THE SUAHILI. 349 



of scenery. They really have a distinct, though 

 embryonic, artistic sense, and if we compare the 

 native songs of, say, Tanganyika with the very 

 early music of England, I know, but dare not say, 

 which is the most pleasant to listen to. These 

 songs were of Wanyamwezi or Wajiji origin, but 

 my men were not by any means wanting in talent 

 of the same kind. It was in comedy that they 

 specially distinguished themselves. A skit of the 

 Bugufu song and dance carried on by some of my 

 porters was the funniest thing of the kind I ever 

 saw. 



They have scarcely any idea of honesty, and 

 none of truth. They are hopelessly corrupted, 

 both physically and morally, by Arab teaching and 

 example. Yet, in spite of all these failings, one 

 likes them ; one trusts with perfect reliance in 

 their pluck and endurance, and certainly it is to 

 them that the real credit of European travelling is 

 due; the strength of the " Bwana ' lies really in 

 sitting still (I mean figuratively, not literally), for 

 no natives are so docile and easily managed as 

 these clumsy, strong, and good-natured children. 



Their life is, as a rule, very hard and short. 

 Born of some slave girl, taken in the interior, and 

 brought up in the unspeakable corruption of a 

 Mohammedan household, they are, as children, used 

 as hewers of wood and drawers of water. When the 

 master thinks it advisable that a porter should go 

 on a caravan journey, he is sent to one of the 



