C. G. Schillings

Summary

C. G. Schillings In Wildest Africa, Vol. 1

The concert of the feathered songsters is suddenly silent, as, it may be, the harsh cry of the leopard resounds, or the mighty, dull, rumbling roar of the king of the desert thunders over the earth; or the trumpet-like cry of the elephant vibrates through the woods; or harsh war-cries from human lips, battle-songs of primitive men, are heard—but heedless of it all, even at these moments, day and night resound the weak voices of all the myriads of lesser creatures of the animal world. But he who penetrates into this wilderness must have receptive senses to understand the full beauty of it all.
Source: Gutenberg

C. G. Schillings In Wildest Africa, Vol. 1

For even as the northern song of the lark awakens the soft, poetic spell of smiling fields, so, too, the mysterious and still deeply veiled spell of the Nyíka can find expression in its wonderful music.
Small, invisible almost, it rises in the air. Soon it is lost to sight in the sky. Then suddenly a song that, though so often heard before, is still a marvel, comes distinctly on the ear, its notes sharply accented and emphasised as if it were close to us. There is a sharp, rhythmical, clapping sound, as if small laths or pieces of whalebone were being rattled together.
Source: Gutenberg

C. G. Schillings In Wildest Africa, Vol. 1

And the language of the wilderness rises to a most effectual appeal to our senses when these tracks are associated with the marked tarry scent of the waterbuck in the bush, the breath of the great wild herds on the plain, the strong scent left by elephant or rhinoceros in the primeval forest and in the sultry thickets, and the scent of the buffalo among the reed-beds.
There is often a chaos of tracks, a wild maze of paths trodden flat as a barn-floor, crossing each other, and then again uniting, so that the idea of tame herds, mentioned before as at times suggested, can no longer hold good.
Source: Gutenberg

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