Through the Dark Continent, Vol. 2 (of 2) : $b or, The sources of the Nile around the Great Lakes of Equatorial Africa and down the Livingstone River to the Atlantic OceanStanley, Henry M. (Henry Morton)
History
Through the Dark Continent, Vol. 2 (of 2) : $b or, The sources of the Nile around the Great Lakes of Equatorial Africa and down the Livingstone River to the Atlantic Ocean
Stanley, Henry M. (Henry Morton)
Africa, Central -- Description and travel; Stanley, Henry M. (Henry Morton), 1841-1904 -- Travel -- Africa, Central
But common-sense tells me not to take into undue consideration their
squalor, their ugliness, or nakedness, but to gauge their true position
among the human race by taking a view of the cultivated fields and
gardens of Uhombo, and I am compelled to admit that these debased
specimens of humanity only plant and sow such vegetables and grain as I
myself should cultivate were I compelled to provide for my own
sustenance. I see, too, that their huts, though of grass, are almost as
well made as the materials will permit, and indeed I have often slept in
worse. Speak with them in their own dialect of the law of _meum_ and
_tuum_, and it will soon appear that they are intelligent enough upon
that point. Moreover, the muscles, tissues, and fibres of their bodies,
and all the organs of sight, hearing, smell, or motion, are as well
developed as in us. Only in taste and judgment, based upon larger
experience, in the power of expression, in morals and intellectual
culture, are we superior.
I strive, therefore, to interest myself in my gross and rudely-shaped
brothers and sisters. Almost bursting into a laugh at the absurdity, I
turn towards an individual whose age marks him out as one to whom
respect is due, and say to him after the common manner of greeting:
“My brother, sit you down by me on this mat, and let us be friendly and
sociable”; and as I say it I thrust into his wide open hand twenty
cowries, the currency of the land. One look at his hand as he extended
it made me think I could carve a better-looking hand out of a piece of
rhinoceros hide.
While speaking I look at his face, which is like an ugly and extravagant
mask, clumsily manufactured from some strange, dark brown coarse
material. The lips proved the thickness of skin which nature had endowed
him with, and by the obstinacy with which they refused to meet each
other the form of the mouth was but ill-defined, though capacious and
garnished with its full complement of well-preserved teeth.
His nose was so flat that I inquired in a perfectly innocent manner as
to the reason for such a feature.
“Ah,” said he, with a sly laugh, “it is the fault of my mother, who,
when I was young, bound me too tight to her back.”
His hair had been compelled to obey the capricious fashion of his
country, and was therefore worked up into furrows and ridges and central
cones, bearing a curious resemblance to the formation of the land around
Uhombo. I wonder if the art grew by perceiving nature’s fashion and
mould of his country?
Descending from the face, which, crude, large-featured, rough-hewn as it
was, bore witness to the possession of much sly humour and a kindly
disposition, my eyes fastened on his naked body. Through the ochreous
daubs I detected strange freaks of pricking on it, circles and squares
and crosses, and traced with wonder the many hard lines and puckers
created by age, weather, ill-usage, and rude keeping.
Public-domain text, read in full here on John Shaqi.
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