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Die Nuwe Brandwag. Tydskrif Vir Kuns En Lettere. Jaargang 1929

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Die Nuwe Brandwag. Tydskrif Vir Kuns En Lettere. Jaargang 1929 Die nuwe brandwag. Tydskrif vir kuns en lettere. Jaargang 1929 bron Die Nuwe Brandwag. Tydskrif vir Kuns en Lettere. Jaargang 1929. J.H. De Bussy / H.A.U.M. v.h. J. Dusseau & Ko., Pretoria / Kaapstad 1929 Zie voor verantwoording: http://www.dbnl.org/tekst/_nuw001192901_01/colofon.php © 2010 dbnl 1 Die Nuwe Brandwag Tydskrif vir Kuns en Lettere Die nuwe brandwag. Tydskrif vir kuns en lettere. Jaargang 1929 3 ‘Werda.’ AS OPRIGTER en laatste redakteur van die ou ‘DIE BRANDWAG’, stel ek prys op die geleentheid wat my aangebied word om, in aansluiting by wat voorafgegaan het, die verskyning van ‘DIE NUWE BRANDWAG’ te verwelkom, en hierdie tydskrif voor te mag stel aan, en aan te beveel in die belangstelling van, die getroue ou garde, lesers(esse) en ondersteuners van sy voorganger. ‘DIE BRANDWAG’ werd opgerig 31 Mei 1910, tegelyk met die totstandkoming van die Unie van Suid-Afrika, en is ondergegaan midde in, en ten dele as gevolg van, die ernstige industriële beroeringe en ekonomiese druk van 'n twaalftal jare later, namelik in Februarie 1922. ‘DIE BRANDWAG’ heeft postgevat, en saluéert eerbiediglik al wie dit feit met enige belangstelling bejegent.’ So het ek geskryf in dl. I., nr. I. - ‘Na Vereeniging zeide een onzer voormannen dat de mauser voor altyd was afgelegd door de Afrikaner, en men voortaan de pen ter hand zou nemen om 'n geheel nieuwe stryd aan te binden, 'n stryd namelik voor de handhaving onzer Afrikaner-nationaliteit, voor behoud onzer taal, godsdienst, tradities en ons recht van bestaan...... Op dit punt van 't terrein heeft tans “DIE BRANDWAG” positie gekozen. Politiek en stoffelike belangen, de stellingen door onze andere kollega's ingenomen, zijn de randjes links en rechts van onze positie gelegen... “DIE BRANDWAG” is van plan zich met de hulp van alle goedgezinde Afrikaners 'n plek te veroveren in 't Afrikaner-huisgezin, en... leiding en koers te geven aan de vele bekwaam gebleken Afrikaner-pennen, teneinde 'n eigen nationaal-Afrikaanse letterkunde te helpen groot maken. Dié plek komt óns toe, we maken er aanspraak op, en hopen door ons levenswandel te tonen dat wy recht hebben erop.’ Onder die handtekeninge van diégene van wie in daardie eerste fiere nummer die mooiste gelukwense voorgekom het, was president Steyn, genl. Louis Botha, genl. Hertzog - (‘Wij willen 'n literatuur’, het die teenwoordige Eerste Minister verklaar, ‘geschreven op Afrikaanse wijze, over Afrikaanse zaken, beschouwd uit Afrikaans standpunt, bezield door 'n Afrikaanse geest en geuit in de taal van Zuid-Afrika’) -, genl. Die nuwe brandwag. Tydskrif vir kuns en lettere. Jaargang 1929 4 Schalk Burger, genl. Christiaan Beyers - met uitsondering van genl. Hertzog, almal reeds lang tot die vadere vergader. In die laatste uitgaaf, d.d. 25 Febr. 1922, het ek geskryf: ‘Ons gaan onder in 'n nare tyd van nasionale en maatskaplike verwildering en ekonomiese omwenteling, maar soóveel bly 'n troos: dat “DIE BRANDWAG” pal gestaan het by die gesonde ontwikkeling van ons volk, veral op letterkundige gebied. "“DIE BRANDWAG” het sy plig gedaan; laat ons die hoop bly koester dat die donkere uitsig van vandag slegs die laatste ure is voor 'n betere daglemier.’ In sy ontstaan en ontwikkeling sowel as ondergang is die tydskrif dus gewees 'n getroue weerspiegeling ook van die nasionale lotgevalle! ‘Sommige van ons het gedink aan 'n plan om ons tydskrif in goedkoper gedaante, op ander wyse voort te sit’ - dit was die slot van 'n pynlike afskeid - ‘maar onsself gee die voorkeur daaraan om onder te gaan soos ons gedurende 'n twaalftal jare bestaan het; ons sou, om die beeldryke woord te besig van president Thomas Burgers tot die Volksraad, nadat sir Theophilus Shepstone in Pretoria afgesaal had - ons sou veel liewer ‘gevèl word soos 'n arend, hoog in die lug, as om te sterf soos 'n sieklike konyn, in die hol van 'n rots.’ Só het DIE BRANDWAG, voorganger van die DIE NUWE BRANDWAG, sy taak opgevat en, noodgedwonge, ook neergelê. Ons Sonland is ruim en groot en goed, en sy aantal witmense nouliks die bevolking van 'n ordentlike ou-wêreldse stad. Daarvan eis ons, vir eie beskawing en eie nasionale belange, die helfte op. Hulle geskiedenis en lotswisseling het dit só meegebring dat hulle nie almal soos koeëls in een vorm gegiet is nie, nie almal soos ertjies op mekaar gelyk nie, nie almal soos skape in een kraal gehok word nie. Ruim en wyd, soos ons land self, is ook die opset van ons werk, waar dit aankom op die gemeenskaplike artistieke en taalkundige eigendomlikhede wat ons tot aparte nasie stempel. In die daglemier van die nasie leef en werk ons, in onbegrensde verwagting van die groot lewe wat kom; en ons is wars van alle knelling en alle benepenheid wat die vrye uitgroeiing van daardie groot lewe strem of hinder. Daarom eis ons vryheid vir ons werk, wat ons hoogste besit is. Maar daarom ook sal by ons g'n sieklik-oordrewe waardering aangetref word vir die luttele wat reeds gedaan is nie. Die nuwe brandwag. Tydskrif vir kuns en lettere. Jaargang 1929 5 ‘Werda!’ klink dit nog deur die late nag, soos die skim van die oue skildwag op die pos van die Afrikaner-huisgesin DIE NUWE BRANDWAG insommeer. En ‘VRYHEID, WAARHEID, REG’ is die wagwoord waarmee ons die wagpos van die oue nader en - oorneem! Vryheid vir ons strewe, waarheid in ons werk, en reg om dit só te betrag en nie anders nie. Dit is al. GUSTAV PRELLER. Die nuwe brandwag. Tydskrif vir kuns en lettere. Jaargang 1929 6 Veld-akwarelle. I. Torkwaas, topaas en toermalyn, En wisselende aleksandryn; Sardoniks wit gestreep; porfiet, En malwa-groen blink malagiet; Die heuning-geel van krysopraas; Die diepsee-pêrel met sy waas Van môre-grys eer dou-voor-dag Die daglig in die ooste lag; Safier wat blouer bloukleur gee As die diep dieptes van die see; Die bloedrooi skyn van 'n robyn Nuut-uitgegrawe uit die myn, En peridot en amatis Waarin twee tinte om voorrang twis. II. Gevul met volop groen en nuwe geel, Gebore uit die milde voorjaarsreën, Wat nagte lang sy vrugbaar nat verleen Aan dood-verdroogde vlak en veld wat steel Van wat daar is, om daarmee weer te deel Met blommesaad wat vir die winter ween, Lê uitgestrek 'n nuwe wêreld. Teen Die berg se uitgekerfde kranse speel Die kleurvernis van nuwe môremis, En oor die werf stroom wierook uit die vlei, Die ruik van grond wat nat is, en van sand Wat gister nog die jagtende akkerdis Geskroei het met sy hitte nou verby, En van die lewe wat opbruis oor die land. Die nuwe brandwag. Tydskrif vir kuns en lettere. Jaargang 1929 7 III. Rooskleurige suurknolle Met feselryk blombolle Geplant in swart vet grond; Die loof geil groen; dik rond Die lang sterk stengels; mooi Beblom met rose-rooi. 'n Lewendige kleur-juweel, Waaragter, vèraf, geel Bo wit sand, tussen vers Blaar swangere kraal en kers En vygiebosse pryk Die nuwe gousblomryk. En verder waar die vlei Nog troos van water kry, Groei tussen ruigtegras Sandlelies bleek soos was, En grys trompetters stort Hul stofmeel, opgeskort Vir skemerure, as die kwynende maan Vertoef bo vèraf bulte voor hy ondergaan. IV. 'n Kronkelkloof waarin die kreupelhout - Daars lepelboom en stinkhout en rooi-els En wilde oliewenbos, al jare oud, En kippersol wat met die wind gesels Hoog bo die laer maats wat minder groen En minder sierlik uitsteek bo die grys - Wag tot die late môrestraal hom soen En tot die son sy gloei-goud sterkte wys. 'n Bok-getrapte voetpad loop daardeur, Beskadu met boomvarings waar dit draai Om wind-verweerde sandsteen wat verkleur Met koggelmanderkleure, wat verraai Die oes van lewe wat die klipskeur hou, Sodra die môre blink sy holtes vind En bo nog sonder wolke strek die blou En die dooi blare bewe met die wind. C.L. Leipoldt. Die nuwe brandwag. Tydskrif vir kuns en lettere. Jaargang 1929 8 'n Nuwe Element in ons Letterkunde. 'N JONG LETTERKUNDE kan nie samegesteld wees nie. Die skrywers sing selde vir hulleself: hulle skryf om gelees te word. Hulle is begenadigde enkelinge wat onwillekeurig optree as vertolkers van die smart, die vreugde, die hoop en verlange van die groot massa. Daarom rig hulle hul onwillekeurig tot hulle leserpubliek; maar deurdat hulle gebore kunstenaars is en wat die massa beroer, eerder en beter aanvoel as die gewone sterfling, moet hulle onwillekeurig die sake en onderwerpe aanraak wat weerklank vind in die gemoed van die groter publiek. Juis daarom is kuns in 'n groot mate 'n afspieëling van wat daar in die maatskappy aangaan. Maar dis meer die belangstelling van die denkende en doelbewus-lewende deel van die nasie wat deur die kunstenaars vertolk kan word. Kan 'n beginletterkunde dan anders as prakties en lerend wees? Dis juis in die nuttige wat die volk belangstel en waaraan hulle behoefte gevoel. Die kunstenaar sou nie aan sy doel beantwoord as hy hoë vlugte neem nie. Hy sou nie begryp word nie; hy sou die massa op wie hy moet staatmaak, wat hy wil beinvloed deurdat hy hom uitspreek, vervreem en hulle nie met ideale kan besiel nie. Die kunstenaar sou m.a.w. deur sy eie toedoen sy doel misloop. Vreemd is dit daarom nie dat die geskiedenis so 'n belangrike rol in ons letterkunde speel nie. 'n Mens merk dit in die opflikkering van die Afrikaanse beweging as gevolg van oorloë en gerugte van oorloë. Dink aan die Eerste Vryheidsoorlog, die Jameson-inval, die Twede Vryheidsoorlog, die Rebellie. Die Eerste Vryheidsoorlog vind dadelik weerklank in die gediggies van C.P. Hoogenhout en ds. S.J. du Toit. Die onmiddellike en ver verlede het die belangstelling van die meer doelbewuste publiek gaande gemaak, en die leiers het gevoel dat hulle aanknopingspunte in die roemryke verlede moes soek; dit moes die bron van besieling wees.
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