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did you see the Devil going over the river ?) A n d all the boys repeat the words, falling into another rhythm with perfect regularity and ease :—"Oti ouè diabe-là passé lariviè ?" D E V I L . — " Oti ouè diabe?" . . . C H O R U S . — " Oti ouè diabe-là passé lariviè ?" D.—"Oti ouè diabe ?" C . — " O t i ouè diabe-là passé lariviè ?" D.—"Oti ouè diabe ?" . . . etc. About midnight the return of the Devil and his following arouses me from sleep :—all are chanting a new refrain, " The Devil and the zombis sleep anywhere and everywhere !" {Diabe épi zombi ka dbmi tout-pàtout.) T h e voices of the boys are still clear, shrill, fresh,—clear as a chant of frogs ;—they still clap hands with a precision of rhythm that is simply wonderful,—making each time a sound almost exactly like the bursting of a heavy wave : — DEVIL.—"Diabe épi zombi." . . . CHORUS.—"Diabe épi zombi ka dbmi tout-pàtout !" D.—"Diabe épi zombi." . . . . C.—"Diabe épi zombi ka dbmi tout-pàtout !" D.—"Diabe épi zombi." . . . etc. . . . What is this after all but the old African method of chanting at labor. T h e practice of carrying the burden upon the head left the hands free for the rhythmic accompaniment of clapping. And you may still hear the women who load the transatlantic steamers with coal at Fort-de-France thus chanting and clapping. . . . - Evidently the Devil is moving very fast ; for all the boys are running ;—the pattering of bare feet upon the pavement sounds like a heavy shower. . . . Then the chanting grows fainter in distance ; the Devil's immense basso becomes inaudible ;—one only distinguishes at regular intervals the crescendo of the burden,—a wild swelling