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 The calm of the hot noontide fades towards evening time, and the noise of things in general revives and increases. Then do the natives call in instrumental aid of diverse and to my ear pleasant kinds. Great is the value of the tom-tom, whether it be of pure native origin or constructed from an old Devos patent paraffin oil tin. Then there is the kitty-katty, so called from its strange scratching-vibrating sound, which you hear down South, and on Fernando Po, of the excruciating mouth harp, and so on, all accompanied by the voice.

If it be play night, you become the auditor to an orchestra as strange and varied as that which played before Shadrach, Meshech, and Abednego. I know I am no musician, so I own to loving African music, bar that Fernandian harp! Like Benedick, I can say, “Give me a horn for my money when all is done," unless it be a tom-tom. The African horn, usually made of a tooth of ivory, and blown from a hole in the side, is an instrument I unfortunately cannot play on. I have not the lung capacity. It requires of you to breathe in at one breath a whole S.W. gale of wind and then to empty it into the horn, which responds with a preliminary root-too-toot before it goes off into its noble dirge bellow. It is a fine instrument and should be introduced into European orchestras, for it is full of colour. But I think that even the horn, and certainly all other instruments, savage and civilised, should bow their heads in homage to the tom-tom, for, as a method of getting at the inner soul of humanity where are they compared with that noble instrument! You doubt it. Well go and hear a military tattoo or any performance on kettle drums up here and I feel you will reconsider the affair; but even then, remember you have not heard all the African tom