The Play

(Survey of Dramatic Literature)

The title characters of Boesman and Lena are South African “coloreds” (this word is in quotation marks because it is a governmental racial designation that is offensive to many of those classified as such). As the first act opens, they have been dispossessed of their home by the white authorities, and they are walking along the mudflats of a river in South Africa. They carry all of their possessions in bundles; Boesman carries his on his back, while Lena carries hers on her head. They are middle-aged, and their dress and demeanor indicate that they have led a life of hardship and poverty.

The conflict between the two is almost immediately apparent. As Lena makes observations and asks Boesman questions about the condition of their lives, he tersely tells her to stop talking. Boesman does not want to think about the whys and wherefores of their lives, but Lena wants to know why their lives are as they are and asks him such questions as why he stopped at the mudflats and in what order they lived in certain locations. She wants to remember the past; Boesman, on the other hand, angrily states that life consists only of what is happening at the present moment.

Lena also desperately wants someone to share her quest for finding out how and why her life came to be in such a condition; she wants a witness to her quest and her life, both past and present. The major aspect of the conflict between Boesman and Lena is that he refuses to play this role. He berates Lena for asking questions, laughs at her, and makes jokes about her questions. Still, she believes that she needs him to help her in her quest, because he is the sole witness to their many moves, the places they have lived, and how they arrived at their current desperate situation. Boesman, however, laughs derisively as he tells Lena that he is aware that she wants him to help her find herself. Boesman continues to dismiss Lena’s questions as nonsense.

When an old black man who only speaks Xhosa comes along, Lena quickly tries to communicate with him. They each talk—she in English, he in Xhosa—with neither understanding the other. However, Lena pretends, or has the illusion, that she is carrying on a dialogue with the man. Boesman angrily leaves the scene for most of this interaction, stating that the man will turn his and Lena’s resting place into a “Kaffir nest” (“Kaffir” is a South African word equivalent to “nigger”). In this part of the play, Fugard emphasizes that Boesman and Lena differentiate between “coloreds” and black Africans. Lena overlooks the man’s race in her need for a sympathetic companion...

(The entire section is 1074 words.)