On a Chinese Screen by William Somerset Maugham

At first when you see the coolie on the road, bearing his load, it is as a pleasing object that he strikes the eye. In his blue rags, a blue of all colours from indigo to turquoise and then to the paleness of a milky sky, he fits the landscape. He seems exactly right as he trudges along the narrow causeway between the rice fields or climbs a green hill. His clothing consists of no more than a short coat and a pair of trousers; and if he had a suit which was at the beginning all of a piece, he never thinks when it comes to patching to choose a bit of stuff of the same colour. He takes anything that comes handy. From sun and rain he protects his head with a straw hat shaped like an extinguisher with a preposterously wide, flat brim.

You see a string of coolies come along, one after the other, each with a pole on his shoulders from the ends of which hang two great bales, and they make an agreeable pattern. It is amusing to watch their hurrying reflections in the padi water. You watch their faces as they pass you. They are good-natured faces and frank, you would have said, if it had not been drilled into you that the oriental is inscrutable; and when you see them lying down with their loads under a banyan tree by a wayside shrine, smoking and chatting gaily, if you have tried to lift the bales they carry for thirty miles or more a day, it seems natural to feel admiration for their endurance and their spirit. But you will be thought somewhat absurd if you mention your admiration to the old residents of China. You will be told with a tolerant shrug of the shoulders that the coolies are animals and for two thousand years from father to son have carried burdens, so it is no wonder if they do it cheerfully.