A Book Behind Bars: The Robben Island Shakespeare

A Book Behind Bars: The Robben Island Shakespeare, one of the Exhibitions at the Folger, opened on May 25, 2015 and closed on October 2, 2013. The exhibition highlights a 1970 edition of The Alexander Text of the Complete Works of Shakespeare that circulated throughout the Robbin Island prison in South Africa from 1975 to 1978.

List of Shakespeare's works with signatures

The Robben Island Shakespeare is a 1970 edition of The Alexander Text of the Complete Works of Shakespeare—probably the most widely sold and read scholarly edition of Shakespeare’s texts in the twentieth century. It belongs to former political prisoner Sonny Venkatrathnam, who chose it as the one book he was permitted when first imprisoned.

Covering the volume in colorful, religious Diwali cards, celebrating the Hindu festival of lights, Venkatrathnam convinced a gullible warder that it was his bible, and when he was transferred to the small single-cell section where Nelson Mandela, among others, was kept, he took it with him. He then circulated the book to his fellow prisoners in the single cells, asking them to mark their favorite passages from Shakespeare with their signature and the date. Between 1975 and 1978 thirty-three of Venkatrathnam’s fellow prisoners signed the book.

It is impossible to know from the signed passages in the Robben Island Shakespeare why those lines from Shakespeare might have made an impression, or might have spoken to a prisoner in a particular moment. Indeed, some passages seem to shout their relevance to the hardships of imprisonment, or of political unrest, or of injustice. Other signed passages do not, and instead may have been familiar, learned in school, or read for the first time. Some readers may have been struck by fantasy, in the way that any good book removes you from your present circumstance.

The images of signatures that follow, and their accompanying descriptions, offer some speculation about what passages may have meant. These are drawn from David Schalkwyk’s book, Hamlet’s Dreams, in which he writes that making sense of the signatures in the Robben Island Shakespeare "is an impossible task. But it is also irresistibly compelling."

Front Matter and The Tempest

This article includes information on Sonny Venkatrathnam and Kadir Hassim who signed in the front matter of the Robben Island Shakespeare, and on Billy Nair who signed his name in The Tempest.

A Midsummer Night's Dream and The Merchant of Venice

This article includes information on Elias Motsoaledi and Kwedi Mkalipi who signed in A Midsummer Night's Dream, and on Walter Sisulu who signed his name in The Merchant of Venice.

King Lear and Antony and Cleopatra

A Midsummer Night's Dream

Elias Motsoaledi and Kwedi Mkalipi, page 222

Elias Motsoaledi, a member of Umkhonto we Sizwe (MK), the armed wing of the ANC, and Kwedi Mkalipi, a member of the opposing PAC, were both detained in the same B-section isolation cells of Robben Island as Nelson Mandela. Both signed their names by Puck’s apology at the end of A Midsummer Night’s Dream:

PUCK: If we shadows have offended,
Think but this, and all is mended,
That you have but slumber’d here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream.
(A Midsummer Night's Dream, Epilogue, 1–6)

There is little in this passage to suggest a connection to politics or personal circumstance in Robben Island. More likely, the story here is one of familiarity. Did they each study this play in school, and memorize Puck’s final speech? Perhaps the lighthearted nature of the play was a warm contrast to cold years of confinement.

The passage no longer appealed to Mkalipi when he was interviewed in 2008. Reflecting on his time in Robben Island, he preferred Lady Macbeth’s lament:

"All the perfumes of Arabia will not sweeten this little hand," (Macbeth, 5.1.49),

taking it to mean that the damage done by Apartheid could never be repaid—a far more revolutionary selection than Puck’s whimsical farewell.

Merchant of Venice

Walter Sisulu, page 227

Walter Sisulu was a member with the ANC Youth League, along with Nelson Mandela. He played an active political role, and was arrested and jailed numerous times in the 1950s and 1960s. Following the Rivonia Trial, in which ten ANC leaders were tried for sabotage against the South African government, Sisulu was sentenced to life imprisonment and spent 26 years at Robben Island. He died in 2003.

Sisulu signed next to Shylock’s speech in The Merchant of Venice, a speech about shared humanity:

SHYLOCK: Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions, fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die?
(The Merchant of Venice, 3.1.52–9)

This passage is particularly compelling to consider because, taken alone—as here—it reads as a call to and for equality and commonality. But Shylock goes on in the next line to say

"and if you wrong us, shall we not revenge?" (3.1.60).

There is no way of telling whether Sisulu, or any of his fellow signatories, read or viewed the plays as a whole, or what portion of a passage spoke most loudly to them in which moment.

As You Like It

Sandi Sijake, page 254

Sandi Sijake, an Umkhonto we Sizwe (MK) cadre who became a Major-General in the new South African National Defence Force, signed his name by Orlando’s opening complaint in As You Like It.

Like Orlando, Sijake was a soldier. He chose a play steeped in questions of the arbitrary exercise of power, disinheritance, relations between master and servant, and access to land. These complaints are quite parallel to conditions on Robben Island, and furthermore, the rebelliousness of the younger son in Orlando’s speech is resonate with rebellion against Apartheid’s forced servitude.

Mobbs Gqirana, page 260

Mobbs Gqirana, who disappeared without a trace in 1983, is presumed dead, perhaps killed by police following his release from Robben Island. From Venkatrathnam’s Shakespeare, Gqirana selected a passage from As You Like It: the Duke’s celebration of the “sweet…uses of adversity” in the exile of the forest. The conditions enumerated in the Duke’s speech could be parallel, again, to conditions on Robben Island, in particular the biting cold of the winters there. In the speech, Duke Senior highlights the moral rigor that grows from hardship:

DUKE SENIOR: Now my co-mates and brothers in exile,
Hath not old custom made this life more sweet
Than that of painted pomp? Are not these woods
More free from peril than the envious court?
Here feel we not the penalty of Adam,
The season’s difference. As the icy fang
And churlish chiding of the winter’s wind,
Which when it bites and blows upon my body,
Even as I shrink with cold, I smile and say…
Sweet are the used of adversity;
Which like the toad, ugly and venomous,
Wears yet a precious jewel in his head;
And this our life, exempt from public haunt,
Finds tongues in trees, books in the running brooks,
Sermons in stones, and good in everything.
I would not change it.
(As You Like It, 2.2.1–18)

J.B. Vusani, page 266

The third prisoner to sign within the text of As You Like It was J. B. Vusani.

Vusani selected Jacques’s famous account of the seven ages of man, in which the phases of life are enumerated: infant, school-boy, lover, soldier, justice, aged, and extreme old age.

JAQUES: All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms.
Then the whining schoolboy with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon
With spectacles on nose and pouch on side,
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
(As You Like It, 2.7.139–136)

To which phase of life might Vusani have related most? Perhaps the lover or the soldier, but also, perhaps, the second childhood of old age, where Jacques remarks on old age’s dependency and “oblivion; sans teeth, sans eyes, sans taste, sans everything.” (2.7.165–6) Though Vusani was not in “second childhood” during his time at Robben Island, conditions at the prison were miserable, easily comparable to “oblivion” and a life “sans everything.”

Tweflth Night

Govan Mbeki, page 349

Govan Mbeki rivaled Nelson Mandela for the position of leader on Robben Island, and he maintained a radical communist position. He was sentenced to life imprisonment after the Rivonia Trial, and served 24 years there. After his release, he served on the South African Senate from 1994-97. He is the father of former South African president Thabo Mbeki.

For a radical and active political figure, Mbeki chose what seems a surprisingly light-hearted passage. His signature appears on the opening page of Twefth Night. Although it is not clear whether there is a specific passage on the page that appealed to Mbeki, by far the most well-known passage is Orsino’s opening monologue on love, music, and desire:

"If music be the food of love, play on." (Twelfth Night, 1.1.1)

Wilton Mkwayi, page 361

Wilton Mkwayi, like so many others at Robben Island, was a member of Umkhonto we Sizwe (MK), the armed wing of the ANC. He was charged with treason in 1956, and sentenced to life in prison in 1964. He was released in 1989 and died in 2004.

Mkwayi’s is the second signed passage in Twelfth Night. He included his name in Venkatrathnam’s Shakespeare by a passage in which Malvolio responds eagerly to what he supposed to be Olivia’s invitation and encouragement:

"If this fall into thy hand, revolve. In my stars I am above thee, but be not afraid of greatness. Some are born great, some achieve greatness, and some have greatness thrust upon ’em."
(Twelfth Night, 2.5.132–4)

In the play, these lines are a jab at an ambitious fool, but taken on their own, could be a serious meditation on the nature of resolve and leadership. In the context of Mkwayi’s personal situation in prison, perhaps they spoke to him of thwarted longing, something he surely felt as he was imprisoned just before he was set to be married to his fiancé.

Richard II

Mac Maharaj, page 454

Mac Maharaj, one of the most celebrated of the Robben Island prisoners, was a close confidant of Nelson Mandela, and continues to be involved in the government of South Africa where he serves as spokesperson for President Jacob Zuma.

Maharaj signed his name by the final words of the dying Gaunt:

"Where words are scarce, they are seldom spent in vain;
For they breathe truth that breathe their words in pain."
(Richard II, 2.1.7–8)

In the context of life at Robben Island, these lines could resonate for any number of reasons. In one way similar to Duke Senior’s speech in As You Like It by which Mobbs Gqirana signed his name, these lines reflect the resolve of moral character through suffering. Yet it is hard to ignore the suggestion of truth achieved through torture, although accounts of torture have been suppressed or avoided.

Joe Gqabi, page 457

Joe Gqabi was a member of the ANC, who, like many of the prisoners who signed this book, also joined Umkhonto we Sizwe. He was arrested in the 1960s and charged under the Sabotage Act and served his 10 year sentence at Robben Island. He was a chief defendant in the 1977 Pretoria trial, and was acquitted. He was killed outside his home in Zimbabwe in July 1981 by an Apartheid hit-squad.

Gqabi selected a spare three lines from Richard II that register a tension between hope and despair – which one images was a prevalent experience amongst long-term prisoners.

NORTHUMBERLAND: …even through the hollow eyes of death
I spy life peering; but I dare not say
How near the tidings of our comfort is.
(Richard II, 2.1.271–3)

Henry V

Sibusiso Bengu, page 555

There are two signatures in Henry V, one by Sibusiso Bengu and the other by Ahmed Kathrada. Bengu became Minister of Education in Mandela’s first cabinet, after his release from prison.

Bengu’s selection is odd in that it is unfamiliar—a passage almost always cut in performance. In this speech of political rhetoric, the Archbishop of Canterbury discussed Henry’s right to go to war against France. Although Bengu did not date his signature as many others did, there are no signatures before 1975 or after 1977, so it is likely that he read the passage after the arrival of a group of new revolutionaries, most of whom were members of the Black Consciousness Movement, and many of whom displayed contempt for the older, “meeker” prisoners who had been at Robben Island for some 15 years. In Henry V, the Archbishop’s speech emphasizes order and obedience, and could well have been selected because it reflected on the problem of maintaining unity in the face of the new, disruptive revolutionaries.

ARCHBISHOP OF CANTERBURY: ... Setting endeavor in continual motion,
To which is fixèd as an aim or butt
Obedience; for so work the honeybees,
Creatures that by a rule in nature teach
The act of order to a peopled kingdom.
They have a king and officers of sorts,
Where some like magistrates correct at home,
Others like merchants venture trade abroad,
Others like soldiers armèd in their stings
Make boot upon the summer’s velvet buds,
Which pillage they with merry march bring home
To the tent royal of their emperor,
Who, busied in his majesty, surveys
The singing masons building roofs of gold,
The civil citizens kneading up the honey,
The poor mechanic porters crowding in
Their heavy burdens at his narrow gate,
The sad-eyed justice with his surly hum
Delivering o’er to executors pale
The lazy yawning drone. I this infer:
That many things, having full reference
To one consent, may work contrariously,
As many arrows loosèd several ways
Come to one mark, as many ways meet in one town,
As many fresh streams meet in one salt sea,
As many lines close in the dial’s center,
So may a thousand actions, once afoot,
End in one purpose and be all well borne
Without defeat.
(Henry V, 1.2.185–213)

Ahmed Kathrada, page 563

Ahmed Kathrada was one of the activists charged with sabotage during the 1963 Rivonia Trial. He was imprisoned on Robben Island for 18 years, and while there completed correspondence degrees through the University of South Africa. After his release in 1989, Kathrada was part of the ANC’s Executive Committee and Head of Public Relations. In 1994, he was elected a member of parliament and became President Mandela’s Parliamentary Counsellor.

The open lines of Kathrada’s selection are some of the most familiar lines of Shakespeare:

"Once more unto the breach, dear friends, once more,…" (Henry V, 3.1.1)

The speech—as it loses its familiarity for most of us—goes on to be an appeal to English nationalism, and speaks to a mutuality and pulling together for a common cause.

Interestingly, Kathrada filled seven prison notebooks with quotations from Shakespeare, so there was much in Shakespeare’s work that he was moved by. The speech he signed by at Venkatrathnam’s invitation is uncharacteristic of him as a person, judging from his letters, memoirs, and testimony. The signed passage, then, seems to have been more a public than a personal choice, bespeaking solidarity in imprisonment and in cause, while his more personal, favorite moments in Shakespeare were reserved for himself or letters home to family.

Julius Caesar

Nelson Mandela, page 980

The most famous of Robben Island’s political prisoners is Nelson Mandela, a founding member of the ANC’s Youth League and co-founder of Umkhonto we Sizwe (MK). He was arrested in 1962 and sentenced to life imprisonment in 1964. Incarcerated for twenty-seven years (first in Robben Island, then at Pollsmoor Prison), he was released in 1990. He served as ANC President from 1991 to 1997 and as President of South Africa from 1994 to 1999. In 1993, he was awarded the Nobel Peace Prize.

Mandela’s signature in Venkatrathnam’s Shakespeare is penned next to this speech:

CAESAR: Cowards die many times before their deaths:
The valiant never taste of death but once.
Of all the wonders that I yet have heard,
It seems to me most strange that men should fear,
Seeing that death, a necessary end,
Will come when it will come.
(Julius Caesar, 2.2.32–7)

Mandela has shown an affinity for quoting Shakespeare—in political speeches, and in his autobiography—and tended to select a passage reflecting resolution in the face of death. For him to sign his name by Julius Caesar’s stoic declaration, then, is not so surprising. The larger irony of this selection lies in its context as the speech of a would-be tyrant. The stoic sentiment, out of context, may have spoken to the condition of his life as a revolutionary leader, but Mandela—so unlike Caesar—was ready to die because of the fullness of his life, and his dedication to a just, fulfilled existence for all people.

Andrew Masondo, page 985

Andrew Masondo also chose a passage from Julius Caesar, but his selection registers a much more personal affinity with a character trapped in the muddy waters of political compromise. In the speech, Mark Antony grieves and delivers an elegy and prophecy over Caesar’s body.

ANTONY: O pardon me, thou bleeding piece of earth,
That I am meek and gentle with these butchers.
Thou art the ruins of the noblest man
That ever livèd in the tide of times.
Woe to the hand that shed this costly blood!
Over thy wounds now do I prophesy
(Which like dumb mouths do ope their ruby lips
To beg the voice and utterance of my tongue)
A curse shall light upon the limbs of men;
Domestic fury and fierce civil strife
Shall cumber all the parts of Italy;
Blood and destruction shall be so in use
And dreadful objects so familiar
That mothers shall but smile when they behold
Their infants quartered with the hands of war,
All pity choked with custom of fell deeds;
And Caesar’s spirit, ranging for revenge,
With Ate by his side come hot from hell,
Shall in these confines with a monarch’s voice
Cry “Havoc!” and let slip the dogs of war,
That this foul deed shall smell above the earth
With carrion men groaning for burial.
(Julius Caesar, 3.1.254–276)

In the context of the play, it seems a curious selection for a revolutionary whose aim was to overthrow a tyrannical regime. But, as a stand-alone speech with a call to war and overtones of revenge, it is perhaps appropriate for Masondo – a soldier who joined MK in the early 1960s and was later in charge of the ANC’s own internment camps in Angola.

Liloo Chiba, page 993

A third prisoner, Liloo Chiba, selected a passage from Julius Caesar as well. Chiba’s selection is Brutus’s conviction that action must be timely and tactical:

BRUTUS: There is a tide in the affairs of men
Which, taken at the flood, leads on to fortune;
Omitted, all the voyage of their life
Is bound in shallows and in miseries.
On such a full sea are we now afloat,
And we must take the current when it serves
Or lose our ventures.
(Julius Caesar, 4.3.216–22)

Again, there is a tension between the speech in and out of context, and one can’t be sure of the date Chiba signed the book—but, if it was in December 1977, like those of Mandela and Kathrada, it would make sense as a reference to a moment needing to be grasped. As am aphorism, Brutus’s speech is one of timeless wisdom, but in the context of the play, it is beset by the irony that Brutus dismisses Cassius’s considered judgment and the outcome is disastrous.

Macbeth

Andrew Mlengeni, page 1005

The playwright Matthew Hahn interviewed many of the prisoners who signed the Robben Island Shakespeare for his play, Robben Island Bible, based on the story of the book. The interviews are striking because some of the former prisoners have no recollection of signing the book, no any idea why they may have signed the passage they did. ANC member and Rivonia Trialist Andrew Mlengeni is one such prisoner.

His name appears under a passage in Macbeth (Act 1, Scene 7, Lines 62–67), but in his interview he claims, "I don’t know the reason for me for choosing that quotation. But the one that I do slightly … the one quotation that I always liked was the one that says ‘uneasy lies the head that wears the crown.'" This quote though is in Henry IV, Part 2.

Eddie Daniels, page 1024

Eddie Daniels also signed his name within the text of Macbeth. Although Daniels left Robben Island with two university degrees earned in correspondence with the University of South Africa, he came to the prison illiterate. He learned of Shakespeare in prison, and played the role of Marc Antony in Julius Caesar. He signed his name by the passage in which Macbeth reflects upon the death of his wife:

MACBETH: Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death! Out, out, brief candle!
Life’s but a walking shadow.
(Macbeth, 5.4.19–24)

Unlike his fellow prisoner Mlengeni, Daniels claims that he would choose this passage again, that his enchantment with the speech persists and that he finds resonance in Shakespeare's concern for (as he put it) "the insignificance of man."

Hamlet

Michael Dingake, page 1034

The first of three signatures in Hamlet is that of Michael Dingake, another political activist who spent 15 years on Robben Island for his involvement with the ANC.

Dingake selected Polonius’s advice to his son Laertes:

POLONIUS: The wind sits in the shoulder of your sail,
And you are stayed for. There, my blessing with thee!
And these few precepts in thy memory
Look thou character....
Be thou familiar, but by no means vulgar.
Those friends thou hast, and their adoption tried,
Grapple them unto thy soul with hoops of steel...
Give every man thy ear, but few thy voice.
Take each man’s censure, but reserve thy judgment...
Neither a borrower nor a lender be...
This above all—to thine own self be true...
And it must follow, as the night the day,
Thou canst not then be false to any man.
Farewell. My blessing season this in thee.
(Hamlet, 1.3.56–81)

Like many other passages, this selection as an aphorism, or taken out of context, is but practical advice given from father to son, and contains some of the more familiar and repeated lines of Shakespeare. Dingake, a strikingly informed and intelligent commentator on his situation, was unlikely to have missed the nuance of Shakespeare’s placing this sage advice from father to son within the context of entrapment and mistrust. This passage, instead, was likely to have been a familiar or a favorite, or cherry-picked for the folk wisdom contained in this isolated bit of text.

Saths Cooper, page 1035

In his explanation of his choice from Hamlet, Saths Cooper reflected on the “Falling off” of the values of the struggle against Apartheid in the “new” South Africa.

In the speech, Hamlet reflects on the nature of custom and the drinking habits of his uncle:

HAMLET: This heavy-headed revel east and west
Makes us traduc’d and tax’d of other nations;
They clepe us drunkards, and with swinish phrase
Soil our addition; and, indeed, it takes
From our achievements, though perform’d at height,
The pith and marrow of our attribute.
So, oft it chances in particular men
That, for some vicious mole of nature in them,
As in their birth, wherein they are not guilty,
Since nature cannot choose his origin;
By the o’ergrowth of some complexion,
Oft breaking down the pales and forts of reason;
Or by some habit that too much o’erleavens
The form of plausive manners—that these men,
Carrying, I say, the stamp of one defect,
Being nature’s livery or fortune’s star,
His virtues else be they as pure as grace,
As infinite as man may undergo,
Shall in the general censure take corruption
From that particular fault. The dram of eale
Doth all the nobel substance of a doubt
To his own scandal.
(Hamlet, 1.3.17–38)

Cooper notes that he was attracted to this speech in part because so many of the famous speeches had already been chosen by his fellow prisoners, and in part because he wanted to avoid the obvious choice. Most of all, however, it appealed to him because it seemed to him that on Robben Island, in the midst of struggle, "the hardships, the frailties, the sheer dehumanization that you had to confront … brought out often the worst in us than the best."†


† From interview with playwright Matthew Hahn, February 5, 2008.

Strini Moodley, page 104

Founding member of South Africa’s Black Consciousness Movement, Strinivasa “Strini” Moodley was convicted of terrorism and imprisoned on Robben Island in 1976.

Moodley also selected a passage from Hamlet, although his choice is a more familiar passage than Cooper’s:

HAMLET: What a piece of work is man! how noble in reason!
how infinite in faculty! in form and moving, how
express and admirable! in action, how like an angel!
in apprehension, how like a god! the beauty of the
world! the paragon of animals! And yet, to me,
what is this quintessence of dust? Man delights not me.
(Hamlet, 2.2.305–7)

In this passage, Hamlet is alienated from his home country, estranged from his own language, and the very concept of the human is brought into question. Robben Island, it seems fair to say, highlighted this sort of meditation on the essential nature of man.

King Lear

Frank Anthony, page 1074 & Justice Mpanza & M. Essop, page 1113

Frank Anthony is one of three prisoners who marked pages in King Lear. David Schalkwyck writes that “Of all Shakespeare’s works [Lear] combines a representation of particular political forms of dispossession and concomitant suffering within a concrete grasp of the metaphysics of human need that resonate especially well with the struggle against political oppression and the absolute reduction—like Lear and Poor Tom on the heath—of the body and mind to their barest forms of existence. In the play, as on Robben Island, the specificity of the political is intertwined with the irreducible needs of the human.” †

Anthony appears to have marked the entire opening passage.

Both Justice Mpanza and Mohamed Essop chose Edgar’s closing declaration:

"The weight of this sad time we must obey;
Speak what we feel, now what we ought to say."
(Hamlet, 5.3.323–6)


†Hamlet’s Dreams, p. 61

Antony and Cleopatra

T. Dawetti, Antony and Cleopatra, page 1196

Antony and Cleopatra is the only Roman play, aside from the popular Julius Casear, to be marked by a prisoner. Thompson Dawetti’s signature comes at the very end of the play—it is unclear whether it marks, then, the entirety of the play, or just these final lines:

CAESAR: She shall be buried by her Antony;
No grave upon the earth shall clip in it a pair so famous.
High events as these
Strike those that them; and their story is
No less in pity than his glory which
Brought them to be lamented."
(Antony and Cleopatra, 5.2.355–60)

The significance to Dawetti of the play, or of its final lines, is not known.

Shakespeare's sonnets

J. Nzuza, page 1312 & Don Davis, page 1313

Six Robben Island prisoners made their signatures in the back of the Collected Works, by Shakespeare’s sonnets. J. Nzuza and Don Davies selected sonnets 25 and 30, respectively, both of which are poems celebrating the constancy of friendship:

Sonnet #25

Let those who are in favour with their stars
Of public honour and proud titles boast,
Whilst I, whome fortune of such triumph bars,
Unlook’d for joy in that I honour most.
Great princes’ favourites their fair leaves spread
But as the marigold at the sun’s eye;
And in themselves their pride lies buried,
For at a frown they in their glory die,
The painful warrior famoused for fight,
After a thousand victories once foil’d,
Is from the book of honour razed quite,
And all the rest forgot for which he toil’d.
Then happy I, that love and am beloved
Where I may not remove nor be removed.

Sonnet #30

When to the sessions of sweet silent thought
I summon up rememberance of things past,
I sigh the lack of many a thing I soughts,
And with old woes new wail my dear time’s waste.
Then can I drown an eye, unus’d to flow,
For precious friends hid in death’s dateless night,
And weep afresh love’s long since cancell’d woe,
And moan th’ espense of many a vanish’d sight.
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o’er
The sad account of fore-bemoaned moan,
Which I new pay as if not paide before.
But if the while I think on thee, dear friend,
All losses are restor’d, and sorrows end.

Neville Alexander, page 1318–19

Neville Alexander spent 10 years on Robben Island, from 1964–74, following his conviction for conspiracy to commit sabotage. Highly educated, Alexander had been studying and teaching in Germany prior to his return to South Africa following the Sharpeville massacre.

In Venkatrathnam’s book, Dr. Alexander marked Sonnets 60 and 65, both poems that meditate on mortality and the relentless passing of time—a subject sure to be on the mind of any prisoner:

Sonnet #60

Like as the waves makes towards the pebbled shore,
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
Nativity, once in the main of light,
Crawls to maturity, wherewith being crown’d,
Crooked eclipses ‘gainst his glory fight,
And Time that gave doth now his gift confound.
Time doth transfix the flourish set on youth,
And delves the parallels in beauty’s brow,
Feeds on the rarities of nature’s truth,
And nothing stands but for his scythe to mow.
And yet to times in hope my verse shall stand,
Praising thy worth, despite his cruel hand.

Sonnet #65

Since brass, nor stone, nor earth, nor boundless sea,
But sad mortality o’ersways their power,
How with this rage shall beauty hold a plea,
Whose action is no stronger than a flower?
O, how shall summer’s honey breath hold out
Against the wreckful siege of batt’ring days,
When rocks impregnable are not so stout,
Nor gates of steel so strong, but Time decays?
O fearful meditation! Where, alack,
Shall Time’s best jewel from Time’s chest lie hid?
Or what strong hand can hold his swift food back?
Or who his spoil of beauty can forbid?
O, none, unless this miracle have might,
That in black ink my love may still shine bright.

T. Cholo, page 1329

Prisoner Theo Cholo also marked a sonnet—his selection was Sonnet 123, a commentary on memory and a defiance of time and its transformations in the context of close relationships. Themes of friendship, love, and time are overarching themes in many of Shakespeare’s sonnets.

Sonnet #123

No, Time, thou shalt not boast that I do change.
Thy pyramids built up with newer might
To me are nothing novel, nothing strange;
They are but dressings of a former sight.
Our dates are brief, and therefore we admire
What thou dost foist upon us that is old,
And rather make them born to our desire
Than think that we before have heard them told.
Thy registers and thee I both defy,
Not wond’ring at the present nor the past,
For thy records and what we see doth lie,
Made more or less by thy continual haste.
This I do vow, and this shall ever be:
I will be true, despite they scythe and thee.

R. Mhlaba, page 1332

The final prisoner to leave his mark among Shakespeare’s sonnets was Raymond Mhlaba, ANC member and Rivonia Trialist. He liked Sonnet 140, a “dark lady” sonnet that deals with love, and which would seem to have little to do with his time as a Robben Island prisoner.

Sonnet #140

Be wise as though art cruel; do not press
My tongue-tied patience with too much disdain
Lest sorrow lend me words, and words express
The manner of my pity-wanting pain.
If I might teach thee wit, better it were,
Though not to love, yet, love, to tell me so;
As testy sick men, when their deaths be near,
No news but health from their physicians know.
For, if I should despair, I should grow mad,
And in my madness might speak ill of thee.
Now this ill-wresting world is grown so bad
Mad slanderers by mad ears believed be.
That I may not be so, nor thou belied,
Bear thine eyes straight, though thy proud heart go wide.

Supplemental materials

Audio

Rebecca Sheir, host of the Folger's Shakespeare Unlimited series, talks with David Schalkwyk, also a South African, about what Shakespeare might have meant to the men who signed the Robben Island Shakespeare.

In the News

Mandela's 'Robben Island Shakespeare' on Display in D.C., by Bobbi Booker, August 22, 2013 for The Philadelphia Tribune.

Shakespeare Inspired Robben Island Inmates, Including Mandala, by Suzanne Presto for Voice of America.

Shakespeare Writings Inspired South African Prisoners: Sketches by Nelson Mandela included in exhibit at Folger, by Margaret Summers, July 2, 2013 for The Washington Informer.

Related programs

Folger Theatre