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The color of the Indian bullock varies. Some are a dirty white, some a cream color, some almost pink, and a few are of the darker shades. They are about the size of our cows, seldom as large as a full-grown ox. Their horns, which are generally tipped with curiously carved knobs, and often painted in colors, are as diversified in their styles of architecture as are the horns of our cattle, though they are more apt to be straight and V-shaped. Their necks are always “bowed to the yoke,” to once more use biblical phraseology, and seem almost to invite its humiliating clasp. Above their front legs is the mark of their antiquity, the great clumsy, flabby, fleshy, tawny hump, always swaying from side to side, keeping time to every plodding step of its sleepy owner. This seemingly useless mountain of flesh serves as a cushion against which rests a yoke. Not the natty yoke of our rural districts, but a simple pole, with a pin of wood through each end, to ride on the outside of the bullocks’ necks. The burden comes against the projecting hump when the team pulls. To the centre of this yoke is tied, with strong withes of rattan, the pole of a cart, that in this nineteenth century is generally only to be seen in national museums, preserved as a relic of the first steps in the art of wagon building. And yet as a cart it is not to be despised: all the heavy traffic of the colonies is done within its rude board sides. It has two wheels, with heavy square spokes that are held on to a ponderous wooden axle-tree by two wooden pins. A platform bottom rests on the axle-tree, and two fence-like sides.

The genie of the cart, the hewer of wood and drawer of water, is a tall, wiry, bronze-colored Hindu. He has a yard of white gauze about his waist, and another yard twisted up into a turban on his head. The dictates of fashion do not interest him. He does not plod along year in and year out behind his team for the pittance of sixty cents per day, to squander on the outside of his person. Not he. He has a wife up near Simla. He hopes to go back next year, and buy a bit of ground back from the hill on the Allabadd road from his father-in-law, old Mohammed Mudd. They have cold weather up in Simla, and he knows of a certain gown he is going to buy of a Chinaman in the bazaar. But his bullocks lag, and he saws on the gamooty rope that is attached to their noses, and beats them half consciously with his rattan whip. Ofttimes he will stand stark upright in the cart for a full half-hour, with his rattan held above his head in a threatening attitude, and talk on and on to his animals, apotheosizing their strength and patience, telling them how they are sacred to Buddha, how they are the companions of man, and how they shall have an extra chupa of paddy when the sun goes down, and he has delivered to the merchant sahib on the quay his load of gambier; or he reproves them for their slowness and want of interest, and threatens them with the rod, and tells them to look how he holds it above them. If in the course of the harangue one of the dumb listeners pauses to pick a mouthful of young lallang grass by the roadside, the softly crooning tones give place to a shriek of denunciation.

The agile Kling springs down from his improvised pulpit, and rushes at the offender, calls him the offspring of a pariah dog, shows him the rattan, rubs it against his nose, threatening to cut him up with it into small pieces, and to feed the pieces to the birds. Then he discharges a volley of blows on the sleek sides of the offender, that seem to have little more effect than to raise a cloud of tiger gnats, and to cause the recipient to bite faster at the tender herbs.