Tag: “The Languages of Berkeley”
Yoruba
The Languages of Berkeley: An Online Exhibition
Yoruba, a tonal language, is spoken by nearly 40 million of the 185 million people living in Nigeria (2016 World Bank estimates). Some two hundred thousand Yoruba speakers also live in neighboring Benin and Togo. In Nigeria, Yoruba claims the second most speakers nationwide behind only English, the former language of colonial British Nigeria. In turn, Yoruba along with the two other national indigenous languages (Ibo and Hausa) are hegemonizing smaller, local languages throughout the country. Yoruba is part of the Yoruboid branch of the Niger-Congo language family, of which there are some 1,500 other languages. It includes numerous loanwords from English and as a result of the slave trade was important in Brazil, Cuba and other American countries.
Published in Lagos, Nigeria in 1885, Iwe Alọ is a collection of nearly 200 riddles and puzzles written in Yoruba. The author, Nigerian born David Brown Vincent, changed his name to Mojola Agbebi and preferred African to European fashion, due largely to his anti-colonial sentiment. After his ordination as a Baptist minister in Liberia in 1894, he summed-up his feelings: “I believe every African bearing a foreign name to be like a ship sailing under foreign colours and every African wearing a foreign dress is like the jackdaw in peacock feathers.” The print edition of Iwe Alọ, housed in the Bancroft Library, is part of the renowned Yoruba collection of William and Berta Bascom, which comprises some 470 volumes with plenty of examples of similarly early Yoruba language publications. The digitized edition of the Iwe Alọ is freely available through the HathiTrust Digital Library.
Contribution by Adam Clemons
Librarian for African and African American Studies, Doe Library
~~~~~~~~~~
Title: Iwe Alọ
Title in English: [Booklet]
Author: Agbebi, Mojola, 1860-1917. (David Brown Vincent)
Imprint: Lagos: General Printing Press, 1885.
Edition: 1st edition
Language: Yoruba
Language Family: Niger-Congo
Source: HathiTrust Digial Library (UCLA)
URL: https://catalog.hathitrust.org/Record/101690224
Select print editions at Berkeley:
- Iwe Alọ. Foreward by D.B. Vincent. Lagos: General Printing Press, 1885.
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The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
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Portuguese
The Languages of Berkeley: An Online Exhibition
Ó mar salgado, quanto do teu sal
São lágrimas de Portugal!
Quando virás, ó Encoberto,
Sonho das eras portuguez,
Tornar-me mais que o sopro incerto
De um grande anceio que Deus fez?
O salty sea, so much of whose salt
Is Portugal’s tears!
When will you come home, O Hidden One,
Portuguese dream of every age,
To make me more than faint breath
Of an ardent, God-created yearning?
(Trans. Richard Zenith, Message)
Living in a paradoxical era of artistic experimentalism and political authoritarianism, Fernando António Nogueira Pêssoa (1888-1935) is considered Portugal’s most important modern writer. Born in Lisbon, he was a poet, writer, literary critic, translator, publisher and philosopher. Most of his creative output appeared in journals. He published just one book in his lifetime in his native language Mensagem (“Message”). In the same year this collection of 44 poems was published, António Salazar was consolidating his Estado Novo (“New State”) regime, which would subjugate the nation and its colonies in Africa for more than 40 years. Encouraged to submit Mensagem by António Ferro, a colleague with whom he previously collaborated in the literary journal Orpheu (1915), Pessoa was awarded the poetry prize sponsored by the National Office of Propaganda for the work’s “lofty sense of nationalist exhaltation.”[1]
Because of its association with the Salazar’s dictatorship, Mensagem was regarded as a national monument but also as something reprehensible. Translator Richard Zenith describes it as a “lyrical expansion on The Lusiads, Camões’ great epic celebration of the Portuguese discoveries epitomized by Vasco de Gama’s inaugural voyage to India.”[2] At the same time, it traces an intimate connection to the world at large, or rather, to various worlds (historical, psychological, imaginary, spriritual) beginning with the circumscribed existence of Pessoa as a child. Longing for the homeland, as in The Lusiads, is an undisputed theme of Pessoa’s verses as he spent most of his childhood in Durham, South Africa, with his family before returning to Portugal in 1905.
Pessoa wrote in Portuguese, English, and French and attained fame only after his death. He distinguished himself in his poetry and prose by employing what he called heteronyms, imaginary characters or alter egos written in different styles. While his three chief heteronyms were Alberto Caeiro, Ricardo Reis and Álvaro de Campos, scholars attribute more than 70 of these fictitious alter egos to Pessoa and many of these books can be encountered in library catalogs sometimes with no reference to Pessoa whatsoever. Use of identity as a flexible, dynamic construction, and his consequent rejection of traditional notions of authorship and individuality prefigure many of the concerns of postmodernism. He is widely considered one of the Portuguese language’s greatest poets and is required reading in most Portuguese literature programs.[3]
According to Ethnologue, there are over 234 million native Portuguese speakers in the world with the majority residing in Brazil.[4] Portuguese is the sixth most natively spoken language on the planet and the third most spoken European language in terms of native speakers.[5] Instruction in Portuguese language and culture has occurred primarily within the Department of Spanish & Portuguese. Since 1994, UC Berkeley’s Center for Portuguese Studies in collaboration with institutions in Portugal brings distinguished scholars to campus, sponsors conferences and workshops, develops courses, and supports research by students and faculty.
Contribution by Claude Potts
Librarian for Romance Language Collections, Doe Library
Sources consulted:
- Preface to Richard Zenith’s English translation Message. Lisboa: Oficina do Livro, 2016.
- Ibid.
- Portuguese (PORTUG) – Berkeley Academic Guide (accessed 2/4/20)
- Ethnoloque: Languages of the World (accessed 2/4/20)
- CIA World Factbook (accessed 2/4/20)
~~~~~~~~~~
Title: Mensagem
Title in English: Message
Author: Pessoa, Fernando, 1885-1935.
Imprint: Lisbon: Parceria António Maria Pereira, 1934.
Edition: 1st
Language: Portuguese
Language Family: Indo-European, Romance
Source: Biblioteca Nacional de Portugal
URL: http://purl.pt/13966
Other online editions:
- Mensagem / Fernando Pessoa. – 1934. – [70] p. ; 22,2 x 14,7 cm. From Biblioteca Nacional de Portugal (BNP), http://purl.pt/13965.
Select print editions at Berkeley:
- Mensagem. 1a ed. Lisboa : Pereira, 1934.
- Mensagem. Print facsimile from original manuscript in BNP. Lisboa : Babel, 2010.
- Mensagem. Comentada por Miguel Real ; ilustrações, João Pedro Lam. Lisboa : Parsifal, 2013.
- Mensagem : e outros poemas sobre Portugal. Fernando Cabral Martins and Richard Zenith, eds. Porto, Portugal : Assírio & Alvim, 2014.
- Mensagem. Translated into English by Richard Zenith. Illustrations by Pedro Sousa Pereira. Lisboa : Oficina do Livro, 2008
The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
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Old/Middle Irish
The Languages of Berkeley: An Online Exhibition
After Greek and Latin, Irish has the oldest literature in Europe, and Irish is the official language of the Republic of Ireland.[1] The prose epic Táin Bó Cúalnge (The Cattle Raid of Cooley) narrates the battles of Irish legendary hero Cúchulainn as he single-handedly guards a prize bull from abduction by Queen Medb and her Connacht army. The tale is the most important in the broader mythology of the Ulster Cycle. The versions we know survive in fragments from medieval manuscripts (notably Lebor na hUidre, the oldest existing text in Irish, the Yellow Book of Lecan, and the Book of Leinster), but the story itself is most likely part of a pre-Christian oral tradition.
In the story, Queen Medb seeks to match her husband Ailill’s wealth through the acquisition of a bull, and she resorts to a raid after her attempt at trade falls through. Inconveniently, all the men in Ulster who might defend the bull have been cursed ill. Cúchulainn, the only man left standing, challenges warriors in Medb’s army to a series of one-on-one combats that culminates in a tragic three-day fight with his foster-brother and friend, Ferdiad. Along the way, Cúchulainn meets his father, the supernatural being Lugh; enjoys supernatural medical care; and transforms into a monster during his battle rages. After Ferdiad’s death, the Ulster men rally and bring the battle to a triumphant finish. Medb’s army is sent packing, but not before she succeeds in smuggling out the bull.
During the early 20th century, the Táin inspired Irish poets and writers such as Lady Gregory and William Butler Yeats, while Cúchulainn served as a symbol for Irish revolutionaries and Unionists alike. The Táin and its legends are routinely taught in UC Berkeley courses such as Medieval Celtic Culture, Celtic Mythology and Oral Tradition, and The World of the Celts. In 1911, the first North American degree-granting program in Celtic Languages and Literatures was founded at Berkeley, and the Celtic Studies Program continues to thrive today. Faculty from the departments of English, Rhetoric, Linguistics, and History participate in teaching regular courses in Irish and Welsh language and literature (in all their historical phases), and in the history, mythology, and cultures of the Celtic world. Breton is also offered regularly, and Gaulish, Cornish, Manx, and Scots Gaelic are foreseen as occasional offerings.[1]
Contribution by Stacy Reardon
Literatures and Digital Humanities Librarian, Doe Library
Sources consulted:
- Celtic Studies Program, UC Berkeley (accessed 1/27/20)
~~~~~~~~~~
Title: “Táin Bó Cúalnge” in Leabhar na h-Uidhri
Title in English: Leabhar na h-uidhri: a collection of pieces in prose and verse, in the Irish language, comp. and transcribed about A.D. 1100, by Moelmuiri Mac Ceileachair: now for the first time pub. from the original in the library of the Royal Irish academy, with an account of the manuscript, a description of its contents, and an index.
Author: Anonymous prose epic
Imprint: Dublin, Royal Irish academy house, 1870.
Edition: 1st edition facsimile from original 8th century manuscript
Language: Old/Middle Irish
Language Family: Indo-European, Celtic
Source: HathiTrust Digital Library (Cornell University)
URL: https://catalog.hathitrust.org/Record/001058698
Other online editions:
- Táin Bó Cúalnge from the Book of Leinster, Corpus of Electronic Texts (CELT).
https://celt.ucc.ie/published/G301035/index.html
Select print editions at Berkeley:
- Fragments of the Táin in Atkinson, Robert. The Yellow Book of Lecan: A Collection of Pieces (prose and Verse) in the Irish Language, in Part Compiled at the End of the Fourteenth Century : Now for the First Time Published from the Original Manuscript in the Library of Trinity College. Dublin: Royal Irish Academy, 1896.
- Recension of the Táin in Atkinson, Robert. The Book of Leinster, Sometime Called the Book of Glendalough: A Collection of Pieces (prose and Verse) in the Irish Language : Compiled in Part About the Middle of the Twelfth Century. Dublin: Royal Irish Academy, 1880.
- The Táin. English translation by Thomas Kinsella and brush drawings by Louis Le Brocquy. Philadelphia: University of Pennsylvania Press, 1985.
- The Táin: A New Translation of the Táin Bó Cúailnge. English translation by Ciaran Carson. New York: Viking, 2008.
- Táin Bó Cúalnge, from the Book of Leinster. Annotated English edition by Cecile O’Rahilly. Dublin: Dublin Institute for Advanced Studies, 1967.
The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
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Old Church Slavonic
The Languages of Berkeley: An Online Exhibition
According to the late Slavic linguist Horace Gray Lunt, “Slavonic or OCS is one of the Slavic languages that was used in the various geographical parts of the Slavic world for over two hundred years at the time when the Slavic languages were undergoing rapid, fundamental changes. Old Church Slavonic is the name given to the language of the oldest Slavic manuscripts, which date back to the 10th or 11th century. Since it is a literary language, used by the Slavs of many different regions, it represents not one regional dialect, but a generalized form of early Eastern Balkan Slavic (or Bulgaro-Macedonian) which cannot be specifically localized. It is important to cultural historians as the medium of Slavic Culture in the Middle Ages and to linguists as the earliest form of Slavic known, a form very close to the language called Proto-Slavic or Common Slavic which was presumably spoken by all Slavs before they became differentiated into separate nations.”[1]
At UC Berkeley, OCS has been taught regularly on a semester basis. Professor David Frick currently teaches it. His course description is as follows, “The focus of the course is straight forward, the goals are simple. We will spend much of our time on inflexional morphology (learning to produce and especially to identify the forms of the OCS nominal, verbal, participial, and adjectival forms). The goal will be to learn to read OCS texts, with the aid of dictionaries and grammars, by the end of the semester. We will discuss what the “canon” of OCS texts is and its relationship to “Church Slavonic” texts produced throughout the Orthodox Slavic world (and on the Dalmatian Coast) well into the eighteenth century. In this sense, the course is preparatory for any further work in premodern East and South Slavic cultures and languages.”[2]
Kievsko-pecherskii paterik is a collection of essays written by different authors from different times. Researchers believe that initially, it consisted of two pieces of the bishop of Suzdal and Vladimir, Simon (1214-1226). One part was a “message” to a monk called Polycarp at the Kyivan cave monastery, and the other part was called the “word” on the establishment of the Assumption Church in Kyiv-Pechersk monastery. Later the book included some other works, such as “The Tale of the monk Crypt” from “Tale of Bygone Years” (1074), “Life” of St. Theodosius Pechersky and dedicated his “Eulogy.” It is in this line-up that “Paterik” represented the earliest manuscript, which was established in 1406 at the initiative of the Bishop of Tver Arsenii. In the 15th century, there were other manuscripts of the “Paterik” like the “Feodosievkaia” and “Kassianovskaia.” From the 17th century on, there were several versions of the printed text.
While there have been several re-editions of this particular book, this Patericon was reprinted in 1991 by Lybid in Kiev. WorldCat indexes ten instances including a 1967 edition that was published in Jordanville by the Holy Trinity Monastery.
Contribution by Liladhar Pendse
Librarian for East European and Central Asian Studies, Doe Library
Sources consulted:
- Lunt, Horace Gray. Old Church Slavonic Grammar. Berlin; Boston: De Gruyter Mouton, c. 2001, 2010.
- Frick, David. “Courses.” Old Church Slavic: Dept. of Slavic Languages and Literatures, UC Berkeley, slavic.berkeley.edu/courses/old-church-slavic-2. (accessed 1/20/20)
~~~~~~~~~~
Title: Paterik Kīevo-Pecherskoĭ : zhitīi︠a︡ svi︠a︡tykh
Title in English: Patericon or Paterikon of Kievan Cave: Lives of the Fathers
Author: Nestor, approximately 1056-1113., Simon, Bishop of Vladimir and Suzdal, 1214-1226., and Polikarp, Archimandrite, active 13th century.
Imprint: 17–? Kiev?
Edition: unknown
Language: Old Church Slavonic
Language Family: Indo-European, Slavic
Source: National Historical Library of Ukraine
URL: bit.ly/paterik
Other online editions:
- http://litopys.org.ua/paterikon/paterikon.htm (accessed 1/20/20)
Select print editions at Berkeley:
- Paterik Kīevo-Pecherskoĭ : zhitīi︠a︡ svi︠a︡tykh. Kīev : [s.n.], [17–?]. (accessed 1/20/20)
The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
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Italian
The Languages of Berkeley: An Online Exhibition
It took centuries before Italy could codify and proclaim Italian as we know it today. The canonical author Dante Alighieri, was the first to dignify the Italian vernaculars in his De vulgari eloquentia (ca. 1302-1305). However, according to the Tuscan poet, no Italian city—not even Florence, his hometown—spoke a vernacular “sublime in learning and power, and capable of exalting those who use it in honour and glory.”[1] Dante, therefore, went on to compose his greatest work, the Divina Commedia in an illustrious Florentine which, unlike the vernacular spoken by the common people, was lofty and stylized. The Commedia (i.e. Inferno, Purgatorio, and Paradiso) marked a linguistic and literary revolution at a time when Latin was the norm. Today, Dante and two other 14th-century Tuscan poets, Petrarch and Boccaccio, are known as the three crowns of Italian literature. Tuscany, particularly Florence, would become the cradle of the standard Italian language.
In his treatise Prose della volgar lingua (1525), the Venetian Pietro Bembo champions the Florentine of Petrarch and Boccaccio about 200 years earlier. Regardless of the ardent debates and disagreements that continued throughout the Renaissance and beyond, Bembo’s treatise encouraged many renowned poets and prose writers to compose their works in a Florentine that was no longer in use. Nevertheless, works continued to be written in many dialects for centuries (Milanese, Neapolitan, Sicilian, Sardinian, Venetian and many more), and such is the case until this day. But which language was to become the lingua franca throughout the newly formed Kingdom of Italy in 1861?
With Italy’s unification in the 19th century came a new mission: the need to adopt a common language for a population that had spoken their respective native dialects for generations.[2] In 1867, the mission fell to a committee led by Alessandro Manzoni, author of the bestselling historical novel I promessi sposi (The Betrothed, 1827). In 1868, he wrote to Italy’s minister of education Emilio Broglio that Tuscan, namely the Florentine spoken among the upper class, ought to be adopted. Over the years, in addition to the widespread adoption of The Betrothed as a model for modern Italian in schools, 20th-century Italian mass media (newspaper, radio, and television) became the major diffusers of a unifying national language.
Grazia Maria Cosima Deledda (1871-1936), the author featured in this essay, is one of the millions of Italians who learned standardized Italian as a second language. Her maternal language was Logudorese Sardo, a variety of Sardinian. She took private lessons from her elementary school teacher and composed writing exercises in the form of short stories. Her first creations appeared in magazines, such as L’ultima moda between 1888 and 1889. She excelled in Standard Italian and confidently corresponded with publishers in Rome and Milan. During her lifetime, she published more than 50 works of fiction as well as poems, plays and essays, all of which invariably centered on what she knew best: the people, customs and landscapes of her native Sardinia.
The UC Berkeley Library houses approximately 265 books by and about Deledda as well as our digital editions of her novel La madre (The Mother). It was originally serialized for the newspaper Il tempo in 1919 and published in book form the following year. Deledda recounts the tragedy of three individuals: the protagonist Maria Maddalena, her son and young priest Paulo, and the lonely Agnese with whom Paulo falls in love. The mother is tormented at discovering her son’s love affair with Agnese. Three English translations of La madre have appeared, however, it was the 1922 translation by Mary G. Steegman (with a foreword by D.H. Lawrence) that was most influential in providing Deledda with international renown.
Deledda received the 1926 Nobel Prize for Literature “for her idealistically inspired writings which, with plastic clarity, picture the life on her native island and with depth and sympathy deal with human problems in general.”[3] To this day, she is the only Italian female writer to receive the highest prize in literature. Here are the opening lines of Deledda’s speech in occasion of the award conferment in 1927:
Sono nata in Sardegna. La mia famiglia, composta di gente savia ma anche di violenti e di artisti primitivi, aveva autorità e aveva anche biblioteca. Ma quando cominciai a scrivere, a tredici anni, fui contrariata dai miei. Il filosofo ammonisce: se tuo figlio scrive versi, correggilo e mandalo per la strada dei monti; se lo trovi nella poesia la seconda volta, puniscilo ancora; se va per la terza volta, lascialo in pace perché è un poeta. Senza vanità anche a me è capitato così.
I was born in Sardinia. My family, composed of wise people but also violent and unsophisticated artists, exercised authority and also kept a library. But when I started writing at age thirteen, I encountered opposition from my parents. As the philosopher warns: if your son writes verses, admonish him and send him to the mountain paths; if you find him composing poetry a second time, punish him once again; if he does it a third time, leave him alone because he’s a poet. Without pride, it happened to me the same way. [my translation]
The Department of Italian Studies at UC Berkeley dates back to the 1920s. Nevertheless, Italian was taught and studied long before the Department’s foundation. “Its faculty—permanent and visiting, present and past—includes some of the most distinguished scholars and representatives of Italy, its language, literature, history, and culture.” As one of the field’s leaders and innovators both in North America and internationally, the Department retains its long-established mission of teaching and promoting the language and literature of Italy and “has broadened its scope to include multiple disciplinary and interdisciplinary perspectives to view the country, its language, and its people” from within Italy and globally, from the Middle Ages to the present day.[4]
Contribution by Brenda Rosado
PhD Student, Department of Italian Studies
Source consulted:
- Dante Alighieri, De Vulgari Eloquentia, Ed. and Trans. Steven Botterill, p. 41
- Mappa delle lingue e gruppi dialettali d’italiani, Wikimedia Commons (accessed 12/5/19)
- From Nobel Prize official website: https://www.nobelprize.org/prizes/literature/1926/summary
See also the award presentation speech (on December 10, 1927) by Henrik Schück, President of the Nobel Foundation: https://www.nobelprize.org/prizes/literature/1926/ceremony-speech (accessed 12/5/19) - Department of Italian Studies, UC Berkeley (accessed 12/5/19)
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Title: La madre
Title in English: The Woman and the Priest
Author: Deledda, Grazia, 1871-1936
Imprint: Milano : Treves, 1920.
Edition: 1st
Language: Italian
Language Family: Indo-European, Romance
Source: HathiTrust (University of California)
URL: https://catalog.hathitrust.org/Record/006136134
Other online editions:
- La madre. 1st ed. Milano : Treves, 1920. (Sardegna Digital Library)
- The Woman and the Priest. Translated into English by M.G. Steegman; foreword by D.H. Lawrence. London, J. Cape, 1922. (HathiTrust)
Select print editions at Berkeley:
- La madre. 1st ed. Milano : Treves, 1920.
- La Madre : (The woman and the priest), or, The mother. Translated into English by M.G. Steegman; foreword by D.H. Lawrence; with an introduction and chronology by Eric Lane. London : Dedalus, 1987.
The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
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Hindi
The Languages of Berkeley: An Online Exhibition
The two great Indian epics, the Mahābhārata and the Ramayana, dominate South Asian cultures in ways that few other literary productions do. Both epics have to do with the heroic exploits of the human incarnation of the Hindu deity Vishnu, one of the most widely worshipped gods of the Hindu pantheon. The Ramayana deals with the story of King Ramachandra, the seventh incarnation of Vishnu, who came down to Earth to establish just rule and a harmonious society.
King Rama is not only the ideal monarch and warrior but also embodies the virtues of justice, wisdom, patience, and perseverance. He is an obedient son, a generous brother, and a caring husband. His rule became synonymous with justice and good governance so that throughout the centuries the expression rama rajya (Rama’s rule) has been used to describe the ideal government.
The most famous version of the Ramayana is the Sanskrit composition of Valmiki known as Valmiki’s Ramayana. It has the status of a sacred text and is highly revered. It is also a masterpiece of Sanskrit literature. There were many versions of the Ramayana composed subsequently, both in Sanskrit and other languages. Some became more popular than others, but one is justified to say that after Valmiki’s Ramayana, the version that is most famous is the Ramacaritamanasa created in the Awadhi dialect of Hindi by Tulasidasa in the 16th century. In fact, Tulasidasa’s Ramayana quickly garnered wide popularity and its recitation became part of the worship service of many sects and religious traditions of Vaishnava Hinduism, especially after the introduction of the printing press in the early 19th century. Its communal recital, often set to a distinctive tune, continues to this day. Tulasidasa was himself an ardent devotee of Lord Rama and in expressing his love and reverence for the divine incarnation in beautiful poetry he managed to create one of the greatest poetic works of Hindi literature.
Tulasidasa was born in the region of Avadh in what is now eastern Uttar Pradesh in modern India. There is disagreement about his date of birth, but scholars generally consider it to be around 1532 CE. Traditional accounts state that he was a Brahmin by caste and was initiated into a mystic and ascetic lineage devoted to the loving worship of God through the incarnation of Rama. He is supposed to have spent time as a student with various sages and teachers in Banaras where he learnt the classical Sanskrit texts as well as Vaishnava scriptures. He decided to compose a Ramayana in Awadhi for the edification of the general population, and thus, composed the Ramacaritamanasa, The Lake of the Deeds of Rama. He composed a number of other works as well but the Ramacaritamanasa remained his magnum opus. He died in 1623 in Banaras.
When he set about composing the Ramacaritamanasa, Tulasidasa had a long tradition of composing Ramayanas to look up to going all the way back to Valmiki. At the same time, he was well aware of the literary styles and compositions of his own time when the beginnings of Hindi literature had already been made and a corpus and canon were slowly but steadily evolving. Tulasidasa was to leave his mark on this evolution.
Tulasidasa followed the conventions of chanda prosody that had been the hallmark of Sanskrit poetry and was also followed in other languages, especially for works in Aparbhramsa, the medium of literary production before the rise of Hindi. He also might have been inspired by the metrical structure of the premakhya, a genre of love ballads popular in his days, in creating the basic form for the Ramacaritamanasa. The work is composed in regular arrangements of caupais (quatrains) and dohas (couplets) and he used a different meter for every section of the work.
Tulasidasa used his considerable literary skills to retell the story of the struggles and ordeals of Lord Rama, his brother Lakshmana, his wife Sita, and his devoted disciple, the monkey god, Hanumana, as they faced family feuds, exile, and an epic war against the demon king, Ravana, who had kidnapped Sita, until they returned victorious and vindicated to their capital, Ayodhya, to establish a just and prosperous kingdom.
Ramacaritamanasa is not just a skilled literary retelling of the ancient epic in the charming Awadhi dialect but is redolent with Tulasidasa’s own loving devotion to Lord Rama which seeps through its every line. Perhaps that is why millions of devotees of Lord Rama continue to use it to express their own love and devotion in prayer.
Hindi has been taught UC Berkeley since the late 1960s. Currently, there are two Hindi lecturers. Usha Jain has authored books on Hindi language instruction, including Introductin to Hindi Grammar (1995), Intermediate Hindi Reader (1999), and, Advanced Hindi Grammar (2007). The other instructor is Dr. Nora Melnikova whose interests include second language teaching, modern Theravada Buddhism, and the Early Modern languages and literature of North India. She has also translated Mirabai’s medieval Hindi poems and Erich Frauwallner’s History of Indian Philosophy into Czech.
Contribution by Adnan Malik
Curator and Cataloger for the South Asia Collection
South/Southeast Asia Library
Title: Rāmacaritamānasa
Title in English: The Rámáyana of Tulsi Dás
Authors: Tulasīdāsa, 1532-1623.
Imprint: Allahabad : North-western Provinces Government Press, 1877.
Edition: Indo-European, Indo-Aryan
Language: Hindi
Language Family: Indo-European, Indo-Iranian
Source: HathiTrust Digital Library (UC Berkeley)
URL: https://catalog.hathitrust.org/Record/006125797
Other online editions:
- Recitation of text on YouTube (accessed 11/19/19)
- The Rámáyana of Tulsi Dás. Rev. and illustrated. Allahabad : North-western Provinces Government Press, 1883. (Internet Archive)
- The Rāmāyaṇa of Vālmīki : An Epic of Ancient India / introduction and English translation by Robert P. Goldman ; annotation by Robert Goldman and Sally J. Sutherland. Princeton, N.J. : Princeton University Press, ©1984- ©2017. (Project Muse – UCB only)
Select print editions at Berkeley:
- The Rámáyana of Tulsi Dás. Allahabad : North-western Provinces Government Press, 1877.
- The Rāmāyaṇa of Vālmīki : An Epic of Ancient India / introduction and English translation by Robert P. Goldman ; annotation by Robert Goldman and Sally J. Sutherland. Princeton, N.J. : Princeton University Press, ©1984- ©2017.
The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
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Urdu
The Languages of Berkeley: An Online Exhibition
The dastan is a genre of oral and prose narrative that initially developed in Persian but then spread to other languages influenced by the Persian literary tradition. To be sure, oral tale-telling is hardly unique to Persian or Persian-influenced languages, but the dastan has some unique literary features that make it stand out. Dastans often have very long story lines that can be embellished and stretched even further through detailed descriptions of characters, events, and locations. With their dramatic narratives, dastans are primarily meant for oral performances and enjoying the richness of language and literary traditions.
One of the most popular dastans in South Asia was Dastan-i Amir Hamzah (the Dastan of Amir Hamzah). It had its origins in 11th century Iran, but eventually made its way to India where it developed many versions in Persian. Dastan-i Amir Hamzah was popular at the Mughal court where Emperor Akbar was an avid fan.
The hero of the dastan is Hamzah, an uncle of the Prophet Muhammad, who is depicted as a great warrior and supporter of his nephew in early Islamic sources. The adventures of the Hamzah of the dastan, however, are based on fantasy. In the dastan, Amir Hamzah is begged by the wise vizier of Naushirvan, the king of Persia, to help the latter fight his enemies. The gallant Hamzah agrees and fights many battles. He also falls in love with Naushirvan’s daughter, Mahnigar, and seeks her hand in marriage, which requires him to fight more battles and vanquish more enemies. He is accompanied in his travails by his trusted companions, the laconic and serious Muqbil, skilled in archery, and the dishonest but loyal ‘Amr the ‘Ayyar. ‘Ayyars were skilled in espionage and disguises and were notorious for their trickery and special equipment (much like the ninjas). ‘Amr is not only an exceptionally talented ‘ayyar but is extremely greedy even by the low standards of his profession.
As luck would have it, before he could wed Mahnigar, Amir Hamzah is wounded in a battle and is rescued by Shahpal, the king of paris (fairies) who requests that Hamzah help him regain his kingdom in the magical world of Qaf that had been overtaken by demons. Consequently, Amir Hamzah spends eighteen years in the supernatural world of Qaf fighting sorcerers and demons, who can cast such potent spells they can create entire worlds of illusion called tilism. Amir Hamzah and his companions can never be sure whether they are operating in a tilism or in the world of Qaf (which itself is magical) and had to resort to all sorts of ways to break the spells, often with help from saintly figures. Incidentally, an alternative title for the dastan, especially its version based on selections from earlier ones is, Tilism-i Hosh Ruba, The Sense-stealing Tilism.
After eighteen years of adventures, Amir Hamza is finally able to pay his debt to Shahpal. He returns to marry Mahnigar. They have a son named Qubad, but Amir Hamza’s adventures do not end there. He is compelled to fight other enemies and demons until he is called back to Arabia by his nephew, the Prophet Muhammad, to help him fight the enemies of Islam.
When, starting in the 16th century, Urdu became a medium of literary production, dastans began to be composed in it as well. This included versions of Dastan-i Amir Hamzah that were popular enough to have professional story-tellers, called dastan-go or qissah-khvan. Owing to its popularity and the richness of its language, John Gilchrist, head of the Hindustani Department at Fort William College, Calcutta, commissioned a teacher at the department, Khalil Ali Khan Ashk who was also a dastan-go, to publish a printed version of the dastan. Ashk produced the first printed edition of Dastan-i Amir Hamzah in 1801. This makes it not only the earliest printed edition of the dastan but also one of the earliest printed books in Urdu. Ashk’s version consisted of about 500 pages spread over four volumes. It was published many times in the subsequent decades in Delhi, Lucknow, and Bombay. Many of these editions were published by the famous Munshi Nawal Kishore of Lucknow, who published another version by Abdullah Bilgrami in 1871. By the 1920s, the rise of the novel and changing tastes eclipsed the fortunes of dastans and they fell out of favor.
The edition included here is the 1863 edition of Askh’s version that was published from Bombay.
Urdu has been part of language instruction at UC Berkeley since the late 1950s. UC Berkeley also runs the Berkeley Urdu Language Program in Pakistan (BULPIP) in collaboration with the American Institute of Pakistan Studies. In addition, the Institute for South Asia Studies launched the Berkeley Urdu Initiative in 2011 to further promote the study of Urdu at Cal. The leading light for many of the Urdu-related events and activities is Dr. Gregory Maxwell Bruce, the Urdu language instructor, who joined the Department of South & Southeast Asian Studies in the Fall of 2016.
Contribution by Adnan Malik
Curator and Cataloger for the South Asia Collection
South/Southeast Asia Library
Title: Dāstān-i Amīr Ḥamzah razī Allāh ʻanh
Authors: unknown
Imprint: Bambaʼī : Maṭbaʻ Ḥaydarī, 1280 [1863].
Edition: n/a
Language: Urdu
Language Family:
Source: HathiTrust Digital Library (UC Berkeley)
URL: https://catalog.hathitrust.org/Record/100188630
Other online editions:
- The Romance Tradition in Urdu : Adventures from the Dastan of Amir Hamzah / translated, edited, and with an introduction by Frances W. Pritchett. New York: Columbia University Press, 1991. Introductory material from the printed edition (modified and corrected wherever appropriate) and the longer translation of the Bilgrami edition.
- Text of Bigrami/Naval Kishore edition (Rekhta: The Largest Website of Urdu Poetry)
Select print editions at Berkeley:
- Dāstān-i Amīr Ḥamzah razī Allāh ʻanh. Bambaʼī : Maṭbaʻ Ḥaydarī, 1280 [1863].
The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
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Occitan
The Languages of Berkeley: An Online Exhibition
A Lamartine:
Te consacre Mirèio : es moun cor e moun amo,
Es la flour de mis an,
Es un rasin de Crau qu’emé touto sa ramo
Te porge un païsan.
To Lamartine :
To you I dedicate Mirèio: ‘tis my heart and soul,
It is the flower of my years;
It is a bunch of Crau grapes,
Which with all its leaves a peasant brings you. (Trans. C. Grant)
On May 21, 1854, seven poets met at the Château de Font-Ségugne in Provence, and dubbed themselves the “Félibrige” (from the Provençal felibre, whose disputed etymology is usually given as “pupil”). Their literary society had a larger goal: to restore glory to their language, Provençal. The language was in decline, stigmatized as a backwards rural patois. All seven members of the Félibrige, and those who have taken up their mantle through the present day, labored to restore the prestige to which they felt Provençal was due as a literary language. None was more successful or celebrated than Frédéric Mistral (1830-1914).
Mirèio, which Mistral referred to simply as a “Provençal poem,” is composed of 12 cantos and was published in 1859. Mirèio, the daughter of a wealthy farmer, falls in love with Vincèn, a basketweaver. Vincèn’s simple yet noble occupation and Mirèio’s modest dignity and devotion mark them as embodiments of the country virtues so prized by the Félibrige. Mirèio embarks on a journey to Saintes-Maries-de-la-Mer, that she might pray for her father to accept Vincèn. Her quest ends in tragedy, but Mistral’s finely drawn portraits of the characters and landscapes of beloved Provence, and of the implacable power of love still linger. C.M. Girdlestone praises the regional specificity and the universality of Mistral’s oeuvre thus: “Written for the ‘shepherds and peasants’ of Provence, his work, on the wings of its transcendant loveliness, reaches out to all men.”[1]
Mistral distinguished himself as a poet and as a lexicographer. He produced an authoritative dictionary of Provençal, Lou tresor dóu Felibrige. He wrote four long narrative poems over his lifetime: Mirèio, Calendal, Nerto, and Lou Pouemo dóu Rose. His other literary work includes lyric poems, short stories, and a well-received book of memoirs titled Moun espelido. Frédéric Mistral won a Nobel Prize in literature in 1904 “in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist.”[2]
Today, Provençal is considered variously to be a language in its own right or a dialect of Occitan. The latter label encompasses the Romance varieties spoken across the southern third of France, Spain’s Val d’Aran, and Italy’s Piedmont valleys. The Félibrige is still active as a language revival association.[3] Along with myriad other groups and individuals, it advocates for the continued survival and flowering of regional languages in southern France.
Contribution by Elyse Ritchey
PhD student, Romance Languages and Literatures
Source consulted:
- Girdlestone, C.M. Dreamer and Striver: The Poetry of Frédéric Mistral. London: Methuen, 1937.
- “Frédéric Mistral: Facts.” The Nobel Prize. https://www.nobelprize.org/prizes/literature/1904/mistral/facts. (accessed 11/12/19)
- Felibrige, http://www.felibrige.org (accessed 11/12/19)
~~~~~~~~~~
Title: Mirèio
Title in English: Mirèio / Mireille
Author: Mistral, Frédéric, 1830-1914
Imprint: Paris: Charpentier, 1861.
Edition: 2nd
Language: Occitan with parallel French translation
Language Family: Indo-European, Romance
Source: Gallica (Bibliothèque nationale de France)
URL: https://gallica.bnf.fr/ark:/12148/bpt6k64555655
Other online editions::
- An English version (the original crowned by the French academy) of Frédéric Mistral’s Mirèio from the original Proven̨cal under the author’s sanction. Avignon : J. Roumanille, 1867. HathiTrust
- Mireille, poème provençal avec la traduction littérale en regard. Paris, Charpentier, 1898. HathiTrust
- Mirèio : A Provençal poem. Translated into English by Harriet Waters Preston. London, T.F. Unwin, 1890. Internet Archive (UC Riverside)
Select print editions at Berkeley:
- Mireille : poème provençal. Traduit en vers français par E. Rigaud. Paris : Librairie Hachette, 1881.
- Mireio : pouemo prouvencau, avec la traduction littérale en regard. Paris : Charpentier, 1888.
The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
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Malay/Indonesian
The Languages of Berkeley: An Online Exhibition
Senandung jiwaku is a selection of poems by Mulyono Saleh published in various Indonesian newspapers and magazines between 1963 and 1976 that he entitled “The Song of My Soul.” The poems show the author’s concerns, love, and hope for his country (Indonesia) and his fellow countrymen, as well as religious reflections. He pays particular attention to marginalized segments of society such as women (mothers and national heroines) and ordinary people like grassroots farmers and fishermen.
Ethnologue lists 719 distinct languages, mostly indigenous, spoken in Indonesia, making it the most linguistically diverse country on the planet.[1] For at least a thousand years, however, Malay has held the position of lingua franca of the maritime region of the great Malay archipelago, which is now divided between Indonesia and Malaysia. The names bahasa Indonesia (“Indonesian language) and bahasa Malaysia (“Malaysian language”) — both standardized varieties of Malay — were introduced in the 20th century to differentiate the two national languages.[2] Indonesia is now the fourth most populous nation in the world. Of its large population, the majority speak Indonesian, making it one of the most widely spoken languages in the world.[3]
The Department of South & Southeast Asian Studies (SSEAS) at UC Berkeley offers both undergraduate and graduate instruction and research in the languages and civilizations of South and Southeast Asia from the most ancient period to the present. Instruction includes intensive training in several of the major languages of the area including Bengali, Burmese, Hindi, Khmer, Indonesian (Malay), Pali, Prakrit, Punjabi, Sanskrit (including Buddhist Sanskrit), Filipino (Tagalog), Tamil, Telugu, Thai, Tibetan, Urdu, and Vietnamese, and specialized training in the areas of literature, philosophy and religion, and general cross-disciplinary studies of the civilizations of South and Southeast Asia.[4] Outside of SSEAS where beginning through advanced level courses are offered in Indonesian, related courses are taught and dissertations produced across campus in Anthropology, Comparative Literature, Ethnic Studies, History, Linguistics, Music, and Political Science (re)examining the rich history and cultures of Indonesia.[5]
Yusmarni Djalius, PhD Student
Lecturer, Department of South & Southeast Asian Studies
Sources consulted:
- Ethnologue: Languages of the World (accessed 11/8/19)
- Dalby, Andrew. Dictionary of Languages: The Definitive Reference to More Than 400 Languages. New York: Columbia University Press, 1998.
- Sneddon, James Neil. The Indonesian Language: Its History and Role in Modern Society. Sydney: UNSW Press, 2003.
- Department of South & Southeast Asian Studies, UC Berkeley (accessed 11/8/19)
- Indonesian (INDONES) – Berkeley Academic Guide (accessed 11/8/19)
~~~~~~~~~~
Title: Senandung jiwaku: kumpulan sajak Mulyono Saleh
Title in English: The Song of My Soul
Author: Saleh, Mulyono
Imprint: Bandung : Tarate, 1976.
Edition: 1st edition
Language: Malay/Indonesian
Language Family: Austronesian, Malayo-Polynesian
Source: Center for Research Libraries
URL: https://dds.crl.edu/crldelivery/28736
The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
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Bosnian-Croatian-Serbian
The Languages of Berkeley: An Online Exhibition
In 1919, following World War I and the Paris Peace Conference, the country later called Yugoslavia came into existence in Southeast Europe. However, the country’s name from 1918 to 1929 was the Kingdom of Serbs, Croats and Slovenes. After World War II, this country was renamed the Federal People’s Republic of Yugoslavia in 1946. It included the republics of Bosnia-Herzegovina, Croatia, Serbia, Montenegro, Slovenia, Macedonia, and the autonomous provinces of Vojvodina and Kosovo. The language that was known as Serbo-Croatian was spoken in nearly all of Yugoslavia. In 1991, in the aftermath of the dissolution of Yugoslavia after a period of protracted civil war, all of these constituent parts eventually became independent. First, Slovenia, Croatia, and Bosnia-Herzegovina became independent in 1991. Serbia and Montenegro were joined, under the name Yugoslavia in 2003 and under the name Serbia-Montenegro in 2006. Thus Serbia as such became a separate country only in 2006 when Montenegro proclaimed independence. Kosovo proclaimed independence in 2008 with the support of the United States and allies. Slovenian and Macedonian were already separate languages. However, outside the formerly united country, the name Bosnian-Croatian-Serbian (BCS) became accepted to denote three different languages that are nearly identical to each other in grammar and pronunciation. However, there are some significant differences in vocabulary. Bosnian and Croatian use a Latin based script while Serbian uses both this alphabet and the Cyrillic alphabet. The term BCS was in fact established at the Hague tribunal (ICTY), and the legitimacy gained in this way allowed its widespread acceptance.
The study of Serbo-Croatian, later BCS, began at UC Berkeley in the aftermath of World War II. Since then the Library’s collections in these languages have been growing steadily and now represent one of the stronger components of Library’s Slavic collections. At UC Berkeley, the situation dramatically changed with the arrival of Professor Ronelle Alexander in 1978. She has been instrumental in helping the Library build up its exemplary Balkan Studies collections for the last four decades. The diversity of her teaching and research expertise ranges from South Slavic languages (Bulgarian, Macedonian, BCS), literatures of former Yugoslavia, Yugoslav cultural history, South Slavic linguistics, Balkan folklore to East Slavic folklore. Although her primary research accomplishments are in South Slavic linguistics, she has also published research on the most widely known and translated Serbian poet, Vasko Popa, and Yugoslavia’s only Nobel prize winner, the prose writer Ivo Andrić.[1]
It is challenging to find one single work that would represent the complex nature and relationships between Bosnian, Croatian and Serbian. However, one must note that to this day, the Balkans represent a constantly evolving dynamic mosaic of linguistic diversity that shares a relatively compact geographic topos. For this exhibition, I chose one work that theoretically presents a complicated relationship in Balkans—Ivo Andrić’s prize-winning novel Na Drini ćuprija (“The Bridge on the Drina”) published in 1945.
This historical fiction novel by the Yugoslav writer, Ivo Andrić, revolves around the Mehmed Paša Sokolović Bridge in Višegrad. This bridge is located in Eastern Bosnia and Herzegovina on the Drina River.[2] It was built by the Ottomans in the mid-16th century, and was damaged several times during the wars of the 20th century but each time rebuilt. It was never entirely destroyed and the “original bridge” remains, and is now on the World Heritage List of UNESCO.[3]
The novel chronicles four centuries of regional history, including the Ottoman and Austro-Hungarian occupations. The story highlights the daily lives and inter-communal relationships between Serbs and Bosniaks. Bosnian Muslims-Slavs, now also called Bosniaks. Ever since the end of World War II when three major works of Ivo Andrić (The Bridge on the Drina, Bosnian Chronicle, and The Woman from Sarajevo) appeared in print almost simultaneously in 1945. The Woman from Sarajevo has not stood the test of time, though the other two are major works. A later novel, The Damned Yard, is considered much more important. He has been hailed as a major literary figure by both his country’s reading public and by the critics. His reputation soared even higher when he was awarded the Nobel Prize for Literature in 1961.[4] The Bridge on Drina has been translated into more than 30 languages.
Contribution by Liladhar Pendse
Librarian for East European and Central Asian Studies, Doe Library
Source consulted:
- Ronelle Alexander authored an article on Andric titled “Narrative Voice and Listener’s Choice in the Prose of Ivo Andrić” in Vucinich, W. S. (1995). Ivo Andric Revisited: The Bridge Still Stands. Research Series, uciaspubs/research/92. Retrieved from https://escholarship.org/uc/item/8c21m142 (accessed 7/26/19).
- Ronelle, Alexander. “What Is Naš? Conceptions of “the Other” in the Prose of Ivo Andric.” スラヴ学論集 = Slavia Iaponica = Studies in Slavic Languages and Literatures. 16 (2013): 6-36. (accessed 7/26/19)
- UNESCO World Heritage. “Mehmed Paša Sokolović Bridge in Višegrad.” UNESCO World Heritage Centre, whc.unesco.org/en/list/1260.
- Moravcevich, Nicholas. “Ivo Andrić and the Quintessence of lpendTime.” The Slavic and East European Journal, vol. 16, no. 3, 1972, pp. 313–318. (accessed 7/26/19)
~~~~~~~~~~
Title: Na Drini ćuprija/ На Дрини ћуприја
Title in English: The Bridge on the Drina
Author: Andrić, Ivo, 1892-1975.
Imprint: Sarajevo: Svjetlost, 1946.
Edition: 1st
Language: Bosnian-Croatian-Serbian (BCS)
Language Family: Indo-European, Slavic
Source: Biblioteka Elektronskaknjiga
URL: https://skolasvilajnac.edu.rs/wp-content/uploads/Ivo-Andric-Na-Drini-cuprija.pdf
Other online editions::
- The Bridge on the Drina. Translated from the Serbo-Croat by Lovett F. Edwards. London: George Allen And Unwin Ltd., [c.1945]. Internet Archive
- In Cyrillic: https://www.scribd.com/doc/185963009/Ivo-Andric-Na-Drini-Cuprija-Cirilica
- Audiobook: https://archive.org/details/IvoAndricNaDriniCuprija4Dio
Select print editions at Berkeley:
- Na drini ćuprija. Vishegradska khronika. Sarajevo: Svjetlost, 1946.
- The Bridge on the Drina / Ivo Andrić ; translated from the Serbo-Croat by Lovett F. Edwards ; with an introd. by William H. McNeill. Chicago : University of Chicago Press, 1977.
The Languages of Berkeley is a dynamic online sequential exhibition celebrating the diversity of languages that have advanced research, teaching and learning at the University of California, Berkeley. It is made possible with support from the UC Berkeley Library and is co-sponsored by the Berkeley Language Center (BLC).
Follow The Languages of Berkeley!
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