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Opsomming LitNet Akademies Jaargang 9(2), Augustus 2012 Om ’n deeglike “aanmaning van sterflikheid” te kry: katabasis, relasionaliteit en retrovisie in Die benederyk van Ingrid Winterbach Adéle Nel Adéle Nel: Skool vir Tale, Noordwes-Universiteit (Vaaldriehoekkampus) Met verwysing na Kaja Silverman se boek Flesh of my flesh (2009), waarin sy insigte oor relasionaliteit, kunstenaarskap en die dood indringend verken en uiteensit aan die hand van die mite van Orfeus en Euridike, betoog ek in hierdie artikel dat Die benederyk binne die teoretiese raamwerk van relasionaliteit en retrovisie gelees kan word. Relasionaliteit manifesteer in die roman eerstens as ’n ontologiese verwantskap op persoonlike vlak tussen mense op grond van sterflikheid. Katabasis maak op verskillende wyses ’n verskyning in die roman, maar die opvallendste verwysings is deurgaans na Stefaans Adendorff wat “die duisternis afgegaan het en lank verlore was”. Daar word tweedens aangetoon dat Die benederyk terselfdertyd ’n narratief-filosofiese besinning oor die aard, die waarde en funksie van kuns en die artistieke proses is. Winterbach besin by monde van die sentrale kunstenaarkarakter, Aaron, wie se lewensverhaal ook getuig van ondergang en redding, oor die plek van die Suid-Afrikaanse kunstenaar binne ’n groter wêreldorde en sy verwantskap met voorgangerkunstenaars binne die kunstradisie. Sy onderneem saam met Aaron ’n reis deur die Westerse kunstradisie, en deur middel van retrovisie word talle dooie kunstenaars “lewend” gemaak, van wie Joseph Beuys en Francisco Goya die opvallendste is. Trefwoorde: Ingrid Winterbach; Die benederyk; Kaja Silverman; Flesh of my flesh; relasionaliteit; retrovisie; katabasis; kunstenaarskap; Westerse kunstradisie Abstract A profound reminder of mortality: catabasis, relationality and retrovision in Ingrid Winterbach’s Die benederyk (2010) The aim of this article is to indicate that Die benederyk (The underworld) may be read within the theoretical framework of catabasis, relationality and retrovision. My point of departure is that relationality manifests itself in two ways in Die benederyk, namely as an ontological relationship on a personal level between people (whether it be family relations or the bonds of friendship), and also as an ontological relationship between specific artists through the ages. With reference to Kaja Silverman’s book Flesh of my flesh (2009), but also referring to Etty Mulder’s Freud and Orpheus (1987), a brief summary of the theoretical concepts of relationality, catabasis and retrovision will first be provided. It will be shown, furthermore, 413
LitNet Akademies Jaargang 9(2), Augustus 2012 that at the same time Die benederyk is a narrative philosophical reflection on the nature, value and function of art and the artistic process. However, since every artist also works within a specific public sphere and tradition this aspect, too, is relationally based. The title itself, Die benederyk, already establishes a connection with death and the myth of Orpheus and Eurydice that is confirmed throughout the story. Silverman uses this wellknown myth, as recorded by Ovid in Book X of The metamorphoses, as her starting point from which she develops her theory of relationality. What is not so well known in Western literature is the fact that after the second disappearance of Eurydice into Hades, Ovid adds a redemptive coda to Book XI, which largely invalidates the woman-death link and lays the foundation of relationality. Orpheus is murdered by the vicious Maenaden. This results in his second descent into the underworld. When he arrives in Hades he sees what he had seen before, but he sees it anew and differently. He embraces Eurydice lovingly and in doing so he acknowledges her ontological equality (Silverman 2009:181). In this way, they re-enact what had happened before, cancelling the violence of the events and transforming it into a reversible and ontological equalising analogy (Silverman 2009:181). Orpheus’s descent into the underworld is related to the Greek concept of katabasis – a concept defined as a movement or journey downwards. According to Falconer (2005:2) the Greeks used the term katabasis (Latin descensus ad infernas) metaphorically to refer specifically to the story of a living person who had visited the underworld and returned reasonably unscathed to the land of the living. Silverman’s (2009) thesis regarding the theory of relationality is bound up with the fact that mortality is the most comprehensive and basic feature that man shares with every other living being on earth. Finiteness marks the time and place where we end and others begin, both spatially and temporally. It is the acknowledgement of this limitation that gives us a sense of our place within the larger whole (Silverman 2009:4). Silverman (2009:8) then engages with the ideas of psychoanalyst and writer Lou Andreas-Salomé. She refers to Salomé’s memoir, Looking back, in which she voices insights that correspond with Ovid’s coda in the recording of the Orpheus myth. Salomé attributes a redemptive power to this type of looking, i.e. the capacity to revive the past so that it happens again, but in a new way. She refers to this process as the healing power of Nachträglichkeit – a term originally created by Freud, but used in a different sense by Salomé. She also attributes a number of other powers to Nachträglichkeit, namely the possibility that it can cleanse sin, raise the dead and resolve differences between people. Die benederyk tells the story of two brothers, Aaron Adendorff and his brother Stefaans. The novel addresses, among other issues, the quest for the meaning of life by both characters after each one descends into his own personal hell and in the slow process of re-emerging back towards the light. Both are struggling with their own sins, the death of their loved ones, broken relationships between people and the intense emotions of dealing with loss. The most striking reference to someone visiting the underworld and returning is found when Stefaans is said to have gone down to the darkness and had been lost for a long time. During the course of the narrative Stefaans is likened to the biblical New Testament Lazarus, who was resurrected to life, but also to Joseph of the Old Testament, who was saved from certain death in the pit. Among other things, the novel tells the story of Stefaans’s descent into darkness due to drug addiction, the turning point in his life, as well as his gradual return to the land of the living. After this catabatic experience, Stefaans gains insight into his relationship with other flesh being of his flesh and understands his existence as an aware 414
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