3. Nyimbo or Songs. These may be extemporised—music, responses and all, on the shortest notice. But there is a great collection of old songs, many of which can be identified as being the songs of several tales (L. 2), even where they are used independently. Indeed the singers could seldom point to the corresponding tale; it was only when we happened to know the tale before that we could claim the song for it. Still many songs we believe to be quite independent. The music is a simple chant. Those that are not reciting join in responses. The language of the songs is more difficult than that of the tales, and still more difficult is the language of the catch-word literature (L. 4). Many of their songs aim at being an echo of tuneful nature around them. One beautiful chant imitates a little brook as it goes murmuring down its stony channel. The singers intentionally render this song in a subdued voice. I could not find any corresponding tale. It calls up to my mind the idea of a mother sitting with a few children on the bank (chiko) of a small stream as she has finished her hoeing, and rests for a minute before going home. She warns the children against the Likwanya or prickly bush that grows by the stream. This strain sung so softly has a soothing effect, and might well make the children sit down on the bank, engrossed with the sound of the rippling stream imitated in the music. Sung in a company of little girls it is rendered thus— _1st Voice._ Likwanya likunyanya ku chiko. _Response._ _Anyanyale._ _1st Voice._ { singing } Likwanya likunyanya ku chiko. _2nd Voice._ {simultaneously.} Anya-nya-nya-le e. _1st Voice._ { simultaneous. } Anya-nya-nya-le e. _2nd Voice._ { } Likunyanya ku chiko. _1st Voice._ { simultaneous. } Likunyanya ku chiko. _2nd Voice._ { } Anya-nya-nya-le e. _Response._ _Anyanyale._ After this the girls that have sung the parts marked 1st voice and 2nd voice fall back on the response; and a 3rd and 4th voice take these parts. All the voices that are not reciting join in the response. Another song has reference to a large bird, the ndututu. One voice designedly imitates its notes as it converses with a few women; while another voice imitates as distinctly the pounding of corn in which these women are engaged. 4. The fourth form of their literature is in certain catch-word compositions (chitagu), which have double meanings. The following is a specimen when there are two speakers or reciters:— THE FIRST SAYS. THE SECOND SAYS. Nda. Nda kuluma. Kuluma. Kuluma mbale. Mbale. Mbale katete. Katete. Katete ngupe. Ngupe. Ngupe akane. Kane. Kane akongwe. Kongwe. Akongole chimanga. Chimanga. Chimanje macholo. Macholo. Gachole wandu.