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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - "My sonde is steeds voor my" : die rol van belydenis in C. Louis Leipoldt se (1923)

Volume 8, Issue 1
  • ISSN : 1995-5928

 

Abstract

C. Louis Leipoldt se bekroonde drama is in 1923 gepubliseer. Sedert die verskyning daarvan is bepaalde aspekte van die teks deur literatore as problematies uitgesonder: Leipoldt se eie beskrywing van die drama as 'n drama in een bedryf; die dramatitel (in die enkelvoud); die flouwording van die Kardinaal aan die einde van die tweede toneel; en die beweerde verslapping van die spanningslyn in die slottoneel van die drama. In hierdie artikel word die geldigheid van bogenoemde besware oorweeg aan die hand van die belangrike rol wat belydenis in speel. Die belang van belydenis in die drama moet veral teen die historiese agtergrond en ontstaansgeskiedenis van die dramagebeure verstaan word. In hierdie opsig is 'n belangrike vertrekpunt dat die historiese konteks nie bloot kleurvolle agtergrond en/of kuriositeit is nie, maar onontbeerlik is vir 'n ingeligte taksering van die drama, aangesien dit klem plaas op die belang van belydenis (al dan nie) en die dubbele verhoor in die drama. Dit bied ook bevredigende verklarings vir die besware wat in die verlede deur literatore geopper is. Uiteindelik blyk dit dat daar in véél meer op die spel is as 'n tipies menslike verhaal van innerlike worsteling en onoordeelkundige besluite.


Since the publication of C. Louis Leipoldt's award-winning drama in 1923, literary experts have described certain aspects of the text as problematic: Leipoldt's own description of the drama as a one-act play; the use of the singular form in the title; the fainting of the Cardinal in the second act; and the alleged dwindling of suspense in the denouement (the third act). In this article the validity of these objections are investigated with reference to the crucial role confession plays in . This is possible only when the importance of confession is understood against the historical background and genesis of the dramatic events in Leipoldt's play. In this regard a significant point of departure is that the historical context of is much more than merely a colourful backdrop to the action; rather, it is integral to an informed appraisal of the drama, because of its emphasis on the importance of confession (or the reluctance to confess) and the double trial. It also offers satisfactory explanations for most objections that have been raised by critics in the past. Finally it transpires that is much more than a typical account of inner struggles and injudicious decisions.

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/content/litnet/8/1/EJC62278
2011-01-01
2016-12-10

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