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Page 5
It is granted that all this, in itself, is not conclusive;
but it will be found that no matter in what wilderness one
may hear of a savage beating a drum, there also will be a
well-defined religion.
Proofs of the theory that the drum antedates all other musical
instruments are to be found on every hand. For wherever in the
anthropological history of the world we hear of the trumpet,
horn, flute, or other instrument of the pipe species, it will
be found that the drum and its derivatives were already well
known. The same may be said of the lyre species of instrument,
the forerunner of our guitar (_kithara_), _tebuni_ or Egyptian
harp, and generally all stringed instruments, with this
difference, namely, that wherever the lyre species was known,
both pipe and drum had preceded it. We never find the lyre
without the drum, or the pipe without the drum; neither do we
find the lyre and the drum without the pipe. On the other hand,
we often find the drum alone, or the drum and pipe without
the lyre. This certainly proves the antiquity of the drum and
its derivatives.
I have spoken of the purely rhythmical nature of the pre-drum
period, and pointed out, in contrast, the musical quality of
the drum. This may seem somewhat strange, accustomed as we are
to think of the drum as a purely rhythmical instrument. The
sounds given out by it seem at best vague in tone and more
or less uniform in quality. We forget that all instruments
of percussion, as they are called, are direct descendants of
the drum. The bells that hang in our church towers are but
modifications of the drum; for what is a bell but a metal drum
with one end left open and the drum stick hung inside?
Strange to say, as showing the marvellous potency of primeval
instincts, bells placed in church towers were supposed to
have much of the supernatural power that the savage in his
wilderness ascribed to the drum. We all know something of the
bell legends of the Middle Ages, how the tolling of a bell was
supposed to clear the air of the plague, to calm the storm, and
to shed a blessing on all who heard it. And this superstition
was to a certain extent ratified by the religious ceremonies
attending the casting of church bells and the inscriptions
moulded in them. For instance, the mid-day bell of Strasburg,
taken down during the French Revolution, bore the motto
"I am the voice of life."
Another one in Strasburg:
"I ring out the bad, ring in the good."
Others read
"My voice on high dispels the storm."
"I am called Ave Maria
I drive away storms."
"I who call to thee am the Rose of the World and am called
Ave Maria."
The Egyptian _sistrum_, which in Roman times played an
important r�le in the worship of Isis, was shaped somewhat
like a tennis racquet, with four wire strings on which rattles
were strung. The sound of it must have been akin to that of our
modern tambourine, and it served much the same purpose as the
primitive drum, namely, to drive away Typhon or Set, the god
of evil. Dead kings were called "Osiris" when placed in their
tombs, and _sistri_ put with them in order to drive away Set.
Beside bells and rattles we must include all instruments of the
tambourine and gong species in the drum category. While there
are many different forms of the same instrument, there are
evidences of their all having at some time served the same
purpose, even down to that strange instrument about which
Du Chaillu tells us in his "Equatorial Africa", a bell of
leopard skin, with a clapper of fur, which was rung by the
wizard doctor when entering a hut where someone was ill or
dying. The leopard skin and fur clapper seem to have been
devised to make no noise, so as not to anger the demon that
was to be cast out. This reminds us strangely of the custom of
ringing a bell as the priest goes to administer the last rites.
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