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POETR

Y
Agostinho Neto
(September 17, 1922 –
September 10, 1979) served
as the first
President of Angola (1975–
1979), leading the Popular
Movement for the Liberation
of Angola (MPLA) in the war
for independence and
the civil war. His birthday is
celebrated as National
Heroes Day, a public
holiday in Angola.
KINAXIXI
I was glad to sit down were servants
on a bench in Kinaxixi looking for love here, glory there,
at six o'clock of a hot evening wanting
and just sit there ... something more than drunkenness
in every
Someone would come alcohol.
maybe
to sit beside me Neither happiness nor hate.

And I would see the black faces After the sun had set
of the people going uptown lights would be turned on and I
in no hurry would wander off
expressing absence in the thinking that our life after all is
jumbled Kimbundu they conversed simple
in. too simple
for anyone who is tired and still has
I would see the tired footsteps to walk.
of the servants whose fathers also
Léopold Sédar
Senghor
(9 October 1906 – 20 December 2001)
was a Senegalese poet, politician, and
cultural theorist who for two decades
served as the first President of Senegal
(1960 – 1980) .Senghor was the first
African elected as a member of Académie
Française. Before independence, he
founded the political party called the
Senegalese Democratic Bloc.
BLACK WOMAN
Naked woman, black woman savannah shuddering beneath the East
Clothed with your colour which is life, Wind's
with your form which is beauty! eager caresses
In your shadow I have grown up; the Carved tom-tom, taut tom-tom,
gentleness of your hands was laid over muttering
my eyes.
And now, high up on the sun-baked
pass, at the heart of summer, at the
heart of noon,
I come upon you, my Promised Land,
And your beauty strikes me to the heart
like the flash of an eagle.
Naked woman, dark woman
Firm-fleshed ripe fruit, sombre raptures
of black wine, mouth making lyrical my
mouth
Savannah stretching to clear horizons,
under the Conqueror's fingers
Your solemn contralto voice is the
spiritual song of the Beloved.
Naked woman, dark woman
Oil that no breath ruffles, calm oil on the
athlete's flanks, on the flanks of the
Princes of Mali
Gazelle limbed in Paradise, pearls are
stars on the
night of your skin
Delights of the mind, the glinting of red
gold against your watered skin
Under the shadow of your hair, my care
is lightened by the neighbouring suns of
your eyes.
Naked woman, black woman,
I sing your beauty that passes, the form
that I fix in the Eternal,
Before jealous fate turn you to ashes to
feed the roots of life.
SALUTATION TO THE DAWN
by Kalidasa
 Look to this day  Look well, therefore, to this day!
 For it is life, the very life of life  Such is the salutation to the dawn.
 In its brief course
 Lie all the verities and realities of your
existence:
 The bliss of growth
 The glory of action
 The splendour of
beauty.
 For yesterday is but a dream
 And tomorrow is only a vision,
 But today well lived makes
 Every yesterday a dream of
happiness
 And every tomorrow a vision of hope.
THE PRIDE TO BE AN AFRICAN

 My Africa My Africa My Africa My Africa true tradition


My Africa of which everybody imitates
My Africa of which culture exceed the My Africa My Africa My Africa
Greek My Africa of black pageant women
My Africa of which everyone is jealous of My Africa of strong men
My Africa from who we all hail from
My Africa My Africa My Africa For every African deserves a Nobel Prize in
My Africa of enormous natural endowment Existence.
My Africa of Non-Violence
My Africa of Amorous populates
My Africa My Africa My Africa
My Africa of patriot men and women
My Africa of shelter and vintage hospitality
My Africa of great ancestral mythology
My Africa My Africa My Africa
My Africa that bore fruits of black
diamonds
My Africa which is a gift to the whole world
My Africa of great leadership
My Africa My Africa My Africa
My Africa of learned youths
My Africa of a bright generation
Leonard Okema –
Acholi Land!

 Acholiland oh acholiland, The harmony you taught us is no


The once happy mother of proud more,
warriors, Your children have learnt the little art
To you we wail, of
For redemption from the fangs of unleashing terror,
terror,  Unfortunately on your very siblings,
The terror that bleeds us white, Pain is all we feel and grim is what
The terror that siphons your blood we see,
that runs in our veins, Blood is what we pay for being your
 Lambs without a shepherd we children,
remain, Oh! Mother, spread your wings and
Driven away from you into the redeem
darkness, us, to rise and shine again.
Mama we yearn for an end to our
misgivings,
Oh! Acholiland,
 Do you hear us when we call out to
you?
When our cries run our voices frail,
When wantons hunt us, your children
down,
Rise up Africa
 Acholiland oh you into the  unleashing terror,
acholiland, darkness,  Unfortunately on
 The once happy  Mama we yearn for your very siblings,
mother of proud an end to our  Pain is all we feel
warriors, misgivings, and grim is what we
 To you we wail,  Oh! Acholiland, see,
 For redemption  Do you hear us  Blood is what we
from the fangs of when we call out to pay for being your
terror, you? children,
 The terror that  When our cries run  Oh! Mother, spread
bleeds us white, our voices frail, your wings and
 The terror that  When wantons hunt redeem
siphons your blood us, your children  us, to rise and shine
 that runs in our down, again.
veins,  The harmony you
 Lambs without a taught us is no
shepherd we more,
remain,  Your children have
 Driven away from learnt the little art of
INDIA, a land overflowing with religion
and the religious spirit, has a written literature
that started with Vedic holy texts some time
after 1500.
These homilies and hymns gave rise to
the Upanishads, a body a religious prose
writings philosophical in nature and dealing
with basic tenets of Hinduism, the dominant
religion of India.
Later, oral history, legend, and
moral tales were fused into two-
great books:

The Mahabharata, considered


the national epic of India, and the
Ramayana.
Other major additions to the
literature of India are
the Punaras (400 B.C.-1400 A.D.) and
the Panchatantra (450 A.D.), which is
a collection of five books of fables
and short tales interspersed with
poetry.
Another form of literature was
the shastas, which sought to
systematize all learning in the form of
laws for the arts and sciences.
The seventh century A.D. saw
the peak of classical poetry.
Drama and lyric poetry
abounded. During this period,
Kalidasa emerged as a poet and
writer of note.
He produced three
masterpieces which Shakuntala,
a play, is the most celebrated.
In the latter part of the Middle
Ages, the courts of the Mogul
emperors, which produced Perso-
Arabic writing inspired a literature
in Urdu. The major artistic form was
the ghazal, a stylized form of lyrical
folk song.
短歌

短歌
Early works of Japanese literature were heavily
influenced by cultural contact with China and Chinese
literature, often written in Classical Chinese. Indian
literature also had an influence through the diffusion
of Buddhism in Japan.
Eventually, Japanese literature developed into a
separate style in its own right as Japanese writers
began writing their own works about Japan, although
the influence of Chinese literature and Classical
Chinese remained until the end of the Edo period.
Since Japan reopened its ports to Western
trading and diplomacy in the 19thcentury, Western and
Eastern literature have strongly affected each other
and continue to do so.
Haiku
• is a very short form of Japanese poetry typically characterised
by three qualities:
 The essence of haiku is "cutting" (kiru). This is often
represented by the juxtaposition of two images or ideas and
a kireji ("cutting word") between them, a kind of verbal
punctuation mark which signals the moment of separation
and colors the manner in which the juxtaposed elements
are related.
 Traditional haiku consist of 17 on (also known as morae), in
three phrases of 5, 7 and 5 on respectively.
 A kigo (seasonal reference), usually drawn from a saijiki, an
extensive but defined list of such words.
Examples:
 I.
 at the age old pond
 a frog leaps into water
 a deep resonance
 II.
 the first cold shower
 even the monkey seems to want
 a little coat of straw
Tanka

 Tanka (短歌 "short poem"?) is a genre of


classical Japanese poetry and one of the
major genres of Japanese literature.
 On the white sand
 Of the beach of a small isle
 In the Eastern Sea
 I, my face streaked with tears,
 Am playing with a crab
 – Ishikawa Takuboku
Historical
Background of
Afro-Asian
Literature
African and Asian cultures are some of
the oldest in the world. It is thought that man
started in Africa migrating to populate the rest
of the world.

As genetic changes occurred there were


also newer ethnicities spreading around the
world. Combinations of these ethnicities
occurred giving rise to mixed races.
All of this culture and thought of what
happened in the past has been revealed
through written and anthropological
studies.

The literal start of Afro-Asian literature is


hard to depict considering literature and
writings have been around for millennia,
even prior to the "modern" world; however,
the term Afro-Asian literature is newer to
the scene.
Afro-Asian literature is a subset of world
literature studies. It has become a separate
segment in English in which stories are based
on experiences in Africa, Asia or other
cultures in the same area that help one
understand the differences in culture.

Many of the texts discuss world peace


that the writers would like to see in order to
find improved lives.
Afro-Asian history are part of the
culture's oral history - these poems or songs
were passed down from generation to
generation, and they told of the unique
struggles and successes of Afro-Asian
people.

Later, when more people were able


to read and write, history became
recorded in prose, plays, and textbooks.
In a literal sense, the background of
Afro-Asian literature dates to the very
beginnings of when the first mixed race
individual began writing.

An exact date is harder to come by


given the wide topic this question asks to
be answered. Like most literature you can
be assured that earlier written documents
were based on stories passed by word of
mouth.
Afro-Asian
Short Stories
Characteristics of an Afro-
Asian Short Story
A short story is a piece of prose fiction
which can be read at a single sitting.
 It ought to combine matter-of-fact
description with poetic atmosphere.
 It ought to present a unified impression
of temper, tone, colour, and effect.
 It mostly shows a decisive moment of life.
 There is often little action, hardly any
character development, but we get a
snapshot of life.
 Its plot is not very complex (in contrast to
the novel), but it creates a unified
impression and leaves us with a vivid
sensation rather than a number of
remembered facts.
 There is a close connection between the
short story and the poem as there is both
a unique union of idea and structure.
Examples of Afro-Asian Short
Story
• Spider’s Web by Maurice Baring • Avaricious and Envious
• The Wolf and the Lamb by Aesop • The Bald Man and the Fly
• The Clock and the Pearl by • The Bat, the Birds, and the Beasts
Aesop • Belling the Cat
• The Dog and the Shadow by • The Belly and the Members
Aesop • The Buffoon and the
• The Lion’s Share by Aesop Countryman
• The Wolf and the Crane by • The Bundle of Sticks
Aesop
• The Fox and the Crow by Aesop
• Androcles and the Lion
• The Ant and the Grasshopper
• The Ass and the Lapdog
• The Ass in the Lion’s Skin
Afro-Asian
Novels
Afro Asian literature is a form of
writing that is written by African Asians.
This is in terms of poems and novels.
This is regarded as different form of
writing.
Afro-Asian literature is a term for
novels or writing such as poems written
by people from mixed African-arab
ethnicity, or african-asian ethnicity.
In modern times, a part of world
literature, Afro-Asian literature is a
separate segment of writing [in
English] of experiences in Africa
and Asia to further cultural
understanding and world peace.
Example of Afro-Asian Novel
Ngugi wa Thiong'o - the distinguished
African writer and Amnesty
International Prisoner of Conscience (Kenya
1977), has been at the forefront of discussions
on the role of indigenous languages in
decolonization, particularly in Africa, and has
provided inspiration to anti-colonialist struggles
throughout the world.
Ngugi wa Thiong'o novels include Weep
Not Child (1964), The River Between (1965), A
Grain of Wheat (1967), Petals of Blood (1977),
Devil on a Cross (1982) and Matigari Ma
Njiruungi (1986).
In 1977 Kenyan authorities detained
Ngugi without charge after the production
of his play, Ngaahika Ndeenda (I Will Marry
When I Want).
The drama, staged in the Gikuyu
language with a cast of peasants and
workers from the village of Kamiriithu, was
sharply critical of the inequalities and
deprivation faced by ordinary Kenyans.
Amnesty International designated Ngugi
a Prisoner of Conscience, and he was
released in 1978.
References:
 http://poetry.wordpress.com/2005/10/19/leonard-
okema-acholi-land/
 http://www.poemhunter.com/poem/rise-up-africa-2/
 http://en.wikipedia.org/wiki/Tanka
 http://en.wikipedia.org/wiki/Haiku
 Keene, Donald, Dawn to the West: Japanese
Literature of the Modern Era - Poetry, Drama,
Criticism (A History of Japanese Literature, Volume 4),
Columbia University Press, 1999
 http://www.authorstream.com/Presentation/jimbol20
10-420187-afro-asian-literature-education-ppt-
powerpoint/

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