First day after the war – Mazisi Kunene CONTEXTUAL INFORMATION IMAGERY Mazisi Kunene was born in South Africa, in 1938. He studied in South Africa METAPHOR – the metaphor of a wedding, the union of two people is and in the United Kingdom, and worked as an academic in the United States indicative of the union of the many racial groups in South Africa after of America before returning to South Africa. His best known work is the 1992. The metaphor is further enhanced by the creation of a new poem, ‘Emperor Shaka the Great’, which was originally written in isiZulu and society, which is highlighted by the image of a ‘wedding’. The translated into English. He died in 2006. metaphors also reflect the African tradition of storytelling and how richly metaphorical African languages are. Mazisi Kunene wrote much of his poetry in South Africa, in the time of • Other Examples are: apartheid, a period in which black people were discriminated against and • ‘soft light’ – hope, expectation and optimism oppressed. His poem describes the joy that people felt at the ending of this • ‘young blades of grass’ – the born-free generation who could grow system of government. up in a unified South Africa • ‘mountains’ and ‘pathways’ – the limitations and obstacles of This is a celebratory poem and focuses on celebrating the freedom that Apartheid could now be overcome and one could walk freely comes to a people after oppression. • ‘Ancestors travelling tall’ – the ancestors are proud of their sacrifices and subsequent achievement of freedom The war is the struggle for freedom of those who were oppressed . PERSONIFICATION - ‘we saw her footprints’ – freedom is portrayed as a woman The poem focuses on the celebrations that occur amongst the victorious ALLITERATION - The alliteration of ‘first fruits’ (line 13) alerts the immediately after apartheid. reader to the significance of the moment, while the use of this device in the final line lends the ‘Ancestors’ renewed stature as they are The wedding is a celebration of a new unit in society that is formed by the ‘travelling tall’ (line 18) in response to the event. joining together of two individuals. It is a new beginning. (line 18) ‘travelling tall’ ► creates rhythm and liveliness which is a reminder of the importance of the ancestors. The metaphorical wedding is the creation of a new society brought about by Onomatopoeia - ‘ululating’ conveys the sound of the people’s the struggle. spontaneity and expression of ecstasy and elation. The word is associated with traditional forms of African celebration. STRUCTURE THEMES • Written in FREE VERSE – as if to reflect the theme of freedom of ➢ The poem carries a message of renewal and hope to the people expression with the advent of the new South Africa who suffered and struggled during apartheid and announces a new • The use of ENJAMBMENT creates the sense of a narrative being told and beginning, joy and peace that it will bring. the natural flow between lines it creates is almost representative of the ➢ The poem is a celebration of the end of apartheid and of new unity in the country. beginnings. • The dialogue in the poem is reflective of the African tradition of ➢ In the last line of the poem there is a reference to the ancestors, storytelling. who symbolise the past and the roots of the community. • The poem in mirroring a story has a slow beginning, building up to a ➢ ‘We saw our ancestors travelling tall on the horizon’ suggests that climax and ending with a concluding message. people should take their direction from the past and build something new. TONE/MOOD DICTION Tone: Upbeat ‘Remember’ is the one word that summarizes the poem’s major theme Mood: excitement and jubilation – remembrance. This word reflects the speaker’s obsession of being The tone is initially one of disbelief that oppression has come to an end, then remembered by her loved one after her passing. Read in an imperative restrained joy, followed by ecstatic jubilance and pride. tone it is as if she commands not to be forgotten. However in line 10 It can also be described as celebratory, enthusiastic and excited. ‘remember’ becomes a metaphor asking to be kept alive in memory only. ANALYSIS Then without waiting we ran to the open space We heard the songs of a wedding party. Ululating to the mountains and the pathways We saw a soft light Calling people from all the circles of the earth. Coiling round the young blades of grass. We shook up the old man demanding a festival At first we hesitated, then we saw her footprints, We asked for all the first fruits of the season. • The use of “we” to ensure inclusion of the reader in the action and • The response to the news that the war is over and peace and ideals expressed in the poem. freedom have been obtained. • A celebration taking place and the sound of jubilation heard reflects • Onomotopoeia = ‘Ululating’ an unrestrained celebration the poems celebratory tone • Synechdoche = ‘the old man’ – the cynics, those who had accepted oppression Her face emerged, then her eyes of freedom! • Shook up – woke up/ disturbed She woke up with a smile saying, “What day is this that comes suddenly?” We held hands with a stranger We said, “It is the first day after the war.” We shouted across the waterfalls People came from all lands • Gradual unveiling of “the bride”. Footprints, face, eyes. Ties in with It was the first day of peace. the gradual emergence of freedom, took time to achieve. We saw our Ancestors travelling tall on the horizon. • The poet identifies the “we” as those who have been involved in the struggle. • All the world is present, those involved and those who are • Archaic syntax, highlights the formality associated with traditional unknown, “a stranger” - Symbolic of unity literature and African storytelling technique. • New beginnings, feelings of expectation and excitement • The “Ancestors” are present and by being present show their acceptance and support of the events that have taken place and the celebrations being held. In African culture the ancestors are always consulted about major issues, especially the future, thus they still have a role to play even though they are passed on. .