adminLovemore Ranga Mataire
While most European scholars are generally agreed that epics have their origins in the Ancient Greece, typified by such texts as “The IIiad” and “The Odyssey”, some critics have loosely linked the term to include the Anglo-Saxon poem “Beowulf” and Milton’s “Paradise Lost”.
One thing so apparent in the descriptions of epic is the absence of any single reference to Africa.
It is because of that glaring deliberate exclusion of African epics that any reader must therefore treat “Sundiata: An Epic of Old Mali” as a milestone and an act of liberation in as far as it reveals the glory of African heroism, and intricate civilisation found in and systematic social, political and economic organisation.
It is an act of liberation in that it is one of the few African epics that provide Africans some sort of historical inspirational reference derived from the heroic deeds of individuals who defied all odds in the pursuit of public good. But the absence of any reference to ancient African epics does not in any way show any weakness on the part of “Sundiata: An Epic of Old Mali” for all the features and elements that define an epic are apparent throughout the whole text. Some of these key features present in the text include a long narration that touches on a serious or worthy traditional subject through the employment of a formal, dignified, objective tone focusing mainly on a hero who is presented as being endowed with supernatural powers. The other key feature involves a hero or heroes determining the destiny or the fate of individuals and nations.
Another aspect of an epic as reflected in “Sundiata: An Epic of Old Mali” is the narrative style, which covers a vast area and usually refers to a remote past.
The extended use of similes is also common, as is the inclusion of a long catalogue of characters who are normally highborn kings and great warriors.
The use of oral tradition in the reconstruction of historical events of different historical eras is also reflected in the text especially during the early stages in West Africa when different cultural influences were still coming together. Narrated first in the first person narrative of the griot (individual custodian of a people’s history and culture) Djeli Mamoudu Kouyate, and later in the third person narrative, the text gravitates from realism, mythology, autobiography to the supernatural world.
The narrator declares: “I am the griot. It is I, Djeli Mamoudu Kouyate, son of Bintou Kouyate and Djeli Kedan Kouyate, master in the art of eloquence.”
The narrator employs poetic diction and figurative speech whose impact is to make his version noble, especially when he says; “We are the vessels of speech. The art of eloquence has no secret for us: without us the names of kings would vanish into oblivion; we are the memory of mankind; by the spoken world we bring to life the deeds and exploits of kings for younger generations.” It is clear that the narrator places himself on a pedestal of high moral ground without any blemish so as to enhance his version as noble and truthful.
Notable characters include the King of the Mandingo, Maghan Kon Fatta, who is the father of Sundiata; his half-brother Dankaran Touman, who forcibly takes power after Fatta’s death; Sologon Kedjeu, the mother of Sundiata; Soumaoro Kante, the Sorcerer King; and Mansa Tounkara, in whose kingdom Sundiata seeks refuge after being banished from his father’s palace. As the narrative gravitates from the first person to the third person, there is an abundance of African idioms and proverbs illustrating the profundity of the subject and as a demonstration of wisdom gained from life experiences. This is seen when the narrator says; “Men’s wisdom is contained in proverbs and when children wield proverbs, it is a sign that they have gained from adult company.” Mystery and myth are the major tools that the narrator employs when referring to certain heroic myths and feats of the protagonist which in most cases defy logic or human reasoning.
In order to build tension and uncertainty around the inevitable triumph of the protagonist, it is prudent in most epics as in “Sundiata: An Epic of Old Mali” to undergo strenuous trials and tribulations. These trials and tribulations are meant to sharpen the protagonist as a strategist and capable ruler. In the case of Sundiata, he is born handicapped, unable to walk and partake in the daily activities, and when he miraculously walks, his father dies and his stepmother banishes him from the palace. Sundiata seeks refuge in neighbouring kingdoms and only returns to his homeland to liberate his people, now under the ruthless and evil rule of Saumaoro. The fact that Sundiata eventually manages to defeat Saumaoro. Just like in “The Iliad”, there is no linear God in “Sundiata: An Epic of Old Mali”, but several gods all with varying powers to influence the course of history. As evidenced in the epic, the absence of a written record cannot form the basis for dismissing Africans as lacking influential and inspirational historical figures that altered the course of history.
Online Reporter