Read the Sundiata excerpt handed out in class
today. Focus on the transcription of the poem produced by John William
Williamson, which retains elements of oral composition. Use Ong's "The
Psychodynamics of Orality" to identify features of the text that Ong
claims are characteristic of oral composition. How well does the text fit the
categories provided by Ong?
The most noticeable feature of the
John William Johnson version of Sundiata that identifies it as an oral
composition is the heavy use of repetition. This ties into Ong's statements
about "thinking memorable thoughts" and the idea that orally composed
works are often "heavily rhythmic" with "repetitions . . . and
alliterations". There are many examples of repetition, with the mother
asking two neighbors for ingredients in nearly identical conversations, and her
having a staff crafted for her son twice in very similar ways, who also
exhibits extremely repetitious behavior by attempting to rise many times throughout the story.
Another unique aspect of this version of the story is the parts that are written in parentheses. Oral composers lack a way to recall what they have already said, and this results in a dependence on dialogue and communication to sustain thought, according to Ong. These parenthetical asides are the voice of someone who is listening to the narrator and is aiding them in composing or remembering this tale.
The part of the story that best matches Ong's model of oral thought and expression is when the mother beseeches God to give her son the ability to walk. She goes into a long monologue that exhibits the redundancy common in oral compositions, stating that if her son is meant to rule, let him rise, and that if he is not meant to rule, let him not rise, and that if she was faithful to her husband, let him rise, and that if she was not faithful, let him not rise. The monologue is also an example of additive oral style, in that each part builds on the last.
Finally, the story's subject matches what Ong says we should expect from an oral tale. Though it lacks the "enthusiastic description of physical violence [that] often marks oral narrative", the story has historical significance to the descendents of the Manding empire because it is about the founder of that empire. Without writing, important tales such as this one can only be preserved orally.
Another unique aspect of this version of the story is the parts that are written in parentheses. Oral composers lack a way to recall what they have already said, and this results in a dependence on dialogue and communication to sustain thought, according to Ong. These parenthetical asides are the voice of someone who is listening to the narrator and is aiding them in composing or remembering this tale.
The part of the story that best matches Ong's model of oral thought and expression is when the mother beseeches God to give her son the ability to walk. She goes into a long monologue that exhibits the redundancy common in oral compositions, stating that if her son is meant to rule, let him rise, and that if he is not meant to rule, let him not rise, and that if she was faithful to her husband, let him rise, and that if she was not faithful, let him not rise. The monologue is also an example of additive oral style, in that each part builds on the last.
Finally, the story's subject matches what Ong says we should expect from an oral tale. Though it lacks the "enthusiastic description of physical violence [that] often marks oral narrative", the story has historical significance to the descendents of the Manding empire because it is about the founder of that empire. Without writing, important tales such as this one can only be preserved orally.
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