaman Pandit (Yatharthadeepika), and Raghunath Pandit (Naladamayanti
Swayamvara)

10. MIZO
Focus and Characteristics- The Mizo people live in the Mizoram state of India and the
Chin State of Myanmar. They speak the Mizo language, also known as Mizo awng, which is a
Kuki-Chin-Mizo language that is a member of the Tibeto-Burman family of languages. Due
to the Duhlian people being the first Mizos that the British encountered during their
colonial invasion, the language is also known as Duhlian and Lushai, a colonial name. The Mizo
language, also known as Mizo awng, is now the primary language spoken in Mizoram and the
surrounding areas, as well as to a lesser extent in Myanmar, Bangladesh, and in some
regions of Assam, Tripura, and Manipur in India. The majority of well-known ancient poetry
thought to be written in Mizo is written in Pawi, Paite, and Hmar, which are the ancestors
of many poetic languages. Along with English, Mizo is the official language of Mizoram, and
there have been attempts to have it added to the Constitution of India's Eighth Schedule.

Authors and Literary Pieces- Some of the most prominent writers during this period are
James Dokhuma (Khawhar In), B. Lalthangliana (Ka Lungkham), H. Lallungmuana (Ram Leh i
tan cash), and C. Laizawna (Hmangaihzuali).

11. ORIYA
Focus and Characteristics- There are about 50 million speakers of the Indo-Aryan
language Odia, often spelled Oriya. It is also the primary official language of the Indian
state of Odisha. This language is legally recognized, or "scheduled," under the Indian
constitution (Oriya). There are numerous varieties of the language; Mughalbandi (Coastal
Odia) being the predominant one and the one used in schools.

Authors and Literary Pieces- Some of the most prominent writers in this language are
Jagannatha Dasa (Bhagabata), Pratibha Satpathy (Grasta Samaya), Pratibha Ray
(Shilapadma), and Ramakrushna Nanda (Sahitya Sopana)
12. PUNJABI
Focus and Characteristics- The Gurmukhi alphabet, which is based on the Indic scripts, is
used to write it in India. The way that Punjabi uses lexical tone sets it apart from other
Indo-Aryan languages and the larger Indo-European language family. In India, there were
roughly 30 million Punjabi speakers at the beginning of the twenty-first century. It is one
of the languages recognized by the Indian constitution and the official language of the
Indian state of Punjab.

Authors and Literary Pieces- Other important Sufi poets are Abdullah (Bara Anva
“Twelve Topics”) Bulleh Shah (Kafi), Shah Hussain (Kafi), Sultan Bahu (Qawwali), and Ali
Haidar (Qissa-e-Heer-o-Ranjha).

13. RAJASTHANI
Focus and Characteristics- refers to a collection of Indo-Aryan languages and dialects
that are largely spoken in the Indian states of Rajasthan and the nearby regions of
Gujarat, Haryana, and Madhya Pradesh. Additionally, speakers can be found in the Pakistani
provinces of Sindh and Punjab. Rajasthani dialects are connected to Gujarati and Sindhi
and share several words with both of those languages. Depending on how far apart in
geography the languages are from one another, Gujarati and Rajasthani are equally
understandable to a degree of 60 to 85%. The literary language Marwari, which is being
promoted as the official language of the state of Rajasthan, is often referred to as
Rajasthani.

Authors and Literary Pieces- There were notable authors together with literary pieces
that were in the Rajasthan Language. There are two other important poets in this
traditional style are Bhai Vir Singh (Kalgīdlur Camathār) and Suryamal Misran (Vansa
Bhaskara)

14. TAMIL
Focus and Characteristics- Dravidian language family member Tamil is largely spoken in
India. It is the official tongue of the union territory of Puducherry and the Indian state of
 Tamil Nadu (Pondicherry). Significant numbers of people speak it in Malaysia, Mauritius,
Fiji, and South Africa, where it is also the official language. It is also spoken in Sri Lanka
and Singapore. Tamil was recognized as an Indian classical language in 2004 after meeting
three requirements: having ancient beginnings, having a distinct tradition, and having a
sizable amount of classical literature.

Authors and Literary Pieces- Some of the Tamil Language writers and their literary
pieces are Ashokamitran (Anbin Parisu), B. S. Ramiah (Malarum Manamum), Appadurai
Muttulingam (Thikatasakkaram "Ten beautiful arms"), and S. Rangarajan (Thiruda Thiruda)

15. TELUGU
Focus and Characteristics- It is a classical Dravidian language that Telugu speakers
mostly use in the Andhra Pradesh and Telangana Telugu states, where it also serves as the
official language. Along with Hindi and Bengali, Telugu is one of the few languages that has
primary official status in more than one Indian state. Telugu is one of six languages that
the Indian government has designated as a classical language (of India). It is the most
widely spoken member of the Dravidian language family and one of the twenty-two
scheduled languages of the Republic of India. In addition, Telugu has four unique
geographical dialects as well as three social dialects based on caste, class, and education.
Diglossia is the term for the condition where the spoken dialects and the formal, literary
language are different.

Authors and Literary Pieces- Some poets and writers were highly recognized for their
known literary pieces namely; Nannaya Bhattaraka (Mahabharata translated into Telugu),
Tenali Ramakrishna (Panduranga Mahatmyam), and Palkuriki Somanatha (Basava Puranam
and Panditaradhya Charitra).

16. URDU
Focus and Characteristics- Another crucial language to learn is the Indo-Aryan language
of Urdu, which is spoken by approximately 100 million people. Large populations also speak
it in the United States, the United Kingdom, and the United Arab Emirates. It is the
 primary language of India and Pakistan. The Nastaliq script, a sort of modified Persian
script similar to the modified Arabic script, is the writing system used for Urdu. They also
write Pashto, Persian, Punjabi, and Kashmiri using this unique script. When writing Urdu,
there aren't very many characters to keep in mind. Compared to Hindi's 46 scripts, the
language only has 35. Hindi, a language that originated and flourished in the Indian
subcontinent, is linked to Urdu. They are phonologically and grammatically identical enough
to appear to be one language and have the same Indo-Aryan root.

Authors and Literary Pieces- These are some of the novelists, poets, and writers who are
known for their contributed literary pieces in the Urdu language: Amīr Khosrow (Khazāʾin
al-futūḥ), Mirza Ghalib (Lataif-i-Ghalib), Muhammad Husain Azad (Qisas ul-hind and
Darbār-e akbarī), and Saadat Hasan Manto (Khol do).

Grading system: (50 points for each activity)

Content: 50%

Grammar and Style: 50%

References:

Baird, F. & Heimbeck, R. S. Philosophic Classics: Asian Philosophy. Routledge, 2005.

Kulke, H. & Rothermund, D. A History of India. Barnes & Noble Books, 2006.
Keay, J. India. Grove Press, 2018.
Cultural Heritage of India, Vol II. P.-23
https://www.indiaonline.in/about/culture/indian-literature

https://byjus.com/free-ias-prep/vedic-literature/

https://www.worldhistory.org/The_Vedas/

https://unesdoc.unesco.org/ark:/48223/pf0000032971

Doniger, W. (2022, August 22). Mahabharata. Encyclopedia Britannica.

https://www.britannica.com/topic/Mahabharata

https://ejmcm.com/pdf_11058_9669eb40f45bed8991d1e009a34f6945.html
Name: Gladys A. Mesiona Section: BSEDE-3

Subject: EL- 114 Date: December 12, 2022

MAJOR EXAM

Question #1:

How do the authors convey messages and reflect the lives of Africans in the poems
The Negro Speaks of River and Africa? How do poems become catalysts of change?

The speaker of the poem asserts the persistence of black cultural roots in the face of
centuries of slavery and oppression in America. The poem contends that people of African
descent have not only been present throughout human history but have also been a driving
force in shaping civilization. The poem is an ode to black perseverance in this sense.
Moreover, the speaker of the poem serves as a symbolic figure. After all, the title is "The
Negro Speaks of," not "A Negro..." (At the time the poem was written, "Negro" was a non-
offensive River term). In this sense, the speaker exemplifies how he or she believes the
black community should relate to its history and culture as a whole.

This connects the speaker with nature. On the one hand, such a link could be viewed
as problematic, given that racist discourse frequently pits "civilized" white populations
against "natural" or "uncivilized" black people. Additionally, the title itself is the message
and reflection of the lives of Africans in which rivers symbolize continuity: they cannot be
divided into discrete chunks. In addition, the speaker's experience is "deep" like a river,
implying permanence, perseverance, and inner strength. Black people have persevered in
the face of adversity. Black history flows on like a river. Furthermore, the speaker contends
that black identity and achievement are so powerful that they can bridge the gaps created
by slavery, reconnecting with lost ancestors and traditions. The poem proudly depicts the
breadth of black historical experience in this way.

Finally, as symbols, the "rivers" convey a fundamentally optimistic view of black

culture. It is strong and powerful enough to survive the traumas of slavery, reconnecting
black people to a past they would otherwise have lost forever. Invoking this rich history
establishes that the black experience is as long as any other people's, fostering a profound
sense of community and connection among black people. The poem portrays a different
narrative—one that acknowledges black history—by presenting the speaker's knowledge as
spanning continents and historical periods. In fact, the speaker claims to have "known
rivers... older than the flow of human blood in human veins," implying that black history
existed before humans.

Question #2:

What makes Things Fall Apart by Chinua Achebe controversial but at the same time
meritorious?

Achebe illustrates this vision in Things Fall Apart by depicting what happened in
Nigeria's Igbo society during the British colonization. The community of Umuofia in this
novel is unable to withstand the tidal wave of foreign religion, commerce, technology, and
government due to internal weaknesses within the native structure and the divided nature
of Igbo society. Moreover, Achebe creates an African culture complete with a religion, a
government, a monetary system, an artistic tradition, and a judicial system. Despite its
lack of technological sophistication, the Igbo culture is revealed to the reader to be
remarkably complex. Furthermore, Things Fall Apart subverts the style of novels by Conrad
and Cary, who created flat, stereotypical African characters. Instead, Achebe stereotypes
white colonialists as rigid, with imperialistic intentions, whereas Igbos are highly
individual, with many being open to new ideas.
 The modern western perspective on European colonialism frequently does not defend
or justify European colonialism; however, it frequently erases the history of the colonized
and centers European colonialism as an important part of the region's history. The novel
emphasizes the presence of Igbo and African culture; thus, tailoring the novel to a western
and foreign audience plays an important role in presenting a different perspective on
African culture and society. The novel depicted a realistic view of African society by
exposing its flaws. Like any other society, and in the case of Okonkwo, any other person,
Okonkwo has flaws that are often hidden by us as individuals and by society. The novel,
Things Fall Apart tells two concurrent stories that overlap and counterbalance each other.
One of the novel's main characters is Okonkwo, a fierce warrior who represents traditional
African culture. The other focus is on Okonkwo's tribe, Umuofia, as it undergoes a drastic
change in all aspects of life after European missionaries arrive. The stark ideological divide
between Okonkwo and Umuofia becomes the focal point of the story, leading to some
heated moments in the book.

To summarize, the novel is a modern African classic that discusses a variety of

themes and topics that highlight the reality of African tribes and their societal and religious
customs, as well as how these societies were falling apart as a result of European
colonialism. Achebe chose to write Things Fall Apart in English, cater the novel to a
western audience, and present the story in a unique narrative structure by introducing the
Europeans at the end, all to highlight the theme of colonialism and provide a realistic
African perspective on European colonization of Nigerian tribes.

Question #3:

What does the color purple symbolize in the novel of the same name? How does it
reflect the lives of Black people?

Colors are symbolic of many inexpressible things and are frequently used as
recurring motifs in black women writers' novels. This article attempts to trace the
symbolism and significance of the color purple as used by Alice Walker and Chimamanda
Ngozi Adichie in their novels, The Color Purple and Purple Hibiscus, signifies and signal
their characters' new awakening and rebirth. The color purple is then associated with pain,
torture, and injustice. The bruises Celie and the other women have as a result of gender
discrimination are the same. The scars on the Olinka women were also purple, indicating
the bruises of tradition that women bear. The color purple here is more than just a color; it
is symbolic of and evidence of the discrimination that women faced. On the other aspect,
the title of her novel, The Color Purple, emphasizes the richness and her love for the color
purple. In the preface to her novel, she mentions, "This color that is always a surprise but
everywhere in nature." v A color that suggests the ability to overcome life's hardships and
triumphantly emerge from oppressive situations.

The Color Purple, Alice Walker's famous novel, is a unique work that is viewed as a
potential source of empowerment for women. Walker emphasizes the importance of power,
the ability to concretize oneself and realize one's ability to stand alone. It tells the story of a
victimized, benumbed lost woman who regains her spirit and speech and transforms into a
completely different person. Walker portrays her protagonist as someone who makes an
unwelcoming male environment conducive to her growth and development. Lastly, the color
'purple' is symbolic in the novel of the fact that no matter how desperate the situation
appears to be, one can always overcome any insurmountable odds to change the situation
and find a way out. Adichie attempts to give African experiences a voice, while Walker
continues to water her purple petunias.

Question #4:

How do contemporaries see the novel Weep Not Child?

Weep Not, Child is one such restless search for a “double vision” – both aware of
potential pitfalls yet hopeful about the empowering effects of constructing a coherent nation
and identity to inhabit. If this novel retains its value and merits our consideration half a
century later, it is in demonstrates how such options continue to make us unhappy. Weep
Not, Child allows the reader to relive this historic moment of indecision and restlessness,
reminding us to continue questioning the complex legacy of decolonization. Ngugi's post-
independence vision is more nuanced and expansive.

It implies that independence is only the beginning of a nation's birth pains;

decolonization will not be completed without ongoing transformation, consolidation, and
reimagining at the individual and collective levels. In addition, the story has come full
circle, with Njoroge now a broken young man living alone with his mothers, looking for his
place in the world. The novel interrogates the
constrained cultural and political narratives imposed on the decolonized self, first
embracing and then astutely questioning the use of violent resistance during the nation-
formation process. Weep Not, Child makes no claims to resolution - indeed, the ambiguous
ending suggests that art cannot resolve reality's material contradictions - but art can
highlight the contradictions of decolonization.

Weep Not, Child, on the other hand, questions the benefits of violent resistance for its
unanticipated later effects on decolonization through Njoroge, Ngotho's youngest son.
Njoroge, torn between his extreme faith in colonial education and empathy for his family's
strife, witnesses the negative effects of (anti)colonial violence: Ngotho, unemployed,
diminishes in his function as the family patriarch, and Boro has largely disappeared,
leaving the family vulnerable to suspicion. Ngũgĩ makes no judgment on the Mau Mau or
their actions. Nonetheless, there is a palpable sense of foreboding about what may turn out
to be mistakes in retrospect. Indeed, the novel concludes with feelings of stalled
development, hopelessness, and inadequacy, subverting the typical bildungsroman arc as
the despairing Njoroge attempts suicide.
EL 114 GROUP

REPORTING

Members:

DANNY FE MASINADIONG KYLE MICHALE MORALES

GLADYS MESIONA MARILOUS MATUCOL

OUR POWERPOINT PRESENTATION

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