Abstract
This analysis assesses the Afrikaans Christian poems in the anthology of Afrikaans poetry Die mooiste Afrikaanse Christelike gedigte (2017), compiled by Cas Vos.
Using original images and views is essential in the art of poetry, and clichés in metaphors and images must be avoided. Poems are characterised by the wonder and beauty of specific words and images.
Various interpretations of what constitutes religious poetry exist. Should any poem that has some or other religious implication be classified as a religious poem?
Christian poetry is characterised by how God is viewed in the poem. In this regard, many traditions, both Roman Catholic and Protestant, accept the confession that God reveals Godself as Triune God, Father, Son and Holy Spirit. Classical confessions also attest to this belief, for instance the Apostolic Confession, the Nicene Creed and the Athanasian Creed. Other critical views of philosophers and theologians about these confessions, are, however, also relevant for evaluating Christian poetry.
The 1970s were characterised by a lively debate concerning Christian art. Calvin Seerveld’s A Christian critique of art and literature (1977) was hugely influential in this debate. Seerveld viewed Christian art from the perspective of Christian philosophy. According to him, the style of a poem is decisive, rather than its Biblical references. Werkman (1996:5) refers to a few literary critics and historians in the Netherlands who are of the opinion that “Christian literature” does not exist. O’Connor (2020), writing from a Roman Catholic perspective, argues that art should not be used to evangelise.
A moot question is whether Christian poetry should explicitly refer to the Triune God, and in particular to Jesus Christ. In this regard there are mainly three different views concerning the relationship between the Christian religion and other religions (Crafford 2015:266 ff.). The first is the exclusivist approach in which Christ is regarded as the only Saviour. The second is the inclusivist approach that views Christ as Saviour for those who may be unknown to him. The third, the pluralist view, places all religions on the same level. This last view challenges the traditional confession that Jesus is Lord and God.
Qualitative parameters or guidelines for the evaluation of Christian poetry may be established by way of concentric circles. Firstly, Christian poetry would reflect respect for the Triune God, even when serious questions about the relationship with God are raised (such as in the Biblical book of Job). It also reflects a confession of the Lordship and the Divinity of Jesus Christ, although this may not be expressed explicitly. Salvation by grace alone, atonement, and resurrection are expressed, especially by Calvinistic poets. Secondly, it leads the reader to honour God. Although rebellion and doubt may be present, it should be accepted that God exists in glory. This is more in line with the inclusivist approach. The poem does not need to reject faith, but should also not necessarily be a confession of faith. The journey with and to God must be explained with respect. Thirdly, the pluralist view accommodates the humanity of Christ or general references to God and the gods.
Die mooiste Afrikaanse Christelike gedigte is explicitly presented as containing “Christian” poems. Various poems in this book are evaluated in terms of their Christian nature. Many critics reacted negatively to this volume. Tom Gouws’s (2017) critique states that both the notions “mooiste” (most beautiful) and “Christelike” (Christian) had not been well thought through by the compiler.
Poems by W.E.G. Louw, a poet with a Christian worldview, such as “Golgotha” and “Opstanding” (Resurrection), can be categorised as undoubtedly Christian in nature, as is the case with Sheila Cussons’s poem “Christ of the burnt men” with its deep cosmological Christian implications. Poems by I.L. de Villiers, T.T. Cloete and Bernard Odendaal are also clearly Christian in nature.
On the other hand, a poem by Cas Vos, “Die Here is nie my Herder nie” (The Lord is not my Shepherd), poses certain challenges in being regarded as a Christian poem, because of its ironic references to Christ’s crucifixion. Lina Spies’s “Credo” challenges the Christian view of heaven although it has a clear religious inclination. Olga Kirsch’s Jewish background and beliefs are clearly evident in her poems. Even though her poetry reflects a deeply religious worldview, her poems cannot be categorised as Christian poems. Daniel Hugo writes highly critical poems about the Christian faith. His “Mossie en mens” (Sparrow and human) challenges God’s relation to humanity and the human condition.
These examples indicate that it would have been better if Vos’s anthology had referred rather to “Christian and religious poetry” in its title. They also portray how difficult it is to define a generally acceptable view of Christian poetry. And yet, some guidelines assist in establishing the nature of Christian poetry, of which honouring God in Christ Jesus is most important. Christian poetry tends to glorify Christ even though doubt, rebellion and questioning of God may form part of it. However, it is always a journey with and to God. The wonder of the word glorifies the Word.
Keywords: Afrikaans; anthology of poetry; Christian poems; qualitative parameters; view of God