About the author Bessie Head was born in South Africa in Her mother was a white woman from Scotland and her father was a black man. (This is only.

About the author Bessie Head was born in South Africa in Her mother was a white woman from Scotland and her father was a black man. (This is only significant in that it affects the novel and Bessie's outlook on life.) Bessie was therefore classified as a 'Coloured' person under the law in apartheid South Africa. As a result, she suffered much discrimination and prejudice. When Bessie was born, she was taken from her mother and raised in a foster home. She attended a school run by missionaries, and in became a teacher in Botswana. She died in Botswana in 1986.

Setting The setting - Botswana - is very important. Bessie Head lived there for 15 years. and became intimately involved with the people and culture of the country. Two groups of people live in Botswana, the Tswana (known as the Batswana). who are herders and cattle-owners; and the Khoisan (San), who are hunter-gatherers. (The Khoisan were also known as Basarwa.) Conflict developed between these two groups when the Khoisan hunted the cattle of the Tswana. Eventually the Khoisan were defeated. Their cattle were taken from them, and they were forced to become the servants of the Batswana. They became known as Masarwa, as they no longer had any cattle.

Real life Let's take a look at the parallels between Bessie Head's life and life in Botswana as shown in Maru. Racial prejudice and discrimination Margaret is a Masarwa and a racial outcast, just as Bessie was classified 'Coloured' in a racially divided South Africa. Poverty Margaret's mother was destitute.

Real life continued… Interpersonal relationships There are example of relationships in this novel that are worth investigating. The missionary influence Both Margaret and Bessie had close contact with missionaries. Professions Margaret is a teacher, as Bessie was. Struggle Margaret experiences many hardships in her life, just as Bessie did. Freedom Maru and Margaret hope for justice and freedom from oppression, as Bessie did (Bessie died before she saw the political and social changes in South Africa). Setting The story is set in Botswana, where Bessie lived.

Characters Maru Maru means 'clouds' in Setswana (the language of the Batswana). The novel is named after him, so we know that his character is very important. Maru is a central character, and his name holds symbolic significance. He is described as a Totem, i.e. one of the chiefs in the village, and appears to be very confident. He has great authority and power, and he believes that he is an important part of the world and the land.

Maru… Maru believes that he has a god-given role, and that the gods speak to him, but he can be vicious, cruel and unkind. He has a sharp tongue that could turn the world to ashes. At the end of the novel, Maru is a farmer. He is wealthy, and happily married to Margaret. He has given up his position of paramount chief

Margaret Cadmore The orphan Margaret is adopted by a missionary's wife, who names her after herself. She is therefore well educated. Margaret is a brilliant student who uses her education to train as a primary school teacher. The missionary's wife also trains her young protégé to be an artist. Margaret is a decent human being. She has suffered much discrimination, which makes her introverted.

Margaret Cadmore Continued…
She keeps to herself, and seldom displays emotion unless it is to let one tear run down her cheek when she is particularly moved. She is tolerant of others because she has suffered so much intolerance. It is for these reasons that she is popular in Dilepe, and is pursued for her friendship, and as a marriage partner. She marries Maru.

Margaret Cadmore Senior
The elder Margaret is a cruel woman. She performs her duty as a missionary's wife, but is intolerant of the people in the village. She does not understand the people, and does not even want to try to get to know them. She speaks harshly to the nurses who work for her. (They jump in alarm at the sound of her voice.) Margaret likes to sketch people and is quite a good artist. She 'adopts' the orphan of a Masarwa woman, and names the girl after herself.

Margaret Cadmore Senior…
Margaret Senior takes it upon herself to educate the child, but when she returns to England, she does not take the young Margaret with her. We might see this as cruel - and even that raising the child has been nothing more than an experiment for Margaret Senior. She does, however, suggest to the young Margaret that she has a destiny to fulfil (in which case we can see her leaving Margaret behind as a responsible and kind act).

Moleka Moleka is royalty, the son of a chief.
He works in the Dilepe Tribal Administration offices. He is confident and powerful, and respected by the villagers. Moleka can be cruel and unkind. He speaks harshly to Margaret and denies her accommodation in the village People and goats are afraid of him and jump out of his way. But just as suddenly his mood can change.

Moleka… He humbly drives Margaret to the old library building. He is polite and attentive, opens the van door and carries her suitcase. He also offers to find a bed for her, and kills a scorpion when she tells him she is afraid of them. Moleka is Maru's rival for Margaret's affections. He falls in love with Margaret and would like to marry her, but is powerless against Maru, and loses to him at the end of the novel. Moleka marries Dikeledi.

Dikeledi Dikeledi is Maru’s sister. She is a highly educated (she obtained a diploma in early childhood education in England) and intelligent woman, who teaches in the village at Leseding School. Dikeledi is elegant and exudes sensuality. She has a long, thin, delicate face, with a small mouth. and when she smiled she seemed very shy.

Dikeledi… But Dikeledi is also self-assured. She wears bold colours and tight clothing. She is kind and tries to protect Margaret from racism in the village. Dikeledi is desperately in love with Moleka. She tries everything to catch his attention and interest. but he only abuses her adoration of him. Although Moleka is a womaniser, Dikeledi marries him at the end of the novel.

The other characters Ranko He is Maru's servant. He is in awe of Maru and will do anything for him. Seth He is an evil villager who plots the downfall of Margaret. Morafi Morafi is Maru's younger brother. He is a cattle thief; he is obese and drinks too much. He is obsessed with his own self- importance. Pete He is the principal at Leseding school. He is a racist who tries to drive Margaret from the school, but it is he who eventually flees the village.

Theme 1. Racial prejudice and discrimination
This is the central theme in the novel. Because the author, Bessie Head, faced so much prejudice and discrimination when she was growing up, her novel reflects some of the pain she must have suffered. In this respect. Margaret is almost an autobiographical character. Bessie Head said: 'With all my South African experience, I longed to write an enduring novel on the hideousness of racial prejudice ... '

Racial prejudice and discrimination …
Margaret Cadmore is a Masarwa, and the Masarwa are discriminated against by the Batswana. It is ironic, therefore, that two powerful leaders of the ruling tribe fall in love with her. Maru even gives up his chieftaincy for her. In the end Margaret, a lowly slave, rises to the ranks of nobility. and Maru at least overcomes the prejudice inherent in his tribe.

2.Destiny Margaret The theme of destiny is closely aligned to the first theme. Margaret Cadmore senior believed that Margaret has a destiny to fulfil. This destiny was to be an example to her people and assist in liberating them from the prejudices inherent in their society. This is her reason for not taking Margaret with her when she returns to England. It is debatable how far Margaret achieves her destiny. It is equally debatable how far prejudice is overcome in the novel. After all. Moleka does not marry Margaret. but rather makes a good match with his social equal. Dikeledi. Although Maru marries Margaret, they flee to the countryside. She becomes his wife. but Maru abdicates the chieftaincy so Margaret never rules with him.

Maru Maru also believes he has a destiny. He believes that the gods talk to him, and tries to listen to them and obey them. Maru believes his destiny is not to become paramount chief. He believes he is supposed to set a new example to his people by not being racist. He achieves his destiny by marrying Margaret, a Masarwa.

Symbolism / Imagery 1. Rain clouds
The opening sentence refers to rain. (This must be important if the author begins her novel with these words.) Obviously, farmers are constantly aware of the weather and rain, because their livelihoods depend on them. But in this novel the clouds are personified. We are told those black storm clouds clung in thick folds of brooding darkness; there seemed to be a secret in their activity; they were prisoners. Maru is symbolised in the clouds. It is said of him: there was a depth of secret activity in him like that long, low line of black, boiling cloud.

2. The sun and moon At first, Moleka is associated with the sun. This description fits t- toleka's personality and appearance. He is attractive to the opposite sex. He is also powerful and possesses great energy (a dizzy, revolving energy), like the sun. But Moleka lacks creative imagination, a quality Maru possesses. Maru also thinks that Moleka has a huge ego, like the sun, the brightest light in the heavens. But when he meets Margaret and is affected by her, Moleka is more closely associated with the moon. He becomes absent-minded, distracted and introspective, qualities more closely aligned with the moon. (Previously, it is Maru who has been associated with the moon.)

The sun and moon… Maru likens himself to the moon. In comparison to Moleka, Maru had only an eternal and gentle interplay of shadows and light and peace. He has the compassion and good sense that Moleka lacks. They complement one another, and in the past their two personalities have worked well together. However, with the arrival of Margaret. they will work together, but as enemies

3. The gods Maru hears the gods in the heart and the gods in the earth, and believes that these gods guide his destiny. Moleka does not hear these gods but he recognises their conversation with Maru by the light in his friend's eyes. Because Moleka does not have a similar light in his own eyes, he is devoted to Maru, as he believes that the light makes Maru the most beautiful person on earth.

4. The two kingdoms Each notable person owns a 'kingdom‘. The kingdom is constructed of the personality, character, friends, relationships, etc. People who had kingdoms were careful not to betray those gods who dwelt inside those kingdoms. They tried to do good, and make something of their lives. People who have no kingdoms - like Pete, Seth and Morafi - are evil and malicious. Maru is consistently aware of his kingdom, his duty and destiny, and the gods who control his kingdom. As a result. he is careful to listen to the gods,

The two kingdoms… Maru and Moleka are described as the kings of opposing kingdoms, Both men are powerful and strong and have great influence - they are kings. However, Moleka, because he is unaware of the gods, walks blindly through life. His kingdom is locked behind a heavy iron door and is unfathomable. Even Maru is unable to unlock the door to Moleka's kingdom.

The two kingdoms… Maru, on the other hand, is intimate with the gods.
He walks with the queens and goddesses every day. He is a part of everything, and sees beauty everywhere. As a result, Maru had all the stuff that ancient kings and chiefs were made of, and people looked to the day when he would be their chief.

5. Roads, highways and footpaths
Both Moleka and Maru see their lives as journeys along a path. When Moleka says that he has come to the end of one road and [will be] taking another, he is acknowledging that his life will take a change in direction, because of Margaret. Maru sees two paths for himself: one is a busy, roaring highway ... full of bustle and traffic.

Roads, highways and footpaths…
The other is a small, dusty footpath. His heart desires to follow the smaller path, even though he knows it is a lonely road. The people expect him to take the highway, the path that leads to the chieftaincy. When faced with the choice, in his vision, he suddenly sees bright yellow daisies edge the smaller path. This makes his decision easier.

6. Bright yellow daisies The daisies symbolise Margaret and her presence in Maru's life. Because the daisies edge the road Maru will take. It tells us that Margaret will accompany Maru on his journey. (Notice also the picture that Margaret paints later - it contains the same yellow daisies.)

7. Gods and goddesses Each person can be a god or goddess, as well as having gods who control their kingdom. Maru and Moleka are described as gods, and Dikeledi is a goddess. They are royalty, who have destinies to fulfil. They also need to listen to the gods within to ensure they fulfil their destinies.

8. Bombs Maru describes the action he will take (in marrying Margaret) as dropping a 'bomb', i.e. instituting a life- changing event. It will have a devastating and resounding effect on the village.

9. The sea In the beginning. when Moleka meets Margaret. he compares the position in which he finds himself to the sea (he is all at sea). For example. pain passes like waves over his eyes; Moleka tries to grasp he depths of what he has lost and could gain; he feels the roar in his heart. The sea is a metaphor that shows us that Moleka is becoming more in touch with his inner kingdom.

The sea… Near the end. Dikeledi is like a person tossed about this way and that on permanently restless seas, because her love for Moleka is unreturned. She has swopped places with the Margaret and Moleka of earlier sections. Ironically. Margaret too becomes a person tossed on restless seas one year after she marries Maru. When she marries Maru, her love for Moleka does not end. Although she has a measure of happiness in her marriage. she still yearns for Moleka. and this divided heart causes her to be a person on restless seas.

10. Margaret’s painting Margaret's sketches are an extension of her personality. They capture the vivid life she sees around her. They also reveal her inner emotions and, therefore, give insight into her character. The three paintings Maru especially likes, when viewed as one vision, are important symbolically. They depict the dream Maru has of his future with Margaret, which he now projects onto Margaret.

Margaret’s painting… Each element in the painting is symbolic:
The house This is the house Margaret and Maru will share. It is black because it is not entirely a happy house (Margaret lives here with Maru, although she still harbours her love for Moleka, and Maru is aware of her divided loyalties). The light in the windows It is a queer light al hough it revolves gently. This is reflective of the respect and type of love Maru and Margaret will share. They have an understanding and a common goal to liberate the Masarwa from the prejudice in society.

Each element in the painting is symbolic:
Pitch-black clouds The clouds, dark and brooding, are representative of Maru. He gives up the chieftaincy to marry, Margaret, but does not captain her heart. Margaret will always love Moleka, even if she cannot be with him, and this love drives Maru Into a black jealousy Yellow daisies The flowers signify the joy Margaret feels when she is elevated in society and is no longer seen merely as a Masarwa. Margaret also brings joy to Maru. She has saved him from a life as paramount chief, a life he did not want. The footpath and the embracing figures The footpath is the new road Maru and Margaret choose for themselves. It leads to a new life, free from prejudice, where a Batswana can embrace a Masarwa.

11. The goats The mother goat has the confidence and arrogance Margaret lacks. In some way, Margaret envies this attitude. Even a goat has the assurance that Margaret. a Masarwa, lacks. (Note what happens to the goat at the end of the novel. By contrast, what happens to Margaret?) The mother has eyes that are revolving, ancient and hooded. She seems to have a wisdom that goes beyond that of an animal.

The goats… The kid is naïve and trusting, and is happy because Life was too good to him. Both quickly become attached to Margaret. who treats them like human beings. They are her only friends, other than Dikeledi.

Part One Meeting Maru and Margaret
Plot Read from The rains were so late that year ... to He walked in at the door and said, softly: 'My sweetheart. ' The novel begins at the end of the story, so these opening pages are intended to whet our appetite and make us want to read further. The opening pages should. therefore, ask more questions than they will answer. When you have read the entire novel, come back to these opening pages and reread them. They will then make far more sense.

Meeting Maru and Margaret…
Style The narrator of this section is Maru. Maru is a farmer who is preparing his fields for the seasonal ploughing. He has people who work for him, so we can assume that he is wealthy. Maru is married (to Margaret Cad more, although in these opening pages we do not know her name yet).

Character Maru appears to be very confident. He says of himself: Who else had been born with such clear, sharp eyes that cut through all pretense and sham? He has tremendous authority and power. He is described as a king in their society. Maru believes that he is an important part of the world and the land. He says: There had never been a time in his life when he had not thought a thought and felt it immediately bound to the deep centre of the earth, then bound back to his heart again - with a reply Maru believes he has a god-given role, and that the gods speak to him. Maru can be vicious, cruel and unkind. He has a sharp tongue that could turn the world to ashes.

Setting The story opens in the countryside because Maru and his friends are ploughing. There are also references to yellow daisies, which Maru wants to plant in his flower garden. We will see later that the story is set in Botswana, a significant detail.

Margaret’s Birth Read from They were the most precious words
Margaret’s Birth Read from They were the most precious words ... to Who knew what wonder would be created? Theme This section points to the theme of racial prejudice and discrimination. Margaret thinks that the most precious words she can hear are My sweetheart (from the last line of the previous section). This is because she suffered so much prejudice growing up. She refers to the prejudice as the horror that could pour out of the human heart. She was spat on, pinched, and called Bushman! Low Breed! Bastard‘ She says that the Bushmen are considered the lowest of the low - Masarwa is the equivalent of 'nigger', a term of contempt that which means, obliquely, a low, filthy nation.

Margaret’s Birth… Character Margaret's mother
Margaret never knew her real mother because she died giving birth to Margaret. She was a Masarwa, who was obviously impoverished, as she was thin and dirty, and smelt of the smoke of outdoor fires. No one wanted to touch her dead body because she was considered part of the untouchable class. From her birth, Margaret is as much discriminated against as her mother was.

Margaret’s Birth… The missionaries
Because no one will touch a Masarwa, the missionaries in the village take in Margaret. However, these missionaries are just as unkind to the people among whom they live. They did not really like to be involved with mankind. (This is ironic, because missionaries by nature should love the people they are called upon to convert.)

Margaret’s Birth… The missionaries…
The wife of the missionary, Margaret Cadmore senior, instructs her servants to wash the body and prepare it for burial. However, she is not a kind person. She is filled with common sense, so she knows what to do with a corpse, but is not motivated by kindness. We are told that she is abusive of mankind. Margaret Cadmore takes care of the Masarwa child, whom she names after herself.

Margaret’s Birth… Symbolism
Margaret Cadmore senior likes to sketch people, and she is quite a good artist. She labels all her pictures. The picture she draws of the Masarwa woman displays a mixture of peace and astonishment As she draws the expression, she begins to laugh. This is rather odd behaviour, but perhaps she understands the position in which the Masarwa woman found herself, because she labels the picture 'She looks like a goddess'.

Margaret’s Birth… Symbolism… For Margaret Cad more, the Masarwa woman looks like a goddess. She sees beyond skin colour and prejudice, to the beauty of the woman. The artist in her is captivated by the expression on the woman's face. Later, this will be the picture the young Margaret carries around with her.

More about theme The nature versus nurture experiment
Margaret senior has no children of her own, so she decides to adopt the Masarwa child. She appears to have some compassion, and this is why she adopts Margaret. (Maybe she really saw human suffering, close up, for the first time, but it frightened her into adopting that part of the woman which was still alive - her child.)

But Margaret is an educator of children as well as a scientist
But Margaret is an educator of children as well as a scientist. One of her pet theories is environment everything; heredity nothing. This theory translates into the old debate of nature versus nurture; in other words, is a person a product of the environment (affected by where they live, which then moulds their personality), or a product of their genes (so that they are shaped by the parents who gave birth to them)? The main reason Margaret wants to adopt the child is to see which side of the theory is the most accurate: She had a real, living object for her experiment. Margaret, the missionary, believes she can create a significant and vital human being out of a Masarwa, a person who should be a nothing. (It seems unlikely, then, that the young Margaret is going to grow up with any real acceptance, if all she is, is the object of a scientist's experiment.)

The Experiment Succeeds -Margaret Grows Up
Read from There seemed to be a big hole in the child's mind ... to I did not want to leave you behind. Margaret Cadmore.

Margaret Grows Up… Symbolism What is the big hole in Margaret's life?
Margaret suffers as she grows up because she is caught between two extremes: she is a Masarwa and is discriminated against; but she lives with Margaret senior and is treated like her daughter. The other children tease Margaret, calling her a Bushman, mixed breed, half breed, low breed or bastard, but Margaret is also given every opportunity to educate herself, learning the manners and customs of a white person.

Margaret Grows Up… Symbolism…
This makes Margaret very confused - What was a Bushman supposed to do? She had no weapons of words or personality, only a permanent silence and a face which revealed no emotion, except that now and then an abrupt tear would splash down out of one eye.

Margaret Grows Up… Character
Let's consider the relationship between the young Margaret and her adoptive mother. The relationship between her and the woman was never that of a child and its mother It was as though later she was a semi-servant in the house, yet at the same time treated as an equal ... People respect Margaret only because she has the protection of the white woman. For the young Margaret, however, she remains an experiment.

Margaret Grows Up… Character…
She is given affection on occasion (kisses on the cheeks and toes at bedtime, a bedtime story, long walks into the bush ... ), but when Margaret senior returns to England, she does not take her 'daughter' with her. She pretend[s] to cry as she departs, and Margaret junior realises that she liked to experiment but she dreaded drains on her emotional resources. For the young Margaret, it is a different story. The parting is painful: It was everything between them that caused a tear to shoot out of the young girl's eye. She [Margaret senior] had been more than an educator. She had been humour, laughter, fun, unpredictable-ness, a whole life of vibrating happiness.

Margaret Grows Up… The young Margaret
Margaret is a brilliant student. Because she is lonely, she buries herself in books. She identifies with her adoptive mother - Margaret's mind and heart were composed of a little bit of everything she had absorbed from Margaret Cadmore.

Margaret Grows Up… Theme What is Margaret's destiny?
Margaret senior does not take Margaret with her to England because she says that Margaret must help her people. This is Margaret's destiny.

MARGARET ARRIVES IN DILEPE…
Read from Four months later she was appointed to her first teaching post ... to She was really no longer lonely.

Setting Dilepe is a remote, inland village of more than inhabitants. It has a school, a library and stores. It is dry and dusty and very poor. Dilepe is ruled by a paramount chief (Maru's father), with a number of tribal chiefs under him, of whom Maru and Moleka's father are two. In Dilepe, the Masarwa are treated as slaves. When Margaret acknowledges she is a Masarwa, she does not receive the respect a teacher should. She is called bushy. Only Dikeledi shows Margaret genuine friendship and treats her like an equal.

Character Who is kind to Margaret? The truck driver who transports Margaret to Dilepe is kind. He seats Margaret in the front of the lorry beside himself, and treats her with respect. He advises hsr not to be afraid of the world, saying, People can't harm you. He is spontaneous in his kindness.

Character When Dikeledi hears that Margaret is a Masarwa, she suggests Margaret hide the fact by saying that she is a 'Coloured'. She tries to protect Margaret from the prejudice in Dilepe Dikeledi also finds someone to carry Margaret's suitcase, and drives her in her car to the administration offices. She also offers to room Margaret in her own house. Moleka is at first quite abrupt with Margaret, but something within him changes. He offers Margaret accommodation in the old library. He takes her there, opening the car door for her, and carries her suitcase. He offers to get her a bed.

How does Margaret feel on the first day of her new life? Margaret is afraid and lacks confidence. She sits quietly with the truck driver as if she has no right to speak. He recognises her fear, but tells her that she has nothing to fear. He respects her and sees her as a professional. But Margaret is also very excited.

How does Margaret feel on the first day of her new life? She feels like a millionaire and anticipates shopping and setting up her own home. Margaret is also proud of her Masarwa heritage. She refuses to pretend to be a 'Coloured' to make her life easier. Even though she has few possessions, she looks forward to her life ahead, and Dilepe village seems to her to be the most beautiful village on earth. As she realises that she has fallen in love with Moleka, she says she is really no longer lonely.

Imagery Stormy weather Moleka, like Maru, is associated with clouds and storms. When he is in a bad mood, there is a heavy thunder-cloud around his eyes. When his mood changes, it is as if a stormy sky has cleared from his eyes. Music Moleka's voice is like music. His voice can bedazzle one, as it does here with Margaret. The sun Moleka is associated with a rising sun. He has the power to warm and give life to all those who encounter him.

MARU AND MOLEKA - COMPETITORS IN LOVE
Read from The moon was so bright … to No, he felt as young and innocent as a three year-old child.

MARU AND MOLEKA - COMPETITORS IN LOVE…
Character Moleka Moleka has innumerable girlfriends. He is handsome and popular, and lives like a spendthrift millionaire because he can pick and choose from all the women in Dilepe. He has eight children but takes no responsibility for them. He says that he has never been in love. The closest he has come to loving someone is Dikeledi, but this attraction is a distraction (lust). All Moleka's affairs exploded like bombs, and he is the only one who emerges from them unhurt and smiling Moleka is arrogant and violent. He is disrespectful to all women.

Character… Moleka We do, however, see a change in Moleka's attitude. The minute Moleka met Margaret, something had gone 'bang' inside his chest. Margaret is not physically attractive, so she is not distracting. He is captivated by Margaret's voice - Something in the tone ... had abruptly arrested his life. F rom this moment, something killed the old Moleka in a flash and out of one death arose, in a flash, a new Moleka.

Character… Maru Maru is the opposite of Moleka when he is in love. Maru falls deeply in love with all the women with whom he is involved, and is deeply affected when the love affair ends - a deep sorrow would fill his eyes. He would choose his girlfriends with great care. (Often, it would be Moleka who would introduce them.) He would be attracted to some quality or physical feature. Unfortunately, Maru would soon discover that the girl was only after social gains and he would start despising them.

When he broke up with them, it would seem as if his entire world had collapsed, and he would be laid up for three months on end over a love affair. Likewise, the girl would be so disappointed that she would flee the village or become insane. This gives Maru a frightful reputation as a lover. People believe he is the reincarnation of Tladi (a monstrous ancestral witch-doctor who had been a performer of horrific magic). As a result. he has only had five friends in Dilepe!

Plot Moleka and Maru do not compete for the same women. Moleka would rather defer to Maru. Moleka understands Maru, and the one great passion in Moleka's life is his friend Maru. Likewise, Maru shares all his secrets with Moleka because he knows Moleka is a king with his own kingdom. But this will all change when Margaret arrives.

THE SCHOOL OFFICIALS PLOT
Read from It was the first day of the new school term to … Morafi, the younger brother of Maru. Theme This section explores the theme of racism in greater detail. It shows how Pete (the principal) and Seth (the school administrator) plot Margaret's downfall simply because they are racist.

DIKELEDI RESCUES MARGARET
Read from Funny how birds of a feather flock together to ... familiar with his future work as paramount chief

DIKELEDI RESCUES MARGARET …
Character The derogatory term birds of a feather refers to Seth, Pete and Morafi (Maru's younger brother). All three are power hungry, and plot the downfall of Margaret. Morafi is particularly cruel and self-obsessed: The things that amused him were the kind of things that caused suffering to others. Morafi is an obese cattle thief, who abuses his position as a Totem, and drinks too much. He has an inborn stupidity and a total insensitivity.

Plot Pete encourages a young boy to question why a Bushy (Masarwa) has been allowed to teach. When chaos erupts, Pete hopes to issue Margaret a disciplinary letter, accusing her of failure to control her class and labelling her an ineffective teacher.

Plot Dikeledi, however, rescues Margaret by rushing into the class and restoring order among the children. She manages to get to the class before Pete does, so that Pete's plot is rendered useless. He is left shamefaced in front of Dikeledi and the other teachers, who realise what he is up to. Dikeledi restores Margaret's dignity and proves to be a good friend when she shares lunch with Margaret.

Theme The community is prejudiced towards the Masarwa. They hope that Maru will do something about the Masarwa, as they see them as a millstone (burden). Moleka, however, allows his Masarwa slaves to sit at his table while he eats. This confuses Moleka's other servants, as they are no longer certain of the social order in Moleka's household.

MARU RETURNS TO DILEPE Read from Ranko had the most stupid and uncomprehending face on earth to His methods were cold, calculating and ruthless.

MARU RETURNS TO DILEPE …
Character Ranko is a very observant spy, and Maru uses him to verify his own intuition. Ranko unrolls information like a camera reveals a story - Ranko had a camera inside his brain. It did not need to talk, only sit on the edge of any situation and take pictures, including the minutest detail.

Character He tells Maru: a Masarwa has been appointed as a teacher at Leseding school that everyone is impressed with this Masarwa, who has great dignity that even he is impressed with the teacher, who does not seem to easily accept the kindness of others; she cries out of one eye when anyone shows kindness that Dikeledi is enamoured with her new friend

Character He tells Maru: that the parents of the village are trying hard to overcome their prejudice of a Masarwa teaching their children that the people are angry at the behaviour of Moleka concerning his Masarwa slaves that Moleka is a changed man, even going so far as to lend the new teacher a bed; he no longer visits women in the village; he does not abuse Ranko that Moleka has said that he has come to the end of one road and [will be taking] another that he thinks the new teacher has bewitched Moleka, as he no longer has Masarwa as slaves in his home.

Plot What action does Maru take? Firstly, he visits his sister, Dikeledi, to verify Ranko's report. Then he confronts Moleka about the loan of the bed. He is shocked at how much Moleka has changed. Moleka now resembles Maru, and Maru is astounded at how powerful love is to be able to change someone like this. He forces Moleka to fetch the bed from Margaret. Moleka is horrified; he is embarrassed to have to ask Margaret to return the bed. Moleka rather sends two clerks to fetch the bed from her.

More about character Margaret At first, Margaret is surprised to see the white van approaching her house. She thinks it is Moleka paying her a visit. When she realises that it is only two clerks who have come to collect the bed, she is terrified that it means Moleka has heard of the disruption that occurred in her class that morning, and that she has now been fired.

More about character… Margaret… When the clerks encourage her to speak to Moleka, because he is not an unreasonable man, she agrees to return with them to the office. Margaret is nervous to ask Moleka to let her keep the bed for a day or two until she can buy one. Before Moleka can reply, Maru admits that it is he who has demanded the bed. Although he looked as though he [is] half smiling, his words do not match his voice. Margaret feels affronted by his authority, so she does not contradict him. Instead, she agrees to return the bed immediately.

More about character… Maru Maru is shocked by Margaret's dignity. Almost everyone grovelled before him, because of his position. But she looked down at him. indifferently, from a great height, where she was more than his equal. This is the first time Maru has had this kind of a reaction from a woman, let alone a Masarwa. He hears again the gods talking to him about the small, dusty footpath he is to take. When Maru also realises that he is lonely, he makes a decision to marry Margaret, a Masarwa, and bring about the change to society that is his destiny (to pull down the old structures and create the new).

More about character… Dikeledi Dikeledi is shocked and horrified by Maru's decision to marry a Masarwa. Maru is due to be the next paramount chief, and she does not know how he can be the chief if he is married to a Masarwa. (What she displays is not racism, but a fear for the safety of Margaret -people will not tolerate a Masarwa married to their chief, and may plot to kill her.)

More about character… What does Maru's decision indicate about his character? Maru tells Dikeledi that he never intended to accept the chieftaincy. He believes he was only born in it to see its evils and its effects on society. He thinks that everything he has been doing is an experience, an experiment. Now Margaret will be the next experience, and a good one because she will ensure that he is never tempted to make a public spectacle of himself.

More about character… What does Maru's decision indicate about his character?
Maru never wants to do things because they are expected of him. Moreover, he wants to destroy the prejudice and racism in society. He believes the gods have shown him a new path where new doors are opening on either side. These doors open onto a new future, where people would not need chiefs and kings and figureheads who wore dazzling garments and ruled with the philosophy that there was never enough, so those who had had to put their foot down on those who had not. This shows us that Maru is ultimately a fair and good person, someone who is opposed to racism - a person who would never betray the gods of goodness, compassion, justice and truth.

More about character… Does this mean that Maru is all good? Maru can be very cruel. We have already seen how he callously asks for Margaret's bed to be returned. This is because he is determined that he will not marry a pampered doll, yet his methods are unkind. Maru knows that half of [himself] was a demon. Maru intends to use Moleka and Dikeledi in his plans, but he does not tell Dikeledi all the secrets of his heart because he needs her alive and stupid for his future plans.

More about character… Does this mean that Maru is all good? He also refers to Dikeledi as a puppet of goodness and perfection. He is so determined to succeed in his desires that if anyone interferes, he will mess everything up. Maru is determined that he will come out on top. These are vindictive and cruel statements, so there is a noticeable darker side to Maru's nature (Dikeledi knows that he really made people do everything he said they would, and could create such a tangle of events with his spies that it was simpler and less harassing to carry out his orders).

A CHANGED MOLEKA Read from It could not be imagination to ... and that is how I learned.

A CHANGED MOLEKA … Character How can we see that Moleka has changed?
Moleka describes himself as all at sea; his mind is confused; he has new music in his heart; and feels that he is on a different path. Moleka's mother realises that he is no longer visiting women in the village, and she fears he may be losing his mind. Moleka keeps silent; he forgets to titivate himself Moleka has forgotten how to make approaches to women. He is suddenly faced with a horror of shyness and lacks confidence when he thinks of Margaret. and is unsure of an excuse to talk to her. Moleka feels he has no control over his heart.

A CHANGED MOLEKA … Plot Moleka reaches the decision to visit Margaret under the pretext of finding out if she is comfortable. But as he climbs the hill, Ranko calls out a warning from Maru: Maru will kill Moleka if he goes near Margaret. Moleka realises that Maru has also fallen in love with Margaret. A declaration of war has been made. Moleka is so angry with Maru that he decides to kill him, but he gathers his senses and decides against it.

A CHANGED MOLEKA … Plot…
In desperation and anger, Moleka decides to visit Dikeledi. If she starts to entice him, he declares to himself that he will kill her! If he can destroy her (or her honour and respect In the village), he will be able to get at Maru. Moleka sleeps with Dikeledi. Although she is a poor substitute for Margaret, it is one way he can try to ease the turmoil in his heart. Furthermore, if he is cruel to Maru's sister, he thinks it will cause Maru some pain. Moleka also realises that he will never be able to beat Maru in competition for Margaret, so the next best woman on earth is Dikeledi, who has always loved him.

A CHANGED MOLEKA … More about character Moleka
Dikeledi has always loved Moleka despite his cruelty. But Moleka is not honest with Dikeledi In that he does not tell her the truth behind his motivation in eating with his Masarwa slaves. Instead, he allows her to believe that he did it for her. The only remorse he feels is when he sees the unquestioning love for him in Dikeledi's eyes. He cannot understand where such a love comes from.

A CHANGED MOLEKA … Maru When Ranko informs Maru of the night's happenings, Maru is amused at Ranko's anger. Maru is thrilled by the events, as now Dikeledi and Moleka have fallen into his trap. He will be able to force Moleka into marrying his sister to prevent her losing her honour and being viewed by the village as a cheap concubine.

A CHANGED MOLEKA … More about plot
What changes are there to be seen the following morning? There is animosity between Moleka and Maru. The village acknowledges the new animosity and thinks it is because Maru is upset with Moleka over his treatment of his sister, Dikeledi. Dikeledi is deliriously happy. She has spent a glorious night with Moleka. Margaret's mood is one of riotous, tumultuous happiness. She is buoyed by her secret love of Moleka. Margaret notices the new expression on her friend's face and begins to sketch Dikeledi.

MARU'S REVENGE Read from Pete, the principal, was in trouble of a strange nature to Dikeledi was promoted to be the principal of Leseding School. Plot This section tells how Maru manages to get rid of Seth, Pete and Morafi. In the end, Dikeledi is promoted to principal in Pete's place.

PART TWO THE QUEEN OF SHEBA AND WINDSCREEN-WIPER Read from The rhythm of sunrise ... to ... sat down and stared deep into her own, peaceful heart.

THE QUEEN OF SHEBA AND WINDSCREEN-WIPER….
Character The goats The Queen of Sheba is a nanny goat and Windscreen-wiper is her kid. The two follow Margaret home, despite Margaret's best efforts to chase them away. (She thinks that the village people will assume she has tried to steal the goats if they are in her house.) The mother goat has such an arrogant attitude that she names her the Queen of Sheba, after the biblical character. The kid gets its name because his little back part stuck up in the air and he frisked his tail like a windscreen-wiper.

Margaret Margaret has found peace living in Dilepe. She is not involved in the lives of the villagers, and they forget that she even lives there. Margaret is content. and not at all lonely. This is mostly due to the secret love she has for Moleka, which she sees returned in his eyes. She also feels she has the company of Dikeledi, the Queen of Sheba and Windscreen-wiper.

Dikeledi Generally, Dikeledi's heart is laden with sorrow. This is because Moleka is again visiting women, and Dikeledi feels betrayed by him. She cannot forget Moleka. Her love seemed a burden she would carry for the rest of her life. She does not confide in anyone, and when she sits quietly while Margaret sketches her portrait. a mournful expression fi/led her face and she slumped a little in the chair, depressed.

Margaret Cadmore senior What influence does Margaret Cadmore senior have on Margaret? Margaret senior had muddled Margaret's heart because her love was so inconsistent. In this way, Margaret learned to live without constant love; she learns to endure. This characteristic of endurance helps Margaret deal with Moleka. (Margaret never approaches Moleka, and later she endures living without him.) Margaret senior inspired the young Margaret to paint. She taught her the basic skills, but the younger Margaret is far more talented than her mentor.

MARGARET BEGINS TO PAINT
Read from The Schools had closed for the holidays ... to 'You will get them when I have no more need of them, , he said.

MARGARET BEGINS TO PAINT…
Plot Maru tells Dikeledi to supply Margaret with equipment and to instruct Margaret to freely experiment with her painting. Margaret covers 30 sheets of paper. Most are of Dilepe and the goats, but three contain a central theme: There was a pulsating glow of yellow light dominating pitch black objects.

The house The first picture is of a house. Everything, including the house, is black, but out of the windows shone a queer light. The field The second picture is of a wide open sky and field. Pitch black clouds envelop the sky but the whole field is filled with yellow daisies. The path The third picture is of a footpath leading to two embracing figures, the one is unmistakably that of Maru. They are surrounded by light.

Symbolism Margaret and her paintings How does Margaret view her paintings? Margaret sees her time as a holiday, even though she describes the days spent as torture. She had unleashed a power within, which she now had to bring under control. Painting makes her feel like a millionaire. But her feverish painting has also disrupted the previous peaceful rhythm of her life. (Perhaps this is an indication of her future and the control that Maru will have over her life.)

Dikeledi and the paintings How does Dikeledi react to the paintings? She joyfully picks up the paintings, which exploded with vigour and movement. She is shocked to recognise the figure of Maru in one of the pictures. She also sees Maru's dreams for Margaret's future. This astounds Dikeledi, who cannot believe the power her brother wields in projecting his dreams on someone so far removed from him.

Maru and the paintings And how does Maru react to the paintings? Maru separates three paintings from the rest, the ones that reflect his dreams. He tells Dikeledi that he has been waiting for these particular paintings. Maru stares into the future and his eyes reflect great joy - his plans are bearing fruit.

MARU'S DREAMS AND VISIONS Read from He had the pictures neatly mounted
MARU'S DREAMS AND VISIONS Read from He had the pictures neatly mounted ... to ... 'Kill her.'

What are Maru's dreams and visions?
Maru makes feverish preparations for a freedom and life wherein everything he owned would be his, not other people's blood money and stolen goods. His dream is to be married to Margaret, living a thousand miles away in a house surrounded by yellow daisies. He does not want to be paramount chief, because that position entails listening to other people and doing what they want.

He has no intention of becoming the victim of a stupid, senseless, cruel society into which he has been born. Rather, his vision is to be married to Margaret because she symbolises her oppressed tribe, and Maru wants to understand oppression and liberation from that oppression. He is so determined to put his plan into action that. at times, when he wonders what he will do if Margaret does not love him as much as he loves her, he even considers killing her!

Character The elders of the tribe expect Maru to accept the chieftaincy quite soon, but Maru continually delays becoming chief by using his (supposed) ill-health as an excuse. Moleka continues to watch Maru with suspicion. It is his intention to expose Maru to the whole village should Maru ever dare to take as his concubine that silent, isolated person on the old library hill. Moleka does not realise that Maru has greater dreams and visions - to take Margaret as his wife, to abolish prejudice and oppression, and to live many miles away from Dilepe.

Theme So how do Margaret's pictures epitomise Maru's dreams and visions? Maru mounts them carefully on a long board placed against a wall where he is alone with his thoughts, and he often stares wistfully at them. (They were a companionship between the present and the time when he was ready to live a different life.) For Maru, the pictures are a kind of music. Although Margaret paints scenes of ordinary village life, they display her vitality. Maru sees them as mirroring the message of his own heart: Look! Don't you see! We are the people who have the strength to build a new world! Moreover, the portraits and sketches trace the unfolding of the soul. In the pictures, Maru recognises the same soul message in Margaret.

Theme The pictures speak, with a universal language, of the anger of an oppressed people who will revenge themselves on their oppressors. The pictures dispel the old myth that the black man is unable to think for himself. It challenges the idea that the oppressed is a mere circus animal. Maru realises that the Batswana have adopted the same attitude of oppression over the Masarwa as the white man has over the black man.

Theme The Batswana think they are safer than the white man, but Maru realises that mistreated people are also furious people who will always rise up against their oppression. The pictures, therefore, display the true message - that the Masarwa desire their freedom and [to] be busy with [their] own affairs. Maru intends to nail cruel. selfish people to the ground, but not become a victim of cruelty and selfishness himself.

More about character Maru uses the word visionary to describe both Moleka and himself. Both men are able to see the world with futuristic vision. Maru trained Moleka to view the world this way, but Maru intends to remain superior to Moleka and achieve the goal of marrying Margaret.

More about character While Moleka is at a dead end, powerless to make a move either way, powerless to make his love evolve beyond a glance, Maru will be the victor in obtaining Margaret. So he had his spies running up and down, smoothing the way for his future. He did not rest either, but began secretly and quietly to undo the ties of his birth. As for his love, it could grow and grow beyond the skies or the universe. It knew no barriers (either racial or physical).

MARGARET'S HOUR OF PEACE
Read from Oikeledi supplied the easel and board ... to She recorded the hour of peace.

MARGARET'S HOUR OF PEACE …
Theme Margaret has found peace in her life in Dilepe: The days were so happy they seemed to speed by on wings. Her life has attained a natural rhythm, which is constructed from her friendship with Dikeledi, her painting and her love of Moleka.

Character Dikeledi Dikeledi shows kindness to Margaret. She supplies the easel and board for Margaret's paintings, and also helps set up the canvas. There were other tender little gestures too: Dikeledi collected lids of tins and blended the paint tints for Margaret.

Character Margaret Margaret's paintings bring her much joy. She tells herself that she is painting for Moleka, although she realises that she will never approach him to give him the pictures. One picture In particular is important. She paints this after sensing that the peace and flow and continuity of her life was only a brief resting place, that one day she would have to say goodbye to him, that there was an accident in the whole arrangement and he had only been a kind passer-by who had given a helping hand to a lost soul.

Character Margaret… All these emotions she paints into the scene of two anonymous people standing in a doorway, displaying an unchanging love. (It is significant that in the next section, when Dikeledi gives this painting to Maru as she has done with all the others, he refuses to take it. Maru recognises that this painting has not been designed for him. Ironically, Dikeledi gives it to Moleka, the person for whom it was originally intended. Margaret never knows that it has landed in Moleka's hands. Moleka treasures It as it is a symbol of his shared love with Margaret - it speaks to him, telling him of Margaret's true feelings. Dikeledi, on the other hand, never senses the hidden meaning of the picture.)

More about theme Inner peace Dikeledi does not share Margaret's inner peace. She becomes more pensive and silent towards the latter part of the year She wishes she were more like Margaret in her contentment. Dikeledi, however, wants more than what Margaret has. Although Margar t is content with the library, her painting and her school work, Dikeledi is restless. Dikeledi is desperate in her love of Moleka, which is unrequited

More about theme Inner peace… In contrast. it was Margaret who was restless and unsettled at the beginning of the novel. She felt she did not belong in society and could find no peace. In Dilepe, she has achieved her vocation (as school teacher); she has found a home to call her own (in the old library); she has found love (Moleka), as well as a rhythm to her days (painting, feeding her goat friends, etc).

More about theme Inner peace… This helps Margaret grow in strength of purpose and personality The powerful woman who once lurked behind the insignificant shadow has emerged. Dikeledi now moves into the position once held by Margaret. Because she is restless and suffers an unreturned love, she is insecure and unhappy. She is not the strong, confident woman she was when the novel opened. Her inner peace has been destroyed, and this makes her envious of Margaret, a Masarwa.

More about theme Enemies But why could Margaret and Dikeledi become enemies? Margaret and Dikeledi are near to killing each other, in a symbolic sense. Margaret is the top dog, while Dikeledi lack[s] something. This makes Dikeledi vulnerable. Margaret is in the more powerful position because she knows that Moleka loves her.

More about theme Enemies Although she believes they will never be able to be together because she is a Masarwa and unimportant, she rests in the fact that she loves Moleka and Moleka loves her. Dikeledi does not know this. If Dikeledi were to ask Margaret for the source of her peace, one of them would die. Margaret does not tell Dikeledi that the reason for her peace is her love for Moleka, because she feels her friend might say, 'Don't be silly Moleka can't possibly love you. You are a Masarwa and he's ... ' So she keeps silent. This silence saves Margaret from killing Dikeledi, and vice versa.

Tone What is the reason for the ominous tone of this section? The undisclosed rivalry that emerges between Margaret and Dikeledi is the primary cause of the ominous tone. The two women have been so close, but will be driven apart by their love for Moleka, just as Moleka and Maru are driven apart by their love for Margaret. The description of the health and fatness of the goats contrasts with the lack of grass and food to feed the rest of the animals in Dilepe. Although the other animals are reduced to lean skeletons, the Queen of Sheba and Windscreenwiper flourish. Although Margaret sees the goats as friends, the owner still views the goats as a source of meat. We fear the worst for them.

MARU CLAIMS MARGARET Read from In spite of their gossip. to
MARU CLAIMS MARGARET Read from In spite of their gossip ... to ... where the sun rose, new and new and new each day.

MARU CLAIMS MARGARET… Character
Everybody in Dilepe celebrates Dikeledi and Moleka's marriage, whether they are invited or not. All get drunk except for Dikeledi, Maru and Moleka. Dikeledi does not drink. She keeps running to the bathroom in fits of tears because she fears her brother will kill her husband. Maru does not get drunk because he plans to run away with Margaret that night. Moleka does not get drunk because he does not celebrate his marriage, and he is too busy watching Maru, trying to make certain that Maru will not go to Margaret.

MARU CLAIMS MARGARET… Plot
Maru ensures that the beer keeps flowing, so that all in the village will get drunk and no one will disrupt his plans. He aims to trick Moleka into thinking that he is safely at home. In the meanwhile, he journeys to Margaret's house to transport her away. (Maru tricks Moleka by putting a dummy of himself in the window, convincing Moleka that he is in his home all the time.)

How does Maru convince Margaret to leave Dilepe with him? Maru grabs Margaret's attention when he acknowledges that Margaret is not dead .. it's only her neck that is broken. This is the way Margaret feels, but she is surprised that anyone would know or understand her predicament. To describe a broken heart in terms of a broken neck is unusual. Perhaps Margaret feels that a heart can be mended eventually, whereas a broken neck is death itself.

MARU CLAIMS MARGARET… Plot Maru also states that he will fix her up.
Margaret is interested to see what he means. Wisely, he tells her that she will recover from her ailment as he has had to. He says that his own neck has been broken a thousand times over because Margaret has not loved him, and he has had to recover. He encourages her not to lose herself to a worthless man like Moleka. He explains that Moleka would never have approached her because he is a tribalist. (This implies that Moleka is a racist and would never forsake his tribe as Maru is prepared to do.)

Maru also admits to keeping all Margaret's paintings. He tells her how precious they are to him, and how they epitomise his dreams. Finally, Maru remonstrates with Margaret. telling her not to wallow in self-pity. He says that others have suffered more than she has, and that nothing is hurting her any more.

Margaret realises that his words are true, and the life begins to flow through her body again. She is able to laugh at Ranke's fear of Windscreen-wiper. She agrees to go with Maru - He was not just anything but some kind of strange, sweet music you could hear over and over again. Margaret feels that she has heard his music before, that there is a familiarity about him. Ranko, Moseka and Semana pack her things and she leaves Dilepe with Maru and Windscreen-wiper, who she is happy to steal.

MARU CLAIMS MARGARET… Symbolism/imagery
The broken neck This really implies a broken heart, but a neck is used to show the seriousness of the situation. It is significant that Maru recognises Margaret's ailment, and claims to have suffered from the same condition, as this draws the two of them closer. Trees Margaret's body is described as a tree. There are references to being cut off. choked, throttled. earth. limbs, upright position. All these are natural elements, as if Margaret is a part of nature, a source of life. When she begins to live again, she also gives new life to Maru.

MARU CLAIMS MARGARET… Symbolism/imagery
The stars While Maru tries to convince Margaret. Ranko, Moseka and Semana wait anxiously as if watching the constellations shift their positions in the sky In other words, Margaret's decision will have a meteoric effect on the outcome of all their lives, just as when a star shifts in the sky. Maru also looks to the sky for answers about the future. For once, the visionary is unable to see into the future, but he feels as if he has inherited the universe. Music Maru is likened to sweet music. Indeed, his voice now gentle and under standing, next moment impatient, could talk a donkey into growing horns. Maru's voice is music to Margaret's ears and restores life to her body. The sun The sun rising new and new and new each day is symbolic of the hope and positive outcome in Maru and Margaret's world. The two of them will bring about the change in society they both desperately crave.

About the author Bessie Head was born in South Africa in Her mother was a white woman from Scotland and her father was a black man. (This is only.

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About the author Bessie Head was born in South Africa in Her mother was a white woman from Scotland and her father was a black man. (This is only.

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Presentation on theme: "About the author Bessie Head was born in South Africa in Her mother was a white woman from Scotland and her father was a black man. (This is only."— Presentation transcript:

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