“Jambo Msabu.”

“Jambo Morani ”—young warriors,—“where are you going?”

“We are going to Kathegu’s manyatta. Kathegu has a big Ngoma on tonight. Good-bye Msabu.”

If they walk together in bigger parties they will bring their own drum to the dance, and you hear it a long way away, like the throbbing of a small pulse in the finger of the night. And suddenly, to the ear that has not been listening for it, comes what is not so much a sound as a deep vibration of the air, the distant short roar of the lion. He is afoot, he is hunting, things are going on, out there where he is. It is not repeated, but it has widened the horizon; the long dungas and the waterhole are brought to you.

As I was standing before my house a shot fell, not far off. One shot. Then again the stillness of the night closed on all sides. After a while, as if they had been pausing to listen and were now taking it up once more, I heard the Cicada chiming their monotonous little song in the grass.

There is something strangely determinate and fatal about a single shot in the night. It is as if someone had cried a message to you in one word, and would not repeat it. I stood for some time wondering what it had meant. Nobody could aim at anything at this hour, and, to scare away something, a person would fire two shots or more.

It might have been my old Indian carpenter Pooran Singh down at the mill, firing at a couple of Hyena that had slunk into the millyard and were eating the straps of oxhide hung up there, with stones as weights to them, to be made into reins for our waggons. Pooran Singh was no hero, but he might have put the door of his hut ajar for the sake of his reins and blown off his old shotgun. Still he would have let off both barrels, and would probably have loaded and shot again, once he had tasted the sweetness of heroism. But one shot,—and then silence?

I waited for some time for the second shot; nothing came, and as I looked again at the sky there was no rain coming either. So I went to bed, taking a book with me, and leaving the lamp to burn. In Africa, when you pick up a book worth reading, out of the deadly consignments which good ships are being made to carry out all the way from Europe, you read it as an author would like his book to be read, praying to God that he may have it in him to go on as beautifully as he has begun. Your mind runs, transported, upon a fresh deep green track.

Two minutes later a motorcycle rounded the drive at a terrific speed and stopped in front of the house, and someone knocked hard upon the long window of my sitting-room. I put on a skirt and a coat and a pair of shoes, took the lamp and went out. Outside was my mill-manager, wild-eyed and sweating in the lamplight. His name was Belknap, he was an American and an exceptionally capable, inspired mechanic, but of an uneven mind. With him things were either nearing the Millennium, or dark without a glimpse of hope. When he first came into my employ he had upset me by his varying views of life, and of prospects and conditions of the farm, as if he had had me up in an enormous mental swing; later I had got used to them. These ups and downs were no more than a kind of emotional daily gymnastics to a lively temperament, much in need of exercise, and to which too little was happening; it is a common phenomenon with energetic young white men in Africa, particularly with those who have spent their early life in towns. But here he came out of the hands of a tragedy, and was as yet undecided as to whether he should satiate his hungry soul by making the most of it, or

escape from its grimness by making as little of it as possible, and in this dilemma he looked like a very young boy running for his life to announce a catastrophe; he stuttered as he spoke. In the end he made very little of it, for it held no part in it for him to play, and fate had let him down once more.

By this time, Farah had come from his house, and listened to his narrative with me.

Belknap told me how peacefully and pleasantly the tragedy had started. His Cook had had a day off, and in his absence a party had been given in the kitchen by the seven years old kitchen Toto, Kabero, a son of my old Squatter and nearest neighbour on the farm, the old fox Kaninu. As, late in the evening, the company became very gay, Kabero had brought in his master’s gun and, to his wild friends of the plains and shambas, had acted the part of a white man. Belknap was a keen poultry farmer, he made capons and poulardes and bought up pure-bred chicken at the Nairobi sales, and he kept a shotgun on his verandah to frighten away hawks and cerval-cats. When later we talked the case over, Belknap held that the gun had not been loaded, but that the children had looked up the cartridges and loaded it themselves, but here I think that his memory failed him, they could hardly have done it if they had wanted to, and it was more likely that the gun had for once been left loaded on the verandah. However it got there, the cartridge was in the barrel when Kabero, in the greatness of youth and popularity, aimed straight in amongst his guests and pulled the trigger. The shot had boomed through the house. Three of the children had been slightly wounded, and had fled from the kitchen in terror. Two were there now, badly hurt or dead. Belknap finished his tale by a long anathema of the continent of Africa and of the things that happen there.

While he talked, my houseboys had come out, very silent; they went in again, and brought out a hurricane-lamp. We got out dressing and disinfectant. It would be a waste of time to try to start the car, and we ran as quick as we could through the forest down to Belknap’s house. The swinging hurricane-lamp threw our shadows from the one side of the narrow road to the other. As we ran on, we were met by a succession of short raw cracked shrieks,—death squeals of a child.

The kitchen door was flung back, as if Death, after having rushed in, had rushed out again, and left the place in dire devastation, a chicken-house that the badger has been in. There was a kitchen lamp burning on the table and smoking sky-high, and in the small room the smell of gunpowder still hung. The gun was on the table beside the lamp. There was blood all over the kitchen, I slipped in it on the floor. Hurricane-lamps are difficult to direct on to any particular spot, but they give a very striking illumination of a whole room or situation; I remember the things I have seen by the light of a hurricane-lamp better than others.

I knew the children who had been shot, from the plains of the farm, where they had herded their fathers’ sheep. Wamai, Jogona’s son, a lively little boy who had for some time been a pupil at the school, was lying on the floor between the door and the table. He was not dead, but not far from death, and unconscious even, though he groaned a little. We lifted him aside, to be able to move. The child that shrieked was Wanyangerri, who had been the youngest of the party in the kitchen. He was sitting up, leaning forwards, towards the lamp; the blood spouted, like water from a pump, from his face,—if one could still say that, for he must have stood straight in front of the barrel when it was fired and it had taken his lower jaw clean off. He held his arms out from his sides and moved them up and down like pump-spears, as the wings of a chicken go, after it has had its head cut off.

When you are brought suddenly within the presence of such disaster, there seems to be but one advice, it is the remedy of the shooting-field and the farmyard: that you should kill quickly and at any cost. And yet you know that you cannot kill, and your brain turns with fear. I put my hands to the child’s head and pressed it in my despair, and, as if I had really killed him, he at the same moment stopped screaming, and sat erect with his arms hanging down, as if he was made of wood. So now I know what it feels like to heal by imposition of hands.