A narrative of travels in northern Africa in the years 1818, 19, and 20; accompanied by geographical notices of Soudan and of the course of the NigerLyon, G. F. (George Francis)
History
A narrative of travels in northern Africa in the years 1818, 19, and 20; accompanied by geographical notices of Soudan and of the course of the Niger
Lyon, G. F. (George Francis)
Fezzan (Libya) -- Description and travel; Tripolitania -- Description and travel
“Here I am, well mounted, on a horse whose ears are like pens,
who runs like an antelope, and knows none but his master. My new
red cap becomes me well; my sword is sharp, my pistols well cleaned,
and my belt shines in the sun. As the heart of a pigeon beats when
she finds she is robbed of her young, so will my love’s heart
beat when she sees me. She will not allow the dog to bark, and she
will leave the tent as if in search of wood. Should her kinsmen
see her with me, she shall not fall under their displeasure. I will
lift her on my horse, and fly with her; for my steed has ears like
pens, he runs like an antelope, and knows none but his master. My
new tagaïa becomes me well; my sword is sharp, my pistols clean,
and my belt shines in the sun.”
The natives have a variety of dances, of which two or three are
peculiar to the country. The parties assemble on the sands, in the
dusk of the evening, when a number of young men and women range
themselves side by side, and dance to the sound of drums, to which
they keep very good time. The men have a rude kind of iron cymbal
in each hand, which opens and shuts: this they beat in the manner
of castanets; both sexes singing at the same time in chorus. The
movements consist in stepping forward, the whole line at once,
at a particular turn of the tune, as if to catch something with
their two hands, which they hold out; they balance themselves a
short time on the advanced foot, and then step back, turning half
round, first to one side and then the other. The whole line then
moves slowly, in a circle, round the musicians who form the centre,
and who all join in the dance.
Public-domain text, read in full here on John Shaqi.
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