Origination of Storytelling and How this Link to the Past is Still Relevant Galoshes, over 5,000 years old, is the oldest written work, so then how is it still relevant today? This lies in the Structure Of the Story, in its themes and in its intrinsic values and quests for such things as immortality and the questions about death and mortality that are explored in this book. Galoshes, the oldest written work and a poetic narrative, holds clues to the origin of storytelling and how stories have involved, intriguing literary critics and Astoria to this day.
Through analyzing the storytelling aspects of Galoshes and how this connects to the historical progression of literature and text, presented in such examples as the Greek dramas, one may seek to explore this story impact up to present day. To begin, lets take a look at the history behind this ancient fiction. Was created from oral recounts of the deeds of Galoshes, a king during this time in Ancient Sumerian, and is most likely derived from a New Year’s Festival that was celebrated in that culture. This story is also unique in that it was created and recorded
Picas 2 about 1,500 years before the ancient Greek dramas, and the story itself originated eight hundred years before the written word. Another important consideration in examining this work is to consider the cultural setting out of which it was born. During the reign of Galoshes there was a New Year’s Festival that was celebrated every year. This New Years festival may have traditionally been a purely ritualistic event celebrated in the privacy of a temple but by the time Of Shillelagh’s reign this was a secular public event that drew masses of people to witness it.
In this festival the worship and praise of nature and for fertility of crops took place, marked by the “sexual union of the chief priest and priestess of the temple in an act of sympathetic magic, attempting to ensure fertility for the region” (Cook). This aspect and the festival are significant since Galoshes includes two particularly vital points of suggested incorporation of the New Year’s Festival. As previously alluded to this festival was for the purpose of entertainment of the masses every New Year’s during the time of Galoshes.
That this purpose was established and became legalized and marked the event’s transition from a secular rite to a place of traumatized recounts and oral culture and flourishing of stories such as the tale of In order to understand the impact of this change in culture from witnessing the New Year’s festival as a ritual to becoming a medium for storytelling it is important to think about how Galoshes changed the cultural values of the festival.
These values and the transition Of cultural values are illustrated through this quote: Plans 3 “It changed from the relatively pure rite in which the rulers that came fore Galoshes mated and fertilized the high priestess of Sitar’s temple. Galoshes himself is probably responsible for diluting some of the religious significance of the eighteen rite. This change may have been due to his own sterility (“He has sired none to follow me”), his replacement of Strata (Sister: (to Ann.) Father, Galoshes has blasphemed me! ) with his own patron god, Shamans (“When they had killed the bull Of heaven, they tore out his heart, and offered it up to Shamans”), or some other unknown reason. In place of the rite, or at least deed to it, Galoshes incorporated songs and transmutations of his own incredible deeds. ” (Cook) Part of this quote mentions that within the rite Galoshes “incorporated songs and transmutations of his own incredible deeds. This is a big stepping stone toward the development of the epic myth story structure as well as a phenomenon that is important Tit examine as a societal progression that brought about the encouragement of telling stories. For the fact that this was a component to the festival in some ways created a desire for storytelling and skilled oration. In this tote too the nature of the switch from worship of Sister to Shamans is mentioned, furthermore, the reasons for this in addition to the importance of this shift on the development Of drama.
This colonization and the acceptance and desire for storytelling as part of the culture of Sumerian and more specifically that of the New Years Festival can be attributed to the effects of Shillelagh’s reign. Shillelagh’s replacing the worship of Sister, goddess of love, with Shamans, a more male dominated religion based around Plans 4 Shamans, god of the sun, resulted in the tendency to secularism elision in a dramatic way.
This can be explained by looking at the rigid society, emphasized on religion, it came from and recognizing that breaking of tradition is often expressed and was in the case of this ancient culture, as well as that of ancient Greece with the establishment of Dionysian rites over older, more traditional practices, expressed through oral tales. That with the breaking of tradition there is often repercussions that are shown through pieces of that time. The relation Of Greek culture to earlier Sumerian culture cannot be ignored.
In fact there are definitive similarities between Greek dramas and the Galoshes text, in more elaboration: “Four main influences upon Greek drama can be discerned in the Galoshes text. The script deals with a hero rather than the state or temple an important revolutionary step in the development of drama; description is often taken to a detailed extreme; and the treatment of gods with human characteristics, particularly faults, vices, and weaknesses, is in Galoshes just as it would be fifteen hundred years later in Greek plays. ” (Cook).
Two particularly potent parts of this similarity are the addressing of odds with human characteristics which translates into the significant diminishing of the value of pure and strict religion in society, resulting in determination and colonization, as well as the detailed description commonly found and emphasized in epic myth and drama. The establishment of a public open to drama and the vital part about details in description Picas 5 are two elements of drama that originated in ancient Sumerian under the reign of Galoshes, and are portrayed in the ancient text.
TO begin to kick at the transition Of literary style from Galoshes to eater Greek drama it is important to note the influence it likely had on Greek drama. Aristotle illustrates the influence of Galoshes on the dramatic works of his time period. In Aristotle Poetics he alludes to this, “in his Poetics was able to define good drama as well as place contemporary Greek drama in perspective with what had come before” (Cook). It is assumed that when talking about what had come before Aristotle includes Galoshes.
This would have occurred seeing as Greek merchants would have come by ways of ancient trading routes to the Syrian coast where Galoshes was at that mime performed by temple attendants and minstrels. Continuing on examining this influence we could compare and contrast the two styles in order to perhaps gain insight into this progression. One likeness that Greek drama and Sumerian stories, emphasized by Galoshes, share is that they are both stories with an epic nature, in that they include similar description, human characteristics in gods, etc.
That Galoshes is episodic and stretched in nature lacking somewhat on such factors as consistent characters is a point for which Greek dramas could seek to improve upon. These molarities and a desire to take elements derived from Sumerian storytelling is a driving force in the evolution of story. Elements of this type of drama and epic myths are present in literature today as well; the impact of Galoshes is not lost on present day. For example, there is a flood scene in Galoshes that is relatable to the Bible.
However, unlike the Biblical flood plans 6 which presents the “world as we desperately want it to be: stable (once the flood is over), just and predictable, in Someone’s reliable control; the Mesopotamia account [presents] the world as we often experience it, with its messy contingencies and all document horrors. ” (Keenan) In addition to this realism the book also fascinates in that it “seems to stem from the fact that in so small a compass it offers a variety of narrative forms and types.
Its power comes from its presentation of major significance. ” Through these elements as well as the mysterious essence of the flood scene, which poses questions such as “If this flood scene was explored back then, was there really a flood? ” If so then this may also mean that the Biblical flood had some truth in it. Ideas that were explored and questions asked in Galoshes about the answer to life and why death happens are still being pondered today.
This and that protagonists in Galoshes are relatable to in their imperfection are concepts that we still deal with today. Such common themes as friendship, grief and loss, nature and culture, were valued to the Sumerians and are still in modern literature. That Galoshes, an ancient story could still and is in some ways still relevant today is remarkable and attests to the power and worth of its values and writing. In conclusion, the tale of
Galoshes had a purpose of entertainment and arose out of circumstances of that time to create a basis for Greek drama to improve upon, as alluded to in Aristotle Poetics, and still has an effect on the world of literature today.