Shakespeare's Sonnet 130 PDF

ENGLISH HOME LANGUAGE ~ REVISED 2024 NO POEM POET 1 Sonnet 130 William Shakespeare 2 The child who was shot dead by soldiers in Nyanga Ingrid Jonker 3 At a Funeral...

ENGLISH HOME LANGUAGE ~ REVISED 2024 NO POEM POET 1 Sonnet 130 William Shakespeare 2 The child who was shot dead by soldiers in Nyanga Ingrid Jonker 3 At a Funeral Dennis Brutus 4 Poem of Return Jofre Rocha 5 Talk to the Peach Tree Sipho Sepamla 6 Prayer to Masks Léopold Sédar Senghor 7 This Winter Coming Karen Press 8 Solitude Ella Wheeler Wilcox 9 The Morning Sun is Shining Olive Schreiner 10 It is a beauteous evening, calm and free William Wordsworth 11 Fern Hill Dylan Thomas 12 The Shipwreck Emily Dickinson ~1~  SONNET 130 – WILLIAM SHAKESPEARE 1 My mistress’ eyes are nothing like the sun; 2 Coral is far more red, than her lips red: 3 If snow be white, why then her breasts are dun; 4 If hairs be wires, black wires grow on her head. 5 I have seen roses damasked, red and white, 6 But no such roses see I in her cheeks; 7 And in some perfumes is there more delight 8 Than in the breath that from my mistress reeks. 9 I love to hear her speak, yet well I know 10 That music hath a far more pleasing sound: 11 I grant I never saw a goddess go, 12 My mistress, when she walks, treads on the ground: 13 And yet by heaven, I think my love as rare, 14 As any she belied with false compare. BACKGROUND This is sonnet number 130 in a series of 154 sonnets. It parodies the famous (and often over-the-top) Petrarchan sonnets in which poets described their partners in highly exaggerated and unrealistic ways. Although this poem contains similar themes as found in traditional sonnets (Female Beauty, Love and Admiration), Shakespeare does not idealise his beloved. He describes her in ways which are realistic and, therefore, more accurate and ‘real’. This is a Shakespearean or Elizabethan sonnet. It consists of three quatrains (4 lines each) and a rhyming couplet (2 lines). The rhyming couplet serves as a final argument to drive home the speaker’s point. There is a lot of hyperbole in the poem: all of the comparisons are exaggerated to emphasise the absurdity of Petrarchan ideals. SUMMARY Shakespeare uses eight ‘anti-compliments’ (negative comparisons) to describe the uniqueness and beauty of his beloved. However, in the couplet he states that BECAUSE she is normal and ‘real’, he does not need to exaggerate her looks or his love for her. He loves her just the way she is – perfect in her imperfection. In other words, she is perfect to HIM – he does not need an idealised and superficial woman. Shakespeare is making fun of the cliches of love poetry that exaggerated and idealised comparisons to describe a woman’s beauty. These comparisons are insincere and unrealistic. They do not show true love. Although he seems critical and rather rude in the first 12 lines, the reader realises that he is, in fact, sincere in his love for her. He does not need exaggerated and unrealistic comparisons to declare his genuine love for her. In being so brutally honest, he has ironically given her a heightened beauty, simply because he does not dote on her outward appearance. FORM/STRUCTURE This is a Shakespearean or Elizabethan sonnet. It consists of three quatrains (4 lines each) and a rhyming couplet (2 lines). The rhyme scheme is consistent with this format: abab cdcd efef gg. The couplet serves as a final argument to drive home the speaker’s point. The rhythm of the point is consistent, too, and follows traditional iambic pentameter. There are 10 syllables in each line. LINE 1 My mistress’ eyes are nothing like the sun; Mistress – this was a more general reference meaning "my love" or "my darling", and not as would use the term today. When we use the word "mistress," it's usually to refer to a woman who is dating a married man. In this simile, the mistress’ eyes are being compared to the sun. When Shakespeare was writing this sonnet it was common to compare a lover's eyes to the sun and sunlight. The sun creates the image of something bright and shiny. Shakespeare completely negates this, using the phrase 'nothing like' to emphasise the fact that this female's eyes are not bright. The simile indicates that the woman’s eyes are just plain and ordinary or nothing special. ~2~ LINE 2 Coral is far more red, than her lips red: Coral – a hard stony substance, typically forming large reefs in warm seas. Known for its bright red or pink colour. This was the perfect colour for the perfect female. Her lips are not as red as coral; there is nothing special about the colour of her lips. She has ordinary lips. The speaker is questioning the obsession with physical beauty and criticizing poets who focus only on their lover's appearance rather than their inner qualities. LINE 3 If snow be white, why then her breasts are dun; Dun – a dull, greyish-brown colour At that time, it was a huge compliment to have your skin compared to snow. His mistress has a dull complexion. “Dun” is a word often used to describe the colour of a horse, and not something a woman would be thrilled to hear about. It makes her sound ugly. This comparison is a reflection of the beauty standards of the time, where pale white skin was considered desirable, land it was a sign of wealth and leisure. LINE 4 If hairs be wires, black wires grow on her head. Ornamental headgear for females during Shakespeare’s time often contained gold wires. It was quite normal to compare blonde hair with the gold wires in that headgear. Blonde hair was fashionable then. The mistress, however, has black and not blonde hair. This metaphor compares her hair to black wires. It is not soft and flowing, but hard and spiky. She has frizzy black hair. The W-alliteration emphasises that she is not perfect. The main reason of this poem is to challenge the traditional way used to describe women in poetry. Therefore, it's not necessarily bad that she has black frizzy/curly hair. This emphasises that she is not beautiful in the conventional manner. LINES 5-6 I have seen roses damasked, red and white, But no such roses see I in her cheeks; Damasked – a pattern of mixed colours. A woman’s beauty and complexion were usually compared to roses. He has seen beautiful roses that are a mixture of red and white, but his mistress’s cheeks don’t remind him of them at all. He sees no such colour in his mistress’s cheeks: Her cheeks are pale. This emphasises that his mistress is not the perfect female model, she is just an ordinary person. LINES 7-8 And in some perfumes is there more delight Than in the breath that from my mistress reeks. reeks – a very strong, unpleasant smell In the conventional love poem, the poet would say her breath was like perfume. The speaker says that some perfumes are far more fragrant than the smell of her breath. This is deliberately shocking and offensive, to emphasise that she is just an ordinary person, she is human. Her breath has the natural smell. This idea of her being an ordinary person, and not a goddess, is further explained in lines 11-12 LINES 9-10 I love to hear her speak, yet well I know That music hath a far more pleasing sound: In lines 9 and 10, the speaker makes the first positive comment about his mistress. Comments. He starts by giving her a genuine compliment, expressing his love for listening to her talk. However, he undermines this complement by acknowledging that music sounds better than her voice. This shows the speaker does not use exaggerated compliments, he is honest in expressing his love and admiration. He admits that he enjoys hearing her speak, but the sound of music is better than the sound of her voice. He is not concerned about the sound of her voice. ~3~ LINES 11-12 I grant I never saw a goddess go, My mistress, when she walks, treads on the ground: Treads on the ground – she is not very graceful when she walks. It was part of the traditional love poem to declare (and believe) that the beloved was a “goddess” and had no human frailties or imperfections. He admits that he had never seen a goddess move. She is not a goddess that floats or glides when she walks. Treads on the ground – she is not very graceful when she walks. She is human, grounded, and not a type of imaginary “goddess” with unreal characteristics. She walks in an ordinary way, with her feet on the ground. She is a very real person who is just an average human being. He loves her despite the fact she does not meet the idealistic conventions of beauty in his society. By rejecting the comparison to a goddess, he normalises his beloved. LINES 13-14 And yet by heaven, I think my love as rare, As any she belied with false compare. And – introduces a change yet, by heaven – He denies that she possesses any heavenly qualities, yet he swears by heaven that his love is sincere. The speaker thinks that his mistress is as wonderful and unique ("rare") as any woman ("any she") who was ever misrepresented ("belied") by an exaggerated comparison ("false compare"). She is as beautiful as any woman who is praised with false comparisons. He wants to show that true love is not superficial and goes beyond physical beauty. The couplet drives home the speaker's main point, that unlike other people who write sonnets, he doesn't need flowery terms or fancy comparisons. He can just tell his mistress, plainly and simply, that he loves her for who she is. He embraces her flaws. He loves her just the way she is. The poet states that he loves his mistress and that he would be doing her an injustice by using hollow and meaningless phrases to describe her or his feelings about her. In this way, he highlights the meaningless perceptions of beauty and states that “beauty is in the eye of the beholder”, not something dictated by society. This is a genuine expression of love, unlike the false comparisons used in traditional love poems. THEMES Escape from Idealism – Shakespeare does not idealise his beloved. She in unlike the Petrarchan ideal – she is “real”, and he loves her despite her imperfections. He states clearly in the couplet that people who describe their partners with idealised comparisons, are liars. This emphasises the absurdity of Idealism. Femininity – This sonnet addresses the problem of stereotyping female beauty by setting unreachable standards for it. The fixed ‘definition’ of beauty is unrealistic and will make females inferior by not achieving the ideal standards of beauty. He questions real love – we should love our partners in spite of their imperfections. Beauty and love - In "Sonnet 130," the speaker contrasts his lover's physical appearance unfavourably to various beautiful things, such as the sun, snow, roses, and a goddess, implying that she is not as beautiful as those things. However, despite this, the speaker concludes that his love for her is genuine and valuable, and that she is still beautiful in her own unique way. Through this, Shakespeare implies that true love and beauty should not be measured by conventional comparisons, but rather should be appreciated for its authenticity and imperfections. The speaker expresses his love for his beloved. He describes his values of love. He states that real love is not based on outwards appearances and idealised looks. His love is based on connection and emotion, not the superficial. Real love doesn’t need false tributes, any woman can be beautiful. ~4~ TONE In the first 12 lines of the poem, the speaker uses an unflattering, almost-rude, tongue-in-cheek, mocking, satirical tone to describe his loved one. Then in lines 13-14 the tone changes to one of adoration/Sincerity/ Impassioned, showing the depth of his feelings for her; the exceptional love he has for her. MOOD The poet creates a playful, humorous, teasing mood throughout the poem. QUESTIONS 1. Explain how the structure and tone of this poem allows the poet to emphasise the central message. (3) 2. Are Shakespeare’s observations in the quatrains cynical or not? Explain your answer. (2) 3. Who is the speaker ridiculing in the poem? Why does he do this? (3) 4. Explain what is meant by: “My mistress, when she walks, treads on the ground.” (2) 5. Refer to line 12. Comment on the effect pace has on the meaning of the line. (3) 6. Show how the last line completes his argument. Refer, in particular, to the word “false”. (2) 7. Identify three sensory images in this poem and how they relate to the central theme. (3) 8. Identify the tone in lines 1-12 and how this contrasts with the tone in the last two lines. Is this an effective shift in tone? Justify your answer. (3) 9. Explain the use of “by heaven” in line 13. Why has this phrase been included? (2) ~5~  THE CHILD WHO WAS SHOT DEAD BY SOLDIERS AT NYANGA – INGRID JONKER 1 The child is not dead 2 the child raises his fists against his mother 3 who screams Africa screams the smell 4 of freedom and heather 5 in the locations of the heart under siege 6 The child raises his fists against his father 7 in the march of the generations 8 who scream Africa scream the smell 9 of justice and blood 10 in the streets of his armed pride 11 The child is not dead 12 neither at Langa nor at Nyanga 13 nor at Orlando nor at Sharpeville 14 nor at the police station in Philippi 15 where he lies with a bullet in his head 16 The child is the shadow of the soldiers 17 on guard with guns saracens and batons 18 the child is present at all meetings and legislations 19 the child peeps through the windows of houses and into the hearts of mothers 20 the child who just wanted to play in the sun at Nyanga is everywhere 21 the child who became a man treks through all of Africa 22 the child who became a giant travels through the whole world 23 Without a pass BACKGROUND Ingrid Jonker had written the poem following a visit to the Philippi police station to see the body of a child who had been shot dead in his mother’s arms by the police in the township of Nyanga in Cape Town. It happened in the aftermath of the massacre of 69 people in Sharpeville, south of Johannesburg, in March 1960. They were marching to the police station to protest against having to carry passbooks. Nelson Mandela read this poem in the original Afrikaans, during his address at the opening of the first democratic parliament on May 24, 1994. THE TITLE The Child – Metaphor for the struggle of freedom in South Africa. The child symbolises the oppressed and the struggle for freedom and all the innocent children who were killed by soldiers under Apartheid in SA because he only “wanted to play in the sun”. Shot Dead by Soldiers – emphasises the extreme brutality of the soldiers The title evokes a sympathetic response. A child is vulnerable and helpless against armed soldiers. It shows the cruelty and senselessness of this death. The title makes it clear that this is protest poem against Apartheid. This child' s death has inspired others to take up the cause of freedom & given new energy to the struggle against apartheid. FORM/STRUCTURE Five stanzas of differing length. The first four stanzas take on a chant like form.The words ‘the child’ has been repeated. (anaphora). The fifth Stanza is known as a coda (it is an epilogue that concludes a story/ a finale of a story) Free verse (no definite rhyme scheme) The isolated final line emphasises the poet’s message: freedom is needed! The fifth stanza develops the idea of this child’s wasted life – what he could have become, had he lived. There is a parallel structure in “not at” repeated in the third stanza. This rhetorical device gives examples of where police brutality occurred. It adds historical accuracy to the poem. ~6~ SUMMARY The poem reflects on the pass laws of Apartheid South Africa. Jonker wrote this poem in reaction to the shooting of a young child in his mother’s arms during a protest against the Pass Laws. This happened in Nyanga township, near Cape Town. The child was killed while on his way to the doctor with his mother – the senselessness of his death is a result of the senselessness of the Apartheid laws. This child remains nameless to represent all innocent lives taken during Apartheid. The poem highlights the idea that violence within a country destroys innocent members of society (women and children) and damages the country and its future. This child’s death has inspired others to take up the cause of freedom and given new energy to the struggle against Apartheid. Jonker yearns for a time when any child can grow and make his/her impact on the world, without restrictions of the Pass Laws. STANZA 1 LINE 1 The child is not dead The repetition of “the child” throughout the poem emphasises the age and innocence of the youth and highlights how many children were killed because of the apartheid laws. This repetition is called an anaphora. is not dead – contradicts the title: metaphorically he will live on by becoming a symbol. The child is a symbol of the growing sense of freedom in the hearts of people against the Apartheid System. The child becomes a metaphor of resistance, hope and innocence. LINE 2 the child raises his fists against his mother The poet’s diction conveys the distress of the child and others during the senseless Apartheid era. “screams” and “raises his fists” highlights his anger. fists – symbol of resistance and revolution: the diction conveys the distress and the anger of the child/the younger generation is rebelling. Against his mother – the child is not happy with the parents’/the older generations submissive attitude – they did not fight hard enough. The resistance of the younger generation will not be passive. The child becomes a symbol of resistance and defiance. The child rejects the social and political system that oppresses them. LINES 3-4 who screams Africa screams the smell of freedom and heather The repetition of “screams” emphasises his anger and frustration. Personification: Africa is personified as a woman who screams, emphasising the emotional impact of the struggle for freedom. S-alliteration – emphasises the urgency and desperate cries of the oppressed people. The extended space (lines 3 & 8) is used instead of punctuation between Africa screams. The Space forces the reader to pause and emphasises the repetition. Freedom – Aspirations of people struggling for liberation Heather – a plant with small flowers that grows wild and abundantly. In the poem it gives the idea of an abundantly growing sense of freedom in everyone’s heart. Jonker connects freedom to the smell of flowers; freedom will be like the sweet scent of flowers. ~7~ LINE 5 in the locations of the heart under siege locations – pun: black townships associated with racial segregation or where something is located. The child’s message (aspirations of the black population) will continue in the heart of the people. heart under siege – people who are oppressed or segregated from the mainstream. Constant struggle against oppression. Conveys the speaker's belief that the fight for freedom is not over as it continues to rage on in the hearts of the people. STANZA 2 LINE 6 The child raises his fists against his father Metaphor - The younger generation rebels not only against the system but also against the older generation. The reference to a different parent (line 2) emphasises the generation gap; that it is now the time of the youth to take up the fight. LINE 7 in the march of the generations march – alludes to military action generations – the younger people were prepared to go further; they were prepared to use violence. Many joined the ANC military arm, uMkhonto we Sizwe. This emphasises the historical and ongoing struggle for justice and freedom. Also suggests that the struggle has been passed down from one generation to the next. This emphasises how long the people have been oppressed. LINES 8-9 who scream Africa scream the smell of justice and blood The repetition of line 3 emphasises their anger, the desperate cries of the oppressed people and urgency to fight. of justice and blood – The younger generation is willing to spill blood/sacrifice their lives for their freedom. Emphasises the sacrifices made in the name of freedom. LINE 10 in the streets of his armed pride in the streets – They are prepared to fight against the soldiers who patrolled the townships. Also symbolic of a popular revolt. armed pride – tone is very passionate and inspiring. Emphasises that they were willing to fight to restore their dignity (pride). STANZA 3 LINE 11 The child is not dead The repetition of line 1 emphasises that the child is physically & medically dead, but not spiritually or poetically. The refrain highlights the message of the poem: Despite the physical death of the child, the spirit and struggle for justice lives on. LINES 12-13 neither at Langa nor at Nyanga nor at Orlando nor at Sharpeville Langa , Nyanga – Black townships in the Cape Orlando , Sharpeville – Black townships in Gauteng These were sites of violent protests against Apartheid. Also shows that protests had spread throughout the country. Sharpeville – allusion to the Sharpeville Massacre ~8~ LINES 14-15 nor at the police station in Philippi where he lies with a bullet in his head Phillippi – Cape Flats township where Jonker saw the body of the child that prompted this poem. The paradox highlights the fact that this child died physically, but he is still alive in the hearts of all Africans. He becomes the symbol of innocence, resistance, and hope. This is a reminder of the brutal reality of the child's death. It also reinforces the idea that the child's death was not in vain. STANZA 4 LINES 16-17 The child is the shadow of the soldiers on guard with guns saracens and batons The metaphor compares the child to the shadow of soldiers on guard. This highlights that the child is a reflection of the violence and oppression. This is also a warning/ reminder of the possibility of violence and that hope for change lies with the youth. Saracens – An armoured car that is synonymous with Apartheid in South Africa. The child is powerless and unable to fight back against the violence and oppression. The soldiers were fully equipped, showing that they would use force to suppress the Blacks, not caring about who died, be it women or children. The authorities wanted to protect the status quo. LINE 18 the child is present at all meetings and legislations The child's presence is felt in all aspects of society. The child has become a symbol of Innocence and a better future The death of the child is discussed by all people, the apartheid government and the Black people. The apartheid government tried to introduce new laws (legislation) while Black people were inspired to fight against the government. LINE 19 the child peeps through the windows of houses and into the hearts of mothers the child peeps through the windows – people will always remember and were determined that it would not happen again. The child's memory and legacy lives on. This suggests the universality of the tragedy. LINE 20 the child who just wanted to play in the sun at Nyanga is everywhere wanted to play – emphasises innocence of the child, he simply wanted to enjoy his childhood. is everywhere – His spirit and memory are pervasive. LINE 21 the child who became a man treks through all of Africa became a man – he grew up too quickly by taking on the responsibility of fighting for freedom. As a symbol, the child affects all aspects of life. The child, as a symbol, will become more powerful: will inspire the whole continent. LINE 22 the child who became a giant travels through the whole world Giant – the child has become larger than life. The death of the child and others who fought for freedom has had a massive influence on the growing sense of freedom, justice and resistance by all those who are oppressed. travels through the whole world – What happened to the child will have a global effect: Child's influence extends beyond the borders of his homeland; many countries protested against the brutal and unjust system. ~9~ STANZA 5 LINE 23 Without a pass The last line of the poem forms the coda. A coda is an epilogue that concludes a story. This could be an entire chapter, a few paragraphs, lines, or a single sentence.) This conveys the final message and irony of the poem: The dead do not require a pass; you first have to die to walk around freely. Pass refers to the Apartheid ID document used to restrict movement of the black population. This was the main reason for violent protests at Langa, Nyanga and Sharpeville. The Pass system caused the death of the child, causing him to become a symbol, able to cross borders and continents unrestricted. You cannot control the minds of people. THEMES Freedom – The poem emphasises the struggle of blacks for freedom and equality when they were denied their basic rights and dignity. The child's raised fists and the cries of "Africa" emphasises the idea of freedom and their refusal to be silenced or oppressed. The child's resistance against the overwhelming violence, is a testimony to the fight for freedom and dignity. The reference to the child's shadow being present at all meetings and legislations, and peeping into the hearts of mothers, implies that the struggle for freedom has not ended. Even though the child is dead, his spirit lives on, inspiring others to continue the fight for freedom and justice. Protest and Resistance – This child stands up for what he knows it right and he (the symbol) can never die. He is not a physical person, but an idea. There is resistance against the blatant brutality and barbarism against the innocents. His raised fist symbolises the yearning for freedom, identity, and protest. The child's raised fists and the cries of "Africa" and "justice" in the poem show that resistance is alive and well, even in the face of overwhelming violence and oppression. The injustices perpetrated by the government at the time needed to be vocalized and made known to all. Oppression and Violence – The poem emphasises the violence and oppression that the black population of South Africa faced under the apartheid system. The child's death is a symbol of the larger injustices perpetrated against black South Africans, and the pain and trauma inflicted upon them by the government. TONE Defiance and determination. Despite the sadness about the innocent child’s death, the tone is not sympathetic or sad. There is a sense of outrage and loss. Nationalistic – Jonker highlights the fact that even an innocent child understood the value of freedom and equality. The mood is angry, protesting, and unrelenting. MOOD The mood of the poem is angry, protesting, and unrelenting. QUESTIONS 1. Comment on the reference to ‘the child’ in the title of the poem. (2) 2. The title refers to the ‘dead’ child, yet in line 1 ‘the child is not dead’. Discuss the contradiction/dichotomy by referring to the rest of the poem. (3) 3. What does the altered repetition of “The child lifts his fists against his mother / father” reveal about the generation gap that is reflected in responding to the laws of apartheid? (2) 4. How does the diction in stanzas 1 and 2 highlight the difference between mothers and fathers? (3) 5. Comment on the effect of the denials in the third stanza. (2) 6. Critically comment how the imagery used in lines 20-23 contributes to the mood. (3) 7. Discuss the effectiveness of the last, short line of the poem. (2) 8. During the Parliamentary address, Nelson Mandela commented that “in the midst of despair, Jonker celebrated hope.” Does this poem celebrate hope? Discuss your answer briefly. (3) 9. “The child” is repeated ten times in the poem. How does this repetition add meaning to the poem? (2) ~ 10 ~  AT A FUNERAL – DENNIS BRUTUS (For Valencia Majombozi, who died shortly after qualifying as a doctor.) 1 Black, green and gold at sunset: pageantry 2 And stubbled graves: expectant, of eternity, 3 In bride’s-white, nun’s-white veils the nurses gush their bounty 4 Of red-wine cloaks, frothing the bugled dirging slopes 5 Salute! Then ponder all this hollow panoply 6 For one whose gifts the mud devours, with our hopes. 7 Oh all you frustrate ones, powers tombed in dirt, 8 Aborted, not by Death but carrion books of birth 9 Arise! The brassy shout of freedom stirs our earth; 10 Not death but death’s-head tyranny scythes our ground 11 And plots our narrow cells of pain defeat and dearth: 12 Better that we should die, than that we should lie down BACKGROUND Brutus was born in Salisbury, Southern Rhodesia on 28 November 1924 to South African parents. His parents moved back home to Port Elizabeth when he was aged four. He was a graduate of the University of Fort Hare. He taught English and Afrikaans at several high schools in South Africa after 1948, but was eventually dismissed for his vocal criticism of apartheid. Brutus was a co-founder of the South African Non-Racial Olympic Committee (SANROC), an organisation that was heavily influential in the banning of apartheid-era South Africa from the Olympics. In 1961, he was banned for his political activities as part of SANROC. While in Mozambique, he was arrested and returned to South Africa where, while trying to escape, he was shot. After recovering from the wound, Brutus was sent to Robben Island for 16 months. He was in the cell next to Nelson Mandela's. After his release in 1965, Brutus left South Africa and went into exile in Britain. He settled in the United States in 1971 where he served as professor of African Literature at North-western University. He was eventually "unbanned" by the South African government in 1990 and returned to South Africa, based at the University of KwaZulu-Natal. He later settled in Cape Town, where he died of prostate cancer on 26 December 2009. THE TITLE Usually my poems don't have titles because I hope that the poem works sufficiently well that it doesn't need a kind of signpost to it. In this case, the poem "At A Funeral" needed a title because I don't think you could have guessed otherwise what it was all about. Also, I do think it needs some explication. – The italics refer to the words of DENNIS BRUTUS: AN INTERVIEW By William E. Thompson The dedication below the title suggests that the poem is a tribute to Valencia Majombozi. This makes it personal: he refers to a specific person and has a greater impact on the reader. ‘shortly after qualifying’ – Emphasises that all her dreams and hopes have been destroyed by death. Conveys a sense of frustration and aborted hopes. ‘A’ – creates an impersonal tone. This creates a contrast with the dedication which has a personal tone. FORM/STRUCTURE There are two equal stanzas and a specific rhyme scheme (aaabab, cccdcd) in this poem. The formality of the poem mirrors the formal rites and rituals of a funeral ceremony. SUMMARY It's about a young woman called Valencia Majombozi, an African woman who managed to qualify as a doctor after enormous hardship and sacrifice by her parents. Her mother took in washing and ironing, did the cleaning of apartment buildings, and put her through University. She got her medical degree and then, by an incredible irony, just after Valencia had completed her internship, she died. I went to her funeral. The poem is about the years of sacrifice that end in nothing, and you could read the poem entirely on that level, as just an expression of frustrated and aborted hopes. ~ 11 ~ But I am also seeing her as a symbol of the predicament of the Blacks as a whole in South Africa. Eighty percent of the people are voiceless, voteless, generally deprived of education. Their lives are controlled not so much by the police and the army, though those are there all the time, but the lives of Blacks in South Africa are controlled more by a "convention"- something which people agree on. This is a curious thing called a Pass Book, which every Black must carry from the age of 16, which controls your movement, and even determines where you will be buried when you die. The poem is about her funeral ceremony. The speaker contrasts the vibrant colours of the scene with the mud in which the coffin is placed. He views the ceremony as ‘hollow’ and a ‘pageant’ in the face of the lost hopes and dreams of this woman and her family. Life’s cruelties create further grief for the speaker, and he presents the funeral as an occasion to renew his commitment to the struggle for liberation. He extends this idea by comparing the burial to those people whose lives are being smothered by the oppression. Oppressed people cannot live their lives fully! He urges active resistance – “Arise!”. He ultimately states that death is a better fate than yielding to “defeat and dearth”. The italics refer to the words of DENNIS BRUTUS: AN INTERVIEW By William E. Thompson LINE 1 Black, green and gold at sunset: pageantry Black, green and gold – The poem is also operating on a political level, and I'll touch on a few of those things. The resistance movement in South Africa has its own flag, as opposed to the State flag; the resistance movement's flag is black, green and gold. The choice of those colours at the beginning of the poem is not an accident. Also, many of the colleagues of this doctor attended her funeral wearing their university robes; these were black caps and gowns, but often with a gold hood indicating an arts degree, green indicating a science degree; so again, you have a combination of black, green and gold. The italics refer to the words of DENNIS BRUTUS: AN INTERVIEW By William E. Thompson at sunset – the end of the day which is symbolic of death. Creates sombre mood. Connotations of darkness and sadness. Pageantry – the flag is part of a ceremonial display, a formal ceremony with symbolic clothing and rituals. This creates the impression that the elaborate display is just for the show, because all of that does not matter now as all hopes and dreams are lost with her death. A pageant is also associated with formality and rituals, just like a funeral. LINE 2 And stubbled graves: expectant, of eternity, stubbled graves – stubble is the stalks of crops left sticking out after a harvest, or the remains of a person’s beard left on their face after shaving. This implies that the graves were in a state of neglect and they looked untidy/unkempt as they are covered in dead grass stalks. Even in death, there was not much respect shown by the government to the final resting places of the oppressed. expectant, – The grave is personified and made to seem as if it is an expectant mother waiting for a child. However, it is for the dead. This emphasises that we all have to die. of eternity – ambiguous: either dead will remain in their graves for an eternity, or the belief that the afterlife will not end. LINES 3-4 In bride’s-white, nun’s-white veils the nurses gush their bounty / Of red-wine cloaks, frothing the bugled dirging slopes In bride’s-white, nun’s-white veils the nurses gush their bounty / Of red-wine cloaks – Nurses from the hospital attended the funeral. In South Africa the nurses wear cloaks which are lined with bright red - the "red-wine." Other nurses at the funeral wore white, which echo the nuns in their habits "In bride'-white, nun 's-white veils." The italics refer to the words of DENNIS BRUTUS: AN INTERVIEW By William E. Thompson The old-fashioned nurse’s outfit was a white dress, with a short white veil and a red cloak. The connotations of “brides” and “nuns” implies innocence, purity, holiness and a new life. Repetition of white (bride’s-white, nun’s-white) – emphasises purity. Gush – flow quickly Bounty – refers to something in abundance. Many people are showing their grief. nurses gush their bounty – The nurses at the hospital willingly give everything to save the lives of those hurt in the fight for liberation ~ 12 ~ “of red-wine cloaks” – The colour of the lining of the nurses’ cloaks. The nurses in their red cloaks and white dresses look like frothing red wine surrounding the graveyard. Frothing means to bubble over – Highlights the number of nurses who attended the funeral. the bugled dirging slopes – And awa,y back behind the hill in the cemetery, on the edge of the ghetto, there's a Boy Scout with a trumpet, blowing the last Post, "the bugled dirging." This suggests that it was a military funeral. The italics refer to the words of DENNIS BRUTUS: AN INTERVIEW By William E. Thompson Dirge refers to a song/ piece played at a funeral. In this case played on a bugle, usually associated with military funerals. Slopes – means going up / down. This could be the volume of the bugle. The slopes around the graveyard are also personified, as though the land itself is mourning the young doctor. LINE 5 Salute! Then ponder all this hollow panoply Salute! – Gesture of respect in the military, means to honour, or literally salute the dead, as one would a soldier. The ‘!’ emphasises that this is a command. Ponder – to think about something deeply. Also, an instruction. Hollow panoply – The meaningless ceremony with the flags and speeches. Meaningless because it will change nothing. The meaningless display cannot compensate for the loss of the person, her hopes and dreams. The speaker asks the reader to contemplate the implications of this funeral, and death in general. He encourages the reader to look further than the display (funeral flowers, all the people, the sad music etc), which lacks sincerity. LINE 6 For one whose gifts the mud devours, with our hopes. For one whose gifts the mud devours, with our hopes – ‘for one’ refers to Valencia Majombozi. ‘Gifts’ refers to her ability as a doctor to heal and bring comfort to others. As a doctor, her training and skills would have been a contribution to the society. This is seen as a waste and is being thrown into the ground, along with the hopes they had for her. Devour - eat greedily, hungrily or quickly. The mud of a graveyard is compared to a hungry mouth. The personification emphasises that all her hopes and those of her people are now buried in the earth. Tone of despair/sadness. STANZA TWO - shifts focus to the meaningless deaths of the youth in general LINE 7 Oh all you frustrate ones, powers tombed in dirt, Frustrate – means to prevent the success of something or to cause irritation and anger by preventing things from happening. Oh all you frustrate ones, powers tombed in dirt – The poet uses Apostrophe (Figure of Speech) as he addresses the dead directly. Those whose potential, goals or dreams have not been fulfilled because of the oppressive laws, which denied them opportunities. The dead are described as “powers tombed in dirt” and as “frustrate” (a verb) NOT “frustrated” (an adjective) because they are powerful enough to cause frustration (to the government) rather than being passively frustrated. Their potential is buried because of their deaths LINE 8 Aborted, not by Death but carrion books of birth Aborted, not by Death but carrion books of birth – I talk of "carrion books of birth, " saying that the life of the Black begins as a kind of death. From the moment of birth, you're given this Pass Book, so that you cease to be a human being from the point of birth. You are devoured. You become carrion. dead flesh. And this ties in with the notion of abortion. The italics refer to the words of DENNIS BRUTUS: AN INTERVIEW By William E. Thompson “Death” with a capital letter - Death is personified. The poet regards the Black people as being dead, not because they died, but because their freedom is taken away due to oppression and the pass books. They are described as being “aborted” (i.e. killed before they could live), not by Death but by the apartheid government is even more cruel and deadly than death itself. “books of birth” (a reference/allusion to the dompas or passbooks and the cruel apartheid laws.). ~ 13 ~ LINE 9 Arise! The brassy shout of freedom stirs our earth; Arise! - literally - Stand up but also a call to arms – another command, defiant tone. The exclamation mark emphasises the urgency. Arise! The brassy shout of freedom stirs our earth – the people are addressed directly and told to rebel or “Arise!” against the government. The rallying call to freedom is heard by all. Brassy – loud LINE 10 Not death but death’s-head tyranny scythes our ground Not death but death’s-head tyranny scythes our ground – It's helpful to know the symbol of "death's-head tyranny." I saw a film in South Africa called "Judgement at Nuremburg. " It begins with the tanks rolling through the streets of Berlin with the Panzer Divisions whose insignia was a skull and crossbones - the death's-head being wildly cheered by the audience. The Nazis are regarded as great heroes by the South African regime and people imitate them; the Nazis are the model for how one should behave if you are a white in South Africa. The italics refer to the words of DENNIS BRUTUS: AN INTERVIEW By William E. Thompson Death – is personified as the Grim Reaper with his scythe (a harvesting tool, used to “harvest” or collect the dead). death’s-head tyranny - The poet compares the South African apartheid government to the death-head wearing Nazis in World War Two. A human skull was the insignia of the German SS, who were responsible for many of the atrocities in World War 2, including those in the concentration camps. In doing this he likens the forces of the government to the German SS. This image emphasises the destructive effects of oppression. Scythes – continues the allusion to the Grim Reaper, who wears a hood, carries a scythe, which he uses to harvest the souls of the dead. The people are cut down violently. Metaphor: Oppression is the actual cause of death and destruction which destroys potential like a scythe cutting down crops. Our ground – is a reference to the country, where the people were oppressed despite being born there. LINE 11 And plots our narrow cells of pain defeat and dearth – Plots – pun: a small piece of land (e.g. a plot where a grave is dug) or to “plot” - to plan something, often something evil. cell – a very small room, a prison Narrow cells of pain – could be the graves in a graveyard, the prison cells where prisoners of the apartheid government had been jailed, or the small houses in disadvantaged areas that people of colour had been forced to live in, as a result of the Group Areas Act. The poet refers to the fact that many people were tortured, pain inflicted, whilst in prison and it destroyed their spirit. Dearth – things that are in short supply (e.g. food or basic necessities). The poet implies that pain, suffering and death was deliberately caused by the apartheid government. LINE 12 Better that we should die, than that we should lie down – lie down – if a person “lies down” when attacked or arrested, they show that they are surrendering or submitting. The poet ends with the ominous statement that it is better to die in the fight against oppression, than to accept it without a struggle to bring down the oppressors. There is no full stop after “we should lie down”. This implies that there is no end to resistance and no surrender. This line also implies that the poet has come to terms with the tragedy of the young doctor’s death - she died, rather than choosing to “lie down” or surrender to apartheid, and the poet sees this as “better”. The poet uses “we” and therefore identifies with the struggle against apartheid. ~ 14 ~ THEMES Criticise/highlight the plight of the oppressed. Call to arms: people should get up and fight frustrated and aborted hopes to voice his opposition to the apartheid regime Life is uncertain. The efforts and sacrifices of people can be in vain. TONE Tone Stanza 1 o Calm o Reverent Stanza 2 o Angry o Contemptuous MOOD Stanza 1 - Melancholic Stanza 2 - Vengeful QUESTIONS 1. To what does “pageantry” refer in line 1? Discuss the effectiveness of this choice of word. (2) 2. What do the words “Black, green and gold” suggest? How does this shift the reading of the poem? (2) 3. Why would the graves be expectant of ‘eternity’ (line 2)? (2) 4. Explain the reference to “hope” as it is used in line 6. (2) 5. What are “carrion books of birth”? (2) 6. Comment on the tone in “Arise!” and “Salute!”. (3) 7. Why does the speaker call on the reader to “ponder” (line 5)? (2) 8. What is the difference between “Death” and “death’s head” and why is “scythes our ground” then an appropriate metaphor? (3) 9. Discuss the pun in the word “plots” in line 11. (3) 10. Describe the tone in and the effectiveness of the last line of the poem. (3) 11. How does the reader know that this poem is more than a tribute to Valencia Majombozi? Discuss the effectiveness of this added message/theme. (3) ~ 15 ~  POEM OF RETURN – JOFRE ROCHA 1 When I return from the land of exile and silence 2 do not bring me flowers. 3 Bring me rather all the dews, 4 tears of dawns which witnessed dramas. 5 Bring me the immense hunger for love 6 and the plaint of tumid sexes in star-studded night. 7 Bring me the long night of sleeplessness 8 with mothers mourning, their arms bereft of sons. 9 When I return from the land of exile and silence, 10 no, do not bring me flowers... 11 Bring me only, just this 12 the last wish of heroes fallen at day-break 13 with a wingless stone in hand 14 and a thread of anger snaking from their eyes. BACKGROUND Angolan writer, poet and journalist, Jofre Rocha, is the literary pseudonym of Roberto António Victor Francisco de Almeida, was born in February 1941, in Kaxikana, municipality of Icolo e Bengo. Angola. In June 1961, Rocha left Angola for Lisbon, Portugal. A Nationalist, fighting for the independence of Angola, Rocha is detained in Aljube prison and returned to Luanda. His political activity saw him sentenced to eighteen months in jail. A member of the MPLA, after the country's independence in 1975, he was called to hold various positions both in the government and in his party. He has been President of the Angolan Parliament since 1996. Rocha speaks about the colonial experience and focuses on the theme of war and the social and economic degradation that emerges from it, THE TITLE The speaker is returning to his country. At this stage he does not know whether it is a voluntary or forceful return. The title relates to the speaker's thoughts of his return to his country. FORM/STRUCTURE Note that even though this poem has 14 lines, it is NOT a sonnet. There is enjambment present (where one line runs onto the next to complete the thought. There is no punctuation at the end of the line. Refer to lines 5-6, 7-8, lines 11-14. It has the qualities of a song as reflected in the refrain ‘do not bring me flowers.’ The poem is divided into THREE stanzas of unequal length. In each one of them the speaker is expressing a different idea/s about what he anticipates when he gets home from exile. SUMMARY The speaker is contemplating his upcoming return to his home country. The speaker mentions his return from exile and the anguish associated with those who died whilst oppressed. He has left his home, either by choice or forced. As an exile he has not heard or spoken to his “people”. This may have been forced on him or he has done this for protection of himself or others. Upon returning home, political activists who were in exile were received with a bouquet of Gladiolus flowers; a symbol of their strength, victory, and the pride the nation has for them. The speaker does not want such a heroic welcome. He feels unworthy of it. The poem is written from the perspective of an exile, someone who has had to flee their country of birth. The poem captures the sentiment of loss, lost opportunity and lost experience. He describes his ‘host country’ as “land of exile and silence” – this suggests that he was not happy there. He lists the things he missed while he was away and it is clear that he feels guilty about ‘escaping’ whilst his countrymen/women suffered. He makes it clear that he is not a hero and should not be welcomed or treated as one. He asserts that the real heroes are the ones who stayed and fought against oppression. The poet is writing about the lost opportunities, mourning and sadness brought about by colonialism, exile and war. ~ 16 ~ STANZA 1 – The short first stanza makes the reader ponder these 2 lines. LINE 1 When I return from the land of exile and silence When – He is absolutely certain that he is going to return to his country. He has not yet returned, but there is an expectation of returning to his homeland. land of exile – the country to which he fled. Conveys feelings of loneliness and suffering. the land of exile and silence – is the place he is in now. A foreign place where there is no communication “silence” as he does not speak the language. He has no contact with his family and friends. This emphasises the pain and suffering he had to endure while in exile as he was isolated. He misses his people and the sounds of home. Being in exile also means that his protests have also been silenced. LINE 2 do not bring me flowers. do not – commanding tone A person returning home will be the cause of excitement and celebration. However, he does not want the customary gifts and celebrations that are normally associated with the return of an exile. This emphasises that the speaker feels guilty about fleeing his country while other people stayed behind to fight the system. He does not see himself as a hero deserving flowers. Flowers are usually associated with a celebration, and he feels that this is definitely not a time of celebration: He fled and left the others to fight. Hence, he feels guilty and does not deserve them. STANZA 2 - the poet gives suggestions as to what can be brought to “celebrate” his return: tears, hunger and mourning, he wants us to remember the reason for his exile. LINES 3-4 Bring me rather all the dews, tears of dawns which witnessed dramas. These two lines highlight the fact that he wants to know about the atrocities/ terrible things that people saw that caused pain, anger, heartache, and tears as they stayed and suffered Bring me – imperative/commanding tone. all the dews – an impossible demand. He knows that he cannot atone for leaving his people. dawns which witnessed dramas – dawn is personified as a weeping witness to the tragedy that took place as a result of colonisation, exile and loss. D-alliteration – emphasises the fact that Nature, too, was horrified and sad at the oppression of her people. dramas – Events of great significance. LINES 5-6 Bring me the immense hunger for love and the plaint of tumid sexes in star-studded night. Bring me – Anaphora(repetition). Also a commanding tone. Immense – huge hunger for love – natural human connection that he has missed Plaint – plea Tumid sexes – arguments between lovers. This implies that the speaker missed the normal relationships of people while in exile start-studded night – An image of romance, peace, and beauty. The opposite of fighting, bloodshed, and tears. In these lines, the speaker emphasises the sense of separation from loved ones and the need for companionship; the poet highlights the losses experienced due to oppression. The speaker demands that he would rather know how, the people of his land were deprived of physical connection and may have lost the overwhelming love for each other, because of the fighting. We see the devastating effects of war on human relations. In this case, couples were separated; wives were left husbandless and husbands, wifeless due to the need to join the freedom fighters. ~ 17 ~ LINES 7-8 Bring me the long night of sleeplessness with mothers mourning, their arms bereft of sons. Bring me – The anaphora (repetition) / commanding tone emphasises what he wants long – emphasises that their pain and suffering continued for a quite some time night of sleeplessness – people were worried/concerned about the safety of their loved ones. Mothers are unable to sleep because they are mourning for their sons who have been killed or imprisoned or went into exile. Many did not know if their sons were alive or dead. Bereft – to be deprived. Many young men (the sons) were imprisoned or killed. Some young men also went into exile. They were missed by their mothers. In these 2 lines, the speaker needs to know what happened at home when he was in exile. This time he demands to be told about the losses mothers experienced as their sons died fighting for the liberation. He wants to share the grief from mothers who have lost their sons to the conflict. STANZA 3 LINES 9-10 When I return from the land of exile and silence, no, do not bring me flowers... These lines are a refrain. They emphasise the speaker’s need not to be given flowers, as stated in lines 1-2, that his return must not be seen as a celebration. Exile was not a pleasant experience for him, but he did not suffer as much as those who had been left behind. no, do not – forceful tone of the double negative emphasises that he does not regard himself as a hero; he does not deserve flowers. He feels guilty, he needs to for acknowledge their suffering and pain. The ellipsis creates a dramatic pause after he says that he does not want flowers. The reader wants to know what the speaker wants instead. LINE 11 Bring me only, just this Bring me – another command (imperative mood) shows his insistence. only, just this – the redundancy is used to emphasize that he wants just one thing. Also emphasises his insistence. LINE 12 the last wish of heroes fallen at day-break the last wish – Above everything else, the speaker demands to know the actual dreams of those who died in the war of liberation, just before independence. This is what matters to the speaker and not the flowers. day-break – the start of a new day. This is symbolic of change that the people wanted. He sees these fighters as heroes for the cause and they “fall at day-break”, at the beginning of their lives. These heroes could not see the change because they died before political change could happen. The speaker wants justice and recognition for people who lost their lives in the struggle for freedom. He wants their wishes to be fulfilled. LINES 13-14 with a wingless stone in hand and a thread of anger snaking from their eyes. wingless stone in hand – This image shows that these men and women were still eager to fight for their country but did not get to do so right up to the end. It also hints at the fact that they died before using their weapons against the oppressors. He views these people as the real heroes as they fought a difficult and hopeless battle. ~ 18 ~ a thread of anger snaking from their eyes – Those who died fighting, died angry. Those who were not able to fight had the anger against the oppressors. Even though they do not fight, they still carry the anger in their hearts and it is seen in their eyes. snaking emphasises their anger. Their sacrifice needs to be remembered. That which made them angry enough to fight needs to be remembered, and that is the only “gift” he wants when he returns, because he is able to return. THEMES The poet captures the sentiment of loss, lost opportunity and lost experience. A poignant poem about the return from exile and what should be celebrated is sadness, mourning and inevitably, anger. Rocha ends with a parting shock of anger at the lost opportunities and experiences that some young people suffered as a result of colonisation, civil war and exile. To highlight the fact that the true heroes in a war of liberation are those who remained in their land of birth and not those who left and sought refuge in foreign lands.Hence, he insists on not being given a heroic welcome. Political and social injustice TONE Earnest tone: o To express feelings of alienation/estrangement when talking about what should happen when he returns home ‘from the land of exile and silence’. Nostalgic tone: o When he talks about those at home what he would like to hear from them instead of being given flowers. Humble tone: o When the speaker expresses the fact that he does not want a heroic welcome but needs information on the realities of what happened during his absence. MOOD Pensive: o Engaging in, or reflecting on (thinking about) serious issues QUESTIONS 1. Why does the speaker not want flowers upon his return? (3) 2. What does the speaker want instead of flowers? Why? (3) 3. Comment on the description of the speaker’s “host country” as the “land of exile and silence”. (2) 4. Identify and comment on the effectiveness of the figure of speech in “tears of dawns”. (3) 5. Why are the mothers “bereft of sons” (line 8)? (2) 6. Comment on the figurative interpretation of the “day-break” in line 12. (2) 7. Comment on the effectiveness of the anaphora (“When I return…”). (3) 8. Discuss the change in tone from stanza 2 to 3. Quote in support of your answer. (3) 9. How does the last stanza successfully convey the speaker’s intention? (3) ~ 19 ~  TALK TO THE PEACH TREE – SIPHO SEPAMLA 1 Let's talk to the swallows visiting us in summer 2 ask how it is in other countries 3 Let's talk to the afternoon shadow 4 ask how the day has been so far 5 Let's raise our pets to our level 6 ask them what they don't know of us 7 words have lost meaning 8 like all notations they've been misused 9 most people will admit 10 a whining woman can overstate her case 11 Talk to the paralysing heat in the air 12 inquire how long the mercilessness will last 13 Let's pick out items from the rubbish heap 14 ask how the stench is like down there 15 Let's talk to the peach tree 16 find out how it feels to be in the ground 17 Let's talk to the moon going down 18 ask if it isn't enough eyeing what's been going on 19 come on 20 let's talk to the devil himself 21 it's about time BACKGROUND Known as Bra Sid, Sipho Sepamla (1932 – 2007) was born in a township near Krugersdorp into a family of educators. He became a teacher but, after experiencing Sharpeville (1960) first-hand when teaching there, he left the profession. He founded FUBA – the Federated Union of Black Artists which gave voice to black artists of all disciplines. It functioned successfully until 1997. He also edited both a literary and a theatre magazine. Sepamla has an individual voice. His poems work on irony, satire and humour, qualities not often found in the poets of the era who were politically loud and emotionally consciousness-raising. This poem was written during the Apartheid years. Sepamla uses it to voice his opinion on the political talks that took place between various parties before the formalised end of Apartheid. The negotiations between the various parties were ultimately successful and South Africa became a democratic state in 1994. The speaker’s peace-making/peaceful attitude is clear in “it’s about time”, in the last line. THE TITLE The peach tree appears in several of Sepamla’s poems. The Peach Tree is about the tree in his garden and in The Will. It is one of his possessions which he wittily bequeaths to his children, while making subtle comments about life under the apartheid system. The significance of the ‘peach tree’ is that it was a place of gathering for people in the township where much discussion, sharing of opinions and information took place. This is also an example of personification ~ 20 ~ FORM/STRUCTURE The poem consists of twenty-one lines. There is no rhyme scheme - “free verse”. It is a poem of protest against the Apartheid Government in South Africa. The first three stanzas and the last three stanzas follow the same pattern: o There is a similar pattern of diction and the arrangement of stanzas one to nine. o In stanza ten there are three lines. This is done to make it to stand out from the rest of the This is done to draw attention to the poet’s message. The repetition of the word ‘talk’ six times highlights the need for dialogue between the oppressor and the oppressed. The indents in the fourth and fifth stanzas are a commentary on the overall situation. The indent in the last stanza serves to visually highlight the message of the poem. SUMMARY The speaker wittily makes a series of rather odd (absurd, even) suggestions about with whom to discuss politics – from the birds, shadows, pets, the peach tree and the air itself. He ends the poem on a serious note and states that the “devil himself” should be addressed. This refers to the leaders of the Apartheid government. In this poem, he highlights the cruelty of the apartheid system and the necessity to fight it peacefully, through negotiation. LINES 1-6 Let's talk to the swallows visiting us in summer / ask how it is in other countries / Let's talk to the afternoon shadow / ask how the day has been so far / Let's raise our pets to our level / ask them what they don't know of us talk to the swallow – Refers to the people who visit South Africa. Apostrophe: Speaking to objects that cannot answer. ask how it is in other countries – Understand how people live in other countries. talk to the afternoon shadow – Personification and Apostrophe ask how the day has been so far – Reflect on the “state of affairs” in the community/ country Let’s raise our pets to our level – Refers to young people who might have radical ideas. He is asking that they should be included or listened to. ask them what they don't know of us – Explain backgrounds, perspectives, history that may not be known or understood The literal actions are quite absurd: talking to pets, the afternoon shadow and pets. It is amusing to expect ‘our pets’ who have been raised to human level to be able to answer the serious question: what do you know of us? The absurdity creates humour. However, the underlying message is serious: what do you (especially the whites) know about us? During Apartheid there was little or no opportunity to understand or communicate with people from other races. One group of people was always superior and had a ‘voice’, whilst the other had to remain silent. LINES 7-10 words have lost meaning / like all notations they've been misused / most people will admit / a whining woman can overstate her case The lines are indented to show that these stanzas are commentaries and indicates a difference. Also, the casual sounding repetitive ‘Let’s talk’ of the previous lines has been dropped. These words must be taken seriously. He states that ‘words have lost their meaning’ – Due to censorship, propaganda and the political climate many words have lost their “true” meaning, talking has become useless. Attempts to negotiate change with the apartheid government had failed. Instead, more repressive measures had been introduced to suppress the Blacks. ‘Misused notations’ refers to Words, symbols - communication tools which have become so warped that their original intentions have become lost. Words have literally lost their meaning. Language has been twisted and used to convey lies, propaganda and cannot be trusted. ‘Whining’ has negative connotations of high-pitched complaining, without valid reason. The words of line 10 are a reminder of the saying: ‘the lady doth protest too much’. When people complain about the same thing in the same way, their plight is often ignored. ~ 21 ~ LINES 11-12 Talk to the paralysing heat in the air / inquire how long the mercilessness will last paralysing heat – Metaphor: The apartheid laws are compared to intense heat that prevents people from moving, the heat renders a person unable to do anything. This emphasises the harshness of the apartheid laws that were very restrictive with severe penalties if they were broken. Merciless – Metaphor: the question emphasises the mercilessness of the oppressors: no empathy/mercy/compassion for the oppressed people. How long will they continue to be treated in such a harsh and unforgiving manner. LINES 13-14 Let's pick out items from the rubbish heap / ask how the stench is like down there stench – refers to a disgusting smell. It also refers to the effects of a “rotten” system – apartheid. The words ‘rubbish heap’, ‘stench’ and ‘down there’ relate to the way Black people were regarded by the authorities: unwanted things that were to be thrown away, something that created a bad smell or ‘stench’. The tone is serious and the intention is to describe the reality of the situation of Black people who were regarded as lacking value and were disposable. LINES 15-16 Let's talk to the peach tree / find out how it feels to be in the ground Literally, the peach tree is rooted in a permanent place in the garden. The tree will tell him how it feels to be rooted and fruitful in a place you can call your own. The connotation of rooted creates a sense of belonging. The peach tree has land that it belongs to. Figuratively, Blacks did not have land; they were not even regarded as citizens. They have no sense of belonging. They were not allowed to buy/own land during apartheid. LINES 17-18 Let's talk to the moon going down / ask if it isn't enough eyeing what's been going on moon going down – the light of the moon will disappear as it ‘goes down’. This is symbolic of them losing hope. The moon is personified. It is aware of their situation (eyeing). The setting of the moon will lead to daylight. Daylight is associated with a new day, new hope. Their situation is visible to the whole world but nobody has done anything to effectively change their situation. The new day does not bring new hope for them. LINES 19-21 come on / let's talk to the devil himself /it's about time The lines are indented, just as lines 7-10 are, in order to make them stand out. The indents alert the reader to the fact that these lines are commentary on the overall situation. come on – this is a call to action: he is encouraging himself and others to talk to those who can effect change. This is emphasised by the repetition of let's talk. devil – the oppressors / the Apartheid System. People will have to talk to the ‘devil’ in order to bring about change. They have no option but to engage with the enemy. it’s about time – The time has come to speak directly to the powers who have been oppressing the Black people for too long. There is no time to waste. Action is necessary. The final stanza creates a sense of urgency and a realisation that a solution had to be found, it was time for negotiations. ~ 22 ~ THEMES The opening of channels of communication is the overall theme in this poem. The speaker encourages the oppressed people to exhaust all peaceful forms of communication for them to address apartheid. The desire for change To create an awareness of the harsh realities of life in South Africa under apartheid rule. To highlight some of the unconventional ways in which politics was discussed during the apartheid era. TONE Absurd, cynical Despair Frustration conversational MOOD apprehensive anxious QUESTIONS 1. Explain the underlying meaning of the actions/instructions in lines 1-6. (2) 2. Why would swallows be a good source of information about ‘other countries’? (2) 3. Discuss what the speaker is saying in stanza 4. (3) 4. Discuss the connotations of the word “whining” (line 10). (2) 5. Why does the speaker describe the heat as “paralysing” and “merciless” (stanza 6)? (2) 6. Although similar in style to stanzas 1-3, how do lines 11-14 differ in tone and intent from lines 1-6? (3) 7. Discuss why the speaker chooses to “talk to the peach tree”. Consider the other ‘things’ or concepts he talk to in the poem. (3) 8. Identify and comment on the tone in the last stanza. (3) 9. Who is the ‘devil’ in the last stanza? (1) 10. How is the register of the poem appropriate and effective in delivering its message? (2) ~ 23 ~  PRAYER TO MASKS – LÉOPOLD SÉDAR SENGHOR 1 Masks! Oh Masks! 2 Black mask, red mask, you black and white masks, 3 Rectangular masks through whom the spirit breathes, 4 I greet you in silence! 5 And you too, my lionheaded ancestor. 6 You guard this place, that is closed to any feminine laughter, to any mortal smile. 7 You purify the air of eternity, here where I breathe the air of my fathers. 8 Masks of markless faces, free from dimples and wrinkles. 9 You have composed this image, this my face that bends over the altar of white paper. 10 In the name of your image, listen to me! 11 Now while the Africa of despotism is dying – it is the agony of a pitiable princess, 12 Like that of Europe to whom she is connected through the navel – 13 Now fix your immobile eyes upon your children who have been called 14 And who sacrifice their lives like the poor man his last garment 15 So that hereafter we may cry ‘here’ at the rebirth of the world being the leaven that the white flour needs. 16 For who else would teach rhythm to the world that has died of machines and cannons? 17 For who else should ejaculate the cry of joy, that arouses the dead and the wise in a new dawn? 18 Say, who else could return the memory of life to men with a torn hope? 19 They call us cotton heads, and coffee men, and oily men. 20 They call us men of death. 21 But we are the men of the dance whose feet only gain power when they beat the hard soil. BACKGROUND Léopold Sédar Senghor was born in Senegal in 1906. He died in 2001. He studied and lived in France for many years. He developed and was a proponent of the idea of “Negritude” – a culture that is shared by all Africans. He believed that Africans should be proud of their culture but should also incorporate the best elements of other cultures into it. He was elected as the president of Senegal in 1960. He established a multi-party state and a strong educational system. At times a controversial figure, Senghor is viewed by some as symbolic of peace between France and its colonies while others think he encapsulates neo-colonialism. He believed strongly that union between all was possible. Senghor wrote this poem at a time when Africa was shaking off its colonial rule. The process was lengthy and difficult. In many instances there were violent protests and fights. He calls colonial rule the “Africa of despotism”, referring to the fact that African people lacked any political power. THE TITLE prayers – appeal to a higher power / ancestors – positive connotation. masks – traditional masks as worn in African culture / to hide real emotions / hide true intentions. Masks are symbolic of culture and frequently used in religious rituals. The poem is an address to the spirits via the masks. FORM/STRUCTURE The poem is composed in a single stanza. The line lengths are varied. The short sentences emphasise the speaker’s intent. The speaker, at first, addresses the masks and then expands the message of the poem. The (rhetorical) questions are answered by the speaker at the end of the poem. The direct speech allows the reader to “eavesdrop” on the conversation the speaker is having with the masks. The speaker uses the 1st person pronoun “you” to engage the reader. It has a distinct rhythm through line breaks at the end of sentences onto the next line and punctuation. The line breaks and punctuation allow sections to feel distinct and rhythmic. Long lines contrast with short ones, sometimes only one or two words, This encourages moments of pause and reflection while reading the poem. ~ 24 ~ SUMMARY In the poem “Prayer to Masks”, the poet appeals to his ancestors for guidance and inspiration in re-establishing African culture and proud traditions after a lengthy period of colonisation. He addresses the masks directly as they represent the ancestors: He refers to the glorious past of Africa when countries were ruled with pride by Africans. The process of invasion and colonialisation changed the past. The image of Africa compared to a princess symbolises the nobility of traditional Africa Her death represents a decline of traditional African culture and the loss of political power of blacks to rule themselves. The poet prays to the spirits of the masks to help speed the rebirth suggested by the image of the umbilical cord connecting Africa to Europe. The poem ends on a note of optimism: The African of the future will have a different relationship to the soil. They will be able to create new beauty and prosperity. These new Africans will absorb the powers of the natural spirits through the rhythm of dance, music, and poetry. LINE 1 Masks! Oh Masks! The poem begins with an "apostrophe," an address to an object or spirit. As the title indicates, this address is a prayer to the masks, which appear in the poem both as works of African art and as more general spirits of African culture, society, and history. The exclamation mark emphasises a feeling of reverence. LINE 2 Black mask, red mask, you black and white masks, The different colour of the masks represents different rituals, ceremonies, gods. Senghor pays homage to the spirits. He allows each one their due respect by acknowledging the colour of their masks. LINE 3 Rectangular masks through whom the spirit breathes, Rectangular – Shape of the masks, not resembling human characteristics Spirit – reference to ancestors. The poet communicates with the spirits of his ancestors through the mask. masks through whom the spirit breathes – The spirits breath through the masks, thus it is the masks that give them life LINE 4 I greet you in silence! I – uses the first person. This makes it personal, intimate and sincere. greet you in silence! – He is filled with awe and respect for the spirits and because of this he cannot address them directly ! – emphasises the absolute silence. LINE 5 And you too, my lionheaded ancestor. Lionheaded – This refers to a traditional African mask in the shape of a lion’s dead. It could also be symbolic of strength, boldness and bravery. The Senegalese national anthem is also entitled “The Red Lion”. Also praising the strength, boldness and bravery of the ancestor. In this line, Senghor introduces his family’s guardian animal, the lion. His father’s name was Diogoye which means lion. The family is represented by a lion mask. It is the symbol of aristocratic virtues and courage. ~ 25 ~ LINE 6 You guard this place, that is closed to any feminine laughter, to any mortal smile. You guard this place – the spirits protect the place of worship is closed to any feminine laughter – Women not allowed to participate in the rituals or wear the masks - Male dominated society. The rituals are solemn and not to be taken lightly, hence no laughter. to any mortal smile – the living cannot enter the world of the ancestors. The ancestor with the lion head is called upon to maintain an aura of peace at the altar while Senghor prays. He reinforces patriarchal power: the lion guards the ground that is forbidden to women and to passing things, in favour of values, memories, and customs that stretch back into mythic antiquity. LINE 7 You purify the air of eternity, here where I breathe the air of my fathers. You purify the air of eternity – The ancestors cleanse their eternal resting place. here where I breathe the air of my fathers – here refers to Africa. Senghor acknowledges the impact of the ancestors and their hardships and oppression. LINE 8 Masks of markless faces, free from dimples and wrinkles. markless faces – Flawless / perfect free from dimples and wrinkles – no imperfections due to age. Reflecting agelessness LINE 9 You have composed this image, this my face that bends over the altar of white paper. composed this image – The poet is a result of his past altar –a place of worship. This implies that something that is being revered or worshipped. white paper – The reading and writing of prayers. The poet sees his writing about his culture as sacred LINE 10 In the name of your image, listen to me! name of your image – The poet is referring to himself listen to me! – He appeals to them to listen to him, for he needs help urgently. He is pleading to his ancestors for guidance. Tone of desperation LINES 11-12 Now while the Africa of despotism is dying – it is the agony of a pitiable princess, Like that of Europe to whom she is connected through the navel – despotism is dying – colonial rule is coming to an end. Some countries had already gained their freedom. pitiable princess – The princess is Africa – the exploitation of the continent, its resources and people have now made the once proud continent a place where people take pity on its inhabitants. connected through the navel – Metaphor: This image reminds the reader of the connection of Africa to Europe, much like a baby is connected to its mother via the umbilical cord – nourishment, blood flow etc. The colonial powers in Europe were referred to as the ‘mother country’. However, they did not act like a mother should: there was mass exploitation of people, resources and land. Greed and corruption by the colonisers left Africa damaged. The severing of the connection is necessary but difficult. The continent is not self-sufficient and is reliant upon the colonial powers. ~ 26 ~ LINE 13 Now fix your immobile eyes upon your children who have been called immobile eyes – the eyes on the masks cannot move. Who have been called – refers to the next generation that has fought and died for freedom and independence from colonialism LINE 14 And who sacrifice their lives like the poor man his last garment The simile compares those who fought for their freed to a poor person who gives up his last garment. This implies that they gave everything that they had in order to gain their freedom. LINE 15 So that hereafter we may cry ‘here’ at the rebirth of the world being the leaven that the white flour needs. Personification –the colonisers have left. The country now has the chance to be reborn, to start afresh. It can now create its own government, rules and direction for its future. leaven – yeast is necessary for bread to rise as it is being baked. Those that seek freedom are seen as the yeast in the society that will force it to grow and transform LINE 16 For who else would teach rhythm to the world that has died of machines and cannons? For who else would teach rhythm to the world –These are those who will teach the songs and dances of peace to the world world that has died – the end of colonialism; the old reality is now dead. machines and cannons – industry and warfare have caused the spiritual soul to wither and die. The world has lost its ability to feel deeply and give expression to joy. LINE 17 For who else should ejaculate the cry of joy, that arouses the dead and the wise in a new dawn? Ejaculate – shouts of joy, excitement and jubilation arouses the dead – Waking up the ancestors who are all-knowing and all-seeing (wise) new dawn – refers to a new day: a new phase in their lives. A reborn Africa will lend its youthful energy to a senile Europe, bringing joy and hope where there has been isolation, exhaustion, despair, and death. The rhetorical question conveys doubt, but it also suggests that the reader will be part of the new era. It is a challenge to the citizens of the country, to come forward and to co-operate in this new phase, under a new political dispensation. LINE 18 Say, who else could return the memory of life to men with a torn hope? who else – It is only the freedom fighters who are able to restore the dignity, pride and purpose to those who have been downtrodden for centuries. ‘torn hope’ suggests that there has been damage, destruction, violence but there is still some small element of optimism. There is still hope. LINE 19 They call us cotton heads, and coffee men, and oily men. they – the colonists cotton heads, and coffee men, and oily men – insulting names the colonialists used when referring the natives of Africa Black people are often labelled with, such as “cotton heads” and “coffee men”, according to their physical trades. Lack of identity creates an impersonal tone. ~ 27 ~ LINES 20-21 They call us men of death. But we are the men of the dance whose feet only gain power when they beat the hard soil. They call us men of death – the Europeans, view the Blacks as men who killed for freedom and were not afraid to die for freedom But – introduces alternative view We – The people of Africa, The speaker is also an African the men of the dance – Those who express themselves and their emotions through action feet only gain power when they beat the hard soil - The “new” Africans will absorb power through the land, through their culture and their ancestors, and through the rhythms of Africa. The music and dance will symbolise the hope and dreams of a better future for all who have suffered oppression and how they will regain their identity and take pride in their culture. They will share this culture and pride with the rest of the world. THEMES The oppression and discrimination of the black people. Role/ Honouring of the Ancestors The desire for freedom/ New beginnings To build a sense of pride in one’s African heritage and identity To create an awareness of the effects of colonialism in Africa TONE Oppression Suffering Hope Tone praise respect reverent MOOD hopeful meditative QUESTIONS 1. Briefly explain the connotations of the words “Prayer” and “masks” as used in the title. (3) 2. Why does the speaker greet the masks “in silence”? (2) 3. Why does the speaker use the first person “I”? (2) 4. How could an ancestor be “lionheaded” (line 4)? (2) 5. Discuss the choice in diction in metaphor “altar of white paper” (line 8). (3) 6. Identify the tone in “In the name of your image, listen to me!” (1) 7. What does the speaker mean when he states that Europe and Africa are “connected through the navel”? (3) 8. Identify the figure of speech and explain the effectiveness thereof in the phrase “rebirth of the world” (line 14). (3) 9. How has the world “died of machines and cannons”? (2) 10. Is there any optimism in this poem? Quote in support of your answer. (2) 11. Discuss the effectiveness of the last two lines of the poem as a conclusion. (3) ~ 28 ~  THIS WINTER COMING – KAREN PRESS 1 walking in the thick rain 2 of this winter we have only just entered, 3 who is not frightened? 4 the sea is swollen, churning in broken waves (violent continual motion) 5 around the rocks, the sand is sinking away 6 the seagulls will not land 7 under this sky, this shroud falling (something that covers or conceals) 8 who is not frightened? 9 in every part of the city, sad women climbing onto buses, 10 dogs barking in the street, and the children 11 in every doorway crying, 12 the world is so hungry, madam’s house is clean 13 and the women return with slow steps 14 to the children, the street, the sky tolling like a black bell; 15 these women are a tide of sadness 16 they will drown the world, 17 who is not frightened? 18 on every corner men standing 19 old stumps in the rain, tombstones 20 engraved with open eyes 21 watching the bright cars full of sated faces (more than satisfied) 22 pass them, pass them, pass them, 23 who is not frightened? 24 into the rain the children are running 25 thin as the barest twigs they kindle a fire 26 to fight the winter, the bare bodies 27 a raging fire of dead children 28 and the sky collapsing under centuries of rain 29 the wind like a mountain crying, 30 who is not frightened of this winter 31 coming upon us now? BACKGROUND This poem was published in 1986, a tumultuous time in South Africa under the Apartheid regime. This poem, on its surface level, seems to be about the people’s fear about the impending Winter. However, upon closer inspection, it is clear that this poem is an extended metaphor for the current and coming violence in the country. THE TITLE The use of the pronoun this is suggests that something is going to happen very soon. Winter is usually associated with death. However, it is also an extended metaphor for the impending state of emergency and the restrictions it would bring the poet sees it as a time of hardship and death coming – suggests that the looming arrival of this season and what it represents, cannot be averted. FORM/STRUCTURE This poem consists of 5 stanzas of differing lengths. Each stanza deals with a different aspect of the situation. Each section is linked by the refrain/rhetorical question: “who is not frightened?” This repetition/anaphora highlights the point that everyone fears what might happen. The poet breaks the usual writing convention mainly by the lack of capital letters and use of minimal punctuation: This is known as stream of consciousness writing. It illustrates the way the speaker is thinking. There is enjambment throughout the poem. The lines run into each other mimicking how our thoughts run into each other. ~ 29 ~ SUMMARY The speaker in this poem is concerned about the world she occupies and believes that she is justified to feel fear for how matters will evolve. She states that we have “only just entered”, implying that worse times are to come. The descriptions of the “churning”, “broken” and “sinking” sky further highlight her fear and Nature’s hostility. The misery of the people is made clear in stanza 3. People are hungry and suffering. The distinction between the haves and the have-nots, is clear: “madam’s house is clean” while men stand on the street corners, jobless and hungry. The “bright cars full of sated faces” drive passed the people most affected by poverty and hunger. The children, despite being ‘thin’ (fragile/vulnerable) are not scared of the ‘rain’. They are confronting it. They are going to defeat the apartheid regime which had dominated them and subjected them to suffering for so many centuries. STANZA 1 LINES 1-3 walking in the thick rain / of this winter we have only just entered, / who is not frightened? The poem begins with somebody walking in the rain. The poet does not mention a specific person and he has protection from the elements. thick –relates to the rain, very heavy rain. This weather serves to create a mood of foreboding, gloom and an oppressive atmosphere. this winter – specific reference to the winter that is approaching, not winter in general. only just entered create an ominous tone. The “hard times” are just beginning, and no one will escape the hardships. Things will become worse before they get better. There is an allusion to possible violence / uprising against the oppression. who is not frightened? – The rhetorical question, highlights the fact that these are frightening times. It does not provide an explanation for the cause of the fear. This suggests a universality to the experience of fear. The poet is referring to all South Africans. Everybody should be afraid as there will be violence in response to oppression. STANZA 2 LINES 4-5 the sea is swollen, churning in broken waves (violent continual motion) / around the rocks, the sand is sinking away At first glance, that stanza is describing the speaker’s observation of the natural environment. However; the imagery, sound devices and diction suggest an atmosphere of hostility and destructiveness that is broader than the literal reading of the lines. The sea is swollen, churning in broken waves – Rough and stormy sea, usually brought on by weather conditions. It is moving roughly and he waves crash against the rocks. This emphasises that it is dangerous. the sand is sinking away – The land is not safe to stand on as it is unstable Therefore, there reason to be afraid. LINES 6-8 the seagulls will not land / under this sky, this shroud falling (something that covers or conceals) / who is not frightened? seagulls will not land – the seagulls (symbolic of the natural element) will not land. They can sense the impending danger and violence, adding to the ominous mood. Nature is in turmoil under this sky – the present conditions this shroud falling – Metaphor: The clouds are likened to shroud used for covering dead bodies. Emphasising the sense of impending doom and intensifies the feelings of fear, anger and helplessness. who is not frightened? – anaphora; repetition of the line emphasises the fear caused by the impending violence amongst the people. The figurative element compares winter to a time of political and social hardship in South Africa. Those left unprotected (non-whites) will be exposed to hardship and possibly death. ~ 30 ~ STANZA 3 LINES 9-11 in every part of the city, sad women climbing onto buses, dogs barking in the street, and the children / in every doorway crying, There is feeling of tiredness, unrest, hunger and sadness. In this stanza, the speaker moves from an observation of nature, to an analysis of the social texture of the city. The stanza describes the return of domestic workers to their families, at the end of their work day. The stanza emphasises the inequality created by the apartheid policy which also segregated the areas where people could live. sad women – The women work in the city in the homes of the whites. They are going home to their families in the townships which are in stark contrast to the suburbs where they work. children /In every doorway crying – the children do not have food, care, etc. This is the situation in every home. Hyperbole emphasises the contrast between the rich and poor. LINES 12-14 the world is so hungry, madam’s house is clean / and the women return with slow steps / to the children, the street, the sky tolling like a black bell; the world is so hungry – Hyperbole - their ‘world is so hungry’ (both literally and figuratively). They suffer from poverty, do not have sufficient food. Also, they are deprived of their rights. madam’s house is clean – they do everything for their employers. They work for a pittance, whilst neglecting their own homes and families. They do not have time to take care of their own homes and families. return with slow steps – The women return home disillusioned and exhausted. Also they do not have anything to look forward to in their homes because of their desperate plight. Their shacks and little houses the sky tolling like a black bell – The simile compares the sounds of the storm to a black bell ringing for the dead. A bell is rung at funerals, to announce a death or a sad event. Foreboding of impending death. LINES 15-17 these women are a tide of sadness / they will drown the world, / who is not frightened? Metaphor: the women are moving to and from home to work like a sea moving with the tides. Their sadness if so great that it can be compared to a sea.