Campaign Pictures of the War in South Africa (1899-1900): Letters from the FrontHales, A. G. (Alfred Greenwood)
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Campaign Pictures of the War in South Africa (1899-1900): Letters from the Front
Hales, A. G. (Alfred Greenwood)
South African War, 1899-1902 -- Personal narratives
My nigger slops along through the slush and tells me that my lunch is
ready. He is not a happy-looking nigger by any means. A white man looks bad
enough in the mud and cold, but a nigger presents a pitiful spectacle. His
face goes whitish green, with an undercurrent of slatey grey running
through it. The brilliancy leaves the coal-black eyes, and they become as
lifeless and limp as a professional politician at a prayer meeting. The
mouth goes agape, the thick lips become flabby, and fall away from the
teeth. The mouth does not seem to fit the face, but hangs on to it like a
second-hand suit on a backyard fence. My nigger is no better, and no worse,
than the rest of them. He looks like a chapter in Lamentations, and is
about as much at home in the sodden camp as a bar of wet soap in a sand
heap. Just now he is good for nothing except to sing doleful hymns in a key
sad enough to frighten a transit mule away from a bag of mealies. When he
is not singing sadly he is quoting Scripture and thinking about his
immortal soul. When the sun comes out to-morrow and the day after, he will
be dancing a most unholy dance or be making love to "Dinah," filling in the
intervals by cursing in three different languages stray horses that steal
our fodder.
It is really astonishing what a difference the weather makes to the morals
of the South African nigger. Give him plenty of sunshine, and he forgets he
ever had a soul, and throws slabs of blasphemy, picked up from the Tommies
around him, with painful liberality. When he gets tired of English oaths,
he drops into Cape Dutch, and some of the curses contained in that language
are solid enough to hurt anything they hit. Later on he drifts into his
native tongue, raises his voice a couple of octaves, and streaks the
atmosphere with multi-coloured oaths, until you imagine you are listening
to a vocal rainbow. But take away the sunshine, give him a wet hide and a
wet floor to camp on, and he straightway becomes all penitence and prayer.
His face, peering out dismally between the upturned collar of his
weather-stained coat and the down-drawn brim of his battered hat, looks
like a soiled sermon, and he is altogether woeful.
Public-domain text, read in full here on John Shaqi.
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