Die allegoriese leesmodus in die eietydse Afrikaanse Letterkunde : 'n Christussentriese leserstrategie

Abstract

Since the earliest time that man has let his thoughts dwell critically on aspects of humanity there has been the need to classify structurally. In this study an investigation was launched in order to find out to which degree all literature could be traced back to simple narrative forms. and how the phenomenon of schematisation and systematic repetition is in fact brought into being. The allegory is the literary prototype of all narrative styles since it very often points back to the origin of man. The conflict between good and evil and the associated struggle for the soul of man stretches like a golden thread in almost all narratives through the ages. The purpose of this investigation was to study a few narratives from a Christocentric perspective. The aim was to indicate that these modern texts are generated from a literary prototype. The preliminary identification of such a literary prototype can then be used heuristically to expose the structural matrix. By identifying the matrix of the allegory in texts which prompted such an approach, it was shown that literature can be evaluated from a Christocentric point of view. It is clear that the modern text in prose intentionally exploits the simple narrative form of the allegory, but in a unique setting. The hypotheses put forward have been verified in the course of this study and a more detailed theoretical view of the allegory was found from the analyses and interpretation of the texts. The following points are proffered as findings. + Literary prototypes lie dangerously near each other, and often overlap. + The allegory is a symbolisation of a deep spiritual reality. In the pure-blooded allegory the reader is led by specified symbolic modes in the narrative to search for deeper meanings in the text. + The Christian allegory clearly corresponds to the redemption plan of God in Christ. For that reason the allegory will lean heavily on the symbolic language of the Bible. + A text which from the start gives indications of much metaphorical reminiscences and symbols, raises the expectation that the text asks for an allegorical reading strategy. + The writer of an allegory has the same intent as the writer or narrator of a parable, and that is to undermine man's own conviction of his life, and to replace it with the original divine intent. This makes an appeal to the reader. Thus the allegory does not only juxtapose universal forces in allegorical categories merely for superficial moralising, but poses life vis-a-vis death and wishes to influence the reader's as a human being when making choices. - In the theory of characters and characterisation consideration is given to the fact that the allegory functions by means of stereotypes, or rather, qualified or stereotyped development. Behind types and attitudes there are hidden allegoric characters without any suggestion of it being so. Characterisation in the allegory functions by way of types. Although this inhibits character development the detailed presentation arouses a heuristic suspense in releasing the character from the narrative to fit the type. As a result of the nature of the story characterisation in the allegory is round and flat. Development can take place within the limitations of the type, but always inside the set niche. In a protodidactic form such as the allegory the character in the narratives becomes Everyman. - The most important function of the allegory is to guide the reader in an aesthetically receptive way to the realisation of a false consciousness. In allegorical characterisation the creative power of identity is of great importance. The exploitation of these vital powers exposes the underlying false consciousness. - The utilisation of the allegory in the novel differs from that of the short story. Traces of the allegory in the novel are much more hidden and function as indirect pointers of meaning . This could only happen if the reader realises that the narrative is more than just fictional. + In a novel that makes mention of a double reality, false reality, dream, fantasy or imagination, the chances will be good that the story will have an allegoric frame. The detection of something more than the immediate present, proving that there 's someone there, is clearly an indication of an allegoric substratum. This serves as an indication to read the text as such. The allegorically conceived text calls for a spiritual judgement. + The non-linguistic compositional presentation of the text, especially the fronting techniques or extra-textual indications (front page, title, motto, the indemnification as well as interviews with the writer) might be important heuristic clues in exploiting the unexpressed allegorical depth of the narrative. The extra-textual elements of the text each have a genetic thrust or momentum to prepare the reader as to the nature of the text-type. + The sender and his codes are an integral part of the communication process. Often when reading an allegoric text the intent of the author must be considered in the semiotic system. + Paradise lost as an extended metaphor is a marker of the allegory. The modern presentation of the allegory takes place while symbolic types are played off against each other. + In the Christian allegory there is clearly a narrative history in which the character has to make a decisive choice concerning his relation to God. Often then a natural development is followed by a spiritual development. + It is of great importance in the allegory that the narrator be honest. The perception must be uncompromising, the outlook on matters uncomplicated and the mode of storytelling simple. Credibility is an unnegotiable character trait of the (often extra-diegetic) narrator. For this reason the child narrator is very useful in the allegory. + On the thematic level the allegory has an underlying thrust of searching, or unfulfilment. + Within the framework of the allegory impiety is indispensable. The allegory is profoundly concerned with the conflict between good and evil and the portrayal of the Evil One is therefore a necessity. The dark undercurrent of the allegory is not a means by itself, but a foil to reveal the Light. Like the classical tragedy the allegory utilises fear and compassion in order to get the reader to make a choice. The fruit of the two trees in Genesis, the tree of the knowledge of good and evil and the Tree of Life, is the central pivot of the allegory. - The allegory clothes an age-old message in modern garb. The allegory calculates the modern context setting it off against a protoformula. Finally: The investigation has shown that all texts eat as it were from the fruit of the tree of knowledge of good and evil, and this serves to bring about death; however, in all texts there are signs (sometimes unmentioned) of man's yearning for the Tree of Life. This is confirmation of the fact that a Christ-centred approached in the research provides the missing link in the study of literature.