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The Representation of the Farm in Three South African Novels: Olive

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The Representation of the Farm in Three South African Novels: Olive COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. o NonCommercial — You may not use the material for commercial purposes. o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. How to cite this thesis Surname, Initial(s). (2012) Title of the thesis or dissertation. PhD. (Chemistry)/ M.Sc. (Physics)/ M.A. (Philosophy)/M.Com. (Finance) etc. [Unpublished]: University of Johannesburg. Retrieved from: https://ujdigispace.uj.ac.za (Accessed: Date). Lf. 10 "]""ouB THE REPRESENTATION OF THE FARM IN THREE SOUTH AFRICAN NOVELS: OLIVE SCHREINER'S THE STORY OF AN AFRICAN FARM; PAULINE SMITH'S THE BEADLE; AND J.M. COETZEE'S IN THE HEART OF THE COUNTRY. by MARTHA MARGARETHA JOUBERT SUBMITTED TO SATISFY THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS. RAND AFRIKAANS UNIVERSITY DEPARTMENT OF ENGLISH 1988. SUPERVISOR: PROFESSOR CA CLAYTON ACKNOWLEDGEMENT My sincerest gratitude to my supervisor, Prof. C A. Clayton, for her guidance, inspiration, and unfailing support. I would also like to thank each individual person who has contributed towards the finalizing of this dissertation. CONTENTS PAGE Chapter 1 1 Chapter 2 20 Chapter 3 46 Chapter 4 67 Chapter 5 88 Conclusion 111 Bibliography 113 CHAPTER 1 In the following dissertation, the literary representation of the farm in Schreiner's The Story of an African Farm (18%3), Smith's The Beadle (1926), and Coetzee's In the Heart of the Country (1976) will be examined under two main categories. The first is the treatment of the farm landscape, or the specifically '* South African version of the pastoral myth. The second, and interrelated category, is the stereotypic vision that originated around the inhabitants of the South African farm. In both categories the focus will fallon the stereotypes1 of both land and inhabitants that existed at the time that Schreiner and Smith wrote, and the ways in which these stereotypes were used, modified, or expanded by these two authors. In the final chapter I shall examine Coetzee's ironic use of these stereotypes, especially those that were created around the farm landscape during the nineteenth century. Because the woman is so important in all three of the novels mentioned above, both aspects of the literary representation of the farm will be regarded mainly from the viewpoint of the woman's role in the pastoral novel. Both Schreiner and Smith were English-speaking colonial women writing about women on the South African farm »0 .:. Lyndall and Em in The Story of an African Farm, and Andrina in The Beadle. The farm landscape is therefore inevitably presented partly through an English colonial woman's eyes. ./ In this chapter I shall examine the myths and stereotypes that originated around the South African farm and its inhabitants in travel literature and other non-fictional literature about the Cape Colony. The writers of these non-fictional 1 'stereotype I can be defined as a crude, flattened version of reality, easy to use because it is in a simplified form. Webster's Collegiate Dictionary defines 'stereotype' as "anything undistinguished by individual marks" p.967. 1 accounts of the Cape Colony and its inhabitants tended to describe both the Boer and the Boer woman in the same terms, and therefore the same stereotypes were created for both the man and the woman on the South African farm. It is in popular literature, as the next chapter will demonstrate, that other European stereotypes of the woman (such as the angel and the whore) were added. The 'native' in the English South African farm novel2 is very much part of the African background, and as such is used either to enhance the specifically African atmosphere of the novel, or to add to the pastoral quality of the farm landscape. ~f The following scene from Jack and his Ostrich (E. Stredder, 1893) demonstrates this point, and recalls a similar scene in The Story of an African Farm: (H)ere at Jaarsveldt the more abundant water had partly covered the Karroo with a coat of green. In the very crevices of the loosely-built stone walls, dark green leaves peeped forth to the rising sunshine, and on the tumble-down sad walls by the Kafir hut, luxurious chick-weed was tangled with the glistening leaves of the ice-plant. A Kafir maid at her early dairy-work was singing a low-voiced chant in sleepy tones, which more nearly resembled the hum of the honey-laden bees than any other sound; whilst the growing sunlight tinted all around with the golden hue of the ripened corn. (p.lon The native sometimes symbolizes the threat that 'dark' Africa poses to the white colonist, especially to women. In Penny Rose (F.E. Young, 1930), for example, the heroine is raped by a black man: Out of the darkness there sprang a human shape; a shape terrible, powerfUl, sinister; dark as the night was dark, and evil as the beasts of prey which prowl the veld in search of plunder. The dark figure leaped upon Penny Rose and (she) realised that she was in imminent danger from the terrible black peril which menaced every white woman, unprotected, in the loneliness of the veld. (p.213) 2 The term 'farm novel' refers to a novel that has the farm as setting. For purposes of this dissertation I have chosen a group of popular farm novels written in or about South Africa by English (and in most cases, colonial) authors, in order to examine the cruder versions of the stereotypes that developed around the South African farm and its inhabitants. I shall use the term 'native' throughout to refer to the indigenous people of South Africa. 2 Because the 'native' generally blends in with the farm background both in The Beadle and in The Story of an African Farm! I shall be discussing the black woman's role only as she is placed in the patriarchal system as well as the racial system that exist on the South African farm. * * * In this dissertation, more than one meaning is attached to the word 'myth'. The first sense is that of a widely held - though often false - assumption about a thing or a person. Where literature is concerned, this type of myth may be referred to as a 'stereotype'. The second type of myth is linked to the first: it concerns the deliberate creation of a myth or a group of myths that may be ~ termed 'justificatory myths'. Leonard Thompson quotes the following definition of myth from the British Journal of Sociology: myth is "a tale which is told to justify some aspect of social order or of human experience".] The third meaning attached to the word 'myth' is that of 'classical' myth or Christian myth. In this kind of myth, says Northrop Frye, one sees the structural principles of literature isolated. 4 The Beadle, for example, is structured around the myth of Adam and Eve in Paradise. A certain amount of 'disPla{ement' is needed to make this myth plausible in the context of a novel. Frye defines 'myth displacement' as "a general term denoting devices used to render the presence of a mythical structure in a novel plausible" (Frye, p.136) - in other words, to render the novel more 'realistic'. To sum up: In myth we see the structural principles of literature isolated; in realism we see the same structural principles (not similar ones) fitting into a context of plausibility. (Frye, p.136) s Leonard Thompson, The Political Mythology of Apartheid, p.7 - 8. 4 Northrop Frye, Anatomy of Criticism: Four Essays, p.136 3 The pastoral myth forms the background to the pastoral novels written in or about South Africa. The pastoral myth has undergone many changes since the days of Theocritus to the present day. Different ~roups of people, separated from each other by time and culture, have emphasized different aspects of the pastoral myth, according to their own concept of 'the ideal'. According to Thompson: Myths originate in specific ~ircumstances as a product of specific interests, and they change with the changing interests of successive generations and successive regimes. (Thompson p.8) In the days of Theocritus life in the corrupt court of Alexandria gave birth to a pastoral tradition in literature that upheld the ideal of a simple, innocent life in the country. In Britain during the nineteenth century conditions such as industrialization, over-population, and the Napoleonic wars were instrumental in creating a pastoral tradition in which the elements of peace, plenty, and the possibility of a 'new beginning' in a rural (untouched) landscape were emphasized. The essential ingredient for any pastoral work is a sense of nQstalgia,- a longing L .~ for an idealized past or a 'golden age' in which life was lived in a pastoral setting. The myth of a 'golden age' represents, according to Peter Marinelli: the general overarching myth of lost innocence which is common to both pagan and Christian traditions of pastoral, to the first by nativ right, to th~ second by assimilation to its own myth of the garden of Eden. 3 The elements of this myth of the 'golden age' are summarized by Marinelli in the following passage: There is a time at the beginning of human history when Saturn and Astraea, the virgin goddess of justice, dwelt together in the fields of Hesperia, and life for the inhabitants of earth was of the utmost simplicity and beatitude.
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