Eugene Marais
(1871 -1936) was instrumental to literature within South Africa and was also a scientist
focusing on the behaviour of primates and ants. While not being as well known
for his scientific work, he is hailed as the, “father of Afrikaans poetry”, due
to his contributions to literature and the Afrikaans language (Swart 847). It
is within this vein that Marais is represented as a great Afrikaner who was
part of the Afrikaner nationalist movement. Marais is, however, also remembered
as an Afrikaner rebel, a “dissident iconoclast” (Swart 847).
It is with these
two different representations of Marais that Sandra Swart investigates Marais
as a hero for the Afrikaans language and populace of South Africa in her
article, The Construction of Eugene
Marais as an Afrikaner Hero. Swart’s investigation into the construction of
Marais’ image as an Afrikaner hero is done in three distinct manners.
Firstly, the
article looks at how Marais has been portrayed within particular historical
moments by, “[analysing] the changes that have occurred with reference to
broader developments in South Africa”, (Swart 847). This is done through the
exploration of the, “material changes within the socio-economic milieu”,
with these changes essentially being the reason for Marais’ constant public
image changes (Swart 847). Marais’ as an idol Afrikaner was vital to the
cultural identity of the re-imagined Afrikaner nation, strengthening
nationalist ideals and forwarding nationalism.
Marais being the
first “Afrikaner poet”, filled the need for an Afrikaans poet, and is thus, “celebrated
as a powerful figure in the establishment of the Afrikaans language and culture”
(Swart 850). Marais is difficult to categorise
within the Afrikaans canon though, with his work spanning four poetic
generations and finding his poetry within two schools of thought. The two
schools of thought on his poetry are the Language Movement’s stable and the Afrikaans literary
firmament.
During, and
after Marais’ death, his image was subject to change due to the socio-political
context of the Afrikaans language struggle. It is with this in mind that
Swart’s second manner of exploration into Marais’ image as an Afrikaner hero is
grounded. The change in Marais’ image is traced within the projected self-image
of the Afrikaner over the 20th century. It is almost entirely because of Gustav Preller, a long time friend and advocate of Marais, that his image as a "true" or "good" Afrikaner is established (Swart 855). Preller establishes Marais as the 'first poet' and through this establishment, creates the ground to mould Marais' image as a simple afrikaner, while ignoring Marais', "identification with decadence and aestheticism", as well as his, "cosmopolitan tastes and leaning towards morphine" (Swart 856). Marais was portrayed to
Afrikaner South Africans, and other South Africans, as to what an ideal
Afrikaans individual would be, and this portrayal was often adjusted to what
was needed over time, but it remains entrenched in the ideal of being a simple and 'good' Afrikaner.
Finally, Swart
sets an exploration into the need for ‘alternative heroes’ in the ‘new South
Africa’. Understanding that Marais’ image as an ‘Afrikaner rebel’ and someone who stood in opposition to, "the 'obscurantism' of Kruger", is well
suited for this need of an alternate hero (Swart 866). This secondary representation of Marais as a ‘dissident
iconoclast’ is the reason for the fragmented meaning of his image. It is with this representation of Marais that he is used as a figure in the reinvention of the Afrikaner in post-Aparthied South Africa, being now viewed as a, "genuine Afrikaner 'tragic genius'" (Swart 866).
Works
cited:
Swart, S. “The
Construction of Eugene Marais as an Afrikaner Hero.” Journal of Southern African Studies 30.4 (December, 2004): 847-867.
JSTOR. Web. 07 March 2011.
For those interested in Gustav Preller, here is a link with a little more information on him:
Great article summary. I found the last section of the article to stand out for me "the need for 'alternative heroes' in the 'new South Africa'". Reading that Marais "is used as a figure in the reinvention of the Afrikaner in post-Apartheid South Africa" it will also be interesting to look at how South Africans are reinvented in post-Apartheid and how Marais' work and can become a figure for all and not only Afrikaners (I hope this isn't going off course). Maybe in a way developing Marais into the "alternative hero". It would be interesting to know if Marais' work as a naturalist came through in his other writing and literature. I enjoyed reading this Gustav.
ReplyDeleteHi Gustav and Thandi. Thanks for this. I really like your account of the "fragmented" image of Marais, and Thandi's question points to the difficult task of delineating an "ideal" figure for contemporary national (or racial?) consciousness. You mention that Preller figures Marais as a "simple" man, and censors some of the more cosmopolitan elements of his tastes and interests. This is an important point. Is the "cosmopolitan" then associated with "Englishness" - as an identity corrupted by an "overly" civilised and sophisticated milieu, one from which the "honest" values of the true Afrikaner should be distinguished? If so, do you see this image figured in Die Wonderwerker, for example?
ReplyDeleteThank you for your responses to the post. If I am understanding your question correctly Lannie, I would say that yes, to preserve the identity of an "honest" Afrikaner, it is necessary for the "cosmopolitan" that is associated with "Englishness", to be separated from Marais. Without the distinction between the two, and the hiding of his cosmopolitan tastes, Marais' legitimacy as an Afrikaner idol would come into question. That questioning of his legitimacy, would injure the efforts of Preller, and more so, the image of Marais that is needed to the Afrikaans language and people. In Die Wonderwerker, Marais' image consists of both the "honest" Afrikaaner values, as well as encompassing his tastes for the cosmopolitan, with his drug addiction comes to the fore in the film.
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