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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 Voiotía). 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.