A long, broad stretch of golden sands. Winding through them the clear green water of the reduced Kaduna. Several dug-outs, manned by Nupes, magnificent specimens of muscular development, cross backwards and forwards with men, women, and children conveying wares to market. Small mites, naked and tubby, splash and rollick about on the water’s edge. Lower down stream fishermen are getting out their nets, and, at a shallow ford, shepherds are piloting a flock of sheep across, from whose scattered ranks a chorus of loud bleating arises. A file of pack donkeys stream across the sands to the village on the opposite bank. We watch the sight from the foot of a great tree, from which hang sundry charms, and as we sit there—it is a rendezvous, it seems, and a small market-place in its way—several young women stroll towards us bearing wares in grass platters which they spread close to us on the ground, conversing in low tones broken now and again by the jolly African laughter—the mirth of the child of nature with few cares and fewer responsibilities. The winding river, the golden sands, the blue sky, the two villages—one on either side of the crossing—with their conical thatched roofs, the green of the trees and of the water, the peaceful, quiet human life, combine to make as pretty and as harmonious a picture as you would wish to see.
Tramp, tramp, tramp! The stamping of innumerable feet. The murmur of innumerable voices. The waving of arms, the jangle of iron anklets, and the rising cloud of dust beneath the trampling of bare toes. The dancers range themselves in a wide circle, which slowly revolves in the light of the moon, now lighting up this part, anon the other part, giving a grey and ghostly look to the naked shoulders and close-cropped heads. Aah! Aah! Aah! The chant rises and falls, monotonous, barbaric. Bracelets and anklets, amulets and charms clash and clang again as the wearers thereof bend this way and that, crouching, stooping, flinging the upper part of their bodies backwards, raising high the knee and bringing down the leg with thunderous stamp, shaking themselves from head to foot like a dog emerging from his bath. Naked bodies, but for a strip of jagged leather falling athwart the hips; naked, lithe bodies on which the moon sheds her beams. Aah! Aah! Aah!
And with it the sound of the drum, the everlasting drum; stimulus to labour, spirit of the dance, dirge at the death-bed, call to the feast, frenzy-lasher at the religious ceremonial, medium of converse, warner of peril, bearer of news, telephone and telegraph in one. Go where you will, you cannot escape the drum—where human life is. The everlasting drum which heralds the setting sun, which ushers in the morn, which troubles your sleep and haunts your dreams. Borne across the silent waters, booming through the sombre forest, rising from the murmuring town, cheering on the railway cutters—the fascinating, tedious, mysterious, maddening, attractive, symbolic, inevitable, everlasting African drum.
I suppose they must be thirsty like every other living thing in the glare of the sun and the heat of the sky and the dust of the track, for they crowd thick and fast about the kurimi, the narrow belt of vegetation (a blessed sight in the “dries”) where the stream cuts the road. Pieridæ with white and yellow wings; Lycaenæ shot with amethyst and azure; Theklas, too, or what I take for such, with long, fragile, waving extremities, infinitely beautiful. Now and then a black and green Papilio, flashing silver from his under wing, harbinger of spring. Or some majestic, swift-flying Charaxes with broad and white band on a centre of russet brown—not the castor, alas! nor yet the pollux—I have yet to live to see them afloat ’neath the African sun. Narrow veins of muddy ooze trickle from the well-nigh dried-up bed. And here they congregate in swarms, proboscis thrust into the nectar, pumping, pumping up the liquid, fluttering and jostling one another for preferential places even as you may see the moths do on the “treacles” at home. The butterfly world is much like the human world after all in its egotism.
But if you want to see it at its best, plunge into the cool forest glades before the sun has attained his maximum (when even the butterflies rest) and watch the green and gold Euphædra dodging in and about the broad green leaves or tangled creepers. See him spread his glorious panoply where that fitful sunbeam has somehow managed to pierce the vault. A sight for the dear gods, I tell you—is the Euphædra sunning himself on a Niger forest path. Men and politics become as small fry. The right perspective asserts itself. You almost forget the beastly, clogging, mentally muddling helmet (how the Almighty has blessed the African by granting him a thick skull which he can carry on his neck, shaved—shaved, mind you (the bliss of it even in thought!),—and as clean as a billiard ball at that) as you watch the Euphædra, and absorb the countless other delights the forest contains, foremost amongst them silence, silence from humans at least. “These are the best days of my life. These are my golden days.”
The floods have fallen and a thousand dark forms are building up the muddy, slippery banks against the next invasion, with saplings rough hewn in the forest; the men chopping and adjusting these defences, the women carrying up earth from below in baskets. Beneath, the fishermen are making fast their canoes and spreading out their nets to dry—all kinds of nets, ordinary cast nets, nets resembling gigantic hoops, stiff nets encased in wood somewhat after the pattern of the coracle. The broad river fades away into the evening haze. For the swift wings of night are already felt, and the sun has just dropped behind the curtain of implacable forest.
One by one, in twos and threes, in struggling groups, the workers scramble up the slope on to the path—or what remains of it from the floods—which skirts the village. It grows dark. One is vaguely aware of many naked, shadowy, mostly silent figures on every side of one; wending their way along the path, or flitting in and out among the houses. Eyes flash out of the semi-obscurity which is replete with the heavy, dank odour of African humanity when African humanity has been busily at work. In the open doorways a multitude of little fires spring into life, and with them the smell of aromatic wood. The evening meal is in preparation, and presently tired and naked limbs will stretch themselves to the warmth with a sense of comfort. The lament of a child serves to remind you how seldom these Niger babies cry.