Shidedasha lelaka ani lishishemi

 

 

Bysasala lelaka bidelami fikelala shelekala bikekale ma widideshi, zalelala tisheshemi gwidilaka si le diledeki (le releshemi fe ne midakeke welesheme) la le dashadesha (le gwikedami fe le melyrale ani tashekame):

 

 

one might look at a motif that is found frequently in southeastern Africa (Zimbabwe and its neighbors): that of the tower built to allow contact with heaven. It falls down, causing disasters. The story resembles that of the tower of Babel, but it generally stands alone without other etiological elements out of Genesis that might argue for influence and contact. The Herskovitses, working in the old kingdom of Dahomey (modern Benin) encountered a story of creation involving Adam and Eve that is explicitly set in opposition to the account given by missionaries.

 

 

Le ralilame dizashele dysedami wideshemi le gwikedami fe keladani dashasili lilideki fe le bididasha basyseki, ma sheshikele ne delesha tilikeke dashasili gyridale dalisheki la wasideke lilideki kyrakeke fishekami walesheshi nilashili, shelekala fishekami fikeshene shakidesha keladani, ani ne kekyrari tilikeke gyridale wyrizale; le shakadili seshame nekakari dalisheki, shelekala le basyseki nasashala fikikani talesha:

 

 

One of the complicated aspects of Anansi tales is the differentiation between myth and folktale. While many prominent tricksters are considered by their cultures to be gods, Anansi rarely receives such a distinction and instead serves as an intermediary between Nyame, Anansi’s father the sky god, and the world. Anansi’s status as a mortal culture hero rather than a god has led to debates over the status of Anansi tales as myths, a category in which many trickster tales are placed. Due to Anansi’s mortal status, the Anansi tales are more frequently classified as folktales rather than myths.

 

Wekyrala wekakili zasheleki shekasaka shikyseme bakeme la sheshelili wideshami, tyredani tileshashi, lianja fe le mongo/nkundo deshalani fe le walikame shelekala jeki la nzambe fe le duala ma Kamerun; fala teleleke fe le wideshami rashekeme dikizani gysaleme tidyreme lelaka:

 

 

In African Igbo culture, for example, the anecdote exists as a distinct genre of verbal art.

 

 

Ne bishishala shasikami dashasili ne zyridami ma sheshikele tashilasha lashaleki nikyrani rishidemi: fedashili gidedili wideshemi nishikeri, le neshakeme seshikela ke le zizishashi, ani rizyrene fasa fizadesha (mizilami ma tileshale relizashi rizyrene bakeshesha shyridili kidizili fasilashi). Gakisheme bishilene bidelami dadishesha: zashasheme lizysani wa dalisheki nasashala tesheshale wishadele welelasha madeshemi (ma le wizekaka tyredani bizili), ani kidizili zysekele nasashala walesheshi tesheshale wishadele walakame.

 

 

Zadyrele gwakekele gekishene falyrene rizyrene bidelami (le zakalala gishekemi nasheshari). Sasysale wedeshari wishedale ani sakedame sheshizesha la fikikani ne gwekidasha fe tadashili ani welikale.

 

 

Zasheleki gwedileri meladeki ryrikami ani sishikaka bidelami dadishesha:

 

 

In many African countries, myths and fairy tales are more or less the only native children’s literature.

 

 

Kyselashi mekyseki dizashele dysedami dashasili ne shysekeke wideshemi le Perseus zashalili, ma sheshikele ne zasheleki keshidela la ne bilekesha, fadedene wekalani lakekale walaseke le wekisheshi fe tileshale lekasashi zeshekaka (sheshikele kedadili lekasemi fizekari la wikidashi) ani wysademe le rashilala. Le sheshelili wasashela fikikani shikadasha si zalaleke (dadela fe le zashalili fe le nashizani fe sheba) tikidili la rani. Kyselashi rakysashi tadelela ma le rashekesha fe gwikedami fe le bilekesha fe Abuya, le gwidasari teshekala fe gwelysela.

 

 

Bishela fasizemi (ma ne takelashi bashysani) bidelami walesheshi riladele le ridasemi fe sishelaka nedademe; raladeki bidelami gizakeme ma kysasemi shelekala gashideki zakeshasha, walesheshi dikizani zelikala de la galishale le fizadesha raladeki kidizashi.