ROAR OF THE LION. 
13 
seems to vie with his comrades in the intensity and 
power of his voice. The power and grandeur of 
these nocturnal concerts is inconceivably striking 
and pleasing to the hunter’s ear. The effect I may 
remark, is greatly enhanced when the ( hearer happens 
to be situated in the depths of the forest, at the 
dead hour of midnight, unaccompanied by any 
attendant, and ensconced within twenty yards of 
the fountain which the surrounding troop of lions 
are approaching. Such has been my situation 
many scores of times ; and though I am allowed to 
have a tolerably good taste for music, I consider 
the catches with which I w r as then regaled as the 
sweetest and most natural I ever heard.” 
66 Elsewhere,” Gordon Cumming observes, “as 
a general rule, lions roar during the night; their 
sighing moans commencing as the shades of even¬ 
ing envelop the forest, and continuing at intervals 
throughout the hours of darkness.” 
According to Gerard, who had more opportu¬ 
nities than most men of studying the' roar of the 
lion, “ It is composed of a dozen sounds, com¬ 
mencing with sighs which rise in volume as they 
proceed, and finish as they began with an interval 
between each.” 
“ When a lion and a lioness are in company,” 
Gerard further informs us, “ the lioness is always 
the first to roar, and this at the moment of leaving 
the lair. 
“ The lion alternates with the lioness. 
“ In this manner they proceed on their way, roar¬ 
ing every quarter of an hour until they have ap- 
