Jeremy Samuel Richard Solnick A
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Rivonia Jeremy Samuel Richard Solnick A thesis submitted for the degree of Doctor of Philosophy Department/School of: Literature, Film and Theatre Studies University of Essex Date of submission for examination: April 2019 Abstract The thesis is entitled ‘Rivonia’ and comprises an epic poem written in the form of ten separate interlinking dramatic monologues and a critical and reflective commentary. The poem is called ‘Rivonia’ and it is about the Rivonia Trial at which Nelson Mandela and six co-accused were sentenced to life imprisonment, and about the fall of the apartheid regime in South Africa. The critical and reflective commentary introduces the idea of the epic-minded poet and the sorts of narratives such a poet might look for. It also discusses how the poem came to be written, why the Rivonia Trial was considered a suitable subject for an epic poem, why dramatic monologue was chosen as a suitable form for an epic poem and various problems which arose as a result of this choice. The commentary concludes with a discussion of the way contemporary epic poets use myth in the creation of heroic figures, problems which arise when using contemporary history as a basis for an epic poem and an argument for the continued relevance of epic poetry. 1 Contents Abstract ........................................................................................................................................................ 1 Acknowledgements ..................................................................................................................................... 4 Part 1 – ‘Rivonia’ ........................................................................................................................................... 5 Prologue - Izibongo zikaRolihlahla .......................................................................................................... 5 Makhanda’s Prophecy .............................................................................................................................. 15 The Prosecutor retires to his study ........................................................................................................ 22 In the Judge’s Chambers .......................................................................................................................... 32 The Prison Warden ................................................................................................................................... 52 The Prisoner’s Wife .................................................................................................................................. 59 ‘One of those Commies!’ ......................................................................................................................... 65 The Mother of the Nation laments ........................................................................................................ 73 Epilogue – The Reverend Maimela composes his eulogy .................................................................. 82 Part II - Critical and Reflective Commentary ................................................................................................. 90 Is it still possible to write an epic poem? ............................................................................................... 90 Time line of events described in ‘Rivonia’ ............................................................................................ 99 About the Poem ...................................................................................................................................... 100 Background ........................................................................................................................................ 100 Finding a narrative: the Rivonia Trial and its significance .......................................................... 103 Finding a form ......................................................................................................................................... 113 The shape of an epic poem ............................................................................................................. 113 Using dramatic monologue to construct an epic poem .............................................................. 117 Stanza, metre and line-length .......................................................................................................... 120 Punctuation ........................................................................................................................................ 135 2 The voices I chose for ‘Rivonia’ ........................................................................................................... 137 ‘Prologue – Izibongo AmaXhosa’ ....................................................................................................... 137 ‘Makhanda’s Prophecy’ .................................................................................................................... 140 ‘The Prosecutor Retires to his Study’ ............................................................................................. 141 ‘In the Judge’s Chambers’ ................................................................................................................ 142 ‘Drum’ ................................................................................................................................................ 142 ‘The Mother of the Nation Laments’............................................................................................. 143 ‘The Prison Warden’ ......................................................................................................................... 144 ‘One of those Commies’ .................................................................................................................. 145 ‘The Prisoner’s Wife’ ........................................................................................................................ 146 Epilogue - ‘The Reverend Maimela composes his eulogy’ ......................................................... 146 Nelson Mandela – the absent presence ......................................................................................... 147 Problems with using dramatic monologue as an epic form ............................................................. 149 Cultural appropriation and speaking for others (prosopopoeia) ............................................... 149 Pastiche and authority ...................................................................................................................... 165 Heroes and the Myths they are Made of ............................................................................................. 176 The epic-minded poet’s engagement with history and truth ............................................................ 201 Conclusion – ‘Epic-mindedness’ and the need to write an epic poem ........................................... 226 Bibliography ............................................................................................................................................. 235 3 Acknowledgements Firstly, I would like to thank my parents for their love and for the education I received, and my mother (Esme Solnick) for filling me full of poetry from a young age. Then my English master at Kearsney College and friend thereafter, David Lewis-Williams who always had faith in me and has never stopped challenging me. Thanks to my supervisor Chris McCully for his engagement with this long project and his advice and assistance beyond the call of duty and my supervisory board for all their help. Thanks to my children, Sam, Rachel and Josh for being there and for always being ready to listen and to make suggestions. Thanks to my friends Elaine Unterhalter for much advice freely and warmly given and Melissa Shales for encouragement when I really needed it. Thanks to my teachers at Birkbeck and at the University of Essex in particular, Carol Watts, Steven Connor, Marina Warner, James Canton, Shohini Chaudhuri and Maria Cristina Fumagalli and my poetry teachers, Anne-Marie Fyffe and Mimi Khalvati. Thanks to my school friends, Mark van Niekerk, Patrick Eriksson and Nevil Carrington. Finally, and most importantly, thanks to my wife Sara without whose love and support nothing could be accomplished. 4 Part 1 – ‘Rivonia’ Prologue - Izibongo zikaRolihlahla1 1. Letshitshiba! Le-tshi-tshi-ba!2 Listen to me people! Hear what I have to say! This is a poem about the elephant of the Thembu the great bull who knocked down apartheid He whose tusks gleamed in the sunlight whose eyes lit up the darkness He whose bellowing awoke his countrymen and whose wisdom confounded his enemies. 2. Who was victorious not by strength of arms but strength of mind, and steadfast character He won men and women over by persuasion and did not let his suffering embitter him He forgave those who persecuted his family Such men are rare in the history of the world because heaven keeps such great souls for itself. 3. The Land was defiled by a poisonous ideology The Vaal and the Orange ran brown with hatred Men lost their trust in the springs of wisdom Children could not suckle at their mother’s breast In the schools the students burned their books In the streets, the mob was judge and jury and the necklace was the enforcer of their anger. 4. The horizon darkened with clouds of war Warriors sharpened their spears The thorn-trees whispered, “There will be blood” and bowed