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English 70 N
Folklore
Second Long Quiz
Name:Arzlelei
Joyce Marie S. Fiel Date: September 26,2013
1.A. How is dramatic
irony presented in the story of Oedipus?
First, etymologically, irony comes from the Greek word for dissembling, and the
ancient used it in reference to that abiding preoccupation of theirs, the gap
between appearance and reality, or between truth and belief. What interested
them most was dramatic irony, which is what occurs when the reader
or the audience knows something that a character doesn't
(Charles McGrath, "No Kidding: Does Irony Illuminate Or
Corrupt?" The New York Times, Aug. 5, 2000)
In Oedipus, dramatic irony was
presented by Sophocles in the play by giving emphasis on the details
of the story wherein Oedipus did not know Laius had been the King of Thebes. Another example
of dramatic irony in Oedipus, when Oedipus did not know his real parents due to
the fact of being adopted, he did not know until years later when he found out
Jocasta had been both his real mother and wife. Oedipus had left home years ago
leaving his adoptive parents. Now Oedipus ended up killing Laius, his real
father not knowing the truth. He then figured out that he also married his real
mother Jocasta.
At one point Oedipus
addresses the people of Thebes, telling them that murderer of Laïos must be
found in order for the plague to leave. He says, “I pray [the murderer’s life]
is consumed by evil and wretchedness”. In saying this, Oedipus expresses his
determination to find the murderer of Laïos, and hopes they face harsh
consequences. This is ironic because Oedipus himself is the murderer, so
basically he is wishing bad among himself. Irony is also present here because
Oedipus’ life is already miserable enough and will continue to get worse.
These are all examples of dramatic irony because Oedipus,
Jocasta, and the rest of the characters did not all this occurred. While the
readers read the play they learned of all the sins before the characters even
realized what had been going on through the play.
B. Explain how incest is presented and symbolized
in Oedipus as purported by Carl Robert. In what way/s is his view naturalistic?
Some folklorist developed a diversified
perspective on the Oedipus tale. Folklorist Carl Robert tried to trace the historical
roots Oedipus by studying the places associated in the story. He find out the
area of Boeotia,is one of the regional units of Greece (modern transliteration
VoiotÃa). It was also a region of ancient Greece. Its capital is Livadeia, the
largest city being Thebes, more specifically the village of Eteonos, as the
place in which the saga of Oedipus was native and is known for vegetation as a
source of living. He (Robert) claimed that Oedipus was exiled by Creon to die
within the borders of Boiotia, as his death was prophesied to bring the place
good luck and crop fertility, and that he was buried in the grave of Demeter,
the earth goddess. Robert developed the idea that Oedipus was actually a
mythical version of the god of vegetation who is born in Spring and dies in
winter: “the earth goddess Demeter, in whose place the bones of Oedipus rest,
was originally his mother. The story Oedipus was not literally mean of a child
marrying his mother instead it is a symbolic meaning of the return of the child
to the mother figure. Wherein Jocasta as the Earth goddess and Oedipus as the
year god.
C. Compare and contrast Sigmund Freud`s and Carl Jung`s
psychoanalyst views of Oedipus.
On the psychoanalysis views of Oedipus, the
similarities or differences of Freud`s and Jung`s views first I compared notes
and readings I find out that the similarities both Freud and Jung believed in
the saw that a literature of every culture abounded in references to incest,
parricide and castration, and concluded from this that both religious and pagan
myths, like dreams, contained a reflection of the unconscious fantasies common
to all mankind. Events such as the to be passed on to successive generations.
In contrast, for Freud, it would not be surprising to find Oedipus-type stories
anywhere in the world. In fact, they would expect them to be present in the
folklore of all peoples because they are symbolic expressions of the most
fundamental of all human relationships and conflicts. Carl Jung, desexualized
Freud’s idea, instead of the outraging libido and symbolic expressions, he
implied that the love a child first displays towards his mother, and results
from the fact that that she provides protection and nourishment.
2. A. Explain the concept of
folklore as a superorganic concept of culture. What does Axel Olrik mean this?
First of all, superorganic means
relating to the structure of cultural elements within society conceived as
independent of and superior to the individual members of society so basically folklore
because it has the direct evidences of history, arts and the like. It also has
the superior control of the individual and Axel Olrik mean this that this is
the essence of this notion in that in addition to the organic level that is
controlled by man. The essence of this notion Olrik mean was folklore is a
tradition and culture-bearer not only produces new learned materials but
maintains and preserve folk pieces.
B. Explain exhaustively the epic laws of folk narrative.
Trans cultural Laws which gives
traditional structure of narratives
1.
The
Law of Opening and Closing-this rule concerns the formalized opening and
closing sentences that begin and end narratives. There is a move from calm to
excitement in the beginning and vice versa in the end. There are formulas: “Once upon a time,” and
“They all lived happily ever after.”This denotes beginning and end.
2.
The
Law of Repetition –concerns the recurrence that occurs at many levels thus
forming a kind of rhythmic emphasis at different structural levels. Example in
the bible God will often repeat something previously said as a means of
emphasis. The same action is repeated to build tension, and fill the body of
the narrative.
3.
The
Law of Three-Events repeated happen in threes. Groupings may come in threes.
4.
Law
of Two to a Scene: Maximum number in a scene at a time. Groups may not be
differentiated, and treated collectively as one in the pair. If extras appear
in a scene, they are normally silent.
5.
Law
of Contrast: Polarization between characters: good/evil, young/old,
beautiful/ugly.
6.
Law
of Twins: Two characters appear in the same role.
7.
Law
of the Importance of Final Position: The character to act last evokes the most
sympathy. Often turns out to be the hero(ine).
8.
Law
of the Single Strand: Normally only one plotline. No extraneous details. No
flashback.
9.
Law
of Use of Tableaux Scenes: These are ‘sculptured situations’. The dominant
images that characterize major events of the tale.
10. Law of Logic of the Sage:
Events/characters cannot be measured by the logic of our world. There is magic.
Need for suspension of disbelief.
11. Law of Unity of Plot: Events occur
in a logical sequence and go towards the main plot.
12. Law of the Concentration on a
Leading Character: Focus on one protagonist. Even where there are two heroes,
one emerges in the end.
C. Explain briefly how the Law of Three is presented in
Oedipus?
As we all know that the Law of
Three-Events repeated happen in threes. Groupings may come in threes, like in
the story of Oedipus wherein the story where the Sphinx sat outside of Thebes
and asked this riddle of all travelers who passed by. If the traveler failed to
solve the riddle, then the Sphinx killed him/her and if the traveler answered
the riddle correctly, then the Sphinx would destroy herself. The riddle: What
goes on four legs in the morning, on two legs at noon, and on three legs in the
evening? By this, the Sphinx gave three metaphors such as morning, noon, and
night are metaphors for the times in a man's (person's) life. Another is the
story is focused on three characters namely Jocasta, Lauis and Oedipus.
3. Enumerate Raglan`s Pattern of the
Hero of Tradition. Cite local heroes of tradition that matches every pattern
and explain why you think they match such patterns.
Story of the Hero of Tradition
By Raglan
1.His mother is a royal
virgin;
Alunsina`s mother is the goddess of eastern sky.
2. His father is a
king, and
Baltog`s father is the chieftain of the village.
3. Often a near relative of his mother, but
4. The circumstances of his conception are
unusual, and
Canrangkal was born as
tall as one `dangkal”.
5. He is also reputed
to be the son of a god.
Lumabet has done many unique abilities that made people think
he was a reputed son of god.
6. At birth an attempt
is made, usually by his father, to kill him, but
Carangkal was a glutton his father tried to kill him.
7. He is spirited away, and
Carangkal was then brought into the woods because he eats too
much.
8. Reared by foster
parents in a far country.
Indarapatra was raised by his foster parents from afar.
9. We are told nothing of his childhood, but
We are told nothing about Urduja`s childhood.
10. On reaching manhood he returns or goes to
his future kingdom.
Baltog was spirited
away and went to a place where he became a ruler.
11. After a victory over the king and/or a
giant, dragon, or wild beast,
Lumabet caught the deer
after chasing it nine times around the world and had a feast when he caught it
but didn`t kill it.
12. He marries a princess, often the daughter of
his predecessor and
Manggob married the chief daughter Allag due to the
intertribal marrieges.
13. And becomes king.
Indarapatra reigns after his father.
14. For a time he reigns uneventfully and
15. Prescribes laws,but
Humadapnon was the chief of the Sulod Nation and as a chieftain he prescribes law involving
peace, but
16. Later he loses
favor with the gods and/or his subjects, and
He (Humadapnon) loses he`s favor with
gods
17. Is driven from the
throne and city.
Humadapnon is driven
from the throne and city and was imprisoned by a witch in the other village
18. He meets with a
mysterious death,
Lam-ang died because he was eaten by a berkakan.
19. Often at the top of
a hill.
Died often at the top
of a hill, Biuag died in the sea near a hill though.
20. His children, if
any, do not succeed him.
Urduja did not have a child because she did not marry.
21. His body is not buried, but nevertheless
Biuag’s
body is not buried, but nevertheless
22. He has one or more holy sepulchers.
He (Biuag) has
one or more holy sepulchers for the people believed that his spirit is housing
the two hills of Il-Luru.
4. Enumerate and explain each
recurrent theme in myths and mythmaking. Cite and explain an example of local
myths for each theme.
1. Sibling Rivalry a
competition/animosity among sibling whether blood related or not.
Example: Maria and Christina`s
rivalry on the attention and love of a man (Rajah). Iligan city is not a major
tourist attraction of our country. But for the benefit of everyone, it is known
as a City of Majestic Waterfalls as there are about 20 waterfalls in the area.
The most famous of these is the Maria Cristina falls which is also used as a
hydroelectric plant. It is the primary power source of the entire Mindanao. The
name Maria Cristina falls is taken from a legend wherein 2 sisters Maria and
Cristina jumped down the falls because of some unrequited love. They both loved
an unnamed sultan, who loved the 2 sisters as well. Since he cannot chose
between the 2, and because the 2 sisters loved each other to the point of
selflessly giving anything to the other, Maria jumped to the falls. When
Cristina learned about this, she followed and jumped to the falls as well. When
the sultan found about this unhappy incident, guess what happened? He isn’t
foolish enough to jump and commit suicide.
2. Castration any action involves
surgical of neutering or in the other way it depicts punishment
Example: Like the Trickster tale of
Posong (Sulu-Tausug). Hearing that the Sultan`s seven daughters planned to
gather fruits in their farm, Posong hid himself under a big fruit tree in their
farm, where his penis sticking out the ground. The first six daughters climbed
the fruit tree and enjoyed falling astraddle on Posong`s penis. The youngest
daughter told her sisters they had a sexual intercourse with Posong. The angry
sisters threatened to castrate Posong. Posong got up and ran away to hide from
the Sultan.
3. Androgyny is a combination of
masculine and feminine characteristics
Example: The bajasa of the Toradja Bare'e people
of Celebes, the bantut of the Taosug people of the south Philippines, and the bayoguin of the
pre-Christian Philippines. These shamans are typically biologically male but
display feminine behaviours and appearance, and are often homo erotically
inclined.
4. Oedipus Complex is a desire for
sexual involvement with the parent of the opposite sex and a concomitant sense
of rivalry with the parent of the same sex.
Example: The House on Zapote Street is about Pablo Cabading the
father of Lydia who is very protective to his only daughter and later has a
sexually relationship wth his daughter. This is a Caviteno tale made into a
novel by Nick Joaquin.
5. The Myth of the Hero - patterns
of being a hero by Lord Raglan Katherine Spencer believe based on Navaho mythology
that: these are also hero stories: adventures and achievement of extraordinary
kind (e.g. slaying of monsters, overcoming death and controlling the weather);
there is often something special about the birth of the hero (occasionally
heroine); keep from animals is a frequent motif; and A separation from one or
both parents at an early age is involved.
Example: Like in the epic Hudhud hi Aliguyon(Luzon) wherein Aliguyon
has based on Raglan’s pattern of the
hero tradition, Aliguyon scores 5 points out of 22.
2. His father is a king.
5. He is also reputed to be the son of a god.
11. After a victory over the king and/ or giant, dragon, or wild beast.
12. He marries a princess, often the daughter of his predecessor
13. Becomes a king.
Wherein the stories has
heros considered as protagonist in the story.
5. According to W. Bascom, what are
the four functions of folklore? Explain each and use local folklores as
examples.
1. Serves as a form of amusement these
as Bascom notes that there usually is more than amusement going on when
folklore is being performed. He acknowledges that some traditions invite
fantasy and creativity, allowing people to imagine living in a better situation
or escaping the limitations of life and death. Example the riddles that depict
life subjects but also serves as a symbolism in the life such as this `Naligo ang kapitan, hindi nabasa ang
tiyan.” Also the soldiers marching song used to amuse themselves from a
dangerous mission.
2. Validates
cultures simply means the rituals and institution to those who performed
observed shows the importance of the divinities and moral wisdom. Example the
belief of Bathala, gods and goddesses and the anito to the Ifugao which they
worship in the form of trees, sun and wooden carvings.
3. Plays in education
particularly not exclusively in non-literate societies can be
explained by this there is the explanatory tale or a moral animal tale, myth or
legend to validate doubted pattern or to warn of subsequent consequences if
necessary when accepted practices are violated. Folklore also provides
rationalizations when institutions and conventions are challenged. It also means having a tale to maintain social stability and
control such as tales about aswang, kapre, manananggal, sigbin to control the
society.
4. Maintains
the stability of culture in a way is traditions thus have a function to
educate, primarily to instruct on how to act and live. Bascom notes from his
research in Africa that children in nonliterate societies primarily are taught
by stories, sayings, and ceremonies. Families can use traditions to teach
appropriate behavior and to gently or openly reprimand members for making
unacceptable decisions. Finally, Bascom asserts that folklore will be used as
an "internalized check on behavior" to encourage conformity to group
values. Although Bascom sees folklore performances as maintaining the status
quo, traditions also can be altered to allow families to recognize themselves
in spite of new attitudes or circumstances. Example the festive weddings ,
festival the Diyandi Festival of Iligan in which it depicts on how the culture
preservation and culture preservation.
