The two rarest classes of orikì in this section, praise addressed to a person's heavenly spirit companions and praise addressed to an animal, presented with honest limits on both.
The Yorùbá wey dem quote, the proverbs, oríkì, ẹsẹ Ifá, word list headwords, Odù names and citations dey exactly as the corpus record dem, for every language.
oriki-typology dey introduce ẹgbẹ́ and ẹranko as di two subject class of oríkì wey appear least for di research wey dis section gather, one record each. Dis file give di two of dem full treatment, and e explain clear why each of dem get different level of confidence.
Ẹgbẹ́ Ọ̀gá Ògo! Akiikaa! Aseegee! Muso! Ẹ̀yin ẹlẹ́kẹ̀jì ọ̀run, ẹ má jẹ́ kí a rí ìtìjú, ẹ wá dídí gbé ọmọ yín léke.
Egbe, master of glory! Wonderful! Victorious! Hail! You heavenly companions and astral peers, do not allow us to suffer disgrace; rise to deliver and elevate your earthly counterpart.
Na joint translation, wey dem credit to "Will Coleman / Isese Religious Archive," from one source wey di title na "Yoruba Spiritual Cosmology and Egbe Orun Tradition" (2022) .
Wetin e talk. Direct prayer to di ẹgbẹ́ ọ̀run, di group of spirit companion dem wey Yoruba cosmology believe say follow person from heaven before birth and say dey continue to get relationship with dem, wey dey beg specifically for protection against disgrace and make dem lift di earthly person high.
Why e dey important. Na dis single text for inside dis harvest na im dem address give one subject class wey no be lineage, no be town, no be person by name, or public òrìṣà, but private metaphysical relationship wey dem believe say every person get. 04-cosmology treat di ẹgbẹ́ ọ̀run concept itself and di related concept of orí (destiny-head); dis text na di liturgical material wey dat concept dey generate for practice, wey dem address for second person just as oriki-poetics-and-untranslatability take describe say na di way oríkì generally dey: dem dey talk directly to di subject, no be to dey narrate tori about am.
Dem dey perform am. Ẹgbẹ́ propitiation ritual dem, annual Ẹgbẹ́ Day festival dem, consultation for émèrè/àbíkú spiritual wahala (pikin dem wey dem believe say dey die and return again and again), and naming rite dem .
Who dey perform am. Ẹgbẹ́ priest and priestess dem, initiated devotee dem, and Ifá babaláwo .
Variant dem. Di source note different invocation dem for separate ẹgbẹ́ branch dem: Ẹgbẹ́ Ìyálóde, Jagunjagun, Baálẹ̀, and Asípà , wey dem no separately explain for here.
Note on source and confidence. Dis text get lower confidence rating pass most material for inside dis section core file dem. Di source na open online courseware listing instead of peer-reviewed publication, and even though dem name translator together with archive credit, dis corpus never fit independently verify di main transcription against second source. Dem retain am because di ẹgbẹ́ ọ̀run concept itself get plenty documentation for wider scholarship wey dis corpus draw from for other places, and because text wey dey show di concept for liturgical use, even with medium-to-low sourcing confidence, dey give reader more information pass if dem totally keep quiet about dis subject class. Make reader dem value dis text lower pass di Babalola, Barber, Verger, Idowu and Beier material wey carry most part of dis section.
Erin lábá-owó, erin abikúnlẹ̀ pelemọmọ, a rìn gberigberi bí olórí ogun.
O elephant pouch-filled with money, O monstrous elephant whose kneeling shape descends broad like a mountain, who walks majestically like a generalissimo.
Na Adeboye Babalola translate am, from The Content and Form of Yoruba Ijala (1966) .
Wetin e talk. Dem praise di elephant for three quality wey connect together wey dem compress into one short line: economic value (as e connect to wealth, probably through ivory and meat), heavy physical mass (di kneeling image), and warrior carriage (to waka like army commander).
Why e dey important. 13-oral-literature/02-ijala.md document say ìjálá contain plenty praise poetry wey dem address to individual animal species, wey dey describe dia character, habit and danger, professional knowledge for poetic form; dis text na specific example of dat kind material, and according to oriki-typology, na also di clearest documented case for dis section wey show how ẹranko material get productive afterlife: di same "walks like an army leader" style appear again, in a transformed way, for inside di Aláàfin im ìnagijẹ oríkì wey dem present for oriki-typology, wey borrow animal imagery (horse, rooster, leopard) for di same rhetorical effect. Dis text na di original style wey royal borrowing draw from.
Dem dey perform am. Hunters gathering dem (àpèjọ ọdẹ), funeral ceremony dem for guild hunters wey don die, and Ògún guild ceremony dem, by hunters guild bard dem and palace chanter dem .
Note on who dey perform am. Babalola monograph na dis section highest-confidence source overall, wey dem credit independently across di Ògún, orílẹ̀ and other material for inside dis section; dis elephant text share dat same strong evidentiary basis.
Variant dem. Di source note variation across dialectal ìjálá repertoire dem including reference to Erin-Àjànàkú, one praise-name form of "elephant" wey dem also dey use as personal name element , wey dem no separately explain for here.
Ẹgbẹ́ and ẹranko dey for opposite ends of how confident this section dey, but dem share one formal style: both of dem dey direct speech straight to subject wey no be human being or institution, the way dem go follow person or lineage talk. oriki-typology see this one as evidence say the basic grammar of oríkì, wey be to talk to subject directly as second-person and build am comot through epithets, dey work no matter the kind thing wey dem dey address. Spirit-companion group and bush animal dey receive, for formal way, the same kind speech wey king or ancestor dey receive; wetin different across the files for this section no be the grammar of praise, but na how much confidence this corpus fit get say each transcription really follow wetin Yoruba performer actually talk.
The complete classification of oríkì by subject, orílẹ̀ through eranko, with a worked text for each kind and the boundary cases that show the categories are not airtight.
Six documented Ògún oríkì texts from four different scholarly sources, showing the deity's seven manifestations, his contradictions, and a chanter's personal claim on him.
The hunters' chant associated with Ògún, its vocal manner, the ìjálá artist and how he is judged, the contest setting, and what the chant does as self-portrait and as praise of animals.
Three lineage oríkì from Karin Barber's Okuku fieldwork, plus the Olúfọ́n dynasty and the Ìkòyí warrior lineage whose praise obliges the chanter to include its own dishonour.
How oríkì is built from independent units rather than narrative sequence, and the specific mechanisms, tonal, structural, and referential, that make it resist translation.
The occasions on which oríkì is actually chanted, the royal awakening and market-day forms, and how payment shapes what a performer says, illustrated with texts the genre files in this section do not carry.