OBEISANCES. 123 



goese Bastian says that when they have to speak to a supe 

 rior 



&quot;They kneel, turn the face half aside, and stretch out the hands 

 towards the person addressed, which they strike together at every 

 address. They might have sat as models to the Egyptian priests 

 when making the representations on the temple walls, so striking is 

 the resemblance between what is represented there and what actually 

 takes place here.&quot; 



And we may note kindred parallelisms in European relig 

 ious observances. There is the going on both knees and the 

 going on one knee ; and there are the bowings and curtesy- 

 ings on certain occasions at the name of Christ. 



386. As already explained, along with the act express 

 ing humility, the complete obeisance includes some act ex 

 pressing gratification. To propitiate the superior effectually 

 it is needful at once to imply &quot; I am your slave/ and 

 &quot; I love you.&quot; 



Certain of the instances cited above have exemplified 

 the union of these two factors. Along with the attitude of 

 abject submission assumed by the Bat oka, we saw that 

 there go rhythmic blows of the hands against the thighs. 

 In some of the cases named, clapping of the hands, also 

 indicating joy, was described as being an accompaniment of 

 movements showing subjection; and many others may be 

 added. jSTobles who approach the king of Loango, &quot; clap 

 their hands two or three times, and then cast themselves at 

 his majesty s feet into the sand.&quot; Speke says of certain 

 attendants of the king of Uganda, that they &quot; threw 

 themselves in line upon their bellies, and, wriggling like 

 fish . . . whilst they continued floundering, kicking about 

 their legs, rubbing their faces, and patting their hands 

 upon the ground.&quot; Going on their knees to superiors, the 

 Balonda &quot; continue the salutation of clapping the hands 

 until the great ones have passed; &quot; and a like use of the 

 hands occurs in Dahomey. A further rhythmical 



