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 succeed in becoming a rather decent performer on the harp and xylophone, and had the makings of a genius for the tom-tom, but my greatest and most rapid triumph was achieved on this other instrument. I picked up the hang of the thing in about five minutes, and then, being vain, when I returned to white society I naturally desired to show off my accomplishment, but met with no encouragement whatsoever—indeed my friends said gently, but firmly, that if I did it again they should leave, not the settlement merely, but the continent, and devote their remaining years to sweeping crossings in their native northern towns—they said they would rather do this than hear that instrument played again by any one.

This instrument is made from an old powder keg, with both ends removed; a piece of raw hide is tied tightly round it over what one might call a bung-hole, while a piece of wood with a lump of rubber or fastening is passed through this hole. The performer then wets his hand, inserts it into the instrument, and lightly grasps the stick and works it up and down for all he is worth; the knob beats the drum skin with a beautiful boom, and the stick gives an exquisite screech as it passes through the hole in the skin which the performer enhances with an occasional howl or wail of his own, according to his taste or feeling. There are other varieties of this instrument, some with one end of the cylinder covered over and the knob of the stick beating the inside, but in all its forms it is impressive.

Next in point of strength to the human vocal and instrumental performers come frogs. The small green one, whose note is like that of the cricket's magnified, is a part-singer, but the big bull frog, whose tones are all his own, sings in Handel Festival sized choruses. I don't much mind