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A COMPARATIVE STUDY OF THE PORTRAYAL OF CHARACTERS IN A. C. JORDAN'S THE WRATH OF THE ANCESTORS I MODIKWE DIKOBE' S THE MARABI DANCE AND G.B.SINXO'S UNOJAYITI WAM by Town Mzayivane Abner Nyamende Cape of A thesis submitted in fulfillment of the requirements for the Degree of Univesity MASTER OF ARTS supervisor: Prof. S.C. Satyo December 1991 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University CONTENTS Pages ACKNOWLEDGEMENTS PREFACE CHAPTER 1 1 - 22 Introduction 1 - 2 Arguments identifying foreign techniques in the African literature 3 - 15 Characters 15 - 18 Relevance of this study 18 - 22 CHAPTER 2 23 - 84 { The story-line: The Wrath of the Ancestors 25 - 29 The story-line: The Marabi Dance 29 - 32 The story-line: UNoja:iiti Warn 32 - 35 The heroes, anti-heroes and the villains 35 - 51 Names of characters 52 - 64 The stereotypes 65 - 84 " CHAPTER 3 85 - 165 Identity: the individual and society 87 - 120 Pages Leadership: gender and generation 120 - 136 Character and background 136 - 156 Imaging and other related techniques 157 - 165 CHAPTER 4 166 - 227 The romantic treatment of characters 170 - 179 Characters in the story-within-the-story 179 - 190 The singing, praise-singing and dancing characters 191 - 206 .. Diction and the idiom 206 - 219 Sinxo: realistic or artificial? 219 - 227 CHAPTER 5 228 - 235 Apology 228 - 231 Consolidation of the main features of the debate 232 -235 BIBLIOGRAPHY 236 - 241 A C K NOW LED GEM E N T S I wish to express my indebtedness to my Supervisor, Prof. S.C. Satyo, for the sound advice and encouragement he gave me during the preparation of this work: and further to all those who gave me the much needed support, including the writer, Modikwe Dikobe, Dr C. van der Merwe of the Department of Afrikaans and Nederlands, University of Cape Town, my colleagues in the Department of African Languages and Literatures and my family. I am equally grateful to Ms J. Froggat of the Information Technology Services, University of Cape Town for assistance in computor operation. PRE F ACE The characters encountered in The Wrath of the Ancestors, The Marabi Dance and uNojayiti Warn bear an African identity, and they reflect a purely African conception of life. The "Africanness" of their outlook can only be determined when measured against the real life African socio-cultural background. Therefore, as a starting point in this study, it has been essential to explore the various debates about African literature, in an attempt to reveal any common factors that can be used as the basis for a study of the portrayal of characters in this field. critics have made the observation that, though the writers may use the African novel to express an African outlook, it actually represents a form of artistic expression that is exotic to Africa having been borrowed from the west. This is one of the common factors drawn from the debates in Chapter 1. Coupled to the above common factor is what appears to be .. the general consensus among critics that African literature draws its unique identity as such from the African cultural background. This, therefore, necessitates new forms of interpretation in the study of character treatment. An understanding of the African cultural values now becomes a basic necessity if one needs to determine the intention of the novelists in portraying characters in one way or another and whether such intentions are actually fulfilled. At the same time one should be able to identify the extent to which the novelists have been influenced by the traditional western techniques of novel-writing. Chapter 2 represents an attempt to do this. In an attempt to reveal the influence of the socio­ cultural background on the African novel, the characters in the three novels are studied against their own socio­ cultural background as created by the novelists. In this way parallels are drawn between what happens in the real life situation of the African and what transpires in the fictitious world of the characters. Much time is spent in interpreting the actions and behaviour of the characters with the hope that the ideal situations against which the characters are measured will be discernible. Much attention is also paid to the manner in which oral literature assists in the delineation of characters. Oral genres like songs, praise-poetry and folktales often help us to interpret the situations in which the characters find themselves while they may also give us vivid impressions of the character types as well as the roles they play at each given time . ... 1 C HAP T E R 1 BACKGROUND Introduction My primary objective is to analyse the manner in which characters are portrayed by the writers I have chosen. By using the chosen works by these writers I intend to explore possible answers to the questions of identity, leadership and the role of women within the South African black society. By South African black society is meant primarily the society as seen through literature. This, however, has a bearing on the real life South African society, though even that is not meant in the strictest scientific sense where, for example, one might expect ... realistic figures and statistics. The real-life South African society is highly sensitive to matters of identity, and the black segment of the society has an even more complex social structure than many of the oth~ communities, with "urban blacks" being clearly defined and separated from "rural blacks"; with the questionable role of traditional 'leaders in society constantly • generating conflicts between such leaders and their supporters, and ordinary people and their supporters; and with the women of the society having already begun to deviate from the traditions society has always expected them to uphold and fulfill. The complexity of the social - 2 structure of the black communities is a recognised fact, cemented as it is by the Natives' Land Act of 1913. According to Plaatje (1916:21): The 4 500 000 black South Africans [around 1913] are domiciled as follows: one and three-quarter million in locations and reserves, over half a million within municipalities or in urban areas, and nearly a million as squatters on farms owned by Europeans. The remainder are employed either on the public roads or railway lines, or as servants by European farmers, qualifying, that is, by hard work and saving to start farming on their own account. It may be added that blacks are the only people who are • confined to reserves in addition to locations. Furthermore, the problem has been compounded by the many additions or variations that have been made by the government since 1913. My objective stems from the feeling that the chosen writers have not only moulded the characters in their works for sheer entertainment, but they also set out to educate society about its structures. To me this is a meaningful study if our real life society is to prepare itself well for a future of tolerance for each other. By my analysis I intend to demonstrate that fiction can .. actually teach and guide society. .. 3 Arguments identifying foreign techniques in the African novel since characterization is one of the central features of novel writing, it is imperative to start off by illustrating the attjtude of critics in general regarding the influence of the west to the techniques applied in the African novel. The debate regarding theory of African literature promises to be a prolonged one with the scholars contesting viciously amongst themselves for fresh ideas. Nevertheless, most of them agree that what ... gives this literature its African identity and unique nature is basically the African cultural substrate on which it thrives. To illustrate the above point it would be appropriate to recall Richard Rive's (Dorsey, 1982:12) remark, Peter Abrahams described the Johannesburg location in Mine Boy and described his life and mine in Tell Freedom. A new world with which I could identify opened up' to me. I now knew that there were others who felt the way I did, and, what was more, articulated it in a way I had never realized -possible. I was now able to analyse my own situation through theirs. I could break with my literary dependence on descriptions by White folks and the Ways of White Folks. Native son had come .. of age . To Rive it is obvious that not only was he coming of age, but there was also a turning point in the literature itself, which now made it more relevant and more meaningful to him. It appears that before this he had been wrestling with alien concepts of foreign world 4 literature, a world that made him instinctively "[run] away from the first three infant schools" (Dorsey, 1982: 10). Before one can fully appreciate Rive's thrill at his discovery one should look at the form of literature that was probably taught in his time as a school child. Colonial literature introduced foreign values and concepts which had to be accepted as they were. The prescribed literature mostly consisted of excerpts from works by whites staying in and writing about Africa as well as those from European literature. Whenever a passage was on Africa the persuasion would be for the readers to look down upon the Africans and disassociate themselves from those people and their "primitive" if not downright "savage" ways.
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