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-tom can tell you. I don’t say it’s an instrument suited for serenading your lady-love with, but that is a thing I don’t require of an instrument. All else the tom-tom can do, and do well. It can talk as well as the human tongue. It can make you want to dance or fight for no private reason, as nothing else can, and be you black or white it calls up in you all your Neolithic man.
Many African instruments are, however, sweet and gentle, and as mild as sucking doves, notably the xylophonic family. These marimbas, to use their most common name, are all over Africa from Senegal to Zambesi. Their form varies with various tribes—the West African varieties almost universally have wooden keys instead of iron ones like the East African. Personally, I like the West African best; there is something exquisite in the sweet, clear, water-like notes produced from the strips of soft wood of graduated length that make the West African keyboard. All these instruments have the sound magnified and enriched by a hollow wooden chamber under their keyboard. In Calabar this chamber is one small shallow box, ornamented, as most wooden things are in Calabar, with poker work—but in among the Fan, under the keyboard were a set of calabashes, and in the calabashes one hole apiece and that hole covered carefully with the skin of a large spider. While down in Angola you met the xylophone in the imposing form you can see in the frontispiece to this volume. Of the orchid fibre-stringed harp, I have spoken elsewhere, and there remains but one more truly great instrument that I need mention. I have had a trial at playing every African instrument I have come across, under native teachers, and they have assured me that, with application, I should 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 either of these, but the one I hate is a solo frog who seems eternally engaged at night in winding up a Waterbury watch. Many a night have I stocked thick with calamity on that frog’s account; many a night have I landed myself in hailing distance of Amen Corner from having gone out of hut, or house, with my mind too full of the intention of flattening him out with a slipper, to think of driver ants, leopards, or snakes. Frog hunting is one of the worst things you can do in West Africa.
Next to frogs come the crickets with their chorus of “she did, she didn’t,” and the cicadas, but they knock off earlier than frogs, and when the frogs have done for the night there is quiet for the few hours of cool, until it gets too cool and the chill that comes before the dawn wakes up the birds, and they wake you with their long, mellow, exquisitely beautiful whistles.
The aforesaid are everyday noises in West Africa, and you soon get used to them or die of them; but there are myriads of others that you hear when in the bush. The grunting sigh of relief of the hippos, the strange groaning, whining bark of the crocodiles, the thin cry of the bats, the cough of the leopards, and that unearthly yell that sometimes comes out of the forest in the depths of dark nights. Yes, my naturalist friends, it’s all very well to say it is only a love-lorn, innocent little marmoset-kind of thing that makes it. I know, poor dear, Softly, Softly, and he wouldn’t do it. Anyhow, you just wait until you hear it in a shaky little native hut, or when you are spending the night, having been fool enough to lose yourself, with your back against a tree quite alone and that yell comes at you with its agony of anguish and appeal out of that dense black world of forest which the moon, be she never so strong, cannot enlighten, and which looks all the darker for the contrast of the glistening silver mist that shows here and there in the clearings, or over lagoon, or river, wavering twining, rising and falling; so full of strange motion and beauty, yet, somehow, as sinister in its way as the rest of your surroundings, and so deadly silent. I think if you hear that yell cutting through this sort of thing like a knife and sinking despairingly into the surrounding silence, you will agree with me that it seems to favour Duppy, and that, perchance, the strange red patch of ground you passed at the foot of the cotton tree before night came down on you, was where the yell came from, for it is red and damp and your native friends have told you it is so because of the blood whipped off a sasa-bonsum and his victims as he goes down through it to his under-world home.
Seen from the sea, the Ivory Coast is a relief to the eye after the dead level of the Grain Coast, but the attention of the mariner to rocks has no practical surcease; and there is that submarine horror for sailing ships, the Bottomless pit. They used to have great tragedies with it in olden times, and you can still, if you like, for that matter; but the French having a station 15 miles to the east of it at Grand Bassam would nowadays prevent your experiencing the action of this phenomenon thoroughly, and getting not only wrecked but killed by the natives ashore, though they are a lively lot still.
Now although this is not a manual of devotion, I must say a few words on the Bottomless pit. All along the West Coast of Africa there is a great shelving bank, submarine, formed by the deposit of the great mud-laden rivers and the earth-wash of the heavy rains. The slope of what the scientific term the great West African bank is, on the whole, very regular, except opposite Piccaninny Bassam, where it is cut right through by a great chasm, presumably the result of volcanic action. This chasm commences about 15 miles from land and is shaped like a V, with the narrow end shorewards. Nine miles out it is three miles wider and 2,400 feet deep, at three miles out the sides are opposite each other and there is little more than a mile between them, and the depth is 1,536 feet; at one mile from the beach the chasm is only a quarter of a mile wide and the depth 600 feet—close up beside the beach the depth is 120 feet. The floor of this chasm is covered with grey mud, and some five miles out the surveying vessels got fragments of coral rock.