Some of the songs are difficult to understand, as, even if not very old, they abound in unfamiliar words and constructions, and also in local allusions, which need explanation to outsiders. One I have written down seems to be about Chekusi’s marriage, and brings in the names of several chiefs. Another says that ‘I have seen Domwe’ (a mountain in Angoniland)—‘Ntaja is dead,—we are ravaged this year.’ Another obscure effusion, after stating that something or other is at Matewere’s (a son of the famous Mponda), goes on to say that ‘I refuse (him or them) the oxhide shield,’ or, maybe, the oxhide to make a shield. These are ‘Angoni’ songs, and recognised as such on the other side of the river, though the language is not Zulu, but ordinary Nyanja. The original text of the last named is this:— _Ta iye (?) zi ri kwa Matewere chinkumbaleza—Ga da o ho!_ _Ndimana ine, ndimana cha ng’ombe chikopa tu!_ The rhythm of the songs is rather indefinite; it resembles that of some sailors’ chanties—_e.g._ the well-known _Rio Grande_. They often consist of only a few words, repeated _ad infinitum_, with a refrain of meaningless syllables, sometimes mere open vowel sounds—as: _e_, _e_, _e_, _e_, _o_, _o_, _o_, _o_—_wo ya yo ho_, etc. In canoe-songs and the like, time is marked by the beat of the paddles, the rise and fall of the women’s pestles, and so on; at a dance, it is given by the drums. Some soloist usually leads off with an improvised line, which is either taken up and sung in chorus, or a response to it is so sung, and the principal performer continues till he has exhausted his idea. If the song ‘catches on,’ it is remembered and repeated, and passes into the common stock. Some dances have their recognised songs, as ‘_Kanonomera e! e!_’ at the Angoni women’s _kunju_ dance, and ‘_Leka ululuza mwana hiye!_ (Stop winnowing, child!)—_e! e! e! e!—o! o! o! o!_’ at the _chamba_ dance. [Illustration: THE DANCING-MAN]