Shakespeare Turned Into Tribal Tongue

Sun (Auckland), Volume IV, Issue 1048, 12 August 1930, Page 14

Shakespeare Turned Into Tribal Tongue

Bechuanas Eager, to Play Parts WILL ADMIRE FALSTAFF Shakespeare is being translated into the language of an African tribe. The Bechuanas. a race inhabiting the eastern fringe of the great Kalahari desert, are about to receive the first batch of dramas available in the vernacular, translated by Sol. T. Plaatje. “The Comedy of Errors,” “Much Ado About Nothing,” “Julius Caesar,” and “The Merchant of Venice” are the plays that have been picked out for the pioneer rendering. To the black citizen the works selected are likely to make a great appeal. Whenever a native tells a story he instinctively acts the incidents, emphasising the high spots with appropriate poses and gestures. Hence it has not taken the coloured populace long to appreciate Sol Plaatje’s efforts and there are hundreds of eager Bechuanas with a mission school education anxious to be the first black Shylocks or Caesars to tread a stage.

Regarding the adaptation of the poet into Sechuana, the language of Bechuanaland, Plaatje expressed some interesting views. Certain aspects, he declared, of Shakespeare’s writing appealed particularly to the coloured mentality. Proverbs constitute a most important section of tribal lore, many propounded by kraal sages being brilliantly witty. The witches’ scene in “Macbeth” might very easily pass as the portrayal of a ju-ju wizard’s- incantations. Of the articles put into the pot of the veld magicians numbers are mentioned' in the inventory of the poet’s cauldron.

“Let me have men about me who are fat,” is the exact sentiment of an African savage, who declares tha£ every big chief should be large in body. Even more familiar is the passage: “When beggars die there are no comets The heavens themselves blaze forth the death of princes.”

“Natives,” declares Plaatje. "read notable events such as the birth or death of a ruler or brave warrior in the appearance of meteors, comets or similar phenomena.” Falstaff, it is expected, will awaken more admiration than amusement on account of his imposing weight, while the promptitude with which justice is done in “The Merchant of Venice” rouses in the native strong memories of similar straightforwardness on the part of their own chiefs. Much of the action cannot be understood by the kraal dwellers, but the fundamental likeness of all human relationship leads them to put the explanation in the customary phrase: “The people in the story live in a far country.”

Educationists hope that Plaatje will follow up his first batch of translations with more. There is actual talk of forming a black company of Shakespearian actors.

Members of the Government service are of the opinion that there should be care in picking plays into which the colour problem, so important throughout Africa, does not enter. Doubts have been expressed about the wisdom of putting “The Merchant of Venice” into Sechuana because of the scenes in which the Prince of Morocco woos Portia. Even stronger is the objection to any portrayals of “Othello,” which tragedy raises the racial feelings of black and white. To the missionaries, especially the teachers, Plaatje’s work is timely because there is a dearth of suitable vernacular “set books” for native schools.