The quarters of the Natives and of the coloured immigrants were very extensive compared to the European town.
The Swaheli town, on the road to the Muthaiga Club, had not a good name in any way, but was a lively, dirty and gaudy place, with, at any hour, a number of things going on in it. It was built mostly out of old paraffin tins hammered flat, in various states of rust, like the coral rock, the fossilized structure, from which the spirit of the advancing civilization was steadily fleeing.
The Somali town was farther away from Nairobi, on account, I think, of the Somali’s system of seclusion of their women. There were in my day a few beautiful young Somali women, of whom all the town knew the names, who went and lived in the Bazaar and led the Nairobi Police a great dance; they were intelligent, and bewitching people. But the honest Somali women were not seen in the town. The Somali town lay exposed to all winds and was shadeless and dusty, it must have recalled to the Somali their native deserts. Europeans, who live for a long time, even for several generations, in the same place, cannot reconcile themselves to the complete indifference to the surroundings of their homes, of the nomadic races. The Somali’s houses were irregularly strewn on the bare ground, and looked as if they had been nailed together with a bushel of four-inch nails, to last for a week. It was a surprising thing, when you entered one of them, to find it inside so neat and fresh, scented with Arab incenses, with fine carpets and hangings, vessels of brass and silver, and swords with ivory hilts and noble blades. The Somali women themselves had dignified, gentle ways, and were hospitable and gay, with a laughter like silver bells. I was much at home in the Somali village through my Somali servant Farah Aden, who was with me all the time that I was in Africa, and I went to many of their feasts. A big Somali wedding is a magnificent, traditional festivity. As a guest of honour I was taken into the bridal chamber, where the walls and the bridal bed were hung with old gently glowing weavings and embroideries, and the dark-eyed young bride herself was stiff, like a marshal’s baton with heavy silks, gold and amber.
The Somali were cattle-dealers and traders all over the country. For the transport of their goods they kept a number of little grey donkeys in the village, and I have seen camels there as welclass="underline" haughty, hardened products of the desert, beyond all earthly sufferings, like Cactus, and like the Somali.
The Somali bring much trouble upon themselves terrible tribal quarrels. In this matter they feel and reason differently from other people. Farah belonged to the tribe of Habr Yunis, so that personally in a quarrel I sided with them. At one time there was a great real fight in the Somali town, between the two tribes of Dulba Hantis and Habr Chaolo, with rifle-shooting and fires, and ten or twelve people killed, until the Government interfered. Farah then had a young friend of his own tribe, by name of Sayid, who used to come out to see him at the farm, and who was a graceful boy, so that I was sorry when I was told by my houseboys that Sayid had gone round to visit a Habr Chaolo family in their house, when an angry member of the Dulba Hantis tribe had passed and fired two shots at haphazard through the wall of the house and broken Sayid’s leg. I condoled with Farah on his friend’s misfortune.—“What? Sayid?” Farah cried out with vehemence. “That was good enough for Sayid. Why must he go and drink tea in the house of a Habr Chaolo?”
The Indians of Nairobi dominated the big Native business quarter of the Bazaar, and the great Indian merchants had their little Villas just outside the town; Jevanjee, Suleiman Virjee, Allidina Visram. They all had a taste for stonework-stairs, balusters, and vases, rather badly cut out of the soft stone of the country,—like the structures which children build of pink ornamental bricks. They gave tea-parties in their gardens, with Indian pastry in the style of the Villas, and were clever, travelled, highly polite people. But the Indians in Africa are such grasping tradesmen that with them you would never know if you were face to face with a human individual or with the head of a firm. I had been to Suleiman Virjee’s house, and when one day I saw the flag at half mast above his big compound of warehouse, I asked Farah: “Is Suleiman Virjee dead?” “Half dead,” said Farah. “Do they put the flag at half mast when he is half dead?” I asked. “Suleiman is dead,” said Farah. “Virjee is alive.”
Before I took over the management of the farm, I had been keen on shooting and had been out on many Safaris. But when I became a farmer I put away my rifles.
The Masai, the nomadic, cattle-owning nation, were neighbours of the farm and lived on the other side of the river; from time to time some of them would come to my house to complain about a lion that was taking their cows, and to ask me to go out and shoot it for them, and I did so if I could. Sometimes, on Saturday, I also walked out on the Orungi plains to shoot a Zebra or two as meat for my farm-labourers, with a long tail of optimistic young Kikuyu after me. I shot birds on the farm, spurfowl and guineafowl, that are very good to eat. But for many years I was not out on any shooting expedition.
Still, we often talked on the farm of the Safaris that we had been on. Camping-places fix themselves in your mind as if you had spent long periods of your life in them. You will remember a curve of your waggon track in the grass of the plain, like the features of a friend.
Out on the Safaris, I had seen a herd of Buffalo, one hundred and twenty-nine of them, come out of the morning mist under a copper sky, one by one, as if the dark and massive, iron-like animals with the mighty horizontally swung horns were not approaching, but were being created before my eyes and sent out as they were finished. I had seen a herd of Elephant travelling through dense Native forest, where the sunlight is strewn down between the thick creepers in small spots and patches, pacing along as if they had an appointment at the end of the world. It was, in giant size, the border of a very old, infinitely precious Persian carpet, in the dyes of green, yellow and black-brown. I had time after time watched the progression across the plain of the Giraffe, in their queer, inimitable, vegetative gracefulness, as if it were not a herd of animals but a family of rare, long-stemmed, speckled gigantic flowers slowly advancing. I had followed two Rhinos on their morning promenade, when they were sniffing and snorting in the air of the dawn,—which is so cold that it hurts in the nose,—and looked like two very big angular stones rollicking in the long valley and enjoying life together. I had seen the royal lion, before sunrise, below a waning moon, crossing the grey plain on his way home from the kill, drawing a dark wake in the silvery grass, his face still red up to the ears, or during the midday-siesta, when he reposed contentedly in the midst of his family on the short grass and in the delicate, spring-like shade of the broad Acacia trees of his park of Africa.
All these things were pleasant to think of when times were dull on the farm. And the big game was out there still, in their own country; I could go and look them up once more if I liked. Their nearness gave a shine and play to the atmosphere of the farm. Farah,—although with time he came to take a vivid interest in farm-affairs,—and my old native Safari-servants, lived in hope of other Safaris.
Out in the wilds I had learned to beware of abrupt movements. The creatures with which you are dealing there are shy and watchful, they have a talent for evading you when you least expect it. No domestic animal can be as still as a wild animal. The civilized people have lost the aptitude of stillness, and must take lessons in silence from the wild before they are accepted by it. The art of moving gently, without suddenness, is the first to be studied by the hunter, and more so by the hunter with the camera. Hunters cannot have their own way, they must fall in with the wind, and the colours and smells of the landscape, and they must make the tempo of the ensemble their own. Sometimes it repeats a movement over and over again, and they must follow up with it.