But it is perhaps the madman and the migrant themselves who best illustrate how Tshidi invoke the contrast of tiro and bereka to act upon their world. As we have noted, the madman suffered "delusion" only by Western definition. To Tshidi he was a moporofeta (a prophet), a term borrowed, like the polythene robes, and put to work in the particular historical conditions of postcolonial South Africa. A visionary in popular terms, he was seen to make visible, in his idiosyncratic concoctions, something implicit in the experience of many Tshidi. There was a quality of bemused recognition in the way they responded to him, though few could explain this in words. In one sense, of course, he was a token of a type, a "Zionist"; that is, a member of a Christian cult that seeks to merge elements "traditional" and "European" (J. Comaroff 1985:Ch. 7; Fogelqvist 1986). Yet in another sense he was unique, for he had executed the Zionist collage in a highly original manner-revealing once again the unpredictability of the human imagination, even while on a short cultural rein