Essay On Man

            When God created man the potential for both good and evil were created. While the constant question we ask ourselves is “What is the meaning of life?”—Alexander Pope sought to answer “What is the purpose of man?” in his Essay on Man. In a world of divine order and chaos what is our role? Instead of taking Milton’s approach by starting and ending the poem with the fall of man and warring heavens, he seeks to answer the question of where humanity falls with God’s plan and why what we perceive to be chaos is actually something more divine and above what we are able to comprehend as mortal beings.

            Much like the parent child relationship present in humanity questions are constantly asked of God or other higher beings about humanity’s relationship to the world. In response to the questions relating to our purpose Pope “ambitiously sets out to consider humanity in relation to the universe, to itself, to society, and to happiness” (Puchner 89). Although we are unable to see the whole truth of the matter Pope asserts that the “universe works according to a design that is good” and we should submit to this larger plan (89).

            So who or what does Pope assert we are in his Essay? He writes that we are part of the bigger picture: “The general ORDER, since the whole began, / Is kept in Nature, and is kept in Man” (171-172).  Pope asserts here that there is balance in the universe and man is the bearer. The cyclical nature of The Essay on Man shows that all pieces of the cosmic puzzle created by God do in fact fit; however, as we are mortal and mere vessels of his order we are unable to look beyond ourselves and see the whole of his plan.

            Pope’s focus on this order shows that although we are only privy to bits and pieces of it we must trust in God, much the same way a child must trust their parent, that there is a bigger picture. Although it may seem the path laid before us as strange we must have faith:

                        The great directing MIND of ALL ordains.

                        All are but parts of one stupendous whole,

                        Whose body Nature is, and God the soul;

                        ………………………………………….

To him no high, no low, no great, no small;

He fills, he bounds, connects, and equals all.

……………………………………………

All partial Evil, universal Good:

And spite of Pride, in erring Reason’s spite,

One truth is clear, WHATEVER IS, IS RIGHT. (266-268, 279-280, 

292-294)

            For Pope, we are but small limbs that are meant to comply with what our brain (God) wants? We were created out of God’s will and divine nature. It is our job to stay the course and not question what we believe to be chaos and evil as it all fits into God’s final plan.

Works Cited

Pope, Alexander. An Essay on Man. 1650 To the Present. Ed. Martin Puchner. 3^rd Shorter ed. New York: Norton, 2013. 90-97. Print. Vol. 2 of The Norton Anthology of World Literature. 2 vols.

Puchner, Martin. “Alexander Pope.” 1650 To the Present. Ed. Puchner. Shorter 3^rd ed. New York: Norton, 2013. 86-89. Print. Vol. 2 of The Norton Anthology of World Literature. 2 vols.

de Navarre

            Marguerite de Navarre sought to protect those not born of nobility from persecution and to provide them a sort of safe haven. Although she remained a Catholic she appeared as a protestant sympathizer and to have “hoped for internal reform” (Puchner 1638). Focusing her life’s work “on intellectual and literary pursuits and on religious meditation and debate” de Navarre herself became suspected of “Protestant ‘heresy’” (1638). In de Navarre’s The Heptameron she captures the importance of truth in relating any story or history and makes sure her characters take an oath of truthfulness to unveil “how social factors influence their view of the world” (1639). Not only is honesty in facts and opinions important but it is important that all viewpoints are known and acknowledged.

            The importance of honesty (and honest pursuits) is evident in the Prologue and Story 8 of The Heptameron. Perhaps as a way of creating a transparent portrait of herself de Navarre’s characters provide frequent reminders of the importance of staying true to character and the facts.  The Prologue introduces the characters and among them is the Lady Oisille. When the group members discuss how to pass the time she proposes religious study. She not only proposes it but after a short speech on how she, a pious and God loving woman, spends her days she informs the rest: “For, a person who knows God will find all things beautiful in Him, and without Him all things will seem ugly. So I say to you, if you would live in happiness, heed my advice” (de Navarre 1641). Very amiably the rest of the group agrees that the spiritual is an important part of life but they must find some form of entertainment to resist boredom and fatigue while promising they will continue religious endeavors in addition to more entertaining ones.

            Story 8 features “a man by the name of Bornet, who had married a very decent and respectable woman” (de Navarre 1643). Bornet’s character begins as the antithesis of the characters in the Prologue. The dishonest behavior of Bornet leads to a gross misunderstanding. His wife informs him that his “depraved pent-up lust” and dishonest motives caused his sense to dull and vehemently pronounces: “I did what I did in order to save you from your wicked ways, so that when you get old, we can live happily and peacefully together without anything on our consciences” (1645).

            Bornet’s wife’s proclamation that she wants them to “live happily and peacefully together” sums up what de Navarre’s intentions were. With dishonesty and grandiose assumptions comes a high price. In her time it was the death of assumed Protestants and their sympathizers. In seeing only half-truths and           not accepting the other side of the argument mistakes are made.

Works Cited

de Navarre, Marguerite. The Heptameron.” Trans. P.A. Chilton. Beginnings to 1650. Ed. Martin Puchner. 3^rd Shorter ed. New York: Norton, 2013. 1640-1647. Print. Vol. 1 of The Norton Anthology of World Literature. 2 vols.

Puchner, Martin. “Marguerite de Navarre.” Beginnings to 1650. Ed. Puchner. Shorter 3^rd ed. New York: Norton, 2013. 1637-1639. Print. Vol. 1 of The Norton Anthology of World Literature. 2 vols.

Sunjata

           Every culture has traditions that go back so far that modern day descendants don’t quite know the how or why of why these traditions are carried through. Acting as oral historians the jeliw in Mande clans keep a tradition of storytelling alive to constantly reintroduce a history. Sunjata provides an account of many firsts in Mande tradition, such as the bride-carrying ceremony.

            Sunjata chronicles the genealogy, history, and tribulations of the great warrior and leader of the same name. Although conceived of man and woman Sunjata’s birth was supernaturally predetermined and sets him apart from all other men. However, before his conception and birth is the union of his parents, which is the root of his origin and Mande tradition.

            Once the buffalo has been killed the brothers must now fulfill their promise to Do Kamissa and “urging them to look beyond appearances” makes sure Sogolon is married (Puchner 1517). As Sogolon suffers many deformities she is unable to walk towards her bride-groom during the wedding ceremony so she is assisted and carried down the aisle:

                        When they lifted her up she had a twisted foot.

                        Her feet were twisted and she could not walk without raising dust.

When they lifted her up then,

The dust went this way,

The dust went that way.

The first song for brides in Manden was sung then. (Conde 751-756)

As the co-wives walking with Sogolon continue to sing and escort her towards her husband and change their song when they realize she is bald:

Ma Sogolon Conde’s headscarf fell off,

And her bald head was exposed

………………………………….

They sang:

“The heron-head oooh.

Our heron-head has come this year,

Heron-head.

The woman’s heron-head has come this year with her crest.” (774-775, 779-783).

Taking offense at the jibes of her new co-wives Sogolon is then presented to her new husband:

                        If you see that when a Mande bride arrives at the door,

                        The sisters will put their heads inside and then pull them back out,

                        Put their heads inside and then pull them back out,

                        The third time, they send the bride into her husband.

                        That’s how it all started. (794-798)

This final ceremony inspired by Sogolon’s marriage is the result of her using dalilu against her new husband and his thwarting of it. Resulting in the birth of the Mande hero Sunjata the events are worthy of being included as part of a traditional Mande wedding ceremony.

            Tradition in marriage ceremonies is not a foreign concept, although the traditions employed may be. In the United States it is customary for the engaged parties to exchange rings during the ceremony and to adorn the venue in various flowers and decorations. The Mayans in certain villages preferred to use a comprehensive courting ritual (when economically available) that focused on respect and patience:

                        The preferred route to marriage entails a costly cycle of ritualized negotiation,

during which the boy’s family presents gifts to the girl’s family. After one or two years of supervised visitations in the girl’s home, the couple is married in a religious ceremony. (Forand 333)

            In Sunjata as in many other historical texts the idea is not to just tell a story but to provide a guide and history of a people’s tradition. The practice of a tradition holds little importance if the reasons and history behind the tradition are unknown. Sunjata serves as West Africa’s “central hero” and “an essential part of Mande culture” (Puchner 1514). As the hero of a region who has inspired an entire oral tradition the, of his parents’ union would serve as a template for traditional Mande marriage ceremonies.

Works Cited

Conde, Djanka Tassey. Sunjata: A West African Epic of the Mande Peoples.” Trans. David C. Conrad. Beginnings to 1650. Ed. Martin Puchner. 3^rd Shorter ed. New York: Norton, 2013. 1517-1576. Print. Vol. 1 of The Norton Anthology of World Literature. 2 vols.

Forand, Nancy. “The Language Ideologies of Courtship Ritual: Maya Pentecostals and Folk Catholics.” Journal of American Folklore 115.457/458 (2002): 332-377. OhioLink. Web. June 2013.

Puchner, Martin. “Sunjata: A West African Epic of the Mande Peoples.” Beginnings to 1650. Ed. Puchner. Shorter 3^rd ed. New York: Norton, 2013. 1514-1517. Print. Vol. 1 of The Norton Anthology of World Literature. 2 vols.

Basho

            Raul Santiago Sebazco’s online video Matsuo Basho is a compilation of Japanese artwork, koto music, and lines from the haiku master Matsuo Basho’s poems. The mash up provides a short introduction into the serenity and simplicity that the haiku form embodies.

            The video opens with a map of “Basho’s Trail” (Sebazco). In 1689 Basho began travelling; it would be poems inspired by these travels that would result in The Narrow Road to the Deep North (Puchner, “Matsuo Basho” 324). Sebazco’s tributary montage encapsulates the seasons, landscapes, and events Basho encountered while on his journey. A little over a minute into the video we are presented with a snow covered mountain, which is surrounded by buildings and trees. Sebazco follows the image with Basho’s lines, “with the air of a century past / the fallen leaves on the garden.” The serene imagery of the mountain side, trees, and structures tells a story of the past work of those before and that they have not been forgotten as their work still stands among the living.

            Basho’s poetry shows the importance of the world we find ourselves in as “haiku is…poetry of small things and of everyday experience that preserves the sparkles of the particular in its universal appeal” (Puchner, “The World of Haiku” 323). The images used by Sebazco captures this same simplicity in the normal environment and tasks of the world. It continues with simplistic two dimensional drawings of a river, tree blossoms, and people carrying out their daily tasks.

            Sebazco concludes his video with a drawing of a road or path. The simple tan drawing is a fitting end to the video. It captures the essence of Basho’s journey on The Narrow Road to the Deep North as a simple, voyeuristic journey. The video shows how powerful the most simple of scenes can be; a feeling captured in Basho’s lines: “A wild sea-- / stretching to Sado Isle / the River of Heaven” (335).

                       

Works Cited

Basho, Mastuo. The Narrow Road to the Deep North. Trans. Haruo Shane. 1650 to the Present. Ed. Martin Puchner. Shorter 3^rd ed. New York: Norton, 2013. 325-336. Print. Vol. 2 of The Norton Anthology of World Literature. 2 vols.

Puchner, Martin. “Matsuo Basho.” 1650 to the Present. Ed. Puchner. Shorter 3^rd ed. New York: Norton, 2013. 324-325. Vol. 2 of The Norton Anthology of World Literature. 2 vols.

---. “The World of Haiku.” 1650 to the Present. Ed. Puchner. Shorter 3^rd ed. New York: Norton, 2013. 321-324. Vol. 2 of The Norton Anthology of World Literature. 2 vols.

Sebazco, Raul Santiago, dir. Matsuo Basho. 2010. Film. YouTube. Web. June 2013.