"...the power of the image of Shaka lies not, as most previous commentators have suggested, in its openness to manipulation, to invention, and to imaginative reworkings. Rather it is to be found in, ... the historical limits and constraints attached to Shakan historiography...and to the possible depictions of Shaka."

In this essay I intend to discuss chapter 2, of Terrific Majesty by Carolyn Hamilton. Throughout history Shaka has been portrayed in many different guises, from a despot and villain, to a hero and military genius. This chapter covers various historical accounts of Shaka, and how interpretations of him as a person differ, according to the perception and the motivation, of the author. I shall be comparing the resources utilised in the book, with those that I am already familiar with, for example Fynn and Isaacs, and with the evidence found in the Praise poems, of the relevant period.

The first issue presented by the book is the information supplied by Henry Francis Fynn, who in 1822, was among the first people to encounter and document Shaka and the Zulu tribe. He and Francis Farewell travelled across land from the Cape to meet with Shaka in 1824, f

It is clear from King's account of Shaka, in 1826 that so far no problems had arisen, between the traders and the Zulus. He describes Shaka as, "Obliging, charming and pleasant...benevolent, and hospitable."

or trading purposes. At this time Shaka was depicted as being open to the idea of a British settlement and showed no signs of hostility. To the surprise of the trading party, the Zulu's were well ordered and courteous under Shaka's ruler ship.

In a bid to reduce the costs incurred through sea transportation, many of the traders looked to the possibility of taking trade goods overland. They needed Shaka's support and protection to make this a viable option. Equally, keen to reinforce his position and status, both with the native tribes and the British, Shaka showed enthusiasm for the idea. King's depiction of Shaka throughout this time and up until 1828 was positive.

This would imply that at this time, the relationship between Shaka and the trading settlement was amicable, his willingness to increase trade and co-operate, suggests a desire to embrace the opportunity provided by the colony, to expand his own resources.

James Stuart recorded thirty-three versions of the poem as the Izimbongi or bards, from different clans attempted to assess Shaka historically; he is presented as a phenomenon, acting within history and changing it's course, though impervious to moral assessment. African's themselves consider the oral tradition as "maps of experience", composed to be memorised by the next generation. They were important for their historical value, and criticism was also expressed in song. The Izimbongo assumes the role of people's spokesperson, the main role of a bard being to; act as a chronicler of a reign, praising what is worthy and descrying what is not. Some versions of this poem eliminate all critical references to Shaka, and there are many different interpretations of the symbolism employed throughout. This is again dependant on the period and that particular ruler's approach to Shaka, for

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Approximate Word count = 1365
Approximate Pages = 5 (250 words per page double spaced)