INTRODUCTION
In the play “THE LION AND THE JEWEL” we can see the ignorant atmosphere of the people in the village of “ILUJINLE” in such village we can saw a “CUNNING WOMAN SIDI” who wanted to attract many men but wanted a husband of royal status who would pay a bride-price for her let as see about it and getting a cunning “RESPONSE FOR SIDI’S CUNNING WISH”.
Foolish Lakunle
The people of Ilujinle village called Lakunle the hero of the play and who was the village school master a fool as he wanted to change the village people “TO COME OUT OF THEIR IGNORANT AND SUPERSTITIOUS WAY OF LIFE”. He also spoke many words from his little dictionary which was unknown to the village people he wanted to protect the “VILLAGE FROM THE LION BAROKA WHO EXPLOITED THE DEVELOPMENT OF THE VILLAGE AS HE RESTRICTED IN LAYING RAILWAY LINES WHICH WOULD AFFECT HIS BUSINESS THROUGH CART”. Though Lakunle wanted to do everything for the “UPLIFTMENT OF THE VILLAGE” and its people, he was “NOT WISE ENOUGH” to handle it.
Immoral Sidi
Lakunle was a poor village school teacher who had greater admiration for Sidi, “THE VILLAGE BEAUTY WHO WANTED EVERYMAN TO LOOK AT HER SO, SHE MADE A SHOW OFF” when carrying a pail of water, through her way of walking and improper dressing which did not cover the parts of her neck and shoulders. Sidi wanted to attract Lakunle also and “BEING LITTLE INFLUENCED BY HIS LOVE BUT DID NOT ACCEPT HIM FULLY AS HE WAS NOT ENOUGH TO PAY A BRIDE-PRICES FOR HER”.
Passion of Baroka
A photograph of Sidi appeared in the central page and cover of the magazine in which “HER PRIDE WENT BEYOND WITHOUT HAVING ANY LIMITS”. Baroka the antagonist...
... middle of paper ...
... DECEIVED
BY THE CUNNING FOX BAROKA
WHICH PROVED
US
WE SHOULD AVOID THE
CRUEL CUNNINGNESS
FROM OUR ENTIRE LIFE
TO LEAD OUR LIFE
IN A HAPPY AND PROSPEROUS WAY”
BIBLIOGRAPHY
Title: The Lion and the Jewel
Author: Soyinka, Wole
Length: 65 pages
Genre: Fiction, Drama
Publisher / Year: Oxford University Press / 1962
Source: Used bookstore in Johannesburg
The Lion and the Jewel. – London: Oxford Univ. Press, 1963
Agetua, John, When the Man Died. Benin City, Nigeria: Bendel Newspaper Corp., 1975. HV9865.5 A15
When Sripathi and his family receive the news of Maya’s and her husband’s fatal road accident, they experience a dramatic up heaval. For Sripathi, this event functioned as the distressed that inaugurated his cultural and personal process of transformation and was played out on different levels. First, his daughter’s death required him to travel to Canada to arrange for his granddaughter’s reverse journey to India, a move that marked her as doubly diasporic sensibility. Sripathi called his “foreign trip” to Vancouver turned out to be an experience of deep psychic and cultural dislocation, for it completely “unmoors him from the earth after fifty-seven years of being tied to it” (140). Sripathi’s own emerging diasporic sensibility condition. Not only must he faced his own fear of a world that is no longer knowable to him, but, more importantly, he must face his granddaughter. Nandana has been literally silenced by the pain of her parent’s death, and her relocation from Canada to Tamil Nadu initially irritated her psychological condition. To Sripathi, however, Nandana’s presence actsed as a constant reminder of his regret of not having “known his daughter’s inner life” (147) as well as her life in Canada. He now recognizeed that in the past he denied his daughter his love in order to support his
The play that I went and saw was Midsummer Night’s Dream at the University Theatre. This play was set in a proscenium venue because the audience was in front of the stage facing the actors. The playwright of this play is William Shakespeare and it was directed by Kirsten Brandt. This play centered around a bunch of lovers who get trapped in an absurd love triangle that is caused by the use of a love potion.
“I am almost inclined to set it up as a canon that a children’s story which is enjoyed only by children is a bad children’s story.” C.S. Lewis ' quote brings about some interesting question. What makes a classic? How can we test fantasy literature to see if it is, or can be a classic for all ages? Two important factors to consider in these questions are how good and evil are depicted and explained to the audience. Is the villain evil for evils sake? Or does the villain believe he is in the right under bad circumstances? We must also consider how the author uses narrative voice to tell their story to the audience. Does the author talk down to the readers? Or do they keep their voice light and playful? Looking at the course readings from the
The first thing that must be addressed is the reality that animation is on par with film. It is quite literally art. The amount of effort, talent, and imagination that goes into the story is nothing short of amazing. Although animation is often reduced to just programing for kids, when put side by side, the only difference between Gone With The Wind and The Lion King is that one is animated. Both are images, but one is photographed and the other is drawn. To what I stated earlier, someone’s preference may differ from another person, but each would consider it an art.
Kothari employs a mixture of narrative and description in her work to garner the reader’s emotional investment. The essay is presented in seventeen vignettes of differing lengths, a unique presentation that makes the reader feel like they are reading directly from Kothari’s journal. The writer places emphasis on both her description of food and resulting reaction as she describes her experiences visiting India with her parents: “Someone hands me a plate of aloo tikki, fried potato patties filled with mashed channa dal and served with a sweet and a sour chutney. The channa, mixed with hot chilies and spices, burns my tongue and throat” (Kothari). She also uses precise descriptions of herself: “I have inherited brown eyes, black hair, a long nose with a crooked bridge, and soft teeth
Saikaku, Ihara. Life of a Sensuous Woman. The Longman Anthology of World Literature. (Vol. D) Ed. Damrosch. New York: Pearson, 2004. 604-621. [Excerpt.]
In Lahiri’s story the attention and the plot of the story both stayed in one same direction that was the cultural clash. Lahiri’s story “Imperator of Maladies” revolves around people who are Indian’s living in India, Indian’s living in America or people Americans with an Indian decent. As her being a second generation immigrant in America, she realized at a very young age that her family is settled here but she was still not sure about the fact which place she could call her real home because of the different cultural she was witnessing in her everyday family life. In the story when the Das’s family did decided to visit India they did witness the same exact feeling. As the story progresses Lahiri gives us a brief background about Mr. and Mrs. Das as they both were born and raised in America but after sometime their retired parents decided to move back and spe...
Picturing her by the Indian Ganges looking for Rubies makes her sound oriental and possessing exotic beauty. He makes it sound as if he is not worthy of her exotic beauties, he being a complaining commoner.
Loftus, D. and Wood, P. (2008), 'The Art of Benin: Changing Relations Between Europe and Africa II' in Brown, R. D. (ed.) Cultural Encounters (AA100 Book 3), Milton Keynes, The Open University, pp. 43-87.
Oghre, Ben. “Nigeria’s Population Is A Silent Killer .” Nigerians of America. N.p., 30 Sept. 2007. Web. 5 Feb. 2012. .
Written in 1962-3, Play depicts three characters, a man (M), and two women (W1 and W2) trapped in urns with only their heads showing. These characters each present their own version of a love triangle, which once occurred between them. It becomes clear during the play that the characters, once tortured by each other, are now tortured by their situation. A spotlight acts as a "unique inquisitor," compelling each to speak when it shines on them, and to stop when it goes out. As this assault continues, the characters become increasingly maddened by the light, and increasingly desperate to make it stop. The play repeats itself, providing the audience with a sense that these characters have been saying the same words for an eternity, and will continue to do so until the light decides they can stop. Beckett demonstrates how "A style of living, theatrically communicable, is used to express a state of mind."
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
When Mrs. Nasrine is telling her dilemma of the key (99.3.1), Marji frowns and looks concerned but out of place, as if she doesn’t know what to make of it. She tries to show sympathy, suggesting that her privilege makes her unable to truly relate. She continues to look uncomfortable and bug-eyed when Mrs. Nasrine says, “Now they want to trade this key for my oldest son”. “Trade” connotes simplicity, an object, suggesting the government thinks of the lower class citizens as valueless objects. When arriving home from school, Satrapi draws Marji as a small figure in the distance (100.2.1), symbolizing the distance in economic status between her and the maid. This proves the separation of classes and the reason why Marji, not offered a key by the government, will not go to war in hopes of using a key to paradise. When her son says “I’ll marry her” while pointing a finger at Marji (100.2.2), it grants him a “whap” from his mother (100.2.3). Her reaction to his statement shows his ignorance and naïve behavior towards the social hierarchy; a maid’s son would never be allowed to marry a girl of Marji’s status because only rich people marry rich people and only poor people marry poor people. This shows the economic difference between Marji and the maid’s son, and the wall between them through government orders. When she asks her cousin Peyman whether or not the government offers his school the keys to paradise, he replies, “Keys to what?” (100.3.3) implying his equally high economic status. This suggests the government values upper class citizens more than lower class citizens. Satrapi also contrasts Marji and the poor boys in between the bombing panel (102.1.1) and the party panel (102.2.1) where Marji dances with her friends at Peyman’s birthday party. She jumps from discussing dying boys to having fun at a party to imply a difference between the poor and
SKIDMORE, E. 1995, the world of spirits and ancestors in the art of western sub-Saharan Africa, Texas Tech University press, Texas, p30-33
The small African village located on the bank of the river Niger has a story of its own, that only the old and wise are able to des...