seen is its most primitive medium, has not been replaced to
any extent among these races since their discovery of speech,
for the Tierra del Fuegians, Andamans, and Weddahs have but
one sound to represent emotion, namely, a cry to express joy;
having no other means for the expression of sorrow, they paint
themselves when mourning.

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