what is Ethiopian literature?
As it is commonly assumed, Ethiopian literature starts with the introduction of Christianity and its recognition as the religion of the state by King Ezana in 340. Early Christian writings, almost entirely translated from Greek, form the so called Axumite literature (340-990). The oldest Ethiopian manuscript preserved to our times is that of Garima Gospels from the 5th/6th century. Overall, the Ethiopian Bible contains a number of books considered as apocryphal; the most notorious of them is the Book of Henoch that survived only in the Ethiopian version. Apart from the Bible, Axumite translations includes also other more or less important Christian texts, such as the monastic rules of Pachomius or the Physiologus.
A period stretching from the 8th to the 12th century forms an Ethiopian dark age; there are no texts dating from that period. The new beginning started with the Solomonic dynasty around 1270. There is also a new language, Amharic, that replaces Ge'ez in everyday contexts. Nonetheless, Ge'ez continues to be the traditional language of writing, a sort of Ethiopian Latin. The 14th and 15th centuries are considered as the Golden Age in which original literary creation, taking the shape of homilies and prophecies, appears. It is also the period of the encounter with the exterior world, represented by various Portuguese travellers and Jesuits.
By the 16th century, an Islamic invasion puts an end to the Christian Golden Age. Nonetheless, it brings about interesting texts, such as the letter of Abba 'Enbaqom to Ahmad ibn Ibrahim, explaining the reasons why the conqueror should abandon Islam. On the brink of 16th/17th century, a new streak of translations, now from Arabic, enlivens the written culture of Ethiopia. Amharic, together with Ge'ez, acquires the status of a written language. A particularly interesting text from this period is the description of the Oromo people and its recent migration into the territory of Ethiopia, given by Abba Bahrey (The History of the Galla).
Modern Ethiopian literature seems tiny and inconspicuous compared to those ancient precedents. The birth of novel in Amharic may be associated with Haddis Alemayehu's Love to the Grave (Fikir Eske Mekabir, 1968). This poignant love story is set in the early 20th century, creating an opportunity for a portrayal of Ethiopian culture, traditions, and the complexities of social hierarchies in the struggle between modernity and tradition. Bezabeh and Seble are two young lovers whose relationship faces numerous challenges due to societal norms, class differences, and family pressures. Bezabeh, the protagonist, comes from a poor background, while Seble belongs to a wealthy and influential family. Despite their deep love for each other, their relationship is strained by the expectations and demands of their respective families and the broader societal context. The love story is set against the backdrop of Ethiopia's feudal system, which was characterized by rigid class structures. The novel references the practice of slavery and bonded labor, which were prevalent in Ethiopia during this time. These practices highlight the deep social inequalities and the struggles of the lower classes to which Bezabeh belongs. Land ownership is a critical issue in the novel, reflecting the historical reality where land was predominantly owned by the nobility and the church, leaving peasants with limited rights. This disparity in land ownership and the exploitation of peasants are central themes that drive the narrative. Though not directly mentioned, the socio-political climate of the early 20th century, including the early reforms initiated by Emperor Haile Selassie (then known as Ras Tafari), forms an implicit backdrop. Will education be the game changer, enabling the Ethiopians to gain personal freedom and overcome class boundaries? This is not how this story ends. The lovers are separated. Bezabeh's relentless pursuit of his love for Seble and his inability to overcome the societal barriers ultimately result in tragedy. Devastated by the loss and the insurmountable obstacles, he succumbs to despair. The novel concludes with his death, symbolizing the profound impact of unfulfilled love and the oppressive nature of the societal structures of the time. Seble, unable to break free from the constraints imposed by her family and societal expectations, is left to grapple with the consequences of their doomed relationship, living a life marked by the memory of their love and the pain of their separation.
A period stretching from the 8th to the 12th century forms an Ethiopian dark age; there are no texts dating from that period. The new beginning started with the Solomonic dynasty around 1270. There is also a new language, Amharic, that replaces Ge'ez in everyday contexts. Nonetheless, Ge'ez continues to be the traditional language of writing, a sort of Ethiopian Latin. The 14th and 15th centuries are considered as the Golden Age in which original literary creation, taking the shape of homilies and prophecies, appears. It is also the period of the encounter with the exterior world, represented by various Portuguese travellers and Jesuits.
By the 16th century, an Islamic invasion puts an end to the Christian Golden Age. Nonetheless, it brings about interesting texts, such as the letter of Abba 'Enbaqom to Ahmad ibn Ibrahim, explaining the reasons why the conqueror should abandon Islam. On the brink of 16th/17th century, a new streak of translations, now from Arabic, enlivens the written culture of Ethiopia. Amharic, together with Ge'ez, acquires the status of a written language. A particularly interesting text from this period is the description of the Oromo people and its recent migration into the territory of Ethiopia, given by Abba Bahrey (The History of the Galla).
Modern Ethiopian literature seems tiny and inconspicuous compared to those ancient precedents. The birth of novel in Amharic may be associated with Haddis Alemayehu's Love to the Grave (Fikir Eske Mekabir, 1968). This poignant love story is set in the early 20th century, creating an opportunity for a portrayal of Ethiopian culture, traditions, and the complexities of social hierarchies in the struggle between modernity and tradition. Bezabeh and Seble are two young lovers whose relationship faces numerous challenges due to societal norms, class differences, and family pressures. Bezabeh, the protagonist, comes from a poor background, while Seble belongs to a wealthy and influential family. Despite their deep love for each other, their relationship is strained by the expectations and demands of their respective families and the broader societal context. The love story is set against the backdrop of Ethiopia's feudal system, which was characterized by rigid class structures. The novel references the practice of slavery and bonded labor, which were prevalent in Ethiopia during this time. These practices highlight the deep social inequalities and the struggles of the lower classes to which Bezabeh belongs. Land ownership is a critical issue in the novel, reflecting the historical reality where land was predominantly owned by the nobility and the church, leaving peasants with limited rights. This disparity in land ownership and the exploitation of peasants are central themes that drive the narrative. Though not directly mentioned, the socio-political climate of the early 20th century, including the early reforms initiated by Emperor Haile Selassie (then known as Ras Tafari), forms an implicit backdrop. Will education be the game changer, enabling the Ethiopians to gain personal freedom and overcome class boundaries? This is not how this story ends. The lovers are separated. Bezabeh's relentless pursuit of his love for Seble and his inability to overcome the societal barriers ultimately result in tragedy. Devastated by the loss and the insurmountable obstacles, he succumbs to despair. The novel concludes with his death, symbolizing the profound impact of unfulfilled love and the oppressive nature of the societal structures of the time. Seble, unable to break free from the constraints imposed by her family and societal expectations, is left to grapple with the consequences of their doomed relationship, living a life marked by the memory of their love and the pain of their separation.
I have readRyszard Kapuscinski, Cesarz (1975)
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I have written... nothing ...
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in the kingdom of allegory
(mister Richard's tale)
How far can this famous reportage actually be trusted? Kapuscinski's text on the rise and fall of Haile Selassie flows like an elaborate allegory. The text is written in deliberately archaic Polish, and resembles certain texts of Stanislaw Lem. As if this kingdom was one from a philosphic tale, wisely built up to transmit some universal truth. And this truth, as I felt, was supposed to say something about communist system, dictatorship, some reality much closer to home than Ethiopia.
Did this happen exactly as suggested? The margin of licentia poetica is certainly very broad. But is there some actual, precise truth on the bottom? The Ethiopian story used to be told in macabre details, in the language of naturalism, with flies and babies in close up. Kapuscinski is on the opposite pole.
Ryszard Kapuscinski, Cesarz.
Kraków, 25.05.2024.
Did this happen exactly as suggested? The margin of licentia poetica is certainly very broad. But is there some actual, precise truth on the bottom? The Ethiopian story used to be told in macabre details, in the language of naturalism, with flies and babies in close up. Kapuscinski is on the opposite pole.
Ryszard Kapuscinski, Cesarz.
Kraków, 25.05.2024.
