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
