river full speed. The river seems broader above the Fallabar, but this is mainly on account of its being temporarily unencumbered with islands. A good deal of the bank we have passed by since leaving Nazareth Bay on the south side has been island shore, with a channel between the islands and the true south bank.
The day soon grew dull, and looked threatening, after the delusive manner of the dry season. The climbing plants are finer here than I have ever before seen them. They form great veils and curtains between and over the trees, often hanging so straight and flat, in stretches of twenty to forty feet or so wide, and thirty to sixty or seventy feet high, that it seems incredible that no human hand has trained or clipped them into their perfect forms. Sometimes these curtains are decorated with large bell-shaped, bright-coloured flowers, sometimes with delicate sprays of white blossoms. This forest is beyond all my expectations of tropical luxuriance and beauty, and it is a thing of another world to the forest of the Upper Calabar, which, beautiful as it is, is a sad dowdy to this. There you certainly get a great sense of grimness and vastness; here you have an equal grimness and vastness with the addition of superb colour. This forest is a Cleopatra to which Calabar is but a Quaker. Not only does this forest depend on flowers for its illumination, for there are many kinds of trees having their young shoots, crimson, brown-pink, and creamy yellow: added to this there is also the relieving aspect of the prevailing fashion among West African trees, of wearing the trunk white with here and there upon it splashes of pale pink lichen, and vermilion-red fungus, which alone is sufficient to prevent the great mass of vegetation from being a monotony in green.
All day long we steam past ever-varying scenes of loveliness whose component parts are ever the same, yet the effect ever different. Doubtless it is wrong to call it a symphony, yet I know no other word to describe the scenery of the Ogowé. It is as full of life and beauty and passion as any symphony Beethoven ever wrote: the parts changing, interweaving, and returning. There are leit motifs here in it, too. See the papyrus ahead; and you know when you get abreast of it you
