Chatterbox, 1906 Part 21

I concluded that the father had already fed the little brutes, and that I was to be respited for an hour or two, perhaps half a day. This was satisfactory in a fashion, but just imagine the suspense!

Her majesty the lioness, however, was not pleased, it appears, with the behaviour of her children. She roared once or twice.

'You are meant to eat it,' she seemed to say, 'you foolish little things, not play with it. Here, come along and taste, it's good food.

Stick your little teeth into it--look here.'

She approached me and rolled me over once or twice as a cat might play with a mouse. 'Look for a soft place and then bite,' she continued.

'I'll show you the way.'

'No you don't!' thought I, desperate now and careless of consequences. I fumbled for my skinning-knife, and made a dig at her majesty, but only succeeded in scratching her about the shoulder. She gave a roar of alarm, however, and bounded away into cover. The four cubs disappeared instantly.

From somewhere in the long gra.s.s, where she hid unseen with her cubs, the lioness now began to growl or moan, complaining, I had no doubt, that I had bitten her and that it was obviously the duty of her lord and master to see that such a venomous creature as myself was rendered harmless before her precious darlings came near it again.

'Go in and finish him off,' she said. 'He might hurt one of them. He has bitten me.'

Apparently her complaint told. His majesty began to grow restless. He stood up. He had lain down at full length to watch the children play, but now he rose up and began to work himself into a rage. His tail lashed his sides, and his jaws moved incessantly; he showed his teeth and growled savagely and roared. I knew enough about lions to be aware that as long as his tail worked from side to side I was safe; once it began to move vertically up and down, the moment had arrived when he would charge. I rose to my knees, then to my feet, and watched him. He gathered his feet as though to spring; he roared; his eyes flashed green fire; his tail ceased to work laterally; it rose straight up over his back and fell again. He was moving; he would charge. I screamed, turned to fly--and fainted.

[Ill.u.s.tration: "They were playing with me as though I were a big mouse."]

When I recovered, Thomson was kneeling at my side, explaining that he had heard a lion roaring, and wondered whether I was in trouble. He had started out in search of me, and presently, uncertain where to look for me, providentially heard my first scream. He had hastened in the direction of my call for help, and, as it seemed, arrived just in time.

'Have they gone?' I gasped. 'Where are the lions?'

'How many were there?' he laughed. 'There's one, anyway!'

It was his majesty, dead as a stone. What became of his royal consort and her cubs I know not; we may meet them one of these days.

THE MUSIC OF THE NATIONS.

III.--MORE CURIOUS MUSICAL INSTRUMENTS OF INDIA.

[Ill.u.s.tration]

The Taus, or Peac.o.c.k, also called Esrar or Mohur, according to the language of the tribe which uses it, is met with chiefly in Upper India, and is a favourite instrument of the Nautch musicians.

It is always made in the form of a peac.o.c.k, supporting on its back a long, narrow stringed instrument. The body and neck of the bird is usually carved and coloured, and is further adorned with natural plumage, sometimes neck feathers being used, sometimes those of the tail, and often both. There is a very fine specimen of the Taus in the British Museum, in the gallery where boats, weapons, and curious articles of native arts and crafts are exhibited.

The Nautch people are found all over India, and are a striking instance of the survival of native customs in the East, and although Europeans see little more of them than an occasional party of singers and dancers, great numbers of the profession exist.

In native national life the Nautch play a large part, and legend has a great deal to say about them. In their way these performers have a strong religious element, and dancers, whether Hindoo or Mohommedan, never begin their performances without touching forehead and eyes with the strings of bells hung round their ankles, and saying a short prayer.

[Ill.u.s.tration: The Taus, or Peac.o.c.k.]

[Ill.u.s.tration: The Pungi or Jinagooi.]

Tying on the bells for the first time is quite a solemn function, as it implies adopting for ever the career of a Nautch dancer, from which no withdrawal is possible.

A popular Hindoo story called 'Chandra's Vengeance,' tells of a youth who, hearing from a long distance the music of the Nautch, is irresistibly drawn towards it. After twelve days' journey he approaches the camp of the mysterious people, and there a beautiful girl dances up to him and throws a garland of flowers around him. At once a spell is woven, which is completed by a charmed drink, with the result that he forgets friends, family and country, and enters for ever into the Nautch community. Another legend tells of a Rajah, who was so enchanted with the weird music of the wandering people, that he followed it from country to country, forgetful of wife, child, and kingdom, his whole interest being taken up in beating the drum at performances. In time his baby boy grew into manhood, and set himself to seek his father, and restore him to his throne. After endless journeyings and adventures he at last found his royal parent, ragged but picturesque, taking part in a Nautch festival, and after much difficulty persuaded him to return home.

There the wisest physicians exerted their skill to restore his memory of his former position, and their efforts being successful, he re-ascended the throne of his ancestors, and reigned many years, his wanderings with the Nautch people fading from his mind entirely.

[Ill.u.s.tration: The Yotl.]

The same kind of little bells which are hung round the ankles of the Nautch dancers are used for more practical purposes by Indian post-runners, who tie them in strings to the end of poles; thus the bells, being kept in constant motion, announce the coming of the news carrier. At the same time they serve to scare away wild beasts when the runner is pa.s.sing through lonely forests or jungles where danger lurks in the quivering gra.s.ses.

In ancient days the Aztecs and Teztucans of Central America were wont to hang cl.u.s.ters of similar tiny bells outside temples and towers, which, as they were swayed by the wind, kept up a musical sound. One of these, found in Mexico, may be seen in the British Museum; it bears the name of Yotl. The actual bells, which are nearly round, are very similar to the Sch.e.l.len, or horsebells, used in Northern Europe when driving sledges over the silent snow.

The Pungi or Jinagooi is used by jugglers and snake-charmers all over India. A bottle-shaped gourd is the chief feature in its construction and forms the centre and mouthpiece. Two pipes of cane are cut to form reeds and inserted into the large end of the gourd; one, pierced with finger-holes, takes the melody; it is accompanied by the other, which always sounds the key-note, and produces a curious droning sound not unlike that of the bagpipes.

HELENA HEATH.

A HUMOROUS PUNISHMENT.

In Stow's _History of London_, the following singular extract is given:--

'Nicholas Wilford, an alderman, having neglected to have his cloak, which he ought to use in the procession, lined with fur, it is adjudged by the Court of Aldermen that the Lord Mayor and Aldermen shall all breakfast with him. This penalty is awarded as a punishment for his meanness.'

THE MOON-SHIP.

O ship of the moon, good-bye, good-bye!

Where, where do you sail away, Through miles and miles of stormy sky, By cloudland cape and bay?

O ship of the moon, beware, beware, Of many and many a danger there!

See! white foam breaks along the reef!

The angry tempests blow; The cloud-waves beat the cloudland cliff Like gusts of drifting snow.

O ship of the moon, beware, beware, There's many a danger lurking there!

She's near the rocks! She's sinking now!

The light is growing dim.

Wild billows leap her silver prow On the horizon's rim.

And louder still the tempest blows; The shadows darker fall; Into the cloud-world depths she goes-- Mast, rudder, sails and all, Wrecked in the ocean of the sky: Ship of the moon, good-bye! good-bye!

THE GIANT OF THE TREASURE CAVES.

(_Continued from page 63._)