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. 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. 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. A chapter is based on an analysis of the two poems “Arts Poetica” and “Ars Erotica” the manifestation of the “art of poetry” in Bitterlemoene is investigated through this analysis. In this chapter it comes to light that the poetry functions as an antipode to transience, especially so when the poetry becomes the beloved, and therefore can be seen as an act of survival. Strives for the goal to draw a “map of poetry” mainly using the poetic insights arising from Die Anatomie van Melancholie and Palinodes. The palinodic “nature” of Hambidge’s poetry is also taken into account in this chapter. 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-directed concern with poetry. Hambidge, however, warns: “poesie praat ‘n paradoks. The paradoxical nature of the poetry undermines this study. 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. It is shown in the last chapter that Verdraaide Raaisels breaks the bonds of the strong ars poetic solipsistic element, characteristic 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 key-stone which completes this oeuvre’s mandala. The underlying goal of this study was to give a survey of Joan Hambidge’s poetry, and specifically its ars poetic solipsistic nature. At the same time the goal was also to indicate how an intratextual network originated osmotically between the poems of the eleven volumes of poetry in Hambidge’s oeuvre. The above summary indicates that this goal was achieved. It is therefore possible to offer some answers to the study.
|Author||De Wet K|
|Subject 2||Afrikaans literature|
|Alternative Title||Ars poetical solipsism : a road map of Joan Hambidge’s poetry|
|Degree Type||Masters degree|