British Museum blog

Shakespeare’s legacy: the Robben Island Bible

The works of Shakespeare, annotated by inmates at Robben Island Prison, South Africa. By permission of Shakespeare Birthplace TrustMatthew Hahn, playwright

I first heard about a copy of the complete works of William Shakespeare known as the ‘Robben Island Bible’ when a good friend was reading Anthony Sampson’s wonderful biography on Nelson Mandela in 2002. I was fascinated by the story and found online the subsequent article that Sampson wrote ‘O, what men dare do’ in the Observer from 2001.

The works of Shakespeare, annotated by inmates at Robben Island Prison, South Africa. By permission of Shakespeare Birthplace Trust

The book’s owner, South African Sonny Venkatrathnam, was a political prisoner on Robben Island from 1972 to 1978. He asked his wife to send him a book of Shakespeare’s complete works during a time when the prisoners were briefly allowed to have one book, other than a religious text, with them. The book’s ‘fame’ resides in the fact that Venkatrathnam passed the book to a number of his fellow political prisoners in the single cells. Each of them marked his favourite passage in the book and signed it with the date. It contains thirty-two signatures, including those of Walter Sisulu, Nelson Mandela, Govan Mbeki, Ahmed Kathrada and Mac Maharaj, all luminaries in the struggle for a democratic South Africa.

These men signed passages within the text which they found particularly moving, meaningful and profound. The selection of text provides fascinating insight into the minds, thinking and soul of those political prisoners who fought for the transformation of South Africa. It also speaks to the power of Shakespeare’s resonance with the human spirit regardless of place or time. But, as he explains it, he just wanted a ‘souvenir’ of his time in the Leadership Section of Robben Island.

After hearing this fantastic tale, I determined to write a play based on interviews with as many of the former political prisoners I could find intertwined with the chosen Shakespearian texts. I first encountered Sonny’s ‘Bible’ in 2006 when it left South Africa for the first time to be a part of the Complete Works Exhibition hosted by the Shakespeare Birthplace Trust in Stratford-upon-Avon. In 2008, I had the wonderful opportunity to meet and interview Sonny and seven other signatories of the ‘Bible’ to form the foundation of the play. I returned to South Africa in 2010 for further interviews and to workshop the research with the Market Theatre Laboratory.

It is an honour to have had the opportunity to spend time with these most gentle of men – each one a lion in the fight against apartheid. Many opened their homes to me, a complete stranger, for a couple of hours, shared with me a cup of tea and what their lives were like under an oppressive regime. As Ahmed Kathrada said, ‘After being locked up for all of these years, when I get a chance to speak to someone who is interested in my story, I find it hard to keep quiet.’

I was, and continue to be, fascinated by the resonance of the chosen texts and the men’s biographies – how life imitates art and; how great art, like holy books, seems to give strength to the oppressed.

Read more about this post and Matthew Hahn’s work on his blog .

Shakespeare: staging the world is open from 19 July to 25 November 2012.

The exhibition is supported by BP.
Part of the World Shakespeare Festival and London 2012 Festival.

Tweet using #ShakespeareExhibition and @britishmuseum

If you would like to leave a comment click on the title

Filed under: Shakespeare's Restless World, Shakespeare: staging the world, Uncategorized, , , ,

Receive notifications of new posts by email.

Join 16,358 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum
Follow

Get every new post delivered to your Inbox.

Join 16,358 other followers

%d bloggers like this: