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