Benoeming as literere taalhandeling: Ontmoeting by Dwaaldrif

Abstract

Names, naming and designation play an important part in in Henriette Grove's radio drama Ontmoeting by Dwaaldrif. The most basic function of this speech act is that of identification. The proper name has an identifying but not necessarily a descriptive function. The com­mon noun, on the other hand, is not descriptive enough. Proper names are 'labels', although they can sometimes be applied descriptively. In this connection John Lyons' analysis of the concepts reference and denotation is discussed in detail.
Poetic designation entails finding a universal idea or 'oerband'. Erbeveld comes to Leipoldt the poet to ask him to 'name' his 'material' properly. As to precisely how this should be done, the two of them differ sharply. For the poet things can be called into being by being named. For Erbeveld it is a matter of great importance that the right appellative should be used in connection with himself. He furthermore prescribes the tragedy as the literary genre in which his history must be dealt with. He also does not want to allow any scope for the imagination of he poet: his rebellion must be named historically correct.
As a poet Leipoldt is, however, more interested in the 'essence' of things than in historical exactness. 'Poetic license' also entails freedom in connection with naming. The creative act of the poet is sovereign. Erbeveld is concerned with the 'register' of history, whereas Leipoldt has in mind the 'register' of the literary artwork, which creates its own ahistoric reality.

Opsomming
Name, naamgewing en benoeming speel 'n belangrike rol iri Henriette Grove se hoorspel Ontmoeting by Dwaaldrif. Die mees basiese funksie van hierdie taalhandeling is die van identifikasie. Die eienaam is identifiserend, maar nie noodwendig deskriptief nie. Die soortnaam is weer nie genoegsaam deskriptief nie. Eiename is 'etiketname', hoewel dit ook soms deskriptief aangewend kan word. In hierdie verband word John Lyons se ontleding van die konsepte referensie en denotas1e breedvoerig behandel.
Digterlike benoeming behels die vind van 'n algemeen menslike idee of 'oerband'. Erbeveld kom na Leipoldt as digter omdat hy wil he sy 'stof' moet behoorlik 'benoem' word. Oor presies hoe dit moet gebeur, verskil hy en die digter egter skerp. Vir die digter het die benoemingshandeling die vermoe om dinge te voorskyn te roep. Vir Erbeveld gaan dit da.arom dat die regte 'soortnaam' aan horn gekoppel moet word. Verder skryf hy aan Leipoldt voor dat hierdie benoeming in 'n bepaalde literere genre, nl. die treurspel, moet geskied. Hy wil ook geen speling laat vir die digterlike verbeelding nie: sy opstand moet histories korrek benoem word.
As digter is Leipoldt egter meer gernteresseerd in die 'kern' van dinge as in historiese korrektheid. Die 'digterlike vryheid' is ook 'n vryheid t.o.v. benoeming. Die digterlike skeppingsdaad is vrymagtig. Waar dit vir Erbeveld om 'n 'historiese register' gaan, kom dit vir Leipoldt neer op die eiesoortige 'register' van die liter{lre kunswerk, wat sy eie a­historiese werklikheid skep.