SM Mofokeng’s dramatic text Senkatana (1982) is a classic Sesotho tragedy. The drama has been adapted from the well-known Basotho folktale Moshanyana wa Senkatana. There are also certain authors that inspired Mofokeng to create Senkatana. Intertextuality has played an important role in creating Mofokeng’s masterpiece. The protagonist is Senkatana, whose fall is caused by his own good intentions. Audiences and readers develop pity and horror for Senkatana for the situation in which he finds himself. No one can help him emerge from his circumstances, nothing can help him choose the safe way as opposed to the tragic one. Senkatana, the tragic hero, does not make decisions independently, because badimo, the ancestors and God, control his destiny, and he cannot fight badimo and God. The central argument in this article is that Mofokeng’s dramatic text attains meaning from other texts and authors. Senkatana’s meaning appears to be content-bound, but when readers look at its content, it is boundless because it refers to other previous texts. For the purpose of this article, the theory of intertextuality will serve as the point of departure to investigate the manner in which folktale, Greek tragedy, Shakespeare and the Bible generate meaning in the act of Mofokeng’s writing of Senkatana.

SM Mofokeng 的戏剧文本Senkatana (1982) 是一部经典的塞索托悲剧。该剧改编自著名的巴索托民间故事《Moshanyana wa Senkatana》。也有某些作者启发了 Mofokeng 创建Senkatana。互文性对墨佛坑这部杰作的创作起到了重要作用。主人公是仙刀，他的堕落是出于自己的好意。观众和读者对 Senkatana 所处的境遇感到同情和恐惧。没有人可以帮助他摆脱困境，没有什么可以帮助他选择安全的方式而不是悲惨的方式。Senkatana，悲剧英雄，不独立做决定，因为badimo，祖宗和上帝，掌握着他的命运，他不能与巴底魔和上帝对抗。本文的中心论点是，莫佛坑的戏剧文本从其他文本和作者那里获得了意义。Senkatana的意思似乎是有内容的，但当读者看它的内容时，它是无限的，因为它引用了其他先前的文本。就本文而言，互文性理论将作为出发点，考察民间故事、希腊悲剧、莎士比亚和圣经在莫佛肯写《战神》的过程中产生意义的方式。