This study is an investigation into the nature, attributes and characteristics
of Joan Hambidge's poetry.
In order to determine what poetry is (arising from the opinions of Eliot and
Aristotle) suitable working definitions are identified in chapter 2 from
which the study can draw a theory of the ·art of poetry· . The concepts ars
poetica' (as the poet's individual creative method), 'solipsism' (as an
essentially self-directed school of thought), 'metapoetry' (as the inevitable
manifestation of poetry concerned with a self-directed ars poetica), and
· intratextuality' (as a logical consequence to poetry which is self-directed)
are defined and drawn together within the context of this study's
specific sphere. Through this the study's own poetic theory is composed in
chapter 2.
On the basis of this poetic theory ('ars theoretica') the nature of
Hambidge's poetry may be described as ars poetic (and therefore narcissistic),
with a metapoetical tendency and a resultant intra textual nature.
The rest of the study make use of these characteristics (which describe the
nature of Joan Hambidge's poetry) to indicate the form of the poetical
procedure and its results.
In chapter 3 the ars poetic solipsistic nature of the poetry of Hartskrif is
described according to the directives drawn from the volume's first poem.
Emphasis is placed on the Hambidge procedure of offering 'word pictures' as
poems.
Chapter 4 is based on an analysis of the two poems 'Ars poetica · (B:31) en Ars erotica· CB: 57). The manifestation of the 'art of poetry· in Bitterle~
is investigated through this analysis. In this chapter it comes to
light that the poetry functions as an antipode to transcience, especially so
when the poetry becomes the beloved, and therefore can be seen as an act of
survival.
An important premise of this study is the primary focus on that what is said
about poetry in the poems itself. Chapter 5 strives for this goal: it draws
a 'map of poetry· mainly using the poetic insights arising from Die aoatomie
van melancholie and Palinodes. The palinodic 'nature· of Hambidge's poetry
is also taken into account in this chapter.
With the compilation of the study's working theory in chapter 2, it was
argued that this study focuses on intratextual relations in Hambidge · s
poetry because of the view that such an investigation will be able to pay
attention to the consequences of a self-driected concern with poetry.
Hambidge, however, warns: "poesie praat 'n paradoks" CE: 17) (poetry is
paradoxical) and in chapter 6 the paradoxical nature of the poetry undermines
this study. Therefore a theoretical basis is given to show that parody
and its intertextual manifestations, should also be discussed in an intratextual
study. A discussion of how parody is applied in 'Eden' (a Hambidge
parody of Ina Rousseau's similarly titled poem) follows. The intratextual
network which comes to the fore in Hambidge's poetry is illustrated in the
last chapter. It is shown that this intratextual reaching out of verses across
volumes, is a specific result of ars poetical solipsism.
Finally it is shown in the last chapter that Verdraaide raaisels breaks the
bonds of the strong ars poetic solipsistic element, characteristical of
Hambidge · s oeuvre. In Verdraaide raaisels the poetry is relieved from the narcissistic involvement with the self. Against this background the last
volume of Hambidge's oeuvre of eleven volumes of poetry, is seen as the keystone
which completes this oeuvre's mandala.
Afrikaans: In hierdie studie is 'n ondersoek geloods na die aard, hoedanighede en karaktertrekke
van Joan Hambidge se poesie. Deur die loop van sewe hoofstukke
is hierdie opgawe vooropgestel.
Ten einde ondersoek te kan instel na wat poesie is (na aanleiding van Eliot
en Aristoteles se uitsprake) is daar in hoofstuk twee gepaste werkbegrippe
ge1dentifiseer waaruit die studie 'n eie 'ars teoretika' kon saamstel. Die
begrippe 'ars poetika' (as die digter se individuele maakmetode), · solipsisme'
(as 'n essensieel self-gerigte denkrigting), 'metapoesie' (as noodwendige
poetiese manifestering van 'n bemoeienis met 'n self-gerigte ars
poetika), en · intratekstuali tei t' (as logiese gevolg by poesie wat op sigself
gerig is) word binne die studie se spesifieke gebruiksfeer gedefinieer
en saamgesnoer.
Aan die einde van hoofstuk twee is daar dus in die studie 'n eie teoretiese
poetika saamgestel aan die hand waarvan die aard van Hambidge se poesie beskryf
kan word as ars poeties en solipsisties (en daarom narcisties), met 'n
metapoetiese neiging, en gevolglik met 'n intratekstuele geaardheid.
In die res van die studie word hierdie kenmerke (wat die aard van Joan
Hambidge se poesie beskryf) aangewend om aan te dui watter vorm die poetiese
handeling aanneem, en wat die uitkoms hiervan is.
In hoofstuk 3 word daar aan die hand van die programgedig getoon hoe die ars
poeties solipsistiese aard van die poesie in Harts)rrif na vore kom. Veral die Hambidge-procede van 'woordkiekies' aanbied as gedigte, YJY hier aandag.
Hoofstuk 4 berus op 'n analise van Bitterlemoene se 'Ars poetica' CB: 31) en
· Ars erotica' CB: 57). Aan die hand van hierdie gedigte word die manifestering
van die 'kuns-van-poesie' ondersoek. Uit die ondersoek kom dit na vore
dat die poesie hier die vorm van 'n teenvoeter vir verganklikheid word, veral
op grond daarvan dat die poesie die geliefde word, en dat dit daarom 'n
oorlewingsdaad is.
n Belangrike uitgangspunt van die studie is die feit oat dit primer fokus
op wat daar in die poesie oor poesie gese word. In hoofstuk 5 word hierdie
doel veral nagestreef wanneer daar aan die hand van Die auatomie van melancholie
en Palinodes 'n 'padkaart van poesie' aangeteken word. Die palinodiese
'vorm' van Hambidge se poesie, kom ook in hierdie hoofstuk ter sprake.
