During the grinding season, which begins about the first of December and ends in April, a large, well-managed sugar plantation in Cuba is a scene of the utmost activity and most unremitting labor. Time is doubly precious during the harvesting period, for when the cane is ripe there should be no delay in expressing the juice. If left too long in the field it becomes crystallized, deteriorating both in its quality and in the amount of juice which is obtained. The oxen employed often die before the season is at an end, from overwork beneath a torrid sun. The slaves are allowed but four or five hours sleep out of the twenty-four, and being worked by watches during the night, the mill does not lie idle for an hour after it is started until the grinding season is closed. If the slaves are thus driven during this period, throughout the rest of the year their task is comparatively light, and they may sleep ten hours out of the twenty-four, if they choose. According to the Spanish slave code,--always more or less of a dead letter,--the blacks can be kept at work in Cuba only from sunrise to sunset, with an interval of two hours for repose and food in the middle of the day. But this is not regarded in the sugar harvest season, which period, after all, the slaves do not seem so much to dread, for then they are granted more privileges and are better fed, given more variety of food and many other little luxuries which they are known to prize. On Sunday afternoons and evenings on most of the plantations the slaves are given their time, and are permitted, even in the harvest season, to amuse themselves after their own chosen fashion. On such occasions the privilege is often improved by the blacks to indulge in native African dances, crude and rude enough, but very amusing to witness. The music for the dancers is supplied by a home-made drum, and by that alone, the negro who plays it being to the lookers-on quite as much of a curiosity as those who perform the grotesque dances. This humble musician writhes, wriggles, twists himself like a corkscrew, and all the while beats time, accompanying his notes with cries and howls, reminding one of the Apache Indian when engaged in a war dance. It is astonishing to witness to what a degree of excitement this negro drummer will work himself up, often fairly frothing at the mouth. A buxom wench and her mate step forward and perform a wild, sensuous combination of movements, a sort of negro can-can, like those dancing girls one sees in India, striving to express sentiments of love, jealousy, and passion by their pantomime, though these negroes are far less refined in their gestures. When these two are exhausted, others take their place, with very similar movements. The same drummer labors all the while, perspiring copiously, and seeming to get his full share of satisfaction out of the queer performance. This is almost their only amusement, though the Chinese coolies who have been