Qene
Qene (Amharic: ቅኔ, romanized: qəne) is a genre of improvised oral poetry from Ethiopia.[1] The genre originates in the Ethiopian Orthodox Tewahedo Church, which historically provided traditional religious education, including the composition of qene.[2] Its origins are supposed to date back to the 14th century.[3]
Elements
Sem-ena-werq
The defining characteristic of qene is a literary device known as sem-ena-werq (Amharic: ሰምና ወርቅ, romanized: säməna wärq; “wax and gold”), which uses ambiguity to layer hidden meanings within the text; the term refers to an obvious meaning (the wax) above a deeper meaning (the gold).[4][2] In the process of goldsmithing, a clay cast is made around wax, after which the wax is drained and molten gold is poured into the cast.[4] This device is similar to a double entendre, and is predicated on multiple meanings of individual words or sentences.[1]
Wista weira
Wista weira (Amharic: ውስጥ ወይራ, romanized: wəsṭə wäyra; “inside the olive”) is a literary device similar to sem-ena-werq, though less common. While it also uses ambiguity to provide hidden meanings, its ambiguity comes from interpretation of the qene as a whole, rather than words or sentences.[1]
History
The earliest evidence of qene dates to the late 15th century, during the reign of Emperor Eskender (1478–94). Tradition credits its invention to Tawanay of Gojjam, who allegedly lived in the 14th century.[3] The rules and style of qene were historically taught as part of religious education in the Ethiopian Orthodox Church, in the level of schooling known as qene bet (“house of poetry”).[1] Education in qene was akin to education in Ge’ez, the liturgical language of the Church, as the grammar of Ge’ez was taught in the qene bet. However, qene is closely associated with the Amhara region and Amhara culture.[3]
Well-known modern Ethiopian poets include Tsegaye Gabre-Medhin, Kebede Michael, and Mengistu Lemma.
Themes
Sem-ena-werq in religious qene represents the dualism of Miaphysite Christianity, such as that of the Ethiopian Orthodox Church.[2] These poems were composed for religious events and church activities.[5][6] Secular qene was historically used to subtly insult and criticize those in positions of authority.[1]
See also
References
- ^ a b c d e Binns, John (2013). "Out of Ethiopia: A Different Way of Doing Theology". International Journal for the Study of the Christian Church. 13 (1): 33–47. doi:10.1080/1474225X.2012.754137.
- ^ a b c Girma, Mohammed (2011). "Whose Meaning? The Wax and Gold Tradition as a Philosophical Foundation for an Ethiopian Hermeneutic". SOPHIA (50): 175–187. doi:10.1007/s11841-010-0201-9.
- ^ a b c Levine, Donald N. (1965). Wax & gold : tradition and innovation in Ethiopian culture. Chicago: University of Chicago Press. p. 8. LCCN 65018340.
- ^ a b Levine, Donald N. (1965). Wax & gold : tradition and innovation in Ethiopian culture. Chicago: University of Chicago Press. p. 5. LCCN 65018340.
- ^ Haile, Getatchew (2006). "Amharic Poetry of the Ethiopian Diaspora in America: A Sampler". Diaspora: A Journal of Transnational Studies. 15 (2/3): 321–339. doi:10.1353/dsp.2011.0069.
- ^ Molvaer, R. K. (2012). "Ethiopia, Poetry of". The Princeton Encyclopedia of Poetry and Poetics. Princeton: Princeton University Press.
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