ARS Poetiese Solipsisme : 'n Padkaart van Joan Hambidge se Poesie

Abstract

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.