"Symbiosis or Death": - Rhodes University

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basis for a truly unified philosophy of science and nature,’ to borrow John Poynton’s
(1985) felicitous phrase” (105).
In an epigraph to section III of this paper, Livingstone quotes Andrew Greeley:
“Man is inextricably enmeshed in the universe. It is the beginning of wisdom to
understand this fact; it is the beginning of mysticism to enjoy it” (104). The final
paragraph contains the well-known Einstein quotation: “The most beautiful emotion we
can experience is the mystical. It is the source of all true art and science” (106).
Livingstone was a scientist before he was a mystic, but his belief in a Creative Principle
and in humanity’s “psychic element” (LZ 62) shows that he did not discount the mystical
knowledge which is inaccessible to the intellect.
Livingstone concludes “Science and Truth” with the statement that the pursuit of
truth is necessary even though it is unattainable and likens the pursuit of “definitive proof
of the truth” to trying to ‘prove’ the existence of God (or a Creative Principle) (1986:
106). In his final paragraph he allows the poet as well as the scientist to speak:
“Einstein’s observation… affords not only comfort but enjoyment while the day to day
proper business of science ensues” (ibid.)
Douglas Livingstone’s poetry and the South African tradition
This section has been difficult to write because there is no definitive English South
African literary tradition. Firstly, it is not old enough (200 years does not make a tradition
particularly when compared with the six-century old English canon) and, secondly, the
disparate voices and cultures within South African English literature preclude a single
tradition. Further, with regard to poetry written in English, it took a century for South
African poets to find a voice and a path (Butler xxiv and xxvi). The difficulty is
compounded because Livingstone’s voice is unique and does not fit into either of the two
broad themes found in South African English poetry – a romanticisation of the African
landscape and protest or resistance poetry which is overtly political. Only white writing
(to borrow J.M. Coetzee’s phrase) informs the first theme whereas protest or resistance
poetry has been written by both black and white poets. Both themes have as their basis
the effects of European colonisation of Africa. Livingstone sidesteps the preoccupation
with ownership of the land and instead writes from a broader perspective where Africa is
a trope for nature as a life-support system. His concern is more the abused Earth and the