"Oh yes! I'm quite well ... I suppose. Simply not hungry. I daresay I shall make up for it at dinner ... provided Ann leaves me alone and doesn't nag about eating. I think it's such bad manners, observing what people do at meal times. I don't comment on her big appetite or on Anderson's disgusting way of eating...."
"She means very well," replies John, wishing to be fair....
"I daresay she does. She'd have made you a much better wife than I. If I die in my next attack of fever, you ought to marry her ... I shouldn't mind...."
"Now, Lucy, don't say such dreadful things. You can't think how they hurt me...."
At this moment Priscilla and Florence—pronouncing their imposed baptismal names as "Pilisilla," and "Filórency" in a loud stage conversation they are holding together to conceal the fact that they have rapidly escheated a half-basin-full of sugar—come in to clear away, and John leads Lucy with an arm round her waist back to their own quarters.
"Cheer up, old girl! You haven't had fever now for three months and you're getting your good looks back. And making splendid progress with your teaching.... You're beginning to master the language...."
It is eleven o'clock in the morning and the Girls School at Hangodi, with its mud walls of wattle and daub and its thatch of grass and palm mid-ribs, is hot to the extent of eighty degrees Fahrenheit. Despite the open door (for the small glass-paned windows are not made to open) the atmosphere is close and redolent of perspiring Negroes. Lucy raises her eyes from her desk and looks about her as though realizing the scene from a new point of view, without illusion or kindly allowance. At the end of the School-house, opposite to the teacher's platform and desk, is the entrance-door of heavy planks adzed from native timber. Through the wide-open doorway can be seen a square of sun-baked red clay which refracts a dazzling flame-white effulgence.
When the eye got used to this brilliancy of sunlight on a surface polished by the pattering of naked feet, it could distinguish rows of Eucalyptus saplings, and here and there the rich green of a native shade-tree, together with part of a red brick chapel roofed with corrugated iron and several thatched houses of white-washed clay.
On the walls of the School were hung a map of the World on Mercator's projection and a map of Africa; a large scroll with elementary illustrations of Natural History—typical beasts, birds, reptiles, fish and insects, of sizes as disproportionate as the inhabitants of a Noah's Ark. There were also placards with arithmetical figures, letters of the alphabet and single syllable combinations: M a, ma; b a, ba; l e, le, etc. Over the wall, behind the teacher's desk and above the black-board, was a long strip of white paper, printed in big black capitals: MWAACHE WATOTO WANIKARIBU ("Suffer little children to come unto Me"). The words were in the widely understood Swahili language, the medium through which Lucy endeavoured with many difficulties and misunderstandings to impart her knowledge to her semi-savage pupils.
A lull after her two hours' teaching had begun. A Negro woman of some intelligence, a freed slave from Unguja and the wife of "Josaia Birigizi" (Josiah Briggs) the interpreter, was talking in a low sing-song voice with the little girls, practising them in the alphabet and the syllables formed by consonant and vowel. The class, ranged upon rows of rough forms in front of the teacher's desk, consisted of black girls of all sizes, from little children to young, nubile women; but they were separated by an aisle down the middle of the room and were assorted according to height into two categories, "A-big-geru" and "A-lig-geru," these phrases being Bantu corruptions of "Big girls," and "Little girls."