51 pages • 1 hour read
Olive SchreinerA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Waldo reflects on his childhood and growing up. The delights of infancy, with its unformed thoughts and opaque desires, gave way to religious learning and questioning. There was also the dawning realization of the self as a specific individual, followed by a quest to understand his place in the larger world. Waldo remembers reading the Bible at seven and being devoted to its teachings. As he grew older, he became tormented by doubt and a growing belief in his own wickedness. These torments alternated between self-condemnation and religious ecstasy—a feeling of relinquishing the self to God in peace.
Later, there came an acknowledgment of the beauty and comfort that can be found in nature. Waldo found God in the landscape, in the indigenous peoples, and in everything he saw around him. His father took him to a church, though, and this disrupted that notion: Waldo found nothing to inspire him in organized religion. This led Waldo back to questioning the existence of God and finally to concluding that God does not exist, at least for him. Though this initially led to feelings of despair, eventually Waldo returned to seeking meaning in nature. The ants and beetles are not so different from humans, and all living creatures derive what they need from the land. He decided that the world is not made through mere chance but through a kind of divine order, even if not designed by an omnipotent God. Everything works together to make a magnificent whole.
Waldo wanders out with his ostrich herd, and Em approaches. She is now 16, and she has put on weight, making her look older. She tells Waldo that an Englishman has come to the farm to work the half that Tant’ Sannie leased to him. Lyndall has been away at school but will be coming home soon, and Em is eager to see her.
Em takes her leave, and Waldo introduces himself to another stranger—not the Englishman—who has ridden up on a horse. The man begins to interrogate Waldo about his situation and whether he likes life on the farm. The discussion quickly turns to theological concerns: The man does not believe in God and wonders about Waldo’s beliefs. Waldo has been carving a post full of symbols to put on his father’s grave. While the stranger offers to pay him for it, Waldo will not sell it.
Instead, the stranger tells him a story about what he sees in Waldo’s crude carving. It involves a young man who seeks Truth, represented by a beautiful bird with silver feathers. An old man calling himself Wisdom tells the youth that it will take all of his life to track down this bird and that he will be distracted by lies. Indeed, the youth captures other birds—Immortality and Reward After Death among them—but they are not Truth. He is also briefly diverted by Human Nature and Excess, but he commits himself more devotedly to his search for Truth. At last, the youth becomes old; he is at the end of his life. He has spent all of his years looking for Truth. At the moment of his death, a single feather falls into the man’s hand.
The stranger tells Waldo that his carving contains all of that existential desire even if it lacks beauty. He tells Waldo that the boy is fortunate to have grown up on this farm. As the stranger readies to leave, he gives Waldo a book. Waldo, in turn, wraps his carved post in a handkerchief and ties it to the man’s saddlebags.
The Englishman, Gregory Rose, writes a letter to his sister saying that he is homesick and lovesick. He has fallen passionately in love with Em, and he implies that if she rejects him, he will have no choice but suicide.
After finishing the letter, Gregory approaches Em, proclaiming his love for her and demanding her devotion in return. He insists that she profess love only for him. She hesitates—she loves Waldo and Lyndall too—but ultimately acquiesces. Em has loved many people in her short life, but none have returned that feeling in such abundance. She vows that she will be obedient to him, and they become engaged. Tant’ Sannie approves. Em is eager for Gregory to meet Lyndall. She knows that he will think her as beautiful as a queen. She looks through the drawer holding her wedding items—linens and aprons, the ring, and a veil—every evening.
Em believes that Lyndall looks like a delicate princess upon her arrival. She has returned after four years away at school. The experience has left her jaded; a finishing school for girls is not the kind of education she sought. While Em is eager for Lyndall to like Gregory, Lyndall is noncommittal. She herself does not wish to get married or have children, she tells Em.
Lyndall instead seeks out Waldo, who tells her that she has changed. She talks to him about her years away and her unhappiness. She feels that she has learned about the world from her experience rather than her school. She asks Waldo if he would ever want to be a woman; when he says no, she laughs. If she could find a man who would wish to be a woman, she says, she would marry him. She talks about how women are trained to serve men and how this does not allow them independence. She believes that men and women are not so different; it is only society that demands that they become so. She notes that once their beauty fades, women are ignored.
Lyndall claims, however, that women ultimately have power over men because men are their sole object of concern. Men are afraid to allow women to be independent, she thinks, because then women would no longer cater to them. Lyndall points out that women are the ones who bear and raise children, yet they receive no education that would help them fulfill the latter responsibility. Lyndall claims that she will not participate in this social inequality (i.e., marriage) until love is separated from economic necessity. However, the political talk makes her weary; she realizes that she herself cannot change such an entrenched system.
Waldo gives her a wooden box carved with flowers. She comments that he is still seeking the meaning of life, while she looks for justice. They watch Gregory Rose pass by on his horse. Lyndall observes that he is fit to fill a woman’s social role, and Waldo says that he will not remain on the farm with Gregory in charge. Lyndall says that the world will disappoint Waldo. Waldo asks why she talks to him; she replies that Waldo is different from other people. Lyndall asks Waldo to teach her to drive the wagon. She goes back to the house with Waldo’s dog, Doss, following her.
Tant’ Sannie is courted by a younger widower, Little Piet Vander Walt. They “sit up” together, which is the traditional manner of courting: They stay up all night talking and discussing terms for the marriage. Vander Walt claims that he had a dream telling him to “marry a fat woman” (204), so he has come to Tant’ Sannie. They will marry before the sheep need shearing.
Gregory pens another letter to his sister, dismissing Lyndall for her arrogance. He also looks down upon the Boers and their traditions; Tant’ Sannie’s wedding is soon, and he dreads the uncouth nature of the all-night parties. He continues to criticize Lyndall for her independence and aloofness. He claims that any man worth his name would be able to make her obey.
Gregory and Em ride to the wedding as Lyndall and Waldo take the wagon. On the way, Lyndall talks about not wanting the responsibility of children, though Waldo thinks that the experience would be profound. Lyndall reminds him of the material responsibilities; she herself was left an orphan when her father died of consumption (tuberculosis) and her mother abandoned her. She tells Waldo that she loves him for listening to her.
The wedding itself is a frenetic affair, with dancing and eating all through the night. Later, Lyndall finds Waldo out at the wagon. She dreams about lives other than hers as she looks up at the stars. She tells Waldo that she wishes she could help him figure out what he must do with his life. She insists that he must cherish it. Waldo listens to her, but he does not always understand what she says. She thinks that the stars are mocking them.
When she is ready to leave the party, Gregory asks to drive her home. Waldo and Em follow later in the wagon. Em tells Waldo that she wishes she could have stayed a child her whole life.
Waldo is packing to leave, and Em tells him not to worry about leaving whatever he does not want to take; he will return, after all. He, however, is not so sure. Em walks back to the house but pauses by the window. She sees Gregory and Lyndall sitting at the table. Lyndall asks Gregory to get her some water, so he does. That evening, Em tells Gregory that she thinks they should break off their engagement. He halfheartedly protests but then acquiesces to her wishes, saying that if she does not love him, then they will not be married.
Waldo leaves the next morning, and Lyndall asks him to write. He leaves Doss, his dog, behind for her.
Waldo’s coming of age is intertwined with his crisis of faith and the theme of Finding God and Unity in Nature. In the internal monologue recounting his maturation, he employs the pronoun “we” instead of “I” to describe his experiences. This has the effect both of universalizing his account and of drawing the reader in, inviting identification: “We are so small, our head only reaches as high as the first three panes. We look at the white earth, and the rainbow, and blue sky; and oh, we want it” (138). That moment of infant yearning, unidentifiable but urgent, becomes the foundation on which Waldo’s personality, intensely feeling and often doubting, is built, but the novel also implies that it is fundamental to the human experience.
Waldo forms an attachment to the Christian religion that wavers between ecstatic embrace and vehement rejection. Waldo’s questioning of Christian religious teachings is based at least in part on the circumstances in which he is raised. That is, his doubt is often grounded in the injustice that he witnesses, which is inherent to the colonial society in which he lives: “The black man is shot like a dog, and it goes well with the shooter. The innocent are accused, and the accuser triumphs” (149). This indictment of colonialism recognizes that the system itself is unjust, that prejudice runs rampant, and that the individual is powerless to enact change or foster justice. This runs counter to what Waldo has learned of God, which requires that he relinquish power: “We sink down emasculated,” deciding to become “thy child for ever” (144). This version of religion offers comfort but also reinforces the impotence that Waldo rails against. While Em may “wish [she] could have been a child always” (219)—in the novel’s schema, a wish to remain naïve to injustice and accepting of hierarchical authority—Waldo decides that he must grow up.
Lyndall’s story parallels and complements Waldo’s. She too has grown up, in ways both cynical and idealistic. Her exploration of Women’s Status in Marriage reveals her to be a proto-feminist and proponent of greater equality between men and women. She objects to the commodification of women in particular. In speaking of her own beauty, she argues, “I can win money with it, I can win love; I can win power with it, I can win fame” (188). Yet, even with this powerful attribute, she cannot win either an adequate education or her own independence. Besides, as Lyndall makes clear, beauty fades, taking with it the attention and assistance of men, which women rely on for their survival. Ultimately, any power women enjoy flows from men, making it precarious in the long term.
Gregory Rose’s attitudes are the diametric opposite of Lyndall’s. He believes that men should be masters of women and claims to despise Lyndall for her independence and aloofness: “I pity the man who marries her” (206), he writes to his sister. Nevertheless he is drawn to Lyndall, though the overly impassioned rhetoric that surrounds his love for her echoes his earlier proclamations about Em: First, he will die without Em, and then he cannot live without Lyndall. Schreiner uses Gregory’s hyperbole to satirize the traditions he represents. His romantic gestures are old-fashioned and out of step with the encroaching new millennium. He is the male counterpart to Tant’ Sannie, who clings to the old colonial ways. She will be married before sheep-shearing time because both biology and geography—life as a woman on a farm—are destiny, at least for her. It is not yet clear how Lyndall’s presence will influence the staid views of either Tant’ Sannie or Gregory.
Many critics have speculated that the characters, especially Waldo and Lyndall, are representative of the author herself, who used the novel to work out her own views on the relevance of religion, the role of women in society, and the significance of art in seeking greater understanding of the world. The parable that the stranger tells Waldo posits that the search for the truth (with a definitive capital “T” signaling its transcendence and universality) is the search of a lifetime. It also links that search to the production of art, such as Waldo’s carving. As the stranger puts it, “And the attribute of all true art, the highest and the lowest, is this—that it says more than it says, and takes you away from yourself” (169). This is the vision of art that The Story of an African Farm aspires to as it probes philosophical and political questions ranging from the nature of the divine to the utility of women’s education.