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H. Rider Haggard, Theophilus Shepstone and the Zikali Trilogy: a Revisionist Approach to Haggard’S African Fiction

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H. Rider Haggard, Theophilus Shepstone and the Zikali Trilogy: a Revisionist Approach to Haggard’S African Fiction 1 H. Rider Haggard, Theophilus Shepstone and the Zikali trilogy: A Revisionist Approach to Haggard’s African Fiction. By Kathryn C. S. Simpson Centre for Literature and Writing Edinburgh Napier University A Doctoral Thesis Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy from Edinburgh Napier University November 2016 2 Abstract The history that H. Rider Haggard writes about in his imperial adventure romance fiction is neither collusive nor consensual with the Zulu who are often the focus of his novels. He writes a complex colonial narrative that characterises the Zulu as a proud and mythic, yet ultimately doomed, race. His early twentieth century trilogy, Zikali, is unique in that he uses the three books, Marie, Child of Storm and Finished, to narrate three pivotal events in the nineteenth century history of the Zulu Kingdom. In Zikali, he simultaneously propounds the legitimacy of the colonial endeavour, so effectively that he rewrites history, to ensure the primacy of the Englishman in nineteenth century Southern Africa historiography, whilst aggrandising the Zulu kingdom. This reframing of the colonial narrative—to suit the Western interloper—would be evidence of what is a standard trope within imperial adventure romance fiction, were it not for the fact that Haggard is ambivalent in his imperialism. He is both recorder and creator of imperial history, bewailing the demise of the Zulu Kingdom whilst validating the importance of the role of the colonial white Englishman; he senselessly kills hundreds of natives within his books, yet privileges the Zulu. Referencing one of the primary motivational sources in Haggard’s own colonial experience, Theophilus Shepstone, I propose to show Haggard’s sublimation of Shepstone’s ideas into his own African Arcadian romances, and his creation of a Zulu historiography, which would go on to be lauded by the early South African National Native Congress as being one of the foundations of early twentieth century native socio-political self-fashioning. Haggard’s work provides a fragmentary and elusive insight into nineteenth century southern African history and offers an abstruse glimpse into colonial culture rarely found in other imperial adventure romance fiction. 3 Contents Abstract ...................................................................................................................... 2 Contents ..................................................................................................................... 3 Illustrations ................................................................................................................. 5 Introduction ................................................................................................................ 6 Précis ...................................................................................................................... 9 Haggard: Life and Career ..................................................................................... 10 Haggard and Shepstone: The African Experience ................................................ 15 Haggard and the South African Native Congress: a new perspective on the Imperial Adventure Romance Fiction of Haggard ............................................................... 22 Chapter 1: Imperial Adventure Romance and Colonial Fiction ................................. 28 Introduction ........................................................................................................... 28 The Evolution of Empire: The Evolution of Imperial Adventure Romance and Colonial Fiction ..................................................................................................... 29 Early Narratives of Imperialism and Colonialism: from Shakespeare to Defoe ..... 34 Early to Mid-Nineteenth Century Representations of Empire ............................... 43 Victorian Imperialism and Colonial Adventure Literature ...................................... 47 Placing Haggard within the Imperial Tradition ...................................................... 69 Conclusion: The Imperial Ideology within Haggard’s Fiction ................................. 73 Chapter 2: The Hermeneutics of Colonial Fiction ..................................................... 77 New Historicist approaches to the Literature of Empire ........................................ 78 Geertz and New Historicism: Thick Description and Colonial Culture .................. 85 Geertz and Colonial Cultural Analysis .................................................................. 90 The Historical Context of the Zikali Trilogy ........................................................... 91 Knowledge and Authority: Theophilus Shepstone, Natalian Governor of Native Affairs ................................................................................................................... 98 4 Conclusion: Haggard, Shepstone and the Fiction of Empire: truth, fact and ambiguity. ........................................................................................................... 108 Chapter 3 Marie ..................................................................................................... 114 Introduction and Synopsis of Text: ‘the autobiography of Allan Quatermain.’ ..... 114 The Story of Allan Quatermain and Marie Marais ............................................... 116 Reading the Melodrama in Marie ........................................................................ 120 Haggard, Marie and Allan: Lost Love and Quatermain ....................................... 122 Quatermain in Africa: Shepstone and Friendship ............................................... 127 The British, Boers and Zulu: Representations of the ‘other’ ................................ 136 Zulu historiography in Marie: Dingane and the Zulu cause ................................. 141 Conclusion .......................................................................................................... 149 Chapter 4 Child of Storm ........................................................................................ 150 Introduction: ‘from the beginning I was attracted to these Zulus.’ ....................... 150 Mameena and Macumazahn: the Female ‘other.’ ............................................... 165 Society and Structure in Representations of Empire .......................................... 169 The ‘othering’ of Zulu and British Colonial interactions ....................................... 170 Misrepresenting the Past: Colonial Ambiguity .................................................... 175 Conclusion .......................................................................................................... 176 Chapter 5: Finished ................................................................................................ 179 Introduction and the Story of the Text ................................................................. 179 Imperial Adventure Romance: Quatermain and Anscombe ................................ 181 Quatermain, Shepstone and the Zulu ................................................................. 192 Quatermain, Haggard: the Author Surrogate ...................................................... 197 Colonial Authority: Haggard and the Royal Colonial Institute ............................. 201 Conclusion .......................................................................................................... 203 Chapter 6: Imperial Adventure Romance and Colonial Literature in early Twentieth Century Culture. ..................................................................................................... 206 5 Haggard, Allan Quatermain and the Zulu ........................................................... 206 Haggard’s Sublime Africa ................................................................................... 209 Shepstone: ‘African Talleyrand’ .......................................................................... 216 Conclusion .......................................................................................................... 219 Bibliography ........................................................................................................... 222 Illustrations Figure 1: Spy, "She", for Vanity Fair (London, 1887). ............................................... 11 Figure 2: Shepstone and his party after Annexation, taken by H. F. Gros, in Pretoria (1877). ...................................................................................................................... 13 Figure 3: 1861 Map of Zulu, Amatonga, Natal & Kafir Land ..................................... 20 Figure 4: Frontispiece of Trooper Peter Halket of Mashonaland .............................. 67 Figure 5: Marie by A. C. Michael in Marie (1914) ................................................... 114 Figure 6: “There advancing...very slowly...I saw Marie Marais” by A. C. Michael in Marie (1914). .......................................................................................................... 119 Figure 7: Quatermain and Saduko meet Zikali by A. C. Michael in Marie (1913). .. 160 6 Introduction In 1889, the critic Andrew Lang wrote to H. Rider Haggard, ‘I don’t know any other penman who can fire a gun’.1 For Lang, Haggard’s uniqueness as an author came down to his knowledge of the type of experiences about which he wrote. Haggard was a colonial civil servant, entrepreneur and journalist whose success as a novelist was strongly, if not wholly,
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