Page:First Footsteps in East Africa, 1894 - Volume 1.djvu/128

 and cadence, it can never be mistaken for prose, even without the song which invariably accompanies it. The country teems with "poets, poetasters, poetitos, and poetaccios:" every man has his recognised position in literature as accurately defined as though he had been reviewed in a century of magazines,--the fine ear of this people [22] causing them to take the greatest pleasure in harmonious sounds and poetical expressions, whereas a false quantity or a prosaic phrase excite their violent indignation. Many of these compositions are so idiomatic that Arabs settled for years amongst the Somal cannot understand them, though perfectly acquainted with the conversational style. Every chief in the country must have a panegyric to be sung by his clan, and the great patronise light literature by keeping a poet. The amatory is of course the favourite theme: sometimes it appears in dialogue, the rudest form, we are told, of the Drama. The subjects are frequently pastoral: the lover for instance invites his mistress to walk with him towards the well in Lahelo, the Arcadia of the land; he compares her legs to the tall straight Libi tree, and imprecates the direst curses on her head if she refuse to drink with him the milk of his favourite camel. There are a few celebrated ethical compositions, in which the father lavishes upon his son all the treasures of Somali good advice, long as the somniferous sermons of Mentor to the insipid son of Ulysses. Sometimes a black Tyrtaeus breaks into a wild lament for the loss of warriors or territory; he taunts the clan with cowardice, reminds them of their slain kindred, better men than themselves, whose spirits cannot rest unavenged in their gory graves, and urges a furious onslaught upon the exulting victor.