Abstract:
In this dissertation, Noto-ya Masogana is described as a moral story. The moral story can be distinguished from the didactic story and from the picaresque. The picaresque deals with a picaro who is the only main character. He is not presented as being trustworthy and responsible. As a result of this, this type of narrative is known as a 'Schelmroman' in German. The development of the story is simple and deals with the escapades of the picaro who goes on a journey. The didactic story presents the reader with a lesson, while the moral story indicates that a life well led will be rewarded. A life not well led will, in turn, be punished. In this narrative, Lesibana pays for his unfaithfulness to Mamahlo. He repents and the narrative has a happy ending. The method used in this investigation is based on an adjusted narratological model. Only the content and structure levels feature. The topic is identified as an important concept with regard to level one, the reason for this being that it influences the four different elements of the narrative, namely: characters, events time and place. Two main characters are distinguished, and the mutual relationship between them and less important characters receives attention. Events are divided into three categories according to importance. Events are thus called either essential, appropriate or coincidental. Two issues are relevant with regard to time; namely the moment at which an event takes place and the time which is occupied by an event. Place has a bearing on the natural as well as the sociocultural place. The concepts theme and narrating strategies play an important role on a structural level. In the discussion of the structure of Noto-ya-Masogana attention is paid to the exposition, the development, the climax and the resolution. The following techniques are relevant in this regard: motif, foreshadowing, retardation and acceleration of time, contrast, complication, focus and cycle. The study is conducted by comparing this novelette to the story of the Prodical Son and to the picaresque. Attention is also drawn to the author's use of the 'Makgoweng' motif.
