MYTHS ANoSONGS 
 
 FROM THE 
 
 i.N:rjian uoyjoN K 
 
 MAX MULLER 
 
// . ii. . o ^." 
 
 « 
 
 
 PRINCETON, N. J. 
 
 % 
 
 Division 
 
 SL2&00 
 
MYTHS AND SONGS 
 FROM THE SOUTH PACIFIC. 
 
NEW BOOKS. 
 
 THE CHILDHOOD OF THE WORLD : A Simple Account of Man in 
 Early Times. By Edwakd Clodd, F.K.A.S. New Edition. 
 Crown 8vo. 3s. 
 
 " Likely to prove acceptable to a large and growing class of readers." — Pall Mall 
 Gazette. 
 
 " The book is one which very young children could understand, and which grown- 
 up persons may run through with pleasure and advantage." — Spectator. 
 
 " Its style is simply exquisite, and it is filled with most curious information." — 
 Christian World. 
 
 " I read your book with great pleasure. I have no doubt it will do good, and hope 
 you will continue your work. Nothing spoils our temper so much as having to 
 unlearn in youth, manhood, and even old age, so many things which we were taught 
 as children. A book like yours will prepare a far better soil in the child's mind, and 
 I was delighted to have it to read to my children." — (Extract from a Letter from 
 Professor Max Muller to the Author). 
 
 THE CHILDHOOD OF RELIGIONS : Including a Simple Account of 
 the Birth and Growth of Myths and Legends. By Edward 
 Clodd, F.E.A.S. Crown 8vo. 5s. 
 
 " His language is simple, clear, and impressive. His faculty of disentangling 
 complicated masses of detail, and comjiressing much information into small space, 
 with such felicitous arrangement and expression as never to over-tax the attention or 
 abate the interest of the reader, is very remarkable." — Examiner. 
 
 " The style is very charming. There is something in the author's enthusiasm, 
 something in the pellucid simplicity of his easy prose, which beguiles the reader 
 along." — Academy. • 
 
 THE LIFE AND GROWTH OF LANGUAGE. By W. D. Whitney, 
 Professor of Sanskrit and Comparative Philology in Yale 
 College, New Haven. Second Edition. 5s. 
 
 " We commend Mr. Whitney's book as being a clear and concise summary of all 
 that is known of the still infant science of language." — Hour. 
 
 MISSIONARY LIFE IN THE SOUTHERN SEAS. By James Hutton. 
 With Illustrations. Crown 8vo. 7s. Qd. 
 
 This is an historical record of mission work by the labourers of 
 all denominations in Tahiti — the Hervey, the Austral, the Samoa or 
 Navigator's, the Sandwich, Friendly, and Fiji Islands, &c. 
 
 " The narrative is calm, sensible, and manly, and preserves many interesting 
 facts in a convenient shape." — Literary Churchman. 
 
 A YACHTING CRUISE IN THE SOUTH SEAS. By C. F. Wood. 
 Demy 8vo., with six Photographic Illustrations. 7s. Qd. 
 The author has spent considerable time in Polynesia, and his work 
 is a description of the islands and the manners and customs of the 
 natives as they exist. Much that is interesting from a scientific and 
 ethnological point of view will be found in the volume. 
 
MYTHS AND SONGS 
 
 FROM 
 
 THE SOUTH PACIFIC. 
 
 BY THE y^ 
 
 REV. WILLIAM WYATT GILL, B.A., 
 
 OF THE LONDON MISSIONARY SOCIETY. 
 
 WITH A PREFACE BY 
 
 F. MAX MULLER, M.A., 
 
 PROFESSOR OF COMPARATIVE PHILOLOGY AT OXFORD ; FOREIGN MEMBER 
 OF THE FRENCH INSTITUTE. 
 
 Henry S. King & Co., London. 
 1876. 
 
(jrhe rights of translation and reproduction are reserved.) 
 
PREFACE. 
 
 Having expressed a strong desire that the collection of Myths 
 and Songs from the South Pacific, which the Rev. W. Wyatt Gill 
 brought home with him from Mangaia, should not be allowed to 
 lie forgotten, or, like other valuable materials collected by hard- 
 working missionaries, perish altogether, I could not well decline 
 to state, in a few words, what I consider the real importance of 
 this collection to be. 
 
 I confess it seemed strange to me that its importance should be 
 questioned. If new minerals, plants, or animals are discovered, if 
 strange petrifactions are brought to light, if flints or other stone 
 weapons are dredged up, or works of art disinterred, even if a 
 hitherto unknown language is rendered accessible for the first time, 
 no one, I think, who is acquainted with the scientific problems of 
 our age, would ask what their importance consists in, or what they 
 
vi Preface. 
 
 are good for. Whether they are products of nature or works of 
 man, if only there is no doubt as to their genuineness, they claim 
 and most readily receive the attention, not only of the learned, 
 but also of the intelligent public at large. 
 
 Now, what are these Myths and Songs which Mr. W. W. Gill 
 
 has brought home from Mangaia, but antiquities, preserved for 
 
 hundreds, it may be for thousands of years, showing us, far better 
 
 than any stone weapons or stone idols, the growth of the human 
 
 mind during a period which, as yet, is full of the most perplexing 
 
 problems to the psychologist, the historian, and the theologian ? 
 
 The only hope of our ever unravelling the perplexities of that 
 
 mythological period, or that mythopoeic phase of the human 
 
 intellect, lies in our gaining access to every kind of collateral 
 
 evidence. We know that mythopoeic period among the Aryan 
 
 and Semitic races, but we know it from a distance only, and where 
 
 are we to look now for living myths and legends, except among 
 
 those who still think and speak mythologically, who are, in fact, at 
 
 the present moment what the Hindus were before the collection 
 
 of their sacred hymns, and the Greeks long before the days of 
 
 Homer ? To find ourselves among a people who really believe in 
 
 gods and heroes and ancestral spirits, who still offer human 
 
 sacrifices, who in some cases devour their human victims, or, at 
 
 all events, burn the flesh of animals on their altars, trusting 
 
 that the scent will be sweet to the nostrils of their gods, is as if 
 
 the zoologist could spend a few days among the megatheria, 
 
Preface. vii 
 
 or the botanist among the waving ferns of the forests, buried 
 beneath our feet. So much is written just now, and has been 
 written during the last fifty years, on human archaeology, on the 
 growth and progress of the intellect, on the origin of religion, on 
 the first beginnings of social institutions ; so many theories have 
 been started, so many generalizations put forward with perfect 
 confidence, that one might almost imagine that all the evidence 
 was before us, and no more new light could be expected from 
 anywhere. But the very contrary is the case. There are many 
 regions still to be explored, there are many facts, now put for^vard 
 as certain, which require the most careful inspection, and as we 
 read again and again the minute descriptions of the journey which 
 man is supposed to have made from station to station, from his 
 childhood to his manhood, or, it may be, his old age, it is difficult 
 to resist a feeling of amazement, and to suppress at almost every 
 page the exclamation, Wait ! wait ! 
 
 There are the two antagonistic schools, each holding its tenets 
 with a kind of religious fervour — the one believing in a descending, 
 the other in an ascending, development of the human race ; the 
 one asserting that the history of the human mind begins of 
 necessity with a state of purity and simplicity which gradually 
 gives way to corruption, perversity, and savagery ; the other main- 
 taining with equal confidence, that the first human beings could 
 not have been more than one step above the animals, and that their 
 whole history is one of progress towards higher perfection. With 
 
viii Preface. 
 
 regard to the beginnings of religion, the one school holds to a 
 primitive suspicion of something that is beyond — call it super- 
 natural, transcendent, or divine. It considers a silent walking 
 across Xkii^jhula^ of life, with eyes fixed on high, as a more perfect 
 realisation of primitive religion than singing of Vedic hymns, offer- 
 of Jewish sacrifices, or the most elaborate creeds and articles. The 
 other begins with the purely animal and passive nature of man, 
 
 * " So, on the I2th of August, we made the steep ascent to the village of 
 Namgea, and from there to a very unpleasant jhiila, which crosses the foaming 
 torrent of the Sutlej. In this part of the Himalaya, and, indeed, on to 
 Kashmir, these bridges are constructed of twigs, chiefly from birch trees or 
 bushes, tM'isted together. Two thick ropes of these twigs, about the size of 
 a man's thigh, or a little larger, are stretched across the river, at a distance of 
 about six to four feet from each other, and a similar rope runs between them, 
 three or four feet lower, being connected with the upper ropes by more slender 
 ropes, also usually of birch twigs twisted together, but sometimes of grass, and 
 occurring at an interval of about five feet from each other. The unpleasantness 
 of a jhi'da is that the passenger has no proper hold of the upper ropes, which 
 are too thick and rough to be grasped by the hand ; and that, at the extremities, 
 they are so far apart that it is difficult to have any hold of both at the same 
 time ; while the danger is increased by the bend or hang of the jhula, which 
 is much lower in the middle than at its ends. He has also to stoop painfully 
 in order to move along it, and it is seldom safe for him to rest his feet on the 
 lower rope, except where it is supported from the upper ropes by the transverse 
 ones. To fall into the raging torrent underneath would be almost certain 
 destruction. The high wind which usually prevails in the Himalaya during 
 the day, makes the whole structure swing about frightfully. In the middle of 
 the bridge there is a cross-bar of wood (to keep the two upper ropes separate) 
 which has to be stepped over ; and it is not customary to repair a jhula until 
 some one falls through it, and so gives practical demonstration that it is in 
 rather a rotten condition." — Andrew WiLSON, "The Abode of Snow," p. 197. 
 
Preface. Ix 
 
 and tries to show how the repeated impressions of the world in 
 which he Hved, drove him to fetichism, whatever that may mean, 
 to ancestor-worship, to a worship of nature, of trees and serpents, 
 of momitains and rivers, of clouds and meteors, of sun and moon 
 and stars, and ftie vault of heaven, and at last, by what is called 
 a natural mistake, of One who dwells in heaven above. 
 
 There is some truth in every one of these views ; but they 
 become untrue by being generalized. The time has not come yet, 
 it probably never will come, when we shall be able to assert any- 
 thing about the real beginnings of religion in general. We know 
 a little here, a little there, but whatever we know of early religion, 
 we always see that it presupposes vast periods of an earlier 
 development. 
 
 Some people imagine that fetichism, at all events, presupposes 
 nothing : they would probably not hesitate to ascribe to some of 
 the higher animals the faculty of fetich-worship. But few words 
 are so devoid of scientific precision as fetichism, a term first 
 rendered popular by the writings of De Brosses. Let us suppose 
 that it means a kind of temporary worship of any material object 
 which the fancy may happen to select, as a tree, a stone, a post, 
 an animal : — can that be called a primitive form of religion ? First 
 of all, religion is one thing, worship another, and the two are by no 
 means necessarily connected. But, even if they were, what is the 
 meaning of worship paid to a stone, but the outward sign of a 
 
X Pi^eface. 
 
 pre-existent belief that this stone is more than a stone, something 
 supernatural, it may be something divine, so that the ideas of the 
 supernatural and the divine, instead of growing out of fetichism, 
 are generally, if not always, presupposed by it ? The same applies 
 to ancestor-worship, which not only presupposes the conceptions 
 of immortahty and of the ideal unity of a family, but implies in 
 many cases a belief that the spirits of the departed are worthy 
 to share the honours paid to divine beings. 
 
 To maintain that all religion begins with fetichism, all myth- 
 ology with ancestor-worship, is simply untrue, as far as our present 
 knowledge goes. There is fetichism, there is ancestor-worship, 
 there is nature-worship, whether of trees or serpents, of mountains 
 or rivers, of clouds and meteors, of sun and moon and stars, and 
 the vault of heaven ; there is all this, and there is much more than 
 all this, wherever we can watch the early growth of religious ideas : 
 but, what we have to learn is, first of all, to distinguish, to study 
 each religion, each mythology, each form of worship by itself, to 
 watch them during successive periods of their growth and decay, 
 to follow them through different strata of society, and before all, 
 to have each of them, as much as possible, studied in their own 
 language. 
 
 If language is the reaHzation of thought and feeling, the im- 
 portance of a knowledge of the language for a correct apprecia- 
 tion of what it was meant to convey in the expression of religious 
 
Preface. xi 
 
 thought and feeling, requires no proof. I have often insisted on 
 this, and I have tried to show — whether successfully or not, let 
 others judge — that much of what seems at first irrational and 
 inexplicable in mythology, and in religion also, can be explained 
 by the influence which language exercises on thought. I have 
 never said that the whole of mythology can be explained in that 
 way, that all that seems irrational is due to a misunderstanding, 
 or that all mythology is a disease of language. Some parts of 
 mythology I have proved to be soluble by means of linguistic 
 tests, but mythology as a whole I have always represented as a 
 complete period of thought, inevitable, I believe, in the develop- 
 ment of human thought, and comprehending all and everything 
 that at a given time can fall within the horizon of the human 
 mind. The Nemesis of disproportion seems to haunt all new 
 discoveries. Parts of mythology are religious, parts of mythology 
 are historical, parts of mythology are metaphysical, parts of 
 mythology are poetical ; but mythology as a whole is neither 
 religion, nor history, nor philosophy, nor poetry. It compre- 
 hends all these together under that peculiar form of expression 
 which is natural and intelligible at a certain stage, or at certain 
 recurring stages in the development of thought and speech, but 
 which, after becoming traditional, becomes frequently unnatural 
 and unintelligible. In the same manner nature-worship, tree- 
 worship, serpent-worship, ancestor-worship, god-worship, hero- 
 worship, fetichism, all are parts of religion, but none of these by 
 itself can explain the origin or growth of religion, which compre- 
 
xil Preface. 
 
 hends all these and many more elements in the various phases of 
 its growth. 
 
 If anything can help to impress upon students of religion and 
 mythology the necessity of caution, the advantage of special 
 research, and, above all, the necessity of a scholarlike treatment, 
 it is a book like that of Mr. Gill, — an account of a religion and 
 mythology which were still living in the island of Mangaia, when 
 Mr. Gill went there as a missionary twenty-two years ago, and 
 which, as they died away before his eyes, he carefully described 
 to us from what he saw himself, from what the last depositaries of 
 the old faith told him, and from what was recorded of it in sacred 
 songs, which he gives us in the original, with literal translations. 
 
 It is true that the religion and mythology of the Pol)niesian race 
 have often been treated before, but one of their greatest charms 
 consists in the very fact that we possess them in so many forms. 
 Each island has, so to say, its own religious and mythological 
 dialect, and though there is much that is common to all, and must 
 therefore be old, there is at the same time much local and indi- 
 vidual variety. Again, the great advantage of Mr. Gill's collection 
 is that Mangaia has kept itself freer from foreign influences than 
 almost any other of the Polynesian islands. " The isolation of the 
 Hervey Islanders," he says, " was in favour of the purity of their 
 traditions, and the extreme jealousy with which they were guarded 
 was rather an advantage than otherwise." When we find strange 
 
P7'eface. xiii 
 
 coincidences between the legends of Mangaia and Jewish, Chris- 
 tian, or classical stories, we need not suspect that former European 
 travellers had dropped the germs of them, or that missionaries had 
 given, unconsciously, their own colouring to them. Mr. Gill has 
 been specially on the guard against this and other sources of error. 
 " Whilst collecting my myths," he says, " I put away from me all 
 classical mythology, being afraid that unconsciously I might mould 
 these Polynesian stories into similarity with those of Greece and 
 Rome. 
 
 On my making inquiries whether the Polynesian tradition 
 about Eve (Ivi), which I had discussed in my " Science of Reli- 
 gion" (p. 304), was to be found in Mangaia, Mr. Gill informed 
 me that it was not, and that he strongly suspected its European 
 origin. The elements of the story may have previously existed, 
 and we see some traces of it in the account of the creation current 
 in Mangaia, but Mr. Gill suspects that some of the mutineers of 
 the Bounty may have told the natives the Bible story, and that it 
 became incorporated with their own notions. 
 
 The jawbone, too, with which we are told that Maui, the 
 great solar hero of the Polynesians, destroyed his enemies, is 
 absent in Mangaia. When I inquired about it, Mr. Gill informed 
 me that he never heard of it in the Hervey Group in connection 
 with Maui. 
 
 Such things are extremely important for a proper treatment of 
 
xlv Preface. 
 
 mythology. I hold no longer to the rule that when two myth- 
 ologies agree in what is irrational or foolish, they must have had 
 the same origin, or must have come into contact with each other 
 at some period of their history. If there was a reason for the 
 jawbone to be used as a weapon in one country, the same reason 
 may have existed in another. But, even if there was no reason, 
 a fact that happened or was imagined to have happened in one 
 place may surely have happened or have been imagined to have 
 happened in another. At first, no doubt, we feel startled by 
 such coincidences ; and that they often offer a prima facie pre- 
 sumption in favour of a common origin cannot be denied. But 
 as we read on from one mythology to another, our sensitiveness 
 with regard to these coincidences becomes blunted, and we feel 
 hardened against appeals which are founded exclusively on such 
 evidence. 
 
 At first sight, what can be more startling than to see the 
 interior of the world, the invisible or nether world, the Hades of 
 the Mangaians, called Avaiki, Ayiki being the name of one of the 
 lower regions, both among Brahmans and Buddhists? But we 
 have only to look around, and we find that in Tahitian the name 
 for Hades is HawaPi^ in New Zealand Hawaiki^ and more 
 originally, I suppose, Sawaiki; so that the similarity between the 
 Sanskrit and Polynesian words vanishes very quickly. 
 
 That the name of the Sun-god in Mangaia is Ha has been 
 pointed out as a strange coincidence with Egypt ; but more really 
 
Preface. xv 
 
 important is the story of Ra being made captive, as reminding us 
 of similar solar legends in Greece, Germany, Peru, and elsewhere.* 
 
 Who can read the Mangaian story of Ina (the moon) and her 
 mortal lover, who, as he grew old and infirm, had to be sent back 
 to the earth to end his days there, without thinking of Selene and 
 Endymion, of Eos and Tithonos ? 
 
 Who again, if acquainted with the Vedic myth of the Maruts,\ 
 the strikers, the Storm-gods, and their gradual change into the 
 Roman god of war. Mars, can fail to see the same transition of 
 thought in several of the gods of the storms, of war and destruc- 
 tion among the Polynesians, though here again the similarity in 
 the name of Maru is purely accidental. 
 
 In some of the Polynesian islands the Deluge is said to have 
 lasted exactly forty days. This, no doubt, is startling. It may be 
 the result of missionary influence. But, even if it were not, the 
 coincidence between the Polynesian and the Jewish accounts on 
 that one point may be either purely accidental, or may be founded 
 on rude meteorological calculations which we have not yet de- 
 tected. I do not like to quote coincidences from American tra- 
 ditions, because we know that we are never safe there against 
 
 * Chips from a German Workshop. 2nd Edition, vol. ii. p. 1 1 6, 
 
 t Rig-Veda-Sanhita, The Sacred Hymns of the Brahmans. Translated by 
 
 F. Max Muller. Vol. i. Hymns to the Maruts, or the Storm-Gods. London, 
 
 Triibner and Co. 1869. 
 
xvi Preface. 
 
 Spanish by-notes ; otherwise the account of the Toltec deluge, and 
 the statement that the mountains were covered to the depth of 
 "fifteen cubics," might be quoted as another undesigned coin- 
 cidence.* According to the Chimalpopoca MS., the Creator 
 produced His work in successive epochs, man being made on 
 the seventh day from dust and ashes. Wliy, we may ask, on the 
 seventh day? But others, without even insisting on the pecuHar 
 character of the seventh number, may simply ask. Why not ? 
 There is much similarity between the Hindii account of the 
 Deluge and the Jewish ; but no one who has read the numerous 
 accounts of a deluge in other parts of the world, would feel much 
 surprised at this. At all events, if we admitted a common origin 
 of the two, or an actual borrowing, then to explain the differences 
 between them would be extremely difficult. The only startling 
 coincidence is, that in India the flood is said to begin on the 
 seventh day after it had been announced to Manu. Considering, 
 however, that the seventh day is mentioned in the " Bhagavata- 
 Purana" only, I feel inclined to look upon it as merely accidental. 
 It might, no doubt, have been borrowed from Jewish or even 
 Mohammedan sources ; but how can we imagine any reason why so 
 unmeaning a fact should have been taken over, while on so many 
 other points, where there was every temptation to borrow, nothing 
 was done to assimilate the two accounts, or to remove features of 
 which, at that time, the Hindus might well be supposed to have 
 been ashamed? I mention all this for the sole purpose of 
 * Bancroft, Native Races, vol. v. p. 20. 
 
P^^eface. xvli 
 
 preaching patience and caution ; and I preach it against myself 
 quite as much as against others, as a warning against exclusive 
 theories. 
 
 On every page of these Mangaian legends there is evidence 
 that many of them owe their origin to language, whether we adopt 
 the theory that the Mangaians played on the words, or that their 
 words played on them. Mr. Gill himself fully admits this ; but 
 to say that the whole of the Mangaian mythology and theology 
 owed its origin to the oxydizing process to which language is 
 exposed in every country, would be to mistake the rust for the 
 iron. 
 
 With all these uncertainties before us, with the ground shaking 
 under our feet, who would venture to erect at present complete 
 systematic theories of mythology or religion ? Let any one who 
 thinks that all religion begins with fetichism, all worship with 
 ancestor-worship, or that the whole of mythology everywhere can 
 be explained as a disease of language, try his hand on this short 
 account of the beliefs and traditions of Mangaia ; and if he finds 
 that he fails to bring even so small a segment of the world's 
 religion and mythology into the narrow circle of his own system, 
 let him pause before he ventures to lay down rules as to how man, 
 on ascending from a lower or descending from a higher state, 
 must have spoken, must have believed, must have worshipped. If 
 Mr. Gill's book were to produce no other effect but this, it would 
 have proved one of the most useful works at the present moment. 
 
xvili Preface. 
 
 But it contains much that in itself will deeply interest all those 
 who have learned to sympathize with the childhood of the world, 
 and have not forgotten that the child is the father of the man; 
 much that will startle those who think that metaphysical concep- 
 tions are incompatible with downright savagery ; much also that 
 will comfort those who hold that God has not left Himself without 
 a witness, even among the lowest outcasts of the human race. 
 
 F. MAX MULLER. 
 
 Oxford, January 26, 1876. 
 
INTRODUCTORY REMARKS. 
 
 The writer of the following pages has been for twenty-two 
 years a missionary in the Hervey Group, a small cluster of islands 
 in the South Pacific, lying between the 19° and 22° parallels of 
 S. latitude and 157° and 160° of W. longitude. 
 
 He has sought to reproduce, as nearly as possible, the tradi- 
 tionary beliefs of a small section of the widely scattered Poly- 
 nesian family. On them the hopes and aspirations of many past 
 generations were founded. We correctly call the entire system a 
 "mythology;" to them it was a "theology," — the true doctrine of 
 the visible and the invisible world. The actual working of these 
 false ethics was unceasing and pitiless war, unbridled and unblush- 
 ing profligacy. Correct knowledge of these " mysteries " was 
 possessed only by the priests and " wise men " of the different 
 tribes. By them the teachings of the past were embodied in 
 songs, to be chanted at their national festivals. These songs 
 possessed great fascination for the native intellect, and tended to 
 the preservation of the ancient faith. The writer's object is simply 
 to aid the student of ethnology in his researches. 
 
 While there is much that is puerile and absurd in this heathen 
 philosophy, there are evident glimmerings of primeval light. The 
 
XX hitroductory Rema^^ks. 
 
 Polynesian name for God expresses a great truth. The continued 
 existence of the human spirit after death is impUed in their 
 " laments " and in the beautiful allegory of Veetini. The 
 cruel system of human sacrifice is but a perversion of ancient 
 truth. The common origin of mankind is taught in the contrast 
 between " the fair-haired and fair-skinned children of Tan- 
 garoa," and " the dark-haired and dark-skinned children of 
 Rongo ; " both the offspring of Great Vatea. There is an 
 undercurrent of yearning after the True God in some of their 
 songs; e.g. as when Koroa sings (p. 215) : — 
 
 Oh, for some other Helper ! 
 Some new divinity, to listen 
 To the sad story of thy wasting disease ! 
 
 As the result of many years' inquiry into the ancient faith of Poly- 
 nesia, the writer most heartily endorses the remark of Professor 
 Max Miiller : " ^Vllerever there are traces of human life, there are 
 traces also of religion." * 
 
 A large portion of what is contained in this volume was 
 derived from Tereavai, the last priest of the shark-god Tiaio. 
 Some links in the system were irrecoverably lost by the slaughter 
 of his father Tuka, at the battle of Araeva, not long before the 
 landing of the first Christian teachers. Nothing but the cordial 
 reception of the new faith could have induced Tereavai to yield up 
 to the stranger the esoteric teachings of the priestly clan. The 
 writer throughout has been greatly indebted to the sagacity and 
 unwearied patience of Sadaraka (grandson of the poet Koroa), who 
 is allowed by his own countrymen to be the best living critic of his 
 own language. Each island in the group had a dialect, a history, 
 and a worship of its own. The language of ancient Polynesian 
 
 * Science of Religion, p. 118. 
 
Introductory Remarks. xxi 
 
 song is not that now spoken; bearing the same relation to the 
 living tongue as the Greek of Homer does to that of Xenophon. 
 The myths and prayers (karakia) are believed to be of great 
 antiquity. The dirges and clan-songs are modern, but are doubt- 
 less echoes of older compositions. Should the present volume 
 meet with acceptance, a collection of " Prehistoric Sketches," with 
 illustrative clan-songs, may hereafter appear. 
 
 W. W. GILL. 
 Lewisham, January y 1876. 
 
CON TENTS. 
 
 I.— MYTHS OF CREATION. 
 
 PAGE 
 
 The Beginning of all things. Dramatic song of creation ... ... i 
 
 II.— DEIFIED MEN. 
 
 Derivation of the Polynesian word for God. Tiaio, king and god. 
 Tane-Ngakiau. Tekuraaki. Song of the shore-king, high priest of 
 Rongo. Derivation of Polynesian word "atua," or god. A human 
 priesthood needed. Dedication of infants. Naming of children ... 23 
 
 III.— ASTRONOMICAL MYTHS. 
 
 A chase that never ends. Song of the twins. Matariki, or Pleiades. 
 The sun and moon. The woman in the moon. Eclipses. A 
 celestial fish-hook. A day-song for Maaki's fete ... ... ... 40 
 
 IV.— THE EXPLOITS OF MAUL 
 
 The fire-god's secret. The fire-god's song. The sky-raised ; or, the 
 origin of pumice stone. The sun made captive. The wisdom of 
 Manihiki. Maui enslaving the sun. The sky raised. Maui's last 
 and greatest achievement ... ... ... ... ... ... cj 
 
 v.— TREE MYTHS. 
 
 The myth of the cocoa-nut tree. Tahitian myth of the cocoa-nut tree. 
 
 The iron- wood tree. Ono fells a famous tree. Wanderings of Ono 77 
 
 VL— INA, THE FAIRY VOYAGER. 
 
 Ina's voyage to the Sacred Isle. Song of Ina, Final stanza of the 
 day-song for Tenio's fete. The voyage of Ina. The taairangi, or 
 porpoise. The finny subjects of Tinirau. Numeration and the art of 
 fishing invented. The origin of dancing. A song for Tenio's fete ... 88 
 
 VIL— MISCELLANEOUS MYTHS. 
 
 A bachelor god in search of a wife. Echo ; or, the cave fairy. The 
 prince of reed-throwers. The origin of kite-flying. A kite 
 song for Tenio's fete. Uti's torch; or, will-a-wisp. Mosquitoes. 
 
xxiv Contents. 
 
 " The-long-lived. " Human arts and inventions. Perils of beauty. 
 Origin of pigs at Rarotonga. Seeking for light. Rata's canoe. 
 Prayer or charm for a thief or a murderer 107 
 
 VIII. -HADES; OR, THE DOCTRINE OF SPIRIT- WORLD. 
 
 Aitutakian hell. Aitutakian heaven. Dramatic song of Miru. 
 
 Sneezing. A farewell chanted at a reed-throwing match for women. 152 
 
 IX.— VEETINI; OR, THE IMMORTALITY OF THE SOUL. 
 
 Vaipo's dirge for Veetini. The closing or day-song for Tenio's fete. 
 Veetini meeting his father. Dirge for Vera. The ghosts led by 
 Vera preparing for their final departure. Puvai leading a band of 
 ghosts to the shades. Korea's lament for his son Kourapapa. 
 Another lament for Kourapapa. Death lament for Varenga. Lament 
 for Mourua. A spirit-journey. Introduction to the fete of Riuvaka 181 
 
 X.— ADVENTURES IN SPIRIT-WORLD. 
 
 An escape from spirit-land. The adventures of Ngaru. The drama of 
 
 Ngaru. The ball-thrower's song. A journey to the invisible world 221 
 
 XL— FAIRY MEN AND WOMEN. 
 
 Tapairu ; or, fairy women and men. A song in honour of Mauapa. 
 
 Prologue to the dramatic fete of Potiki. The fairy of the fountain 256 
 
 XII.— DEATH-TALKS AND DIRGES. 
 
 Ghost-killing. Death-talks. Eva, or dirge-proper. Karaponga's dirge- 
 proper in honour of Ruru. Arokapiti's dirge-proper in honour of 
 Ruru. " Blackened face " dirge-proper for Atiroa. The first murder 
 and the first battle 268 
 
 XIII.— HUMAN SACRIFICES. 
 
 Why human sacrifices were offered. The drum of peace. Prayer 
 over a human sacrifice to Rongo. Prayer for peace. Kirikovi's 
 sacrifice. A "crying" song for Maruata. The death of Ngutuku. 
 Makitaka's lament 289 
 
 XIV.— THE SEASONS, PHASES OF THE MOON, etc., etc. 
 
 The seasons. Changes of the moon. The mariner's compass of Poly- 
 nesia. Polynesian plurals. Polynesian numeration ... ... ... 316 
 
MYTHS AND SONGS 
 FROM THE SOUTH PACIFIC 
 
 CHAPTER I. 
 
 MYTHS OF CREATION. 
 
 THE BEGINNING OF ALL THINGS. 
 
 The universe of these islanders is to be conceived of as the 
 hollow of a vast cocoa-nut shell, as in the accompanying diagram. 
 (See next page.) 
 
 The interior of this imaginary shell is named Avaiki. At the 
 top is a single aperture communicating with the upper world, where 
 mortals {i.e. Mangaians) live. At various depths are different floor- 
 ings, or lands, communicating with each other. But at the very 
 bottom of this supposed cocoa-nut shell is a thick stem, gradually 
 tapering to a point, which represents the very beginning of all 
 things. This point is a spirit or demon, without human form, and 
 is named Te-aka-ia-Roe,^ or The-root-of-all-existence. The entire 
 
 ^ Roe = thread-worm. The idea is of a quivering, slender, wormdike 
 point, at which existence begins, i.e. the extremity of the thread-worm. 
 
 B 
 
Myths a7id Songs. 
 
 fabric of the universe is constantly sustained by this primary 
 being. 
 
 Above this extreme point is Te-tangaengae, or Te-vaerua ; 
 that is to say, Bfeathvig, or Life. This demon is stouter and 
 
 \ 
 
 V 
 
 c% 
 
 
 
 ^" -^~- '/vo^ /-. ^-^^ -^.^ N.^ 
 
 .-• --,, ^>>^ ^V ^^. -V -.^ 
 
 / / / y X .^' >v. K ^^ '■- ■■-- •- 
 
 / / / / / M / «UN X \ -, \ -, N \ 
 
 . ' ^ / / -^ r>^ • ■• V \ > '■ ^x ^ 
 
 / / / / / ^ / ^^ '". *>. "-. \ ^\ \ N 
 
 
 \ \ ^ * 
 
 \ V \ » 
 
 CiCZ^i^e^Z'/>e^^ 
 
 This diagram will suit the mythology of many other islands ; substituting, for 
 instance, "Tahiti" for *' Mangaia," as the land where egress and ingress to 
 Avaiki exist. 
 
Myths of Creation. 
 
 stronger than the former one. But the thickest part of the 
 stem is Te-manava-roa, or The-long-ltved, the third and last of 
 the primary, ever- stationary, sentient spirits, who themselves con- 
 stitute the foundation, and insure the permanence and well-being 
 of all the rest of the universe. 
 
 We advance now to the iniei'ioi' of the supposed cocoa-nut 
 shell. In the lowest depth of Avaiki, where the sides of the 
 imaginary shell nearly meet, lives a woman — a demon, of flesh 
 and blood — named Vari-ma-te-takere,^ or The-very-beginning. 
 Such is the narrowness of her territory that her knees and chin 
 touch, no other position being possible. Vari-ma-te-takere was 
 very anxious for progeny. One day she plucked off a bit of her 
 right side, and it became a human being — the first man Avatea, 
 or Vatea (the elision of the a in Avatea is compensated by the 
 elongation of the second vowel). 
 
 Now Vatea, the father of gods and men, was half man and 
 half fish, the division being like the two halves of the human 
 body. The species of fish to which this great divinity was allied 
 being the taairangi {Cetacea), or great sea monsters, i.e. por- 
 poises, whose sides are covered with pure fat, and whose home 
 is the boundless ocean. Thus one eye of Vatea was human, the 
 other a fish-eye. His right side was furnished with an arm ; the 
 left with a fin. He had one proper foot, and half a fish-tail. 
 
 But there is another, and probably far more ancient, account 
 of Vatea, or Avatea, which means ?ioon in all the dialects of 
 Eastern Polynesia.^ Vatea is a man possessed of two magnifi- 
 cent eyes, rarely visible at the same time. In general, whilst one, 
 
 ^ Literally, The-beginning-and-the-bottom of the hollow cocoa-nut shell. 
 ^ Vatea is the Wdkea of the Hawaiians, with a similar meaning and 
 history. 
 
Myths and Songs. 
 
 called by mortals the sun, is seen here in this upper world, the 
 other eye, called by men the moon, shines in Avaiki. (A contra- 
 dictory myth represents the sun and moon as living beings.) 
 
 IMAGINARY REPRESENTATION OF VATEA. 
 
 Compare with this a remarkable picture of a fish-god, from Layard, in Smith s 
 Dictionary of the Bible, p. 381 (central picture). 
 
 The land assigned by the Great Mother to Vatea was Te- 
 papa-rairai, or The-thin-land. Another designation for his home 
 was Te enua marama o Vatea, or The-bi'ight-la7id-of-Vdtea, im- 
 plying the perfect contrast between the brightness of noon-day, 
 or Avatea, and the utter gloom of Po, or night which is 
 equivalent to Avaiki. 
 
 On another occasion Vari-ma-te-takere tore off a second bit 
 from that same right side, and it became Tinirau, or In- 
 numerable, who, like his brother, had a second and fishy form. 
 
Myths of Creation. 
 
 The sort of fish which composed his half fish body was of the 
 sprat-Yvcidi. The Great Mother gave him the land of Motu- 
 Tapu, or Sacred Isle as his own domain/ There were his cele- 
 brated ponds full of all kinds of fish. Tinirau was lord of the 
 finny inhabitants of the sea, from the shark downwards. 
 
 Another day Vari-ma-te-takere took a bit off" her left side, and 
 it became Tango, or Support, who went to live at Enua-Kura,^ 
 or The-land-of -red-par rot-feathers. 
 
 A fourth child was produced from a bit of the same left side, 
 and was named Tumuteanaoa, or Echo, whose home was Te-parai- 
 tea, or The-hoUoiv-grey-rocks. Echo is represented as a female. 
 
 A fifth child originated from a bit of that same left side of the 
 Great Mother, and was designated Raka, or Trouble, who pre- 
 sides, like Aeolus, over the winds. Raka found a congenial home 
 in Moana-Irakau, or Deep-ocean. Raka received from Vari-ma- 
 te-takere a great basket in which the winds were hidden ; also the 
 knowledge of many useful inventions. The children of Raka are 
 the numerous winds and storms which distress mankind. To each 
 child is allotted a hole at the edge of the horizon, through 
 which he blows at pleasure. 
 
 Vari, or The-ve?y-beginning, finding that her left side had been 
 more injured than her right, resolved to make both sides alike by 
 taking a third bit from the right side, and named this, her last 
 child, Tu-metua, Stick-by -the-parent. Now, this sixth and most 
 beloved child, as the name implies, lives with the Great Mother in 
 
 * At Ngatangiia, Rarotonga, there is an islet, covered with cocoa-nut trees, 
 so named. This is, of course, a modern identification. The " Sacred Isle" is 
 supposed to be in the shades. 
 
 2 Manuae, or Hervey's Island : yet mystically the scene is laid in 
 Avaiki. 
 
Myths and Songs. 
 
 that narrow strip of territory constituting the very bottom of 
 Avaiki, and which is designated Te-enua-te-ki, or The-mute-land. 
 Do what you may to the attached mother and daughter, you 
 cannot provoke an angry reply ; for the only language known 
 in The-mute-land is that of signs — such as nods, elevated eye- 
 brows, grimaces, and smiles. 
 
 It is to The-mute-land that Potiki, temporal lord of Mangaia, 
 circa 1790, referred in a fete song : — 
 
 E enua parere i Avaiki In Avaiki is a land of strange utterance, 
 
 E enua niu niatangi e ! Like the sighs of the passing breeze ; 
 
 Kua ie Tautiti nei "Where the dance is performed in 
 
 silence, 
 Aore e kite i te tara e ! And the gift of speech is iinknown. 
 
 Tu-metua is usually shortened into 7?/, a principal god in 
 most of the Polynesian mythologies, to whom the fourteenth night 
 in every " moon " was sacred. On Cook's second visit to Tahiti, 
 he found the king to be Otoo, ancestor of the present Pomare. 
 Otoo should be written Tti^ the O being a mere prefix to all 
 proper names. This mythological name was adopted in order 
 to secure for its owner the superstitious reverence due to the gods 
 which are unseen by mortals. Tu was the tutelar goddess of 
 Moorea. On Mangaia Tu was invariably linked with her nephew 
 Tangaroa ; but was little regarded. The second islet of Hervey's 
 Island is known as " the kingdom of Tu" (au-o-Tu). 
 
 At Raiatea Tu-papa = Tu-of-thc-lowcst-depths (the same as 
 Tu-metua) becomes the wife of Ra, the Sun-god, whose too fre- 
 quent visits to her home required to be checked by Maui. 
 
 It was deemed by Vari very unseemly that Vatea's land, which 
 originally was immediately above her own, should be underneath, 
 
Myths of Creation. 
 
 and so to speak invaded by, his younger brothers'. The-very- 
 beginning, therefore, aUered the relative position of The-thin- 
 land,^ placing it directly under the opening from this upper 
 world ; so that the law of primogeniture was established, the 
 lands of all the younger brothers thus lying underneath the territory 
 of Noon-day. 
 
 Vatea in his dreams several times saw a beautiful woman. 
 On one happy occasion he succeeded in clutching her in his 
 sleep, and thus detained the fair sprite as his wife in his home in 
 Te-papa-rairai. Another account asserts that on Vatea's waking 
 from sleep he could discover no trace of the fair one. He 
 searched in all directions for her — but in vain. At length it 
 occurred to him that her home might be in some dark cavern 
 communicating with a land lower than his own, from which the 
 fair one was in the habit of ascending to The-thin-land to pay 
 him nocturnal visits. To test the correctness of this supposi- 
 tion, Vatea scraped a quantity of cocoa-nuts and scattered 
 handfuls down all the chasms in his territory. Some time after- 
 wards he found that from the bottom of one cave, named Taeva- 
 rangi, or The-celestial-aperture, the rich white food had entirely 
 disappeared. A fresh lot of the same dainty food was now thrown 
 down, whilst Vatea from behind a projecting crag cautiously 
 peered down. It was not long before a slender hand, very unlike 
 his own, was slowly extended towards the coveted morsels. Vatea 
 at once concluded that this must belong to the woman he had 
 
 ^ It was from The-thin-land that Potai sagely conjectured that Captain 
 Cook had come. " Era, e te matakeinanga, no raro i Te-papa-rairai i Vatea " 
 = * ' xS'z/rt'/y, friends, he has climbed up fro77i The-thin-land, the home of 
 Vdtea.''^ How? By breaking through the solid sides of the vast cocoa-nut 
 shell. 
 
8 
 
 Myths and Songs. 
 
 seen in his dreams. With a favouring current of wind, he 
 descended to the bottom, and caught the fair thief His visions 
 were realized ; this lovely one confessed that she had again 
 and again ascended to his house above in The-thin-land in 
 order to win him as her future husband. She correctly guessed 
 that Vatea would never rest until he had discovered the where- 
 abouts of the fair coquette, and made her his wife. She informed 
 her lover that she was Papa, or Foimdation, the daughter of 
 Timatekore, or Noi/img-7?tore, and his wife Tamaiti-ngava-ringavari, 
 or Soft-bodied. The famed Papa thus became the cherished 
 wife of Vatea ; both ascended by another eddy of wind through 
 the chasm to The-bright-land-of- Vatea ! 
 
 DRAMATIC SONG OF CREATION. 
 
 FOR THE FETE OF POTIKI, CIRCA 179O. 
 Call f 07' the dance to begin with music. 
 
 Noo mai Vari i te aiti, 
 
 I te tuturi i te memenge 
 E Kongo e, a kake ! 
 
 Taipo e ! 
 
 Vatea kite i tena vaine ; 
 
 1 moe ana paa i reira e ! 
 
 Ae! 
 
 The home of Vari is the narrowest of 
 
 all, 
 Knees and chin ever meeting — 
 It was reserved for Kongo to ascend.* 
 
 Solo. 
 
 Go on! 
 
 Chorus. 
 
 'Twas in the shades Vatea first saw 
 
 his wife. 
 And fondly pressed her to his bosom. 
 
 Solo. 
 
 Aye 
 
 1 Kongo often came up from the shades to this upper world ; Vari never. 
 
Myths of Creation, 
 
 Te ui a te metua i anau ai 
 la Timatekore ! 
 
 la Timatekore ! 
 Aore o tatou metua, ua tu e, 
 I Vari ua mai e ! 
 
 Noo mai Vari e ! 
 I te aiti ae ! 
 
 Noo mai Vari i te aiti ; 
 
 E tuarangi kai taro mata 
 
 I na turanga pure e ! 
 
 O Vatea metua e pua ua ake. 
 
 Pua ua o Vatea, 
 O Papa i te itinga, 
 
 Vari-ma-te-takere 
 
 1 tapakau ana e ! 
 
 Chorus. 
 
 When asked who was her (Papa's) 
 
 father, 
 She said Timatekore! (Nothing more). 
 
 Solo. 
 
 Most truly, Timatekore. 
 But WE have no * father whatever : 
 Vari alone made us. 
 
 Solo. 
 
 That home of Vari is 
 The very narrowest of all ! 
 
 Chorus. 
 
 Vari's home is in the narrowest of 
 
 spaces, 
 A goddess feeding^ on raw " taro " ^ 
 At appointed periods of worship ! 
 Thy mother, Vatea, is self-existent. 
 
 Solo. 
 
 Vatea sprung into existence. 
 Papa is bright as the morn. 
 Vari-the-originator-of-all-things 
 Sheltered her (Papa) under her 
 wing. 
 
 Finale. 
 
 Call to begin. 
 le taia ia Maukurautaroa Let the storm be restrained 
 
 Te rua i te matangi, e Vatea e ! In favour of Vatea, O thou god 
 
 of winds ! 
 
 ^ Papa could boast of father and mother ', but the children of Vari were 
 simply moulded out of bits of her own body. An allusion is intended to the 
 belief that the three original tribes are descended from the three illegitimate 
 sons of Tevaki. 
 
 ^ As a matter of fact, however, Vari and Vatea had no altars and no 
 separate worship ; but the grandchildren of Vari had. 
 
 ■^ Arum esculentum. 
 
TO 
 
 Myths and Songs. 
 
 Taipo e ! 
 
 Taotao matangi na Ina 
 Te kumutonga. 
 
 O nai matangi riki e 
 Ka arara'i oki toku tere 
 Ki raro e ! 
 
 A taia e te matangi. 
 
 Taia e te matangi 
 
 O Tukaiaa te tai makoako. 
 
 Koakoa e o tei po 
 Kai matangi rueke e ! 
 
 Solo. 
 
 Go on ! 
 
 Chorus. 
 
 Awake the gentle breeze of Ina 
 
 That bare her to her lover. 
 
 Solo. 
 
 O for a soft zephyr to bear me (Vatea) 
 Prosperously on my way 
 To the shades ! 
 
 Solo. 
 
 Be lulled, ye winds. 
 
 Chorus. 
 
 Aye, they are lulled. No storm 
 Now sweeps o'er the treacherous sea. 
 
 Solo. 
 
 Ye inconstant winds of nether-land 
 Bear me down to her gloomy abode. 
 
 Tangaroa and Rongo were the twin children of Vatea and 
 Papa. These boys were the first beings of perfect human form, 
 having no second shape. 
 
 Tangaroa should have been born first, but gave precedence to 
 his brother Rongo. A few days after the birth of Rongo, his 
 mother Papa suffered from a very large boil on her arm. She 
 resolved to get rid of it by pressing it. The core accordingly flew 
 out : it was Tangaroa ! Another account, equally veracious, says 
 that Tangaroa came right up through Papa's head. The precise 
 spot is indicated by " the crown^'' with which all their descendants 
 have since been born. 
 
 Vatea's third son was Tonga-iti, whose visible form was the 
 white and black spotted lizards. Under the name of Mata-rau, 
 
Alyths of Creation. 1 1 
 
 or The-two-hundred-eyed^ i.e. The-sharp-sighted, Tonga-iti was an 
 object of worship in the Hervey Group. The fourth son of 
 Vatea was Tangiia; the fifth and last son was Tane-papa-kai, 
 or Tane-piler-up-of-food. Both Tangiia and Tane were principal 
 gods of Mangaia. 
 
 The home of Rongo was Auau (afterwards named Mangaia) 
 in Avaiki. As an individual consists of two parts, viz. body and 
 spirit, so this island, has a sort of essence, or spirit, the secret 
 name of which is Akatautika, i.e. The-well-poised, only used by 
 the priests and kings of ancient days. When in after times the 
 earthly form, or body, of Auau was dragged up to light, there 
 remained behind in the obscurity of nether-world the etherial form, 
 or spirit, of The-well-poised. 
 
 Now, Tangaroa was altogether the cleverest son of Vatea ; he 
 instructed his brother Rongo in the arts of agriculture. Their 
 father wished to make Tangaroa lord of all they possessed ; but the 
 mother Papa objected, because as parents they dared not taste 
 the food or touch the property of Tangaroa, the eldest by right. 
 The mother had her own way. Hence, when a human sacrifice 
 was offered to Rongo, ^ the refuse, i.e. the body when thoroughly 
 decayed, was thrown to his mother, who dwelt with Rongo in the 
 shades, in order to please her. 
 
 Government, arrangement of feasts, the drum of peace, i.e. 
 all the fountains of honour and power, were secured to Rongo, 
 through the selfish craft of Papa. 
 
 Nearly all sorts of food, too, fell to the share of the younger 
 
 ^ On Rarotonga only the reeking head of the victim was offered to Tangaroa, 
 their tutelar divinity : the body might be devoured by the captors. On 
 Mangaia the whole body was laid upon the altar. 
 
12 Myths and Songs. 
 
 twin-god. The division was made on this principle : all the red 
 on earth or in the ocean became Tangaroa's ; the rest, i.e. the 
 great bulk, was Kongo's. Thus of the numerous varieties of taro, 
 only one — a reddish sort (kaka kura) was Tangaroa's ; the rest 
 being sacred to Rongo. Amongst the multitudinous varieties of 
 " meikas," ^ only the plantain was the property of Tangaroa's, 
 on account of the redness and uprightness of its fruit. The very 
 name, " the upright-fruit " (uatu), testifying to the dignity of 
 the eldest of the gods. Bananas of all sorts belonged to Rongo. 
 The plantain, being the kokira, or head, of the great "meika" 
 family, does not bend its head ; just as Tangaroa is the kokira, 
 or the first in the family of the gods. 
 
 Of three kinds of chestnuts, but one, the red-leafed, is sacred 
 to Tangaroa. Of the two sorts of the indigenous yam, the red is 
 Tangaroa's. Of the double variety of cocoa-nuts, one belongs to 
 Tangaroa. All bread-fruit was sacred to Rongo. 
 
 In regard to the wealth of the ocean, Rongo was decidedly the 
 gainer. But four sorts of fish — all scarlet, besides lobsters, fell to 
 Tangaroa. The silvery, striped, spotted, and black were all 
 Rongo's. 
 
 Thus Rongo became very rich ; Tangaroa comparatively 
 poor. The twin gods made a grand feast, each collecting only 
 his own food, to which Vatea and Papa were invited. Tangaroa 
 made one great pile of red taro, yams, chestnuts, cocoa-nuts ; the 
 top garnished with red land-crabs and all the red fish he could 
 find in the sea, etc. 
 
 Rongo's pile was immensely greater. The treasures of earth 
 and ocean were there. The parents declared that Tangaroa 
 carried the palm for beauty ; whilst Rongo excelled in abundance. 
 * The term ' ' meika " includes bananas and plantains. 
 
Myths of Creation. i 
 
 J 
 
 Upon the same principle all fair-haired children (rauru keu) 
 in after ages were considered to be Tangaroa's (the god himself 
 had sandy hair) ; whilst the dark-haired, which form the great 
 majority, are Rongo's. Now Kongo's hair was raven black, 
 as became E atua po, or God-whose-home-is-the-shades. Now 
 and then a stray child might be claimed for Tangaroa, whose 
 home is in the sky, i.e. far beyond the horizon ; the majority 
 of his fair-haired children live with the fair-haired god in distant 
 lands. Very few natives have light hair, a colour greatly disliked 
 amongst themselves, but in their view suitable to foreigners. To 
 this day a golden-haired child is invariably addressed in playful 
 allusion to this myth, as "the fair-haired progeny of Tangaroa." 
 Hence, in the ancient legend about Tarauri, the prince of reed- 
 throwers, this famous son of Tangaroa is represented as being, 
 with his hrothtr, fair-hatred. 
 
 Chorus. 
 Tarauri i te puti angaiia e Pinga Tarauri, the waif brought up by 
 
 Pinga, 
 Ei uke i te mate e ! Avenged the disgrace of his brother. 
 
 Solo. 
 
 Taipo e ! Go on ! 
 
 Chorus. 
 
 Anau keu a Tangaroa, The fair-haired children of Tangaroa 
 
 Kua piri paa i te ao. Doubtless sprung from dazzling light. 
 
 Hence, when Cook discovered Mangaia, the men of that day 
 were greatly surprised at the fair hair and skin of their visitors, 
 and at once concluded that these were some of the long-lost fair 
 children of Tangaroa ! 
 
 It was but natural that Tangaroa should be displeased at the 
 preference always shown to his brother Rongo. He therefore 
 
14 Myths and Songs. 
 
 collected a vast quantity of red food of all kinds, and set out on 
 a voyage in search of some other land, where he could reign 
 alone. He made a long journey, and touched at many islands, 
 scattering everywhere the blessings of food piled up for the pur- 
 pose in his canoe. Finally, he settled down on his beloved islands, 
 Rarotonga and Aitutaki, leaving Auau, or, as it was afterwards 
 designated, Mangaia, in the quiet possession of Rongo = The 
 Resounder. 
 
 In winter tree-fruits disappear; whereas taro, bananas, etc., 
 are in season all the year round. The reason for this is, that the 
 former belong to Tangaroa, who merely permits his gifts to be 
 seen and tasted here in the land of Rongo on their way (in winter) 
 to realms where he reigns undisturbed. 
 
 On this account these fruits were not regarded as private 
 property, but as belonging to all the inhabitants of the district in 
 which they grew. 
 
 Ro(ng)o or O Ro was the chief object of worship at Tahiti and 
 most of the Leeward Islands. His seat was the marae,"^ or sacred 
 grove, at Opoa, on the island of Raiatea ; whence this worship 
 extended to all the neighbouring islands, and throughout the 
 Paumotu Group. Human sacrifices were continually offered to 
 the great Polynesian god of war, to obtain success in their cruel 
 enterprises.^ 
 
 * These maraes were planted with callophylla inophylla, etc., etc., which, 
 untouched by the hand of man from generation to generation, threw a sacred 
 gloom over the mysteries of idol-worship. The trees were accounted sacred, 
 not for their own sake, but on account of the place where they grew. 
 
 2 At Atiu Te-rongo, = the Rongo, the Rongo of Mangaia, was represented 
 as a son of Tangaroa. At Raiata Oro was in like manner regarded as a 
 son of the great Tangaroa, At Samoa Longo is represented as the so7i of 
 Tangaroa by Sina. 
 
Myths of Creation. 15 
 
 When Captain Cook visited the Sandwich Islands, he was 
 regarded as the incarnation of Rongo, or, in their dialect, Orono, 
 or Rono, and accordingly received divine honours. An ancient 
 prophecy asserted that Rongo, or Rono, who had gone to 
 Tahiti, would return to Hawaii in a canoe of a remarkable shape. 
 This seemed realized in the visits of Captain Cook with his two 
 wonderful vessels from Tahiti. The great navigator counted 
 forty-nine skulls on the marae of Oro at Tahiti, and witnessed 
 the placing of the fiftieth. When he himself received divine 
 honours at the Sandwich Islands, he was not aware that it 
 was as the blood-stained Rongo, whose home was supposed 
 to be in these southern islands, and at whose shrine those fifty 
 reeking heads had been offered during a single generation. 
 On Mangaia it was Tangaroa that was expatriated, without hope 
 of return; Rongo was regarded as being in possession,^ although 
 resident in the shades. His marae is called 0-Rongo, and was 
 first set up on the eastern side of the island, but was ultimately 
 removed to the west, where the great navigator held communica- 
 tion with these islanders. It is singular that the " Voyages " do 
 not allude to his great stone image, the secondary representation 
 of Rongo, which must have been visible from the boat of the 
 Resolution. Reference is made to the residence of the shore king, 
 the guardian of the great national idol. 
 
 The principal god of Rimatara was Rono or Rongo, to whom 
 human sacrifices were offered. 
 
 The wife of Rongo was Taka, who bare a daughter named 
 Tavake. In the course of time Tavake grew up and gave birth 
 
 ^ The word is often used as equivalent to " deadly hate: " " Kua noo Rongo 
 i roto " = " Rongo [i.e. deadly hate) fills his heart ; " in allusion to his being the 
 author of bloodshed and war. 
 
1 6 Myths and Songs. 
 
 successively to Rangi, to Mokoiro, and to Akatauira — all illegiti- 
 mate. Rongo wished his three grandsons, who were also his 
 sons/ to live with him in Auau, in the shades. But Rangi was 
 resolved to pull up this land Auau, afterwards called Mangaia, 
 from Avaiki. This was a most arduous task; but, with the 
 assistance of his brothers, the brave Rangi succeeded in dragging 
 up the little island to the light of day. Rangi, Mokoiro, and 
 Akatauira took up their permanent abode in this upper world. 
 Thus the three brothers were the first inhabitants of Mangaia, and 
 in the course of years gave rise to the original tribes which 
 peopled this island. Three small rocks, united at the base, close 
 to the marae of Rongo and the altar for human sacrifice, are 
 pointed out as symbolizing the threefold lords of the soil. 
 
 Rongo continued to live in Avaiki, in the invisible or nether 
 Auau, of which this island was asserted to be but the outward 
 expression ! ^ He directed Rangi to offer bleeding sacrifices on 
 
 ^ That these children of Tavake were Kongo's is attested by the well- 
 known couplet : — 
 
 Tai anau kakaoa The three royal bastards, 
 
 Na Rongo paa ia tama e ! Offspring of the god Rongo ! 
 
 Ngariii's fHe, circa 1790. 
 
 2 The Hervey Group consists of seven inhabited islets. Each is supposed to 
 be the body^ or outward form, to which a spirit, bearing a distinct name, 
 located in Avaiki, belongs. 
 
 BODY. SPIRIT. 
 
 1. Rarotonga = Westei-n Tonga, i. Tumutevarovaro = ecJio. 
 
 i.e. in loving memory of 
 Western Tonga, or Tonga 
 tapu. 
 
 2. Auau = terraced (The later 2. Akatautika = tvell-poised. 
 
 name, Mangaia, means peace. 
 Mangaia-Nui-Neneva = Man- 
 gaia-fnonstrously-big). 
 
Myths of Creation, ij 
 
 his marae in the upper world, from time to time — the decayed 
 corpse to be invariably thrown in the bush to his mother 
 Papa. 
 
 Mangaia now for the first time emerged to the light of 
 day, and became the centre of the universe. Its central hill 
 was accordingly designated Rangimotia = The centre of the 
 heavens. The inhabitants of Mangaia were veritable men and 
 women, as contrasted with the natives of other outlying islands, 
 who were only tuarangi, or evil-spirits in the guise of 
 humanity. 
 
 Vatea, or Avatea (== noon-day), was thus ''the father of the 
 gods and men,"^ the three original tribes being regarded as the 
 direct offspring of Rongo; all subsequent settlers and visitors 
 were regarded as interlopers, to be, if possible, slain and offered 
 in sacrifice. 
 
 3. Aitutaki = God-led. 3. Araura = fragrant wreaths for 
 
 dancing. 
 
 4. Atiu = eldest-born (name of first 4. Enua-manu = land of birds. 
 
 settler). 
 
 5. Mauki = land of Uki (the first 5. Akatoka =• stony. Some say 
 
 inhabitant). Te-rae o-te-pau = the lip of 
 
 the drum. 
 
 6. Mitiaro = face of the ocean. 6. Nukuroa = vast host. 
 
 7. Manuae = home of birds. 7. Enua-Kura = land-of red-parrot- 
 
 feathers. 
 
 It is said that the "spirit" name of Tahiti is " Iti," i.e. '' iti nga" = 
 siin-rising. Tahiti simply means " east," or " sun-rising," from hiti (our iti) to 
 "rise :" ta being causative. That island was known in the Hervey Group 
 by the name Iti or " east : " it is only of late years the full name Tahiti has 
 become familiar. 
 
 1 Yet the great Vatea possessed no marae, had no wooden or stone 
 representation, nor was any worship ever paid to him. 
 
1 8 Myths and Songs. 
 
 In song, the gods are called " te anau atea," i.e. " te anau a 
 Vatea" = "children of Vatea." The same shortened phrase is 
 in use at Rarotonga : at Aitutaki and Atiu the full form " Avatea " 
 is used, e.g. " kia kaka te mata o Avatea Nui" = "when the eye of 
 Great Avatea ( = noon) is open ; " in other words, " when the 
 sun is in its full glory ; " still in contrast with the darkness and 
 gloom of Avaiki, or Nether-world. 
 
 The ocean was known as Rauaika Nui, or The-vast-out-spread- 
 plajitain-leaf ; ^ — that leaf being the largest in the world. The 
 ocean was sometimes designated " the sea of Vatea ;" at other 
 times " the sea of Tane." 
 
 Above was the blue vault of solid stone, sustained originally 
 by the frail props of Ru on the central hill of Mangaia, but 
 afterwards permanently raised to its present height by the tremen- 
 dous exertions of Maui. In all, there were said to be ten separate 
 heavens., rising one above the other into immensity. These con- 
 stituted the Elysium of the brave. Here, too, was the home of 
 Tangaroa, the scarcely worshipped god of day. 
 
 Upon the brow of a hill, facing the setting sun, and near 
 the great marae of the war-god, it is asserted that there once 
 existed a deep, gloomy chasm (long since closed up), known 
 as Tiki's hole (Te rua ia Tiki). This constituted the regular 
 road to Avaiki, like the single aperture at the top of a cocoa-mit. 
 Through it the three brothers descended to Avaiki, or ascended to 
 the light of day, at pleasure. 
 
 The three brothers are always described as joint "kings," or 
 "Ngaariki." The entire body of their descendants were there- 
 
 ^ A plantain leaf lying before me is eleven feet long and three broad. 
 
Myths of Creation. 19 
 
 fore called by the shorter form " Ngariki." To Rangi Rongo 
 gave " the drum of peace ; " to Mokoiro, the direction over food 
 of all kinds ; to the pet — the youngest — Akatauira was given the 
 " karakia," or " prayers," and the sway over his brethren. 
 
 Rangi, Mokoiro, and Akatauira were probably veritable per- 
 sons, chiefs of the first settlers on Mangaia. Their wives were 
 respectively named Tepotatango,^ Angarua, and Ruange. Then 
 came Papaaunuku, son of Tane-papa-kai, or Tane-giver-of-food. 
 When Tane died he was worshipped by his son, who was sent for 
 by Rangi as his priest. But Rangi was not pleased with Tane, as 
 he spake only as a man, without frenzy, through his son Papaau- 
 nuku. His grandfather Rongo lived only in the shades ; Rangi 
 wished for a god who would live with him in this upper world. 
 He therefore sent to Rarotonga to ask Tangiia, a renowned 
 warrior-king of that island, to send him over one of his sons 
 "who had grown up under the sacred shade of the tamanu 
 leaves " to be his god. Rangi's wish was gratified, and Motoro 
 was fixed upon by his father for the purpose. 
 
 Tangaroa had one marae, and that almost neglected, the only 
 offering ever presented being the first-fruits of all newly-planted 
 cocoa-nut groves — the tiny buds, which eventually become nuts. 
 This was simply a recognition of his primogeniture. But the 
 island was supposed to belong to Rongo and Motoro : the one 
 god ruling the dead ; the other the living. 
 
 Doubtless the worship of Tangaroa, Rongo, Tane, and 
 possibly the Lizard god of Tongaiti, represented a much earlier 
 and more widely-diffused system of idolatry than prevailed 
 
 ^ Bottom of Hades. 
 
20 Myths and Songs. 
 
 here in historical times, when the children of Tangiia were 
 deified. 
 
 The heathen intellect has no conception of a Supreme Being 
 creating a universe out of nothing. At Mangaia the idea of 
 divinity was pared down to a mere nothing. Whenever the gods 
 make anything, the existence of the raw material, at least in part, 
 is presupposed. 
 
 The primary conception of these islanders as to spiritual 
 existence is a point. Then of something pulsating. Next of 
 something greater, eve7'lasting. 
 
 Now comes the Great Mother and Originator of all things. 
 For the first time we meet with the ideas of volition and creation. 
 Vari is represented as a female, on account of fecundity, she 
 being the original of all the gods, and, remotely, of mankind. The 
 arrangement of various lands in Avaiki, and the apportionment of 
 the different functions of air, earth, and sea, are hers. The ninth 
 night of every moon was sacred to her. Yet Vari is incapable 
 of speech, and lives in darkness, her solace being the constant 
 society of an affectionate daughter. 
 
 In the description of her ^x^\-made {iwt born) son. Bright 
 Noon (Avatea, or Vatea), one of whose eyes is the sun, we gain 
 the first idea of majesty as associated with divinity. The ocean is 
 hisj his children, born like ourselves, are the great gods who 
 direct the affairs of the universe, and are worshipped by mortals. 
 To them belong the maraes and idols ; they receive offerings of 
 food and listen to the prayers of mankind. 
 
 And yet, strangely enough, associated with these original gods 
 are the deified heroes of antiquity, in no wise inferior to their 
 fellow divinities. 
 
 Birds, fish, reptiles, insects, and specially inspired priests, were 
 
Myths of Creation. 21 
 
 reverenced as incarnations, mouth-pieces, or messengers of the 
 gods. 
 
 The gods were supposed to have distinct functions ; their 
 quarrels were reflected in the wars of men. But no7ie create^ in 
 the proper sense of that term. The Great Mother approximates 
 nearest to the dignity of creator ; but when she makes a child, it is 
 out of a bit of her own body. She Jmself is dependent ors. three 
 prior existences destitute of human form. 
 
 The earth is not made, but is a thing dragged up from the 
 shades ; and is but the gross outward form of an invisible essence 
 still there. At least ten heavens are built of azure stone, one 
 above another (to correspond with the different lands in Nether- 
 world), with apertures for inter-communication ; but the stones 
 were pre-existent. 
 
 The principal words used by the ancient sages in speaking 
 on this subject are — 
 
 I. Vari = Beginning. This important word is used when 
 describing the commencement of any new order of things. The 
 Great Mother herself is /^;7-ma-te-takere. 
 
 Strangely enough, at the sister island of Rarotonga this word 
 no longer means " beginning," but " mud ; " agreeing, however, 
 with the sense of the Mangaian reduplicate ''vari vari" = muddy. 
 
 Evidently, then, apart from their mythological views, these 
 people imagined that once the world was a " chaos of mud," out 
 of which some mighty unseen Agent, whom they called Vari, 
 evolved the present order of things. 
 
 2. Pua ua mai = Bud forth, or blossom, as of a tree. 
 Evidently here is no fit conception of creative power. 
 
22 Myths and Songs, 
 
 In seeking for an equivalent for j^^s? the first missionaries 
 
 T T 
 
 chose the word " anga " = 7?iade. Undoubtedly this is the best 
 word ; its original narrow sense being enlarged by the constant 
 perusal of the Bible, etc. The magnificent conception of real 
 creation is as unattainable to a heathen sage as the sublime con- 
 ception of a Supreme Deity. 
 
23 
 
 CHAPTER II. 
 DEIFIED MEN, 
 
 DERIVATION OF THE POLYNESIAN WORD 
 FOR GOD. 
 
 Some five hundred years ago there lived on Tahiti two powerful 
 chiefs : the younger named Tangiia, the elder Tutapu. Now the 
 lands of the younger adjoined those of their only sister, and it 
 chanced that one or two branches of a bread-fruit tree of hers, 
 growing close to the boundary line, extended themselves over the 
 soil of the irritable Tangiia. As is frequently the case with this 
 tree, one half of this bread-fruit was almost barren, whilst the 
 branches extending over the land of her brother were heavily 
 laden with fruit. Tangiia claimed the fruit as his, as it grew on 
 his side of the boundary line : naturally enough the sister felt 
 herself to be harshly dealt with. 
 
 The elder brother Tutapu hearing of the quarrel interfered on 
 behalf of their sister. Thenceforth the brothers became deadly 
 foes ; and after many angry words, Tutapu resolved to collect his 
 dependants, and upon a certain night to make a final end of his 
 
24 Myths and Songs. 
 
 brother and his family. Tangiia, obtaining timely notice of 
 his intention, fled with wife, children, and friends to the neigh- 
 bouring island of Huahine ; but was pursued by the irate Tutapu. 
 Tangiia was chased by his brother throughout the Leeward 
 Islands, until finally finding that there was no rest for him in that 
 group, he committed himself to the trackless ocean. Fortunately 
 for him, he reached Atiu, where he stayed awhile. But the insatiate 
 Tutapu followed him even to Atiu, many hundreds of miles from 
 Tahiti. Tangiia again took flight — this time to Rarotonga, which 
 was destined to become the home of this renowned chief 
 
 Tutapu remained a considerable time on Atiu. Children were 
 born to him ; some of his descendants afterwards reached Man- 
 gaia in a drift canoe, founding a tribe devoted to furnish human 
 sacrifices. 
 
 Hearing that Tangiia was prospering on Rarotonga, Tutapu 
 again manned his large double canoe, which is said to have had 
 three masts, and to have carried 200 warriors, and started off once 
 more in quest of his brother. Upon entering the harbour at 
 Rarotonga, which bears the name of Nga-Tangiia,^ the brothers 
 prepared for a final encounter. In the conflict which ensued, 
 Tangiia, assisted by Karika's party, defeated the invaders, and 
 slew Tutapu-aru-roa = TiUapu-the-relentless-pursiier, whose body 
 was eaten by the victors. 
 
 Tangiia himself never landed on Mangaia, the island which is so 
 intimately associated with the history of several of his children. 
 It is needful to distinguish this Tangiia, who is unquestionably 
 an historical character, from the mythical Tangiia descended from 
 Vatea, and one of the gods of Mangaia, whose iron-wood form is 
 deposited in the museum of the London Missionary Society. 
 ^ = Ngati-Tangiia, i.e. the tribe of Tangiia. 
 
Deified Men. 25 
 
 The sages of Rarotonga erroneously assert that Mangaia was 
 first discovered and inhabited by the famous brother of Tutapu. 
 This is foreign and new. Unquestionably, Rangi and his friends 
 were the first settlers on Mangaia from Savai'i. Other canoes 
 came. In the presence of the new comers, the children of the 
 original settlers, wishing to establish their pre-eminence, boldly 
 asserted that Rangi, etc., came " up," not, as in truth, from the 
 sun-setting, but out of the earth, from (S)avai(k)i, the original home 
 of men and gods, a land in some places much like this, in others 
 filled with horrors. It was, in their opinion, self-evident that 
 all drift canoes were mere waifs predestined to destruction in the 
 presence of a race who grew, as it were, out of the soil. 
 
 The Karika family at Rarotonga expressly state that their 
 ancestor came from Manu'a, the easternmost island of the Samoan 
 Group. The family marae of the Makea tribe is therefore named 
 Ra7igi- Manuka, or " Manu'a (= Manuka) in the skies ; " as zve say 
 Ne%v Britain, New Caledonia, New England, etc., etc. They even 
 state that Karika's great canoe, in which he performed his wonder- 
 ful voyage, had " two masts," and carried 170 people ( okoitu ). 
 
 It has been already stated that Rangi ^ requested the in- 
 vincible warrior Tangiia to send him one of his sons as a god. 
 Accordingly Motoro was sent, with two of his brothers^ Ruanuku 
 
 ^ The " Ruanuku " of Mangaian mythology is the " Uanuku " of Rarotonga. 
 Uanuku is represented by their " wise men " as the eldest son of Tangiia. 
 
 "Motoro" signifies "to approach to (a woman);" so that it is 
 equivalent to "Epcos, in the sense of libido. He was so called by his father 
 Tangiia, in allusion to his own passionate love for his wife Moetuma. Tangiia 
 in his wanderings married two Mauke girls, Moetuma, and her younger sister 
 Puatara. 
 
26 Myths and Songs. 
 
 and Kereteki. Utakea, the third son of Tangiia, started for 
 Mansfaia some time after his brothers. Motoro was the fourth 
 and best beloved son of the great Rarotongan chief. When the 
 three brothers — Ruanuku, Kereteki, and Motoro — were halfway 
 on their voyage to Mangaia, a violent quarrel sprang up, the 
 two elder brothers united in throwing Motoro into the sea, where 
 he miserably perished. The fratricides safely landed opposite 
 to the marae of Rongo, and were pleased to see a deep hole in 
 the reef, through which the fresh water from the interior is poured 
 into the ocean. It is surprising to find a large body of pure 
 spring water gurgling up in the midst of the sea. Here they 
 resolved to refresh themselves with a bath after their adventurous 
 voyage. But as the aperture in the sharp coral will not admit of 
 two large men bathing together, the point was hotly contested, 
 who should get in first. It was finally settled that the first-born 
 should enjoy the first bath. The instant Ruanuku's head was 
 under water, his long hair was firmly grasped by Kereteki, to 
 prevent him from raising it again. After a time Kereteki dragged 
 ashore the dead body of the murdered Ruanuku, and buried it. 
 
 At a well-known spot on the south of the island afterwards 
 landed Utakea, who lived peaceably with his brother Kereteki. 
 Both lived and died on Mangaia. Very strangely indeed, the 
 cruel Kereteki, twice a fratricide, and his brother Utakea, were 
 worshipped as gods in the next generation. As if in penitence, 
 Kereteki set up the marae sacred to his slain brother Motoro. 
 Here the spirit of Motoro was supposed to reside ; and down 
 to the destruction of idolatry, in 1824, this spot was regarded as 
 being the most sacred in the interior; as the marae of Rongo was 
 the most sacred on the sea-shore. A flourishing plantation of 
 plantains now occupies the place of the idol grove. 
 
Deified Meji. 27 
 
 It was well-known that Motoro's body was devoured by sharks; 
 but then it was asserted that his spirit floated on a piece of 
 hibiscus ^ over the crest of the ocean billows until it reached 
 Mangaia, where it was pleased to "inhabit" or "possess" 
 Papaaunuku, and driving him into a frenzy, compelled him to 
 utter his oracles from a foaming mouth. This was just the sort 
 of divinity that Rangi, the first king of Mangaia, wanted. Motoro 
 was at once recognized as the great chiefs own god, and 
 Papaaunuku and his descendants as the priests of the new 
 divinity. As Rongo lived and reigned in the "night," or the 
 shades, so Motoro should live and reign in the " day," or this 
 upper world. The three original tribes — and the kings, invariably 
 worshipped Rongo a7id Motoro ; but many are said to have 
 disapproved of the new worship, correctly regarding Rongo as 
 the great original heathen divinity of Mangaia. Until 1824 both 
 were conjointly worshipped as the supreme deities of this island, 
 Rongo taking the first place. 
 
 The family of the first priest of Motoro was named the 
 Amama, or the open-mouthed, to intimate that they were the 
 mouth-pieces of that divinity. To this day this appellation is 
 kept up, although but few know the reason for it. 
 
 Makitaka, the last priest of Motoro, embraced Christianity, 
 and died in 1830. The idol itself has long reposed in the 
 museum of the London Missionary Society. 
 
 The worshippers of Utakea and Kereteki were, in later times, 
 offered in sacrifice to Rongo and Motoro. 
 
 Motoro was proudly called Te io ora, or The-living-god, 
 
 * The sacred men assert that this is the reason why att (hibiscus) comes 
 also to mean "reign," or '*rule." 
 
2 8 Myths and Songs. 
 
 because he alone of " the gods of day " would not permit his 
 worshippers to be offered in sacrifice. The other divinities were 
 styled " io mate," or " dead-gods," as their worshippers were ever 
 eligible for the altar of dread Rongo, who Hved in the shades. 
 
 The word " io," commonly used for " god," properly means 
 " pith," or " core " of a tree. What the core is to the tree, the god 
 was believed to be to the man. In other words, the gods were 
 the life of mankind. Even when a worshipper of Motoro was 
 slain in fair fight, it was supposed that the enraged divinity would, 
 by some special misfortune or disease, put an end to the offender. 
 Most appropriately and beautifully do the natives transfer the 
 name Io ora, or The-living-god to Jehovah, as His zuorshiJ)pe?'s 
 NEVER die / 
 
 Motoro, Kereteki, and Utakea were represented by iron-wood 
 idols in the god-house of the king. On entering that rude reed 
 hut, the dwelling-place of the chief divinities of Mangaia, the first 
 idol was Rongo, in the form of a trumpet-shell ; next came the 
 honoured Motoro, the guide of daily life ; then came Tane and 
 ten other objects of worship, amongst which were Kereteki and 
 Utakea. 
 
 The iron-wood idol called Tane merely, was asserted to 
 represent the fifth son of Vatea ; and yet was only third in order 
 of dignity. Tangiia, the fourth son of Vatea, was the last in 
 regard to dignity and order. Of the innumerable objects of fear 
 and worship, only thirteen were admitted to the honour of a place 
 in this rude Pantheon as national gods. 
 
Deified Men. 29 
 
 TIAIO, KING AND GOD. 
 
 The history of this sovereign of Mangaia is well known. A 
 body of invaders from Atiu was utterly routed by the warlike chief 
 Tiaio. To this day the natives of Atiu make pilgrimages to the 
 spot where their countrymen fell in the olden time. 
 
 Tiaio became deservedly famous for this exploit. But some 
 years afterwards his pride led him " to defile the sacred district of 
 Keia," the favourite haunt of the gods, by wearing some beautiful 
 scarlet hibiscus flowers (kaute) in his ears. Now, anything red was 
 forbidden in that part of the island, as being offensive to the 
 gods ; the redness of the flower being emblematical of the shed- 
 ding of blood. Even the beating of native cloth was forbidden, 
 lest the repose of the gods should be disturbed by the noise. 
 
 A hot dispute took place about this mark of disrespect to the 
 gods, in which Mouna, priest of Tane-the-man-eater, slew the 
 king with a blow on his head. The blood of Tiaio mingled with 
 the waters of the brook running past the marae of Motoro, and 
 eventually mixed with the ocean. Thenceforth that stream was 
 held to be sacred, and it was fabled that a great fresh-water eel — 
 Tuna — drank up the blood of the murdered king, whose spirit 
 at the same time entered the fish. Tuna made its way to the 
 dark deep fissure running underneath the rocks into the sea. 
 The indomitable spirit of Tiaio, having thus succeeded in reaching 
 the ocean, forsook the form of the eel and took possession of the 
 large white shark, the terror of these islanders. The new divinity 
 had a little marae set apart for his worship, close by the more 
 sacred grove of Motoro, and but a few yards from where he fell 
 by the hand of the jealous priest. 
 
30 Myths and Songs. 
 
 The Mautara, or priestly tribe, gave up their ancient divinity, 
 Tane, in favour of this new god. The greatness of Tiaio 
 marks the political supremacy of that warlike clan, which is of 
 recent origin. Tiaio was a " food-eating " god, generally associated 
 with Motoro. His oracles invariably ended with demands for 
 a feasting. This jolly-tempered divinity's last priest was Tereavai, 
 who died a valuable deacon of the church in 1865. A few cocoa- 
 nut trees now mark the site of Mara, the deserted marae of the 
 shark-god. 
 
 Rori's life was spared by Manaune, expressly that he might 
 can-e the rough iron-wood representation of Tiaio, which, with the 
 rest, now quietly reposes in the Society's museum. 
 
 Koroa refers to this in his " crying " song for his friend Ata, 
 recited at the "death-talk" of Arokapiti, circa 181 7. 
 
 Kua tae paa i te tiangamama Cruel misfortune has again o'ertaken 
 
 la Teakatauira e kotia ; — This royal tribe. 
 
 Kotia O Ata O Tukua raua Ata and his father Tukua have fallen ! 
 
 Turou O Mouna O Tane-kai-aro, E'en as once Turou and Mouna, in- 
 
 spired 
 Kai-aro ra ia Marua. By Tane-the-man-eater, struck down 
 
 E tainga taito ia ne'e, ia kora atu, Tiaio the king in the olden time. 
 
 1 tai pau o Tiaio i te toru, ua tutua e ! Long, long ago was that great man 
 
 slain. 
 
 TANE-NGAKIAU. 
 
 That is, T:m^-strivin§-foi'-poive7\ This pretended god was a 
 brave warrior, who gave important assistance to Rangi in the first 
 battle ever fought on Mangaia, in which the invaders from Tonga 
 were defeated with great loss. As his reward he received the 
 chieftainship of Ivirua. After his death his family deified him, and 
 
Deified Men. 31 
 
 erected in his honour the famous marae Maputu, which stands 
 a lasting memorial of cruelty. The entire centre was filled with 
 reeking human heads cut off in cold blood to mark his canoniza- 
 tion. It was asserted that whenever this detested divinity took up 
 his abode in any individual, it was made evident by his skin 
 assuming a blood-red colour, and the dying man would, with 
 supernatural strength, fight imaginary foes, or rather unseen 
 demons. 
 
 This uncomfortable god had a carved iron-wood form, and 
 was one of the thirteen principal gods of Mangaia now in the 
 museum. 
 
 TEKURAAKI. 
 
 This god was introduced by Tui from Rarotonga. So long as 
 " the royal Tama-tapu," the chief of " the-i'ed-mai'ked-iribe^^'' main- 
 tained their supremacy, this divinity was popular. For some 
 generations prior to the introduction of Christianity, this tribe was 
 almost extinct, and the separate worship of Tekuraaki almost 
 unknown. Yet the carved iron-wood idol remained in the 
 Pantheon until 1824, when it was surrendered to Messrs. Williams 
 and Piatt. 
 
 SONG OF THE SHORE KING, HIGH PRIEST OF 
 
 RONGO. 
 
 COMPOSED BY VAIPO FOR RAOA'S FETE, CIRCA 1815. 
 
 Mariu te tapu o Motoro, I lay aside the sanctity of Motoro 
 
 Te taka ra i Vairorongo Ere bathing in this saci'ed stream. 
 
 I te koukou anga vai e ! 'Twas here his spirit landed, 
 
 O turuki o Rongo i kake ei. On this pebbly beach devoted to Rongo. 
 
Myths and Songs. 
 
 Kua kake atu au ra i te pa, It landed on this narrow shore, — 
 
 E atua noo ata i te kea, A god whose shade ever rests 
 
 E tail ariki nei. On the sandstone sacred to kings. 
 
 Ariki Tamatapu i noo i Mama Tamatapu once spent a night at Mama, 
 
 Taea 'i Aupi i te vai When the entire valley was flooded. 
 
 O nga ariki e puipui aere, Such was the might of that king ! 
 
 Marina Rongo te tapu i tai e ! I lay aside the sanctity of the shore- 
 
 dwelling Rongo. 
 
 Thus it is evident that many of their gods were originally men, 
 whose spirits were supposed to enter into various birds, fish, 
 reptiles, and insects; and into inanimate objects, such as the triton 
 shell, particular trees, cinet, sandstone, bits of basalt, etc., etc. 
 The greater gods alone had carved images for the convenience 
 of worshippers ; the lesser were countless, each individual pos- 
 sessing several. The gods were divided into two orders, "dwellers 
 in day," and " dwellers in the shades, or night." All the thirteen 
 principal gods, save Rongo, were "dwellers in day," i.e. were 
 continually busy in the affairs of mortals ; moving, though unseen, 
 in their midst, yet often descending to "night," or to Avaiki, 
 the true home of the major divinities. In like manner those who 
 " dwelt in night " were supposed frequently to ascend to day to 
 take part in the affairs of mankind, but generally preferred to 
 dwell in spirit-land. A few were supposed to remain permanently 
 in the obscurity of Avaiki, or " night." 
 
 The " dwellers in day " were believed to hover about in the 
 air, hide themselves in unfrequented caves, besides taking frenzied 
 possession of men and women. These were the divinities of recent 
 human origin. 
 
 The lowest depth of heathen degradation is unconsciously 
 
Deified Men, 33 
 
 reached in the worship of phallic stones, such as still exist in 
 Tinian, one of the Ladrone Islands. The scene was one of great 
 interest — a natural grotto converted into a heathen temple, outside 
 of which these degrading rites were performed. The original 
 significance of this embruting form of idolatry is lost, although its 
 symbols are still preserved. 
 
 DERIVATION OF THE POLYNESIAN WORD "ATUA," 
 
 OR GOD. 
 
 The great word for God throughout Eastern Polynesia is 
 " Atua" (Akua). Archdeacon Maunsell derives this from ''ata" 
 = shadow, which agrees with the idea of spirits being shadows, but 
 I apprehend is absolutely unsupported by the analogy of dialects. 
 
 Mr. Ellis ^ regards the first a as euphonic, considering " tua " 
 = back, as the essential part of the word, misled by a desire to 
 assimilate it with the "tev" of the Aztec and the "deva" of the 
 Sanscrit. Occasionally, when expressing their belief that the 
 divinity is " the essential support," they express it by the word 
 " ivi-mokotua " = the back-bojie, or vertebral column ; never by the 
 mere " tua " = back. 
 
 That the a is an essential part of the word is indicated by 
 the closely allied expressions " atu " (" fatu " in Tahitian and 
 Samoan) and " aitu ; " in the latter the a is lengthened into ai. 
 
 A key to the true sense of "atua" exists in its constant 
 equivalent " io," which (as already stated) means the 'V^r<?" or 
 '' piW of a tree. 
 
 Analogically, God is the pith, core, or life of 7nan. 
 
 ^ Polynesian Researches, vol. ii. p. 201. 
 
;4 Myths and Songs. 
 
 Again, " atu " stands for " lord, master ; " but strictly and 
 primarily means " core " or " kernel." The core of a boil and the 
 kernel of a fruit are both called the "atu," i.e. the hard and 
 essential part. (The larger kernels are called " katu.") As 
 applied to a " master " or " lord," the term suggests that his 
 favour and protection are essential to the life and prosperity of 
 the serf By an obvious analogy, the welfare of mankind is 
 derived from the divine " Atu " or " Lord," who is the Core and 
 Kernel of humanity. In the nearly related word "Atua" = God, 
 the final a is passive ^ in form but intensive in signification, as 
 if to indicate that He is " the very Core or Life " of man. A 
 person who at a critical moment has lost courage is said to be 
 " topa i te io," i.e. forsaken by his god., — that divine something 
 which imparts courage to fight or to endure. At Rarotonga the 
 13th phase of each moon is called " Maitu ;" at Mangaia, "Atua" 
 (see calendar). 
 
 The word " rimu " means 7710s s ; "rimua" = 77ioss-grown, 
 the final a as in the word " Atua," being intensive. Thus it 
 comes to pass that ^^ ete7'7iity'^ or ^^ fo7'-ever^' is expressed by the 
 phrase " e ri77iua ua atu " — the essential part of which is "rimua." 
 The idea is of a lofty tree covered all over with moss, the growth 
 of untold ages. So that the phrase might be rendered ^^U7itil 
 covered with the moss of ages" i.e. for ever and ever. 
 
 "Tupu" means grow, happen. In the phrase "mei tiipiia 
 roa mai " (the essential part of which is " tupua ") the sense is 
 '■''fro77i the very beginning," i.e. from the time when things first 
 began to " tupu " = grow or happen. 
 
 A very comprehensive designation for divinities of all kinds is 
 "te anau tuarangi " or the-heavenly family (" tu-a-rangi " = /zZ'^- 
 
 ^ All nouns may be converted into verbs by means of suffixes. 
 
Deified Men. 35 
 
 the-heaven-or-sky). Strangely enough, this celestial race includes 
 rats, lizards, beetles, eels and sharks, and several kinds of birds. 
 The supposition was that " the-heavenly-family " had taken up 
 their abode in these birds, fish, and reptiles. 
 
 A common and expressive name for God is " tatua manava " 
 = loin-belt or girdle^ as giving strength to fight. 
 
 A HUMAN PRIESTHOOD NEEDED. 
 
 The gods first spake to man through the small land birds ; but 
 their utterances were too indistinct to guide the actions of man- 
 kind. To meet this emergency an order of priests was set apart, 
 the gods actually taking up their abode, for the time being, in 
 their sacred persons. Priests were significantly named ^'■god- 
 boxes''' (pia-atua), — generally abbreviated to ^^ gods,^^ i.e. living 
 embodiments of these divinities. 
 
 Whenever consulted, a present of the best food, accompanied 
 with a bowl of intoxicating " piper mythisticum," was indis- 
 pensable. The priest, throwing himself into a frenzy, delivered a 
 response in language intelligible only to the initiated. A favourite 
 subject of inquiry was "the sin why so and so was ill ;" no one 
 being supposed to die a natural death unless decrepit with extreme 
 old age. If a priest cherished a spite against somebody, he had 
 only to declare it to be the will of the divinity that the victim 
 should be put to death or be laid on the altar for some offence 
 against the gods. The best kinds of food were sacred to the 
 priests and chiefs. 
 
 Although unsuited for the delivery of oracles, birds were ever 
 regarded as the special messengers of the gods to warn individuals 
 of impending danger ; each tribe having its own feathered 
 guardians. j_ 
 
o 
 
 6 Myths and So7tgs. 
 
 Of their many priests the leading place ever belonged to the 
 " mouth-pieces " of Motoro. These men, significantly known 
 as " the Amama," or " open-mouthed-tribe," in reality ruled the 
 island from the time of Rangi downwards : first as priests of 
 Motoro, and latterly by right of conquest. The two districts 
 belonging to this tribe are the only ones which have not changed 
 hands. 
 
 From the gluttonous habits of these priests is derived the 
 phrase, " to gormandize like a god " (kai Atua). 
 
 DEDICATION OF INFANTS. 
 
 As soon as the child was born, a leaf of the gigantic taro plant 
 {arimi costatwri) was cut off, its sides carefully gathered up, and 
 filled with pure water. Into this extempore baptismal font the 
 child would be placed. First securing with a bit of tapa the 
 part of the navel string nearest the infant, the right hand 
 of the operator longitudinally divided the cord itself with a 
 bamboo knife. The dark coagulated blood was then carefully 
 washed out with water, and the name of the child's god declared, 
 it having been previously settled by the parents whether their little 
 one should belong to the mother's tribe or to the father's. Usually 
 the father had the preference ; but occasionally, when the father's 
 family was devoted to furnish sacrifices, the mother would seek to 
 save her child's life by getting it adopted into her own tribe, the 
 name of her own tribal divinity being pronounced over the babe. 
 As a rule, however, the father would stoically pronounce over his 
 child the name of his own god Utakea, Teipe, or Tangiia, which 
 would almost certainly insure its destruction in after years. It 
 was done as a point of honour ; besides, the child might 7iot be 
 
Deified Men. 37 
 
 required for sacrifice, although eh"gible. The bamboo knife would 
 be taken to the marae of the god specified, and thrown on the 
 ground to rot. If a second god's name were pronounced over 
 the child, the bamboo knife would go to one marae and the name 
 of the babe only be pronounced over the second marae. The 
 removal of the coagulated blood was believed to be highly pro- 
 motive of health, all impurities being thus removed out of the 
 system. Hence the common query in heathen times: "I taia toou 
 pito noai?" = " What divine name was pronounced at the severance 
 of thy navel string ? " In other words, " Who is thy god ? " 
 
 A deacon, still living, told me that his god was to have been 
 Teipe, but when halfway to the marae of that unfortunate god, 
 his father resolved to break his promise to his wife, and actually 
 turned back and presented the knife to Motoro — his own god. 
 " Had my father not done so, I should long since have been 
 offered in sacrifice, and should not have heard of the one great 
 offering on Calvary," said he with evident feeling. 
 
 At Rarotonga, when a boy was born a collection of spears, 
 clubs, and slinging stones was made. When the sun was setting 
 a great taro leaf filled with water was held over these warlike 
 weapons, and the navel string was treated as above described. 
 The idea was that the child should grow up to be a famous 
 warrior. 
 
 On the birth of the first-born son of the reigning king Makea, 
 a human victim previously fixed upon was slain. The royal babe 
 was placed upon the dead body for the purpose of severing the 
 navel string, thus indicating the absolute sway he would exercise 
 over the lives of his subjects upon succeeding to the throne of 
 his father. 
 
 It is often said to an ill-tempered person, " E pito raka toou " 
 
3 
 
 8 Myths and Songs. 
 
 = " The name of a devil '^ was pronounced over iJiy severed navel 
 string," — the phrase having outHved the custom. 
 
 NAMING OF CHILDREN. 
 
 At convenient intervals the principal king of Mangaia, as high- 
 priest of all the gods, assisted by the priest of Motoro, summoned 
 the young people to their various family maraes to be publicly 
 " named." Some might be verging on manhood or womanhood, 
 whilst others were scarcely able to walk. Standing in a half circle, 
 two or three deep, the operator dipped a few leaves of a beautiful 
 species of myrtle {inaire) in the sacred stream flowing past the 
 marae, and sprinkled the assembly ; all the while reciting a song 
 or prayer to the particular god at whose shrine they were wor- 
 shipping, and who was supposed to be the special protector of 
 those present. 
 
 At certain pauses in the song the king, as "pontifex maximus," 
 gently tapped each youngster two or three times on the head or 
 shoulders, pronouncing his or her name. 
 
 The idea evidently was to secure a public recognition of the 
 god and clanship of each of the rising generation— for their own 
 guidance in the ceremonial of heathen life, and for the guidance 
 of priests and chiefs afterwards. The greatest possible sin in 
 heathenism was " ta atua," i.e. to kill a fellow worshipper by 
 stealth. In general it might be done in battle. Otherwise such 
 a blow was regarded as falling upon the god himself ; the literal 
 sense of "ta atua" being god-striking, or god-killing. Such 
 
 * Whilst their gods were nearly all malicious, some being more mischievous 
 than others, the Hervey Islanders had not the idea of one supreme evil spirit 
 corresponding to our Satan. 
 
Deified Men. 39 
 
 crimes were generally the consequence of ignorance : to prevent 
 the priests and chiefs from such blundering, these occasional 
 "namings" were appointed. In the event of war, and a con- 
 sequent redistribution of lands, the favour of all the principal 
 gods must be secured by favours shown to their worshippers— at 
 least to a selection of a few to keep up the worship of each idol. 
 A great feasting invariably succeeded this ceremony of naming. 
 
40 Myths and Songs. 
 
 CHAPTER HI. 
 ASTRONOMICAL MYTHS. 
 
 A CHASE THAT NEVER ENDS. 
 
 The only children of Potiki were twins : the elder, a girl, was 
 named Piri-ere-iia, or Inseparable ; the younger was a boy. 
 These children were naturally very fond of each other : whatever 
 the sister wished the brother agreed to. Unhappily, however, their 
 mother, Tarakorekore, was a scold, and gave them no peace. One 
 night the mother went torch-fishing on the reef The tide, rising 
 at midnight, put an end to her sport; but not before she had 
 obtained a basket full of small bony red fish, called kuku. 
 Upon arriving home, according to invariable native custom, she 
 woke her husband and cooked the fish. Four divisions were 
 made ; the parents eating their portions at once. The mother 
 would not agree to her husband's suggestion to wake the children 
 to partake of the warm and savoury midnight feast. However, 
 she carefully put away their portions into their baskets.^ 
 
 ^ Throughout the islands each member of the family has a separate food- 
 basket, so that if hungry at night he should only take his own share, and not 
 encroach upon his neighbour's. 
 
Astrono7nical Myths. 41 
 
 Now, Inseparable and her twin-brother were all the time 
 awake, but did not let their parents know the circumstance. In 
 vain they waited for their mother to fetch them to share their good 
 things. Potiki and Tarakorekore enjoyed a thorough good 
 supper, but their children were not to get a taste until morning. 
 The twins wept in secret. As soon as their parents were soundly 
 asleep. Inseparable proposed to her brother that they should 
 flee away for ever. At first the boy hesitated, but eventually 
 agreed to comply with his sister's wishes. Cautiously opening the 
 sliding door of their house, they started on their journey. Upon 
 reaching an elevated point of rock, they sat down and again wept, 
 each filling a little natural hollow in the rock with their parting 
 tears, without, however, in the least relenting in their purpose. At 
 last they leaped up into the sky, Inseparable holding on to the 
 extremity of her brother's girdle. 
 
 As soon as the morning star became visible, the mother went 
 to rouse the children, so that they might eat their fish and taro ; 
 but they were gone. Their little bed of fragrant dried grass was 
 cold, though moist with tears. Hastily summoning her husband, 
 a strict search was made. The path taken by the twins was traced 
 by their tears. The little hollows filled from their eyes revealed the 
 spot where they had last rested on earth. But no further trace 
 could be discovered. In utter perplexity the now sorrowful and 
 repentant parents looked up at the sky, where the sun had not yet 
 risen, and, to their great surprise, saw their beloved children 
 shining brightly there. Vainly they called on Inseparable and 
 her brother to return. To stay longer on earth without these 
 dearly loved, though ungrateful, children could not be thought of: 
 so then father and mother leaped right up into the heavens in hot 
 pursuit of the " Twins." But the children had got the start of 
 
42 Myths and Songs. 
 
 their parents, and made the best of their way through the azure 
 vault. This strange chase is still going on ; for the parents have 
 never yet succeeded in overtaking their truant children. All four 
 shine brightly : the parents Potiki and Tarakorekore, being larger, 
 exceed their children in brilliancy. Brother and dearly-loved 
 sister, still linked together, pursue their never-ceasing flight, 
 resolved never again to meet their justly enraged parents. 
 
 SONG OF THE TWINS. 
 
 Eaa te ara i ooro ai nga tamariki a Wherefore fled the children of Tara- 
 
 Tarakorekore ? korekore ? 
 
 Noa riri paa i te ai kuku na Potiki ; Anger at the cooked fish of Potiki. 
 I tu ai i ooro ai ; i tu ai i ooro ai ! They stealthily rose, and ran and fled 
 
 for ever. 
 
 Ua vaia au i teia e, ei ta ua taana e ! Alas ! that a mother should thus ill- 
 treat her childi-en. 
 
 E kore au e ta ; o te ui male ua atu, Such was not my (father's) wish ; and 
 
 when I intercede, 
 Ua kore ake oi e ! She will not relent. 
 
 Ka akakutu ta ua'i ; ka akakutu ta She thrashes them, — is always at it. 
 
 ua'i. 
 
 I moe ana au i Karanga ; i moe ana If one sleeps at Karanga or else- 
 
 au i Karanga. where, 
 
 I tau metua vaine : kore ua ka rerua Still there is no peace — only threats 
 
 koe ikona e ! and blows. 
 
 These lines were composed by Reinga for a fete held circa 
 1815. A play is intended on the mother's name " Tarakorekore," 
 which means " never-speak-at-all." 
 
 Inseparable and her brother are the double star ^1 and /*2 
 Scorpii. The irate parents are the two bright stars v and X, Scorpii, 
 
 The Rev. W. Ellis, in his " Researches," erroneously calls them 
 Gemini, or "The Twins," vol. iii. p. 172, second edition. 
 
Astronomical Myths. 43 
 
 I once heard a native preacher say, that Christ and the 
 Christian should be Hke these twin stars, ever Hnked together — 
 come hfe, come death. The allusion was happy, and was per- 
 fectly understood by all present, the story being a favourite one 
 throughout the islands. 
 
 MATARIKI, OR PLEIADES. 
 
 These stars were originally one. Its bright effulgence excited the 
 anger of the god Tane, who got hold of Aldebaran (Aumea) and 
 Sirius (Mere), and chased the offender. The affrighted fugitive 
 ran for his life, and took refuge behind a stream. But Sirius 
 drained off the waters, thus enabling Tane to renew the chase. 
 Finally, Tane hurled Aldebaran bodily against the exhausted 
 fugitive, who was thereby splintered into six shining fragments. 
 This cluster of little stars is appropriately named Mata-riki, or 
 little-eyes^ on account of their brightness. It is also designated 
 Tau-ono, or the-six, on account of the apparent number of 
 the fragments ; the presence of the seventh star not having been 
 detected by the unassisted native eye. 
 
 Reinga thus sings of the wars of the star-gods : — 
 
 Ua riri paa Vena ra ia Aumea, Vena ^ was enraged against Aumea, 
 
 (Aldebaran), 
 Noa kite ake i te kakenga. On account of the brilliance of his 
 
 rising. 
 Noa ui atu i te ara i pao ai Matariki She demanded if he recollected the 
 ma fate of the Pleiades, 
 
 E Mere ma e ! Shivered by Sirius and his friends. 
 
 Tuarangi maiti ! Tuarangi maiti ! Alas ! ye bright-shining gods ! Bright- 
 
 shining gods ! 
 
 ^ Vena was a goddess, represented by the star Procyon {Cants Minor). 
 
44 Myths ajid So7igs. 
 
 This beautiful constellation was of extreme importance in 
 heathenism, as its appearance at sunset on the eastern horizon 
 determined the commencement of the new year, which is about 
 the middle of December. The year was divided into two 
 seasons, or tau : the first, when in the evening these stars appeared 
 on or near the horizon ; the second, when at sunset the stars were 
 invisible. 
 
 The re-appearance of Pleiades above the horizon at sunset, 
 i.e. the beginning of a new year, was in many islands a time of 
 extravagant rejoicing. 
 
 We have already seen that the sun was known as " the eye of 
 Avatea, of Vatea [noon-day), "^^ i.e. the right eye : the left eye of 
 Vatea being the moon. 
 
 Venus, as the morning star, was called Tamatanui, i.e. the 
 eye of Tane. The evening star was regarded as a different planet, 
 being known as Takurua-rau. Jupiter was often mistaken for 
 the morning star. 
 
 The rainbow was designated "the-girdle-of-Tangaroa," by which 
 the eldest of the gods was accustomed to descend to earth. 
 
 The Magellan clouds are known as " nga mau," or the upper 
 and lower mists. 
 
 THE SUN AND MOON. 
 
 A curious myth obtained in the now almost extinct Tongan tribe 
 relative to the origin of the sun and moon. Vatea and Tonga-iti 
 quarrelled respecting the parentage of the first-born of Papa, each 
 claiming the child as his own. At last the infant was cut in two. 
 Vatea, the husband of Papa, took the upper part as his share, and 
 forthwith squeezed it into a ball and tossed it into the heavens, 
 where it became the sun. 
 
Astronomical Myths. 45 
 
 Tonga-iti sullenly allowed his share, the lower half, to remain 
 a day or two on the ground. Seeing the brightness of Vatea's 
 half, he resolved to imitate his example by compressing his share 
 into a ball, and tossing it into the dark sky during the absence of 
 the sun in Avaiki, or nether-world. Thus originated the moon, 
 whose paleness is attributable to the blood having all drained out 
 and decomposition having commenced. 
 
 This myth was rejected by the victorious tribes ; not on the 
 ground of its excessive absurdity, but on account of its represent- 
 ing Tonga-iti as a husband of Papa, instead of being her third son. 
 By this account the almost extinct tribe of Tongans should take 
 the precedence of their hereditary foes, the descendants of Rongo. 
 
 The origin of this myth seems to be this : — 
 
 Day (Vatea) and Night alternately embrace fair Earth (Papa). 
 Their joint offspring are the sun and moon. The cutting of the 
 babe in two was invented in order to account for the paleness of 
 the moon. 
 
 THE WOMAN IN THE MOON. 
 
 The eldest of Kui-the-Blind's four attractive daughters was 
 simply named Ina. Marama (Moon), who from afar had often 
 admired her, became so enamoured of her charms that one night 
 he descended from his place in the heavens to fetch her to be his 
 wife. The goddess Ina became a pattern wife, being always busy ; 
 of a clear night one may easily discern a goodly pile of leaves, 
 known as " te rau tao o Ina," for her never-failing oven of food ; 
 also her tongs of a split cocoa-nut branch, to enable her to adjust 
 the live coals without burning her fingers. 
 
 Ina is indefatigable in the preparation of resplendent cloth, i.e. 
 white clouds. The great stones needful for this purpose are also 
 
46 Myths and Songs. 
 
 visible. As soon as her tapa is well beaten and brought into the 
 desired shape, she stretches it out to dry on the upper part of the 
 blue sky, the edges all round being secured with the large stones. 
 Ina smoothes out every crease with her own hand, and finally 
 leaves it to bleach. 
 
 The cloth manufacture of the goddess is on a much grander 
 scale than any seen in this world ; consequently the stones 
 required are of a monstrous size. And when the operation is 
 completed, Ina takes up these stones and casts them aside with 
 violence. Crash, crash they go against the upper surface of the 
 solid vault, producing what mortals call thunder. 
 
 Occasionally the goddess first removes the stones from the part 
 of the tapa nearest to her fair person, and then hastily rising 
 empties out, as it were, the whole lot at once. The concussion 
 produced by these ponderous stones falling together is termed by 
 mankind a ter^'ific thunderclap. 
 
 Ina's cloth glistens like the sun. Hence it is, that when 
 hastily gathering up her many rolls of whitest tapa, flashes of light 
 fall upon the earth, which are designated lightning. 
 
 The great antiquity of this myth is attested by the circumstance 
 that throughout the Hervey Group the only names for "moon- 
 light" and "no moon" refer to Ina. Moonlight is expressed by 
 lndi-TCiOtQ2i = the-brightncss-of-Ina ; "no moon," by Ina-poiri = 
 Ina-invisible. In the Samoan "Ina" becomes " Sina ; " the 
 word v[\2.-sina = moon, embodies the name of the goddess. In 
 the Tahitian " Ina" becomes " Hina." 
 
 At Atiu it is said that Ina took to her celestial abode a mortal 
 husband. After living happily together for many years, she said to 
 
Astronomical Myths. 47 
 
 him, " You are growing old and infirm. Death will soon claim you, 
 for you are a native of earth. This fair home of mine must not 
 be defiled with a corpse. We will therefore embrace and part. 
 Return to earth and there end your days." At this moment Ina 
 caused a beautiful rainbow to span the heavens, by which her 
 disconsolate aged husband descended to earth to die. 
 
 ECLIPSES. 
 
 Tuanui-ka-rere, or Ttianui-about-to-fly^ a demon from the east^ 
 is at times subject to excessive fits of rage, in which he thinks 
 nothing of swallowing up the moon whole. Affi-ighted mortals 
 exclaim, " Alas ! a divinity has devoured the moon ! " and very 
 anxiously wait to see whether the useful luminary will be restored 
 or not. 
 
 Tangiia-ka-rere, or Tangiia-about-to-fly a demon from the west^ 
 was the ill-mannered god who devoured the sun in his anger. It 
 was very comforting to find that in every instance sun and moon 
 were vomited forth whole again, and resumed their old duties, 
 apparently none the worse for what they had endured. 
 
 No offerings were made at Mangaia to these demons, as was 
 the invariable custom at Rarotonga, when the irritated Tangaroa 
 was there believed to have done what at Mangaia was attributed 
 to Tangiia and Tuanui. 
 
 The upshot, however, was a very serious matter ; for the anger 
 of these demons having been vainly exercised against the heavenly 
 bodies, must occasion the death of some man of distinction, to 
 assuage their ire, and as a sort of payment for giving back to man- 
 kind those luminaries. 
 
 Note the inconsistency of this with the former myth. 
 
48 Myths and Songs. 
 
 A CELESTIAL FISH-HOOK. 
 
 The tail of the constellation " Scorpio," consisting of eight stars, 
 two of which are double, is here known by the curious designation 
 of " the great fish-hook of Tongareva^ The monstrous myth 
 associated with it is as follows : — 
 
 Vatea, the father of gods and men, whose home was in a part 
 of Avaiki, or nether-world, called The-thin-land, one day went 
 fishing in the deep blue ocean. He carried with him a great fish- 
 hook, which he baited with a star (doubtless an allusion to the 
 bright star, the last in the tail). Notwithstanding this brilliant 
 bait, he caught nothing. Vatea now resolved to imitate the 
 conduct of his mother, Vari-ma-te-takere, i.e. The-very-begimmig ; 
 accordingly, he pulled a piece of flesh off one of his own thighs and 
 baited his big fish-hook afresh. This time he found that he had 
 got a prize, but it was extraordinarily heavy. Fortunately, how- 
 ever, the line attached to the hook was the strongest known, con- 
 sisting of many strands of cinet cord plaited round. Vatea pulled 
 away lustily at this line, and was rejoiced at seeing a large dark 
 round mass slowly rising to the surface. This proved to be the 
 island of Tongareva, which had till then lain at the bottom of the 
 deep blue sea. Vastly pleased with this achievement, Vatea hung 
 up his great fish-hook in the sky. Hence its name, " the great 
 fish-hook of Tongareva." 
 
 In some islands this constellation is known as " the fish-hook 
 of Maui, with a somewhat similar myth to account for it. 
 
 It is not a little remarkable that this group of stars was so 
 called on Mangaia long before any European had discovered the 
 island in question. When found, it was designated in the charts 
 as Penrhyns, without its native name, Tongareva, being known 
 until a schooner, in 1853, had the misfortune to go ashore there. 
 
Ast7^07iomical Myths. 
 
 49 
 
 When discovered, the inhabitants of Penrhyns knew of the exist- 
 ence of Auau (or Mangaia), and asserted that Tavai, the erring 
 wife of their great ancestor Mahuta, was a native of that island. 
 
 A DAY SONG FOR MAAKI'S FETE. 
 
 BY TANGATAROA, 182O. 
 
 Chorus. 
 
 Like the outstretched heavens 
 Are the spread wings of the warning 
 
 E aparangi 
 O te kaua peau nui ka rere 
 
 E uoa mai na e taae, 
 E mataku paa taua e ! 
 E roroa ua na ngutu e ! 
 
 E roroa ua na ngutu e, e kaua, 
 E manu no tai enua e ! 
 Oi au ikitia te manu 
 E tei taraka ae ! 
 
 Oi au ikitia te manu 
 I taraka, e tai rau, e Tane ! 
 Paoa i te kaki aro, e pauru kaua. 
 
 Euea te mata o te marangi nui 
 
 Tamatakutaku e ! 
 Omai tai turama ia Mangaia 
 
 marama e ! 
 E tamatanui aengata ua ao e ! 
 
 le tutu ake ki runga e ! 
 Nga manu taae, noea koe ? 
 No nunga au, no ua reia e te 
 matangi, 
 Ua viriviri i te arorangi, 
 Ra roi mai ! 
 
 Tena oa te anana kaua ! 
 
 Ua ana mai nei koutou ? 
 
 bird. 
 'Tis the incarnation of a god. 
 One shakes with terror 
 At the long curved bill. 
 
 Solo. 
 
 Ah, that long cuiwed bill ! 
 
 'Tis a bird from some other lando 
 
 I am the chosen bird 
 That comes to warn thee. 
 Chorus. 
 
 We are all chosen birds, 
 Messengers of Tane, to save you. 
 Our bills are long and dangerous. 
 
 Reveal thy face, lovely full-moon. 
 
 Whom all adore. 
 O for a torch to illumine Mangaia, 
 
 A bright morning star, harbinger of 
 day. 
 Solo. 
 
 Pray stand erect, 
 Ye divine birds. Whence came ye ? 
 From the sunrising, driven about 
 
 Through the expanse of heaven. 
 We come to you. 
 Chorus. 
 
 Hail flock of warning birds ! 
 Solo. 
 
 Ha ! ye have arrived. 
 
50 
 
 Myths and Songs. 
 
 Chorus. 
 
 Nako nei maira ! 
 
 Koki, koka Tangaroa, 
 Akarongo koumu i te tua o Vatea 
 
 Kokiia te rangi. 
 
 Tapai ia te rangi. 
 
 E rere i te itinga. 
 
 E rere i te opunga. 
 E kapakapa te manu e tau ra. 
 
 Welcome to our midst ! 
 
 In the heavens Tangaroa 
 Listens to the whispers of Vatea. 
 
 Awake, ye winds ! 
 
 Sweep o'er the skies. 
 
 Fly east (ye warning birds), 
 
 Fly west. 
 What a flapping of wings when 
 resting ! 
 
 FINALE. 
 
 BY TIKI (1820), IN FULL CHORUS. 
 
 See yon rays of light 
 Darting up from spirit-world 
 (Where Great Rongo reigns), 
 Piercing the heavens. 
 
 The rays of light are lengthening ; 
 The stars still shine ; 
 The moon is full-orbed. 
 Rongo, thou fiercest of gods, 
 Arouse all sleepers, e'en those 
 As profound as Tavare of old. 
 
 Awake ! Awake! 
 Open, Tane, thy brilliant right eye. 
 Ha ! all the divine offspring of Vatea 
 Laugh at our brave diversion. 
 Day is at hand. 
 'Tis da\vn. 
 The fete of Tiki is over. 
 We part. 
 
 Six men in masks represented the warning birds. As incarna- 
 tions of Tane they come from " the sunrising." The " brilliant 
 right eye " of Tane is Venus. 
 
 " Tavare " is the lengendary sound sleeper (the mother of 
 Moke), who passed each winter in unconsciousness. 
 
 Na verovero o te ra 
 I patia i Avaiki, 
 O Rongo Nui Maruata 
 E puta i te rangi. 
 
 Ko verovero o te ra 
 la iti pakakina te etu, 
 
 E mau te marama 
 O Rongo te atua tupu a taae, 
 
 E tupiti i te moe 
 
 Tavare-moe-roa. 
 
 E ara ! E ara ! 
 E ara, e Tane, i to mata katau, 
 Aue e ! kua kata te anau Atea 
 
 1 te rara varu ! 
 Kua itirere i te popongi. 
 
 Kua ao e ! 
 Rum i te tere ia Tiki, 
 Ka aere ei ! 
 
( 51 ) 
 
 CHAPTER IV. 
 THE EXPLOITS OF MAUI. 
 
 THE FIRE-GOD'S SECRET. 
 
 Originally fire was unknown to the inhabitants of this world, 
 who of necessity ate raw food. 
 
 In nether-world (Avaiki) lived four mighty ones : Mauike, god 
 of fire ; the Sun-god Ra ; Ru, supporter of the heavens ; and 
 lastly, his wife Buataranga, guardian of the road to the invisible 
 world. 
 
 To Ru and Buataranga was born a famous son Maui. At 
 an early age Maui was appointed one of the guardians of this 
 upper world where mortals live. Like the rest of the inhabitants 
 of the world, he subsisted on uncooked food. The mother, 
 Buataranga, occasionally visited her son; but always ate her food 
 apart, out of a basket brought with her from nether-land. One 
 day, when she was asleep, Maui peeped into her basket and 
 discovered cooked food. Upon tasting it, he' was decidedly of 
 opinion that it was a great improvement upon the raw diet to 
 which he was accustomed. This food came from nether-world; 
 it was evident that the secret of fire was there. To nether-world, 
 
52 Myths and Songs. 
 
 the home of his parents, he would descend to gain this knowledge, 
 so that ever after he might enjoy the luxury of cooked food. 
 
 On the following day Buataranga was about to descend to 
 Avaiki (nether-world), when Maui followed her through the bush 
 without her knowing it. This was no difficult task, as she always 
 came and returned by the same road. Peering through the tall 
 reeds, he saw his mother standing opposite a black rock, which 
 she addressed as follows — • 
 
 Buataranga i tona rua, e rarangatu Buataranga, descend thou bodily 
 
 koe. through this chasm. 
 
 E anuenue i akarongoia atu ei. The rainbow-like must be obeyed. 
 
 Opipiri,^ Oeretue-i-te-ata e ! As two dark clouds parting at dawn, 
 
 Vaia, vai akera i te rua i Avaiki, nga Open, open up my road to nether- 
 
 taae ! world, ye fierce ones. 
 
 At these words the rock divided, and Buataranga descended. 
 Maui carefully treasured up these magic words ; and without 
 delay started off to see the god Tane, the owner of some wonder- 
 ful pigeons. He earnestly begged Tane to lend him one ; but the 
 proffered pigeon not pleasing Maui, was at once returned to its 
 owner. A better pigeon was offered to the fastidious borrower, 
 but was rejected. Nothing would content Maui but the posses- 
 sion of Akaotu, or Fea?-less, a red pigeon, specially prized by 
 Tane. It was so tame that it knew its name ; and, wander 
 wherever it might, it was sure to return to its master. Tane, who 
 was loth to part from his pet, extracted a promise from Maui that 
 the pigeon should be restored to him uninjured. Maui now set 
 off in high spirits, carrying with him his red pigeon, to the place 
 where his mother had descended. Upon pronouncing the magic 
 words which he had overheard, to his great delight the rock 
 opened, and Maui, entering the pigeon, descended. Some assert 
 
 * Names for the two clouds which are j^arted by the rising sun. 
 
The Exploits of Maui. 53 
 
 that Maui transformed himself into a small dragon-fly, and perched 
 upon the back of the pigeon, made his descent. The two fierce 
 guardian demons of the chasm, enraged at finding themselves 
 imposed upon by a stranger, made a grab at the pigeon, intending 
 to devour it. Fortunately, however, for the borrower, they only 
 succeeded in getting possession of the tail ; whilst the pigeon, 
 minus its beautiful tail, pursued its flight to the shades. Maui was 
 grieved at the mishap which had overtaken the pet bird of 
 his friend Tane. 
 
 Arrived at nether-land, Maui sought for the home of his 
 mother. It was the first house he saw : he was guided to it 
 by the sound of her cloth-flail. The red pigeon alighted on 
 an oven-house opposite to the open shed where Buataranga was 
 beating out cloth. She stopped her work to gaze at the red 
 pigeon, which she guessed to be a visitor from the upper world, as 
 none of the pigeons in the shades were red. Buataranga said to 
 the bird, "Are you not come from 'daylight?'" The pigeon 
 nodded assent. " Are you not my son Maui ? " inquired the old 
 woman. Again the pigeon nodded. At this Buataranga entered 
 her dwelling, and the bird flew to a bread-fruit tree. Maui 
 resumed his proper human form, and went to embrace his 
 mother, who inquired how he had descended to nether- world, and 
 the object of his visit. Maui avowed that he had come to learn 
 the secret of fire. Buataranga said, " This secret rests with the 
 fire-god Mauike. When I wish to cook an oven, I ask your 
 father Ru to beg a lighted stick from Mauike." Maui inquired 
 w^here the fire-god lived. His mother pointed out the direction, 
 and said it was called Are-aoa = house-of -banyan-sticks. She 
 entreated Maui to be careful, " for the fire-god is a terrible fellow, 
 of a very irritable temper." 
 
54 Myths and Songs. 
 
 Maui now walked up boldly towards the house of the fire-god, 
 guided by the curling column of smoke. Mauike, who happened 
 at the moment to be busy cooking an oven of food, stopped 
 his work and demanded what the stranger wanted. Maui replied, 
 " A fire-brand." The fire-brand was given. Maui carried it to 
 a stream running past the bread-fruit tree and there extinguished 
 it. He now returned to Mauike and obtained a second fire-brand, 
 which he also extinguished in the stream. The third time a 
 lighted stick was demanded of the fire-god, he was beside himself 
 with rage. Raking the ashes of his oven, he gave the daring 
 Maui some of them on a piece of dry wood. These live coals 
 were thrown into the stream as the former lighted sticks had been. 
 
 Maui correctly thought that a fire-brand would be of little use 
 unless he could obtain the secret of fire. The brand would 
 eventually go out; but Jiow to repi'odtice the fire2 His object 
 therefore was to pick a quarrel with the fire-god, and compel him 
 by sheer violence to yield up the invaluable secret, as yet known 
 to none but himself. On the other hand, the fire-god, confident 
 in his own prodigious strength, resolved to destroy this insolent 
 intruder into his secret. Maui for the fourth time demanded 
 fire of the enraged fire-god. Mauike ordered him away, under 
 pain of being tossed into the air ; for Maui was small of stature. 
 But the visitor said he should enjoy nothing better than a trial of 
 strength with the fire-god. Mauike entered his dwelling to put 
 on his war-girdle (ume i tona maro) ; but on returning found that 
 Maui had swelled himself to an enormous size. Nothing daunted 
 at this, Mauike boldly seized him with both hands and hurled him 
 to the height of a cocoa-nut tree. Maui contrived in falling to 
 make himself so light that he was in no degree hurt by his adven- 
 ture. Mauike, maddened that his adversaiy should yet breathe, 
 
The Exploits of Maui, 55 
 
 exerted his full strength, and next time hurled him far higher than 
 the highest cocoa-nut tree that ever grew. Yet Maui was un- 
 injured by his fall ; whilst the fire-god lay panting for breath. 
 
 It was now Maui's turn. Seizing the fire-god he threw him up 
 to a dizzy height, and caught him again like a ball with his hands. 
 Without allowing Mauike to touch the ground, he threw him 
 a second time into the air, and caught him in his hands. Assured 
 that this was but a preparation for a final toss which would seal 
 his fate, the panting and thoroughly exhausted Mauike entreated 
 Maui to stop and to spare his life. Whatever he desired should 
 be his. 
 
 The fire-god, now in a miserable plight, was allowed to 
 breathe awhile. Maui said, " Only on one condition will I spare 
 you ; — tell me the secret of fire. Where is it hidden ? How is it pro- 
 duced ? " Mauike gladly promised to tell him all he knew, and led 
 him inside his wonderful dwelling. In one corner there was 
 a quantity of fine cocoa-nut fibre ; in another, bundles of fire- 
 yielding sticks — the "<^//;,"^ the " oronga," ^ the ^' taiiinu,^^ and 
 particularly the " aoa,''^ 3 or banyan tree. These sticks were all dry 
 and ready for use. In the middle of the room were two smaller 
 sticks by themselves. One of these the fire-god gave to Maui, 
 desiring him to hold it firmly, while he himself plied the other 
 most vigorously. And thus runs — 
 
 THE FIRE-GOD'S SONG. 
 
 Ika, ika i taku ai e ! Grant, oh grant me thy hidden fire, 
 
 Te aoaoaoa. Thou banvan tree ! 
 
 - The lemon hibiscus. * Urtica argentea. ^ Ficus Indicus. 
 
56 Myths a7id Songs. 
 
 Tutuki i te pupu ; Perform an incantation ; 
 
 Ka ai i te karakia. Utter a prayer to (the spirit of) 
 
 Te aoaoaoa. The banyan tree ! 
 
 Kia ka te ai a Mauike Kindle a fire for Mauike 
 
 I nunga i te papanga aoa e ! Of the dust of the banyan tree ! 
 
 By the time this song was completed, Maui to his great joy 
 perceived a faint smoke arising out of the fine dust produced by 
 the friction of one stick upon another. As they persevered in 
 their work the smoke increased ; and, favoured with the fire-god's 
 breath, a sHght flame arose, when the fine cocoa-nut fibre was 
 called into requisition to catch and increase the flame. Mauike 
 now called to his aid the different bundles of sticks, and speedily 
 got up a blazing fire, to the astonishment of Maui. 
 
 The grand secret of fire was secured. But the victor resolved 
 to be revenged for his trouble and his tossing in the air, by setting 
 fire to his fallen adversary's abode. In a short time all nether- 
 world was in flames, which consumed the fire-god and all he 
 possessed. Even the rocks cracked and split with the heat : 
 hence the ancient saying, " The rocks at Orovaru ^ (in the shades) 
 are burning." 
 
 Ere leaving the land of ghosts, Maui carefully picked up the 
 two fire-sticks, once the property of Mauike, and hastened to the 
 bread-fruit tree, where the red pigeon " Fearless " quietly awaited 
 his return. His first care was to restore the tail of the bird, so as 
 to avoid the anger of Tane. There was no time to be lost, for the 
 flames were rapidly spreading. He re-entered the pigeon, which 
 carried his fire-sticks one in each claw, and flew to the lower 
 entrance of the chasm. Once more pronouncing the words he 
 learnt from Buataranga, the rocks parted, and he safely got back 
 
 ^ Equivalent to saying, " The foundations of the earth are on fire." 
 
The Exploits of Matci. 57 
 
 to this upper world. Through the good offices of his mother the 
 pigeon met with no opposition from the fierce guardians of the 
 road to the shades. On again entering into Hght the red pigeon 
 took a long sweep, alighting eventually in a lovely secluded valley, 
 which was thenceforth named Rupe-tau, or the pigeon^ s-resting- 
 place, Maui now resumed his original human form, and hastened 
 to carry back the pet bird of Tane. 
 
 Passing through the main valley of Keia, he found that the 
 flames had preceded him, and had found an aperture at Teaoa, 
 since closed up. The kings Rangi and Mokoiro trembled for 
 their land ; for it seemed as if everything would be destroyed by 
 the devouring flames. To save Mangaia from utter destruction, 
 they exerted themselves to the utmost, and finally succeeded 
 in putting out the fire. Rangi thenceforth adopted the new name 
 of Matamea, or Watery-eyes, to commemorate his sufferings ; and 
 Mokoiro was ever after called Auai, or Smoke. 
 
 The inhabitants of Mangaia availed themselves of the con- 
 flagration to get fire and to cook food. But after a time the fire 
 went out, and as they were not in possession of the secret, they 
 could not get new fire. 
 
 But Maui was never without fire in his dwelling : a circum- 
 stance that excited the surprise of all. Many were the inquiries as 
 to the cause. At length he took compassion on the inhabitants of 
 the world, and told them the wonderful secret — that fire lies 
 hidden in the hibiscus, the urtica argentea, the " tauinu," and 
 the banyan. This hidden fire might be elicited by the use of fire- 
 sticks, which he produced. Finally, he desired them to chant 
 the fire-god's song, to give efficacy to the use of the fire-sticks. 
 
 From that memorable day all the dwellers in this upper world 
 used fire-sticks with success, and enjoyed the luxuries of light and 
 cooked food. 
 
5^ Afyths a7id Songs. 
 
 To the present time this primitive method of obtaining fire 
 
 is still in vogue ; cotton, however, being substituted for fine 
 
 cocoa-nut fibre as tinder. It was formerly supposed that only the 
 
 four kinds of wood found in the fire-god's dwelling would yield 
 
 fire. 
 
 " Aoa " means banyan-tree ; for intensity and for rhythm the 
 word is lengthened into "aoaoaoa." The banyan was sacred to 
 the fire-god. 
 
 The spot where the flames are said to have burst through, 
 named Te-aoa, or the the-banyan-tree, was sacred until Christianity 
 induced the owner to convert the waste land into a couple of 
 excellent taro patches. 
 
 Often when listening to the story of this Polynesian Prome- 
 theus, the question has been proposed to me, "Who \.2>yx^\X your 
 ancestors the art of kindling fire ? " 
 
 At Rarotonga Buataranga becomes Ataranga; at Samoa 
 Talanga. In the Samoan dialect Mauike becomes Mafuie. 
 
 THE SKY RAISED ; OR, THE ORIGIN OF PUMICE 
 
 STONE. 
 
 The sky is built of solid blue stone. At one time it almost 
 touched the earth ; resting upon the stout broad leaves of the 
 teve (which attains the height of about six feet) and the delicate 
 indigenous arrow-root (whose slender stem rarely exceeds three 
 feet). The unique flattened-out form of these leaves, like millions 
 of outspread hands pressing upwards, is the result of having to 
 sustain this enormous weight. In this narrow space between 
 earth and sky the inhabitants of this world were pent up. Ru, 
 whose usual residence was in Avaiki, or the shades, had come up 
 
The Exploits of Maui, 59 
 
 for a time to this world of ours. Pitying the wretched confined 
 residence of its inhabitants, he very laudably employed himself in 
 endeavouring to raise the sky a little. For this purpose he cut a 
 number of strong stakes of different kinds of trees, and firmly 
 planted them in the ground at Rangimotia, the centre of the 
 island and of the world. This was a considerable improvement, 
 as mortals were thereby enabled to stand erect and to walk about 
 without inconvenience. Hence Ru was named "The sky-sup- 
 porter." Wherefore Teka sings (1794) : — 
 
 Tuperetuki i te rangi, Force up the sky, O Ru, 
 
 E Ru e, ua niareva. And let the space be clear ! 
 
 One day, when the old man was surveying his work, his graceless 
 son Maui contemptuously asked him what he was doing there. 
 Ru replied, "Who told youngsters to talk? Take care of yourself, 
 or I will hurl you out of existence." " Do it then," shouted Maui. 
 Ru was as good as his word, and forthwith seized Maui, who was 
 small of stature, and threw him to a great height. In falling Maui 
 assumed the form of a bird, and lightly touched the ground 
 perfectly unharmed. Maui, now thirsting for revenge, in a moment 
 resumed his natural form, but exaggerated to gigantic proportions, 
 and ran to his father saying : — 
 
 Ru tokotoko i te rangi tuatini, Ru, who supports the many heavens — 
 
 Tuatoru, ka ruatiaraurau ! The third, even to the highest, ascend ! 
 
 Inserting his head between the old man's legs, he exerted all his 
 prodigious strength, and hurled poor Ru, sky and all, to a tremen- 
 dous height — so high, indeed, that the azure sky could never get 
 back again. Unluckily, however, for " the-sky-supporting-Ru," his 
 head and shoulders got entangled among the stars. He struggled 
 hard, but fruitlessly, to extricate himself Maui walked off well 
 
6o Myths and Songs. 
 
 pleased with having raised the sky to its present height ; but left 
 half his father's body and both his legs ingloriously suspended 
 between heaven and earth. Thus perished Ru. His body rotted 
 away, and his bones, of vast proportions, came tumbling down 
 from time to time, and were shivered on the earth into countless 
 fragments. These shivered " bones of Ru " are scattered over 
 every hill and valley of Mangaia, to the very edge of the sea. 
 
 " The district " (said my narrator) " where Ru's bones are sup- 
 posed to have fallen is on the northern part of the island, and 
 derives its name from this circumstance. It belongs to me." 
 
 It is true that what is universally known in these islands as 
 " the bones of Ru " (te ivi o Ru), is found all over the island in 
 small quantities. Upon repeated careful examinations these 
 " bones " proved to be common putnice stone. The largest " bone " 
 I have ever seen on the island is about the size of a man's fist. 
 The peculiar lightness and bonelike appearance of pumice stone 
 doubtless suggested the idea that it was the veritable remains of a 
 famous hero of antiquity. The younger natives now know pretty 
 well the volcanic origin of these mythical " bones." 
 
 In 1862, when at Pukapuka, or Danger Island, where two 
 years afterwards the first John Williams was wrecked, the 
 natives brought me a large collection of idols of secondary rank. 
 They piled them up in a heap before me. My curiosity was 
 aroused by seeing an old man, formerly a priest, carrying what 
 seemed to be a large lump of coal with evident ease. Upon 
 carefully looking at it, this god proved to be mei'ely pumice stone 
 blackened by long exposure to rain and wind. Of course it had 
 drifted from some other island. It was known as Ko te 
 toka mama i.e. the-light-stofie, and was regarded as the god 
 
The Exploits of Maui. 6i 
 
 of the wind and the waves. Upon occasions of a hurricane, in- 
 cantations and offerings of food would be made to it. Such 
 worship will be made no more ; for it is now deposited with the 
 other gods in the museum of the University of Sydney. Pumice 
 stone was not regarded as being sacred in the Hervey Group. 
 
 THE SUN MADE CAPTIVE. 
 
 Maui had secured fire for the advantage of mortals, had elevated 
 the sky ; but there remained one great evil to be remedied — the 
 sun had a trick of setting every now and then, so that it was 
 impossible to get through any work. Even an oven of food could 
 not be prepared and cooked before the sun had set. Nor could 
 a "karakia," or incantation to the gods, be chanted through ere 
 they were overtaken by darkness. Maui resolved to remove this 
 great evil. 
 
 Now Ra, or the Sun, is a living creature and divine ; in 
 form resembling a man, and possessed of fearful energy. His 
 golden locks are displayed morning and evening to mankind. 
 Buataranga advised her son not to have anything to do with Ra, 
 or the Sun, as many had at different times endeavoured to 
 regulate his movements, and had all signally failed. But the 
 redoubtable Maui was not to be discouraged. He resolved to 
 capture the Sun-god Ra, and compel him to obey the dictates of his 
 conqueror. 
 
 Maui now carefully plaited six great ropes of strong cocoa-nut 
 fibre, each composed of four strands, and of a great length. These 
 wonderful cords of his were named by the inventor Aei-ariki ^ 
 i.e. royal nooses. Maui started off with his ropes to the dis- 
 tant aperture through which the Sun climbs up from Avaiki, or 
 
 ^ -= Taei-ariki. 
 
62 Myths and Songs. 
 
 the land of ghosts, into the heavens, and there laid a slip-noose 
 for him. Further on in the Sun's path a second trap was laid. In 
 fact, all the six ropes were placed at distant intervals along the 
 accustomed route of Ra, or the Sun. 
 
 Very early in the morning the unsuspecting Sun clambered 
 up from Avaiki to perform his usual journey through the heavens. 
 Maui was lying in wait near the first " royal noose," and exultingly 
 pulled it ; but it slipped down the Sun's body, and only caught 
 his feet. Maui ran forward to look after the second noose, but 
 that likewise slipped. Luckily, however, it closed round the Sun's 
 knees. The third caught him round the hips ; the fourth, round the 
 waist ; the fifth, under the arms. Still the Sun went tearing on 
 his path, scarcely heeding the contrivances of Maui. But happily 
 for Maui's designs, the sixth and last of the "royal nooses" 
 caught the Sun round the neck ! Ra, or the Sun, now terribly 
 frightened, struggled hard for his liberty, but to no purpose. For 
 Maui pulled the rope so tight as almost to strangle the Sun, and 
 then fastened the end of his rope to a point of rock. 
 
 Ra, or the Sun, now nearly dead, confessed himself to be 
 vanquished ; and fearing for his life, gladly agreed to the demand 
 of Maui, that in future he should be a little more reasonable and 
 deliberate in his movements through the heavens, so as to enable 
 the inhabitants of this world to get through their employments 
 with ease. 
 
 The Sun-god Ra was now allowed to proceed on his way ; but 
 Maui wisely declined to take off these ropes, wishing to keep 
 Ra in constant fear. These ropes may still be seen hanging 
 from the Sun at dawn, and when he descends into the ocean at 
 night. By the assistance of these ropes he is gently let down 
 into Avaiki, and in the morning is raised up out of the shades. 
 
The Exploits of Maui. 63 
 
 Of course this extravagant myth refers to what Enghsh children 
 call "the sun drawing up water;" or, as these islanders still say, 
 " Tena te taura a Maui i " = " Behold the ropes of Maui ! " 
 
 It is interesting to note that the great Polynesian name for the 
 Sun-god is Ra, as was the case in ancient Egypt' — entering into 
 the composition of the regal title " Pharaoh," etc. The rule of 
 each great temporal sovereign was indifferently called a " man- 
 g2i\2i" '^ =^ peaceful reign, or a " koina-ra " = <^;7^/^/ shinmg of the 
 sun, the sovereign chief, of course, being the sun. Sometimes 
 he was called "the man who holds the Ra (sun) ;" at other times 
 " the Sun(Ra)-eater." At death, or the transference of the 
 supreme temporal power, it was naturally said, " the Ra has set." 
 
 Ra was the tutelary god of Borabora. 
 
 Such are the three great achievements of Maui. Nothing more 
 is related of him in the Hervey Group, save that he was driven away 
 by Rangi for setting the rocks on fire. 
 
 A husband is lovingly called by his wife her " rua-ra " = stm- 
 hole, in allusion to the preceding myth, as from him comes the light 
 of her life. The husband gallantly calls the wife his " are-rau," 
 = well-thatched house, — where his affections repose. These are 
 standard expressions in hourly use. 
 
 THE WISDOM OF MANIHIKI^ (KORERO MANIHIKI). 
 
 On the island of Rarotonga once lived Manuahifare and his 
 wife Tongoifare, offspring of the god Tangaroa. Their eldest son 
 was named Maui the First, the next Maui the Second. Then fol- 
 
 ^ Manihiki, Rakaanga, and Tongareva are situated about 600 miles north 
 of Rarotonga. 
 
64 Myths and Songs. 
 
 lowed their sister Inaika = Ina-the-Fish. The youngest was a boy, 
 Maui the Third. Like all other young Polynesians, these children 
 delighted in the game of hide-and-seek. One day Inaika hid her 
 pet brother, Maui the Third, under a pile of dry sticks and leaves, 
 and then desired the elder boys to search for him. They sought 
 everywhere in vain. Inaika at last pointed to the pile, and 
 naturally expected to see her little brother emerge from his hiding- 
 place, as the sticks were scattered to the right and left. The heap 
 had disappeared, but no Maui was to be seen. What had become 
 of him ? But after a few minutes they were astonished to see him 
 start up from under a few bits of decayed wood and some leaves 
 which had been thoroughly searched a few seconds before. This 
 was the first intimation of Maui the Third's future greatness. 
 
 This wonderful lad had noticed that his father, Manuahifare, 
 mysteriously disappeared at dawn of every day ; and in an equally 
 mysterious way came back again to their dwelling at night. He 
 resolved to discover this secret, which seemed to him the more 
 strange as, being the favourite, he slept by the side of Manuahi- 
 fare, and yet never knew when or how he disappeared. One 
 night he lay awake until his father unfastened his girdle in order 
 to sleep. Very cautiously did Maui, the Younger, take up one 
 end and place it under himself, without attracting his father's 
 notice. Early next morning, this precocious son was roused from 
 his slumbers by the girdle being pulled from under him. This 
 was just as he desired ; he lay perfectly still, to see what would 
 become of Manuahifare. The unsuspecting parent went, as he 
 was wont, to the main pillar of his dwelling, and said — 
 
 O pillar ! open, open up, 
 That Manuahifare may enter and descend to nether-world (Avaiki). 
 
 The pillar immediately opened, and Manuahifare descended. 
 
The Exploits of Maui. 65 
 
 That same day the four children of Manuahifare went back to 
 their old game of hide-and-seek. This time Maui the Younger 
 told his brothers and sister to go outside the house, whilst he 
 should look out for some place to hide in. As soon as they were 
 out of sight, he went up to the post through which his father had 
 disappeared, and pronounced the magic words he had overheard. 
 To his great joy the obedient post opened up, and Maui boldly 
 descended to the nether regions. Manuahifare was greatly sur- 
 prised to see his son down there ; but after saluting (literally, 
 " smelling ") him, quietly proceeded with his work. 
 
 Maui the Third went on an exploring tour through these 
 unknown subterranean regions, the entrance to which he had 
 luckily discovered. Amongst other wonderful things, he fell in 
 with a blind old woman bending over a fire where her food was 
 being cooked. In her hand she held a pair of tongs {i.e. a green 
 cocoa-nut midrib, split open). Every now and then she carefully 
 took up a live coal, and placed it on one side, supposing it to 
 be food, whilst the real food was left to burn to cinder in the 
 fire ! Maui inquired her name, and, to his surprise, found it was 
 Inaporari, or Ina-the-Blind, his own grandmother. The clever 
 grandson heartily pitied the condition of the poor old creature, but 
 would not reveal his own name. Close to where he stood watching 
 the futile cooking of Ina-the-Blind grew four none trees {inorindo 
 citrifolid). Taking up a stick, he gently struck the nearest of the 
 four trees. Ina-the-Blind angrily said, " Who is that meddling 
 with the fiono belonging to Maui the Elder?" The bold 
 visitor to nether-world then walked up to the next tree and tapped 
 it gently. Again the ire of Ina-the-Blind was excited, and she 
 shouted, "Who is this meddling with the no7io of Maui the 
 Second ? " The audacious boy struck a third tree, and found it 
 
 F 
 
66 Myths and Songs. 
 
 belonged to his sister Inaika. He now exultingly tapped the 
 fourth and last 7ioiio tree, and heard his old grandmother ask, 
 "Who is this meddling with the ?iofio of Maui the Third?" 
 " / aj?i Maui the T/iird,'' said the visitor. '' Then," said she, 
 " you are my grandson, and this is your own tree." 
 
 Now when Maui first looked at his own ?iono tree, it was 
 entirely destitute of leaves and fruit ; but after Ina-the-Blind had 
 spoken to him, he again looked and was surprised to see it 
 covered with glossy leaves and fine apples, though not ripe. 
 Maui dimbed up into the tree, and plucked one of the apples. 
 Biting off a piece of it, he stepped up to his grandmother and 
 threw it into one of her blind eyes. The pain was excruciating, 
 but sight was at once restored to the eye which had so long been 
 blind. Maui plucked another apple, and biting off a piece of it, 
 threw it into the other eye of his grandmother — and lo ! sight 
 was restored to it also. Ina-the-Blind was delighted to see again, 
 and, in gratitude, said to her grandson, " All above, and all 
 below "(= all on earth and all in spirit-land) " are subject to thee, 
 and to thee only." 
 
 Ina, once called the-Blind, now instructed Maui in all things 
 found within her territory ; that as there were four species of 
 nono, so there are four varieties of cocoa-nuts and four of taro 
 in Avaiki, i.e. one for each child of Manuahifare. 
 
 Maui asked Ina, " Who is lord of fire ? " She replied, " Thy 
 grandfather Tangaroa-tui-mata," (or Taiigaroa-of-the-tattooed-face). 
 " Where is he ? " inquired Maui. " Yonder," rejoined his grand- 
 mother ; " but do not go to him. He is a terribly irritable fellow : 
 you will surely perish." But as Maui persisted, the grateful 
 goddess Ina said, " There are two roads to his dwelling. One of 
 these is the path of death; whoever unwittingly approaches the 
 
The Exploits of Maui. 6 J 
 
 Great Tangaroa by this path, dies. The other is the ' common,' or 
 ' safe ' (noa) road." Maui disdained to choose the path of safety. 
 Knowing his own prowess, he boldly trod the path of death. 
 
 Tangaroa-of-the-tattooed-face, seeing Maui advancing, raised 
 
 his right ha?id to kill him — that hand which as yet had never failed 
 
 to destroy its victim. But Maui, nothing daunted, lifted Ms right 
 
 hand. At this Tangaroa, not liking the aspect of Maui, raised 
 
 his right foot, for the purpose of kicking to death the luckless 
 
 intruder. But Maui was prepared to do the same to the lord 
 
 of fire with his right foot. Astounded at this piece of audacity, 
 
 Tangaroa demanded his name. The visitor replied, " I am Maui 
 
 the Younger." The god now knew it to be his own grandson. 
 
 " What did you come for ? " "To get fire," was the response of 
 
 Maui. Tangaroa-of-the-tattooed-face gave him a lighted stick, 
 
 and sent him away. Maui walked to a short distance, and finding 
 
 some water, like that dividing the two islets collectively called 
 
 Manihiki, extinguished the lighted stick. Three times this process 
 
 was repeated. The fourth time all the firebrands were gone, and 
 
 Tangaroa had to fetch two dry sticks to rub together, in order to 
 
 produce fire. Maui held the under one for his grandfather ; but 
 
 just as the fine dust in the groove was igniting, the impudent 
 
 Maui blew it all away. Tangaroa, justly irritated at this, drove 
 
 Maui away, and summoned a " kakaia," or tern, to come to 
 
 his assistance to hold down the lower piece of wood, whilst 
 
 Tangaroa diligently worked again with the other stick. At 
 
 last, to the infinite joy of Maui, fire was obtained. It was no 
 
 longer a mystery. Maui suddenly snatched the upper stick, one 
 
 end of which was burning, out of the hand of Tangaroa. The 
 
 patient bird of white plumage still firmly clutched Avith her claws 
 
 the under fire-stick, when Maui purposely burnt either side of the 
 
68 Myths mid Songs. 
 
 eye of the bird. The indignant tern, smarting at this ill-requital, 
 fled away for ever. Hence the black marks, resembling a pair 
 of eyebrows, on either side of the eye of this beautiful bird to 
 this day. Tangaroa reproached his grandson with having thus 
 wantonly deprived him of the valuable services of his favourite 
 bird. Maui deceitfully said, " Your bird will come back." 
 
 Maui next proposed to Tangaroa that they should both fly up 
 to day-light through the hole by which the bird had escaped. 
 The god inquired how this could be accomplished. Maui at once 
 volunteered to show the way, and actually flew to a considerable 
 height like a bird. Tangaroa-of-the-tattooed-face was greatly 
 delighted. Maui came down to the ground, and urged his grand- 
 father to imitate his example. '' Nothing," said Maui, " is easier 
 than to fly." At his grandson's suggestion, Tangaroa put on 
 his glorious girdle, by mortals called the rainbow, and, to his 
 immense delight, succeeded in rising above the loftiest cocoa-nut 
 tree. The crafty Maui took care to fly lower than Tangaroa, and 
 getting hold of one end of the old man's girdle, he gave it a smart 
 pull, which brought down poor Tangaroa from his giddy elevation. 
 The fall killed Great Tangaroa. 
 
 Pleased with his achievement in getting the secret of fire from 
 his grandfather and then killing him, he returned to his parents, 
 who had both descended to nether-land. Maui told them he 
 had got the secret of fire, but withheld the important circum- 
 stance that he had killed Tangaroa. His parents expressed their 
 joy at his success, and intimated their wish to go and pay their 
 respects to the Supreme Tangaroa. Maui objected to their going 
 at once. " Go," said he, " on the third day. I wish to go myself 
 to-moiTow." The parents of Maui acquiesced in this arrangement. 
 Accordingly, on the next day Maui went to the abode of Tangaroa, 
 
The Exploits of Maui. 69 
 
 and found the body entirely decomposed. He carefully collected 
 the bones, put them inside a cocoa-nut shell, carefully closed 
 the tiny aperture, and finally gave them a thorough shaking. 
 Upon opening the cocoa-nut shell, he found his grandfather to be 
 alive again. Liberating the divinity from his degrading imprison- 
 ment, he carefully washed him, anointed him with sweet-scented 
 oil, fed him, and then left him to recover strength in his own 
 dwelling. 
 
 Maui now returned to his parents Manuahifare and Tongoifare, 
 and found them very urgent to see Tangaroa. Again Maui said, 
 "Wait till to-morrow." The fact was, he greatly feared their 
 displeasure, and had secretly resolved to make his way back to 
 the upper world he had formerly inhabited whilst his parents were 
 on their visit to Tangaroa. 
 
 Upon visiting the god on the morning of the third day, 
 Manuahifare and Tongoifare were greatly shocked to find that 
 he had entirely lost his old proud bearing, and that on his face 
 were the marks of severe treatment. Manuahifare asked his 
 father Tangaroa the cause of this. " Oh," said the god, " your 
 terrible boy has been here ill-treating me. He killed me; then 
 collected my bones, and rattled them about in an empty cocoa-nut 
 shell ; he then finally made me live again, scarred and enfeebled, 
 as you see. Alas ! that fierce son of yours." 
 
 The parents of Maui wept at this, and forthwith came back to 
 the old place in Avaiki in quest of their son, intending to scold 
 him well. But he had made his escape to the upper world, where 
 he found his two brothers and his sister Inaika in mourning 
 for him whom they never expected to see again. 
 
 Maui the Third told them that he had made a grand discovery 
 — he had obtained the secret of fire. He had found a new land. 
 
Jo Myths and Soitgs. 
 
 "Where is it situated?" inquired they. "Down t/we" said 
 Maui the Younger. " Do^vn 7<://^<fr<? .?" they demanded. "Down 
 there,^^ again shouted Maui. The fact was, they were not aware of 
 the secret opening in their house leading to Avaiki. At the 
 earnest soHcitation of Maui, they all consented to follow him. 
 Accordingly, he went to the old post of their dwelling, and said 
 as before : — 
 
 O pillar ! open, open up, 
 That we all may enter and descend to nether-world. 
 
 At these words the wonderful pillar at once opened, and all four 
 descended. Maui showed them all the wonders of spirit-world, 
 and when at length their curiosity was perfectly satisfied, he con- 
 ducted them back to the upper world of light, to which they 
 all properly belonged. 
 
 MAUI ENSLAVING THE SUN. 
 
 Food was now cooked by the inhabitants of this upper world, 
 whereas formerly it was eaten raw. But the Sun-god Ra used to 
 set in mad haste, ere the family oven could be properly cooked. 
 Maui considered how he could remedy this great evil. A strong 
 rope of cocoa-nut fibre was made and laid round the aperture by 
 which the Sun-god climbed up from x\vaiki (nether-world). But 
 it was in vain. Still stronger ropes were made; but all to no 
 purpose. Maui fortunately bethought himself of his beloved 
 sister's hair, which was remarkably long and beautiful. He cut off 
 some of Inaika's locks and plaited it into rope, placed it round 
 the aperture, and then hid himself The moment the Sun-god Ra 
 emerged from spirit-world in the east, Maui quickly pulled one 
 end of the cord and caught him round the throat with the slip- 
 
The Exploits of Maui. 71 
 
 knot. The hitherto unmanageable monster bellowed and writhed 
 in his vain efforts to extricate himself. Almost at the last gasp, 
 he begged Maui to release him on any terms he pleased. The 
 victorious Maui said that if he would pledge himself to go on his 
 course at a more reasonable rate, he should be released. The 
 promise was readily given by the trembling captive, and hence it 
 is that ever since the inhabitants of this upper world have enjoyed 
 sufficient sunlight to complete the duties of the day. 
 
 THE SKY RAISED. 
 
 Originally the heavens almost touched the earth. Maui 
 resolved to elevate the sky, and fortunately succeeded in obtaining 
 the assistance of Ru. Maui stationed himself at the north, whilst 
 Ru took up his position in the south. 
 
 Prostrate on the ground, at a given signal they succeeded in 
 raising a little ivith their backs the solid blue mass. Now pausing 
 awhile on their knees, they gave it a second lift. Maui and Ru 
 were now able to stand upright ; with their shoidders they raised 
 the sky higher still. The palms of their hands, and then the tips 
 of their fingers, enabled these brave fellows to elevate it higher 
 and higher. Finally, drawing themselves out to gigantic propor- 
 tions, they pushed the entire heavens up to the very lofty position 
 which they have ever since occupied. 
 
 But the work was not complete, for the surface of the sky was 
 very irregular. Maui and Ru got a large stone adze apiece, and 
 therewith chipped oif the roughest parts of the sky, thus giving it 
 a perfectly oval appearance. They now procured superior adzes, 
 in order to finish off the work so auspiciously commenced. Maui 
 and Ru did not cease to chip, chip, chip at the blue vault, until 
 it became faultlessly smooth and beautiful, as we see it now I 
 
72 Myths and Songs. 
 
 MAUI'S LAST AND GREATEST ACHIEVEMENT. 
 
 A native of Rarotonga, named Iku, was a noted fisherman. He 
 was accustomed to go out to sea a great distance, and yet safely 
 find his way back with abundance of fish. The obvious reason of 
 this was that Iku knew the names and movements of the stars ; 
 and by them he steered his course at night. 
 
 Upon one occasion this Rarotongan fisherman, at a great 
 distance from his home, discovered a vast block of stone at the 
 bottom of the ocean. This was the island of Manihiki. Iku 
 made sail for Rarotonga to tell what he had seen. 
 
 The three brothers Maui heard Iku tell his story of this sub- 
 marine island, and determined to get possession of it for them- 
 selves. Accordingly, without giving the discoverer the slightest 
 hint of their intentions, they sailed in a large canoe to the north 
 (a distance of 600 miles) in quest of the sunken island. Many 
 days passed in weary search, ere they were rewarded with a sight 
 of the great block of coral at the bottom of the sea. 
 
 Maui the Elder now baited his large hook with a piece of raw 
 fish, and let it down. The bait took; and Maui the Elder pulled 
 hard at the line. As the fish drew near the surface, he asked his 
 brother whether it was a shark or a kakai. They pronounced it to 
 be a kakai. 
 
 Maui the Second next baited his hook, and like his brother 
 caught only a kakai. 
 
 It was now Maui the Younger's turn to try his luck. He 
 selected as bait the young bud ' of the cocoa-nut, which he had 
 brought with him for the purpose. This he wrapped up in a leaf 
 
 ^ The size of a filbert. 
 
The Exploits of Maui. 73 
 
 of the laurel tree. A very strong line was attached to the hook, 
 and then let down. Maui soon found that he had got hold of 
 something very heavy, and he in his turn asked his brothers what 
 sort of fish was on his hook. They sapiently assured him that " it 
 was either a shark or a kakai." 
 
 Maui found his prize to be intolerably heavy, so he put forth 
 all his hidden strength, and up came the entire island of Manihiki ! 
 As the island neared the surface, the canoe in which the three 
 brothers were, broke in two with the mighty straining of Maui the 
 Younger. His two brothers were precipitated into the ocean and 
 drowned. Luckily for Maui the Younger, one of his feet rested on 
 the solid coral of the ascending island. At length Manihiki rose 
 high and dry above the breakers, drawn up from the ocean depths 
 by the exertions of the now solitary Maui. 
 
 Maui surveyed his island possession with great satisfaction, for 
 this he regarded as his crowning achievement. There was, how- 
 ever, one serious defect, — there was no canoe passage. Maui at 
 once set to work upon a part of the reef, and made the excellent 
 opening for canoes which distinguishes Manihiki above many other 
 islands. 
 
 Not long afterwards Iku came back to his favourite fishing- 
 ground. Great was his surprise and indignation to find Manihiki 
 raised up from the ocean depths by the efforts of Maui, and 
 already inhabited by him. Iku resolved to slay Maui for doing 
 this. He got ashore at the passage which his adversary had so 
 conveniently made, and fought with Maui. In this fight Maui 
 retreated to a certain spot, stamped his foot with great violence, 
 and so broke off a part of what now constitutes one extremity of 
 the sister islet of Rakaanga. 
 
 Iku feared not this exhibition of the prowess of Maui, and 
 
74 Myths and Songs. 
 
 again pursued him with intent to kill him. Maui now ran to the 
 opposite side of Manihiki, and again violently stamped the earth 
 with his foot ; and thus it was that the originally large island of 
 Manihiki was cleft into two equal parts, one of which retains the 
 ancient designation Manihiki, the other is called Rakaanga. A 
 wide ocean channel (of twenty-five miles) separates these twin 
 coral islands. Finally, Maui ascended up into the heavens and 
 was seen no more. 
 
 On the island of Rakaanga visitors are shown a hollow in 
 a rock near the sea, closely resembling a hliman foot-print of the 
 ordinary size. This is called '■'■ the foot-print of Maui ^^'' — where his 
 right foot rested when the canoe parted, and he had almost sunk 
 in the ocean. Close by is a hole in the coral, said to be the place 
 where Maui's fish-hook held fast when he pulled up the island 
 from the bottom of the ocean. It is asserted that Maui carried 
 with him to the skies the great fish-hook employed by him on that 
 occasion. The tail of the constellation " Scorpio " is to this day 
 called by the natives of Manihiki and Rakaanga " the fish-hook of 
 MduiP 
 
 Iku lived alone on Manihiki for a time. One day he saw 
 a cocoa-nut floating on the surface of the ocean. He brought it 
 ashore, and then planted it. Thus grew the first cocoa-nut tree on 
 Manihiki. 
 
 Iku returned to Rarotonga to fetch his sister Tapairu and her 
 husband Toa. All three safely reached Manihiki and settled 
 down in their new-found home. Five daughters were born to 
 Toa ; but no son was given to him until he married his youngest 
 daughter. From Toa and Tapairu, a single family, all the present 
 inhabitants of Manihiki and Rakaanga are descended. In after 
 
The Exploits of Maui. 75 
 
 times Mahuta and his clan migrated to Penrhyns ; thus the 
 Penrhyn Islanders, the natives of Manihiki and Rakaanga, are all 
 descended from the Rarotongan Toa and his wife Tapairu. 
 
 Such is " the wisdom of Manihiki." Few myths are so com- 
 plete, and few islanders have been so free from foreign admixture 
 as the natives of Manihiki and Rakaanga. They wonderfully 
 resemble each other ; so that to have seen one Manihikian is to 
 have seen all. 
 
 A close parallel runs between their version of the exploits of 
 of Maui and that which obtains elsewhere. Some particulars 
 are wholly dissimilar ; for instance, I can find no account of 
 "the bones of Ru." 
 
 Mangaian tradition represents Maui as being driven away by 
 Rangi to Rarotonga, for setting the island on fire. The " wisdom 
 of Manihiki " represents Maui as living at Rarotonga, and starting 
 thence on his wonderful voyage in search of Manihiki. 
 
 The tail of " Scorpio " is on Mangaia known as " the great fish- 
 hook of ToJtgareva,^^ i.e. Penrhyns. The myth respecting it is 
 similar to the preceding, but refers to Tongareva, or Penrhyns, 
 not to Manihiki. Vatea takes the place of Maui. 
 
 The story of Toa and Tapairu is simple history, well known at 
 Rarotonga. That Mahuta, accompanied by his wife Tavai, 
 emigrated to the hitherto uninhabited island of Penrhyns is 
 undoubted truth. A second canoe, piloted by the son of the 
 renowned Mahuta, followed and succeeded in making that exten- 
 sive but most barren of islands, Tongareva. 
 
 In July, 187 1, I visited Rakaanga. We rowed in a flat- 
 
76 Myths and So7igs. 
 
 bottomed boat without a keel, built of cocoa-nut timber neatly 
 seiun together with cinet. Yet these adventurous islanders think 
 nothing of traversing the twenty-five miles of ocean between 
 Rakaanga and Manihiki in such frail barks. 
 
 The king pointed out to us the foot-print of Maui, and the 
 rock in which his fish-hook caught. He next took us to the 
 uninhabited islet (where now they keep their pigs), to show us 
 the ancient road to spirit-land. We could perceive no hole or 
 special depression in the ground ; but were assured that, if we 
 dug deep enough, we should be sure to find it. 
 
 Maui once, standing upon this spot, overheard a confused 
 murmuring of voices beneath. In a low voice he inquired who 
 these imprisoned spirits were. Those underneath shouted out 
 their names in the form of a song, which our guide repeated. 
 Said he, " Our fathers assured us there they still are ; only earth 
 has been piled upon the aperture." These spirits are said to be 
 " like soldier crabs, boring down and hiding in the bowels of the 
 earth." 
 
( 77 ) 
 
 CHAPTER V. 
 
 TREE MYTHS. 
 
 THE MYTH OF THE COCOA-NUT TREE. 
 
 Ina-moe-aitu,' or Ina-who-had-a-divine-lover^ daughter of Kui-the- 
 Blind, once dwelt at Tamarua, under the frowning shadow of the 
 cave of Tautua, so Hke the entrance of a gigantic edifice. A 
 sluggish stream, abounding in eels, ran near her dwelling, and 
 finally disappeared beneath the rocks. At dawn and sunset Ina 
 loved to bathe near a clump of trees. On one occasion an enor- 
 mous eel crept up the stream from its natural hiding-place under 
 the rocks, and startled her by its touch. Again and again this 
 occurred; so that Ina became in a measure accustomed to its 
 presence. To her surprise one day, as she fixed her eyes upon 
 the eel, its form changed, and the fish assumed the appearance of 
 a handsome youth, who said to Ina, " I am Tuna (eel), the god 
 and protector of all fresh-water eels. Smitten by your beauty, 
 I left my gloomy home to win your love. Be mine." From that 
 day he became her attached admirer in his human form, always 
 resuming the eel shape upon his return to his proper haunts, so as 
 to elude notice. Some time after he took his farewell of the 
 
 ^ Aitu = god. 
 
yS Myths a7id Songs. 
 
 lovely Ina. " We must part," said Tuna ; " but, as a memorial of 
 our attachment, I will bestow on you a great boon. To-morrow 
 there will be a mighty rain, flooding the entire valley. Be not 
 afraid, as it will enable me to approach your house on yon rising 
 ground in my eel form. I will lay my head upon the wooden 
 threshold. At once cut it off, and bury it : be sure daily to visit 
 the spot to see what will come of it." 
 
 Ina saw no more of her handsome lover ; but was that night 
 roused from sleep by rain falling in torrents. Remembering 
 Tuna's words, she remained quietly in her dwelling until daylight, 
 when she found that the water, streaming down from the hills, 
 had covered the taro -patches, and had risen close to the entrance 
 to her hut. At this moment a great eel approached her, and laid 
 its head upon her threshold. Ina ran to fetch her axe, and forth- 
 with chopped off the head, and buried it at the back of her hut on 
 the hill-side. The rain ceased, and in the course of a day or two 
 the waters were drained off by the natural passage under the rocks 
 — the true home of Tuna. 
 
 According to her promise to her lover, Ina daily visited the 
 spot where the enormous eel's head was buried ; but for many days 
 saw nothing worthy of notice. At last she was delighted to find a 
 stout green shoot piercing the soil. Next day the shoot had 
 divided into two. The twin shoots, thus gradually unfolding 
 themselves, were very different from other plants. They grew to 
 maturity, and sent forth great leaves, exciting the wonder of all. 
 After the lapse of years flowers and fruit appeared. Of these 
 twin cocoa-nut trees, sprung from the two halves of Tuna's brains, 
 one was red in stem, branches, and fruit; whilst the other was of 
 a deep green. And thus came into existence the two principal 
 varieties of the cocoa-nut ; the red being sacred to Tangaroa, and 
 
Tree Myths. 79 
 
 the green to Rongo. In proof of its being derived from the head 
 of Tuna, when husked on each nut is invariably found the two 
 eyes and mouth of the lover of Ina. 
 
 The white kernel of the cocoa-nut is commonly called " te 
 roro o Tuna," or the brains of Tuna. In heathenism it was 
 unlawful for women to eat eels; and to this day they mostly turn 
 away from this fish with the utmost disgust. 
 
 The extremity of a great cocoa-nut leaf, termed the " iku 
 kikau," and comprising ten or twelve lesser leaves, when cut oif 
 and neatly bound with a bit of yellow cinet by " the priest of all 
 food," constituted the fisherman's god. Without this Mokoiro, 
 as the divinity was called, no canoe would venture over the reef to 
 fish. 
 
 The same device was used in inviting great chiefs to a feast ; 
 the sacred cinet, however, being omitted. 
 
 The principal taro patch in each district was analogically 
 designated the " iku kikau," as its possession indicated chieftain- 
 ship. 
 
 All " raui," or taboo restrictions, were and are still made by 
 means of an entire cocoa-nut leaf plaited after a certain ancient 
 pattern. 
 
 The preceding myth is evidently designed for the glorification 
 of the Amama, or priestly tribe, who were worshijDpers of 
 Tiaio under the double form of shark and eel. In the year 
 1855, at the very place indicated in this story, an enormous eel, 
 measuring seven feet in length, was caught by daylight in a strong 
 fish-net. In heathenism this would have been regarded as a visit 
 of Tiaio, and the dainty morsel allowed to return under the 
 
8o Myths and Songs. 
 
 rocks unmolested. As it was, it furnished several families with a 
 good supper. 
 
 In a figurative sense, Kongo's cocoa-nuts are htwian heads. 
 Hence the common phrase respecting the beginning of war, 
 " Kua va'i i te akari a Kongo " = the cocoa-nuts of Rongo have 
 been split open; in other words, men have been clubbed. 
 
 The mass of the people, chiefs included, never struck off the 
 top of a cocoa-nut in order to drink; but were content to suck 
 the refreshing liquid through the hole which nature provides. The 
 cocoa-nuts of the priests were invariably struck off (tipi take) 
 when drunk by them, symbolical of the fact that with them lay the 
 power of life and death. Chiefs and warriors were merely instru- 
 ments of their vengeance. 
 
 TAHITIAN MYTH OF THE COCOA-NUT TREE. 
 
 A king named Tai (sea) had a wife named Uta (shore) who 
 was anxious to visit her relatives. But Tai did not like her to go 
 without a present. He therefore inquired of the oracle what 
 would be most suitable. The god directed him to send his wife to 
 the stream to watch for an eel ; that she should cut off the head of 
 the first that presented itself, and deposit it in a calabash and 
 carefully plug up the aperture. The eel was then to be thrown 
 back into the water, and the calabash carried to the husband. 
 
 Upon Uta's return from the stream, the king inquired whether 
 she had been successful. The wife joyfully said yes, and laid the 
 well-plugged calabash at his feet. Tai now advised her to start on 
 her intended journey, and present the precious calabash to her 
 parents and brothers, "for there is a wondrous virtue in it." He 
 
Tree Myths. 8i 
 
 told her that it would grow into a cocoa-nut tree, and would bear 
 delicious fruit never before seen. He enjoined her on no account 
 to turn aside from the path, nor to bathe in any tempting fountain, 
 not to sit down, nor to sleep on the road, and above all not to put 
 down the calabash. 
 
 Uta gladly started on her journey. For a while all went well ; 
 but, at length, the sun being high in the heavens, she became very 
 hot and weary. Perceiving a crystal stream, she forgot her 
 promise to her husband, put down the calabash, and leapt into the 
 inviting waters. After luxuriating for some time in this manner, 
 she cast a glance at the calabash ; but, lo ! it had sprouted — the 
 eel's head had become a young tree with strange leaves ! Grieved 
 at her own folly, she ran to the bank and strove with all her might 
 to pull it up j but could not, for its roots had struck deep. 
 
 Uta wept long and bitterly. Perplexed now what to do, with 
 joy she perceived a little messenger-bird from her husband direct- 
 ing her to return. She went back to the king with shame and 
 fear, and related to him all that had befallen her. Tai sadly said 
 to her, " Go back to the place where thou didst see the eel whose 
 head was cut off and deposited in the calabash. Seek for the 
 living, wriggling tail. When found, get a stick and kill it : then 
 come back and tell me." 
 
 Uta did as she was desired ; but as soon as she entered their 
 dwelling her husband expired in expiation of her sin. 
 
 THE IRON-WOOD TREE. 
 
 The iron-wood tree {casiiarina) was originally introduced by the 
 Tongans, and planted in a deep sequestered valley at Tamarua, 
 named Angaruaau. In the course of years it attained to a great 
 size, and the fame of this graceful and stately exotic spread over 
 
82 Myths and Songs. 
 
 the island. Oarangi and his four friends, hearing of its various 
 uses in other lands, resolved to appropriate it to themselves, and 
 thus to gain a superiority over the rest of their countrymen. In a 
 secret conference about the matter, some advised Oarangi to have 
 nothing to do with the tree, as it was an impersonation of an evil 
 spirit named Vaotere. Oarangi, however, resolved that the famous 
 tree should come down, in order to furnish him new and better 
 weapons of war. 
 
 Thief-like, they started by night on their ill-starred expedition, 
 each provided with a sharp stone axe and a candle-nut torch. 
 Arrived at the hill-side, they easily found the tree, so utterly unlike 
 all others, in its long slender branches and wiry leaves, and 
 towering above all its companions. It had four gigantic roots, 
 gnarled and twisted in fantastic shapes. The torches were placed 
 on the ground around the tree, making the night light as day. 
 The four woodmen zealously set to work upon the four great roots, 
 whilst Oarangi sat at a little distance to watch their progress. 
 From time to time they changed all round, as some made cleaner 
 and deeper cuts than others. But curiously enough, when each 
 returned to the root which had nearly been severed, he found it 
 restored to its original condition, as if no axe had ever touched it. 
 The astonished men desisted awhile to consult with Oarangi, who, 
 resolved to attain his object, advised that each should keep to his 
 own root until entirely severed. Again they plied their axes, 
 and carrying out the advice of Oarangi, they eventually suc- 
 ceeded in their endeavours. At dawn the tree fell to the ground, 
 with a tremendous crash. By full daylight the top had been 
 lopped off, and the ponderous trunk lay on the soil. They had 
 triumphed. They resolved now to return home to rest ; to-morrow 
 they would come back to finish their task. 
 
Tree Myths. 83 
 
 At this moment the four men were taken ill, and began to 
 vomit blood — the redness of the blood answering to the redness 
 of the inner bark of the iron-wood tree which had been so injured 
 by them. They staggered to the stream which winds through the 
 valley, and sought relief in its waters, but kept on vomiting until 
 two of their number died, and their unburied bodies were left in 
 the tall fern. 
 
 Oarangi and the two surviving woodmen went off with heavy 
 hearts. Upon reaching the crest of the hill overlooking the scene 
 of their midnight toil, to their utter astonishment they saw that the 
 great tree they had so recently felled was growing as stately as 
 ever. They retraced their steps, in order carefully to note this 
 wonderful phenomenon. There was no mark whatever of an axe 
 on the resuscitated tree ; even the chips all around had dis- 
 appeared. The tree was restored to its former condition, with 
 this difference, however — the trunk, branches, and leaves were 
 now all of the brightest red : as if resenting the treatment it had 
 received, it bled at every pore. 
 
 They slowly wended their way homewards, but ere long the 
 two surviving woodmen fell dead in the road. Oarangi, greatly 
 annoyed at his failure, resolved that his next attempt should be 
 made by daylight, in the hope of better success. With a number 
 of friends he returned one day to the valley in quest of this tree. 
 Upon arriving at the summit of the hill, where the tree could first 
 be seen, their eyes became totally blinded. With difficulty they 
 descended to the bottom of the valley, and wearied themselves in 
 searching for the tree. But after wandering about all day in its 
 immediate neighbourhood, they groped their way homewards at 
 nightfall without having found it at all. 
 
 Oarangi had done his utmost, but had been foiled by the 
 
84 Myths and Songs. 
 
 malicious demon of the iron-wood tree, and soon after died. But 
 was there no one who could overcome Vaotere, and render the 
 wood of the tree useful to mankind ? Ono came from the land 
 whence this tree was originally derived, and had in his possession 
 a remarkable iron-wood spade, named Rua-i-paku = thc-hole- 
 where-ii-miist-fall^ given to him by his father Ruatea, ere he set 
 out on his voyagings, for any dangerous emergency. This talisman 
 was very valuable as a club. Armed with Rua-i-paku, he resolved 
 to do battle with the demon Vaotere. Upon reaching the shady 
 valley of Angaruaau, he carefully surveyed the coveted tree, and 
 began his operations by digging up the earth about the roots, 
 being careful, however, to avoid injuring any of the main ones. 
 Day after day, entirely unassisted, the brave Ono persevered in 
 his arduous task in pursuing the roots in all their deviations over 
 the valley and hill-side. Upon their becoming small and unim- 
 portant, although exceedingly numerous, he fearlessly chopped 
 them with his famous spade. The chips flew in all directions, 
 over hill and vale, under his mighty blows. After many days' toil 
 all the surface roots were bared and severed at their extremities, 
 so that the tree began to totter. The tap-root alone remained. 
 Ono dug to a great depth into the red soil, and then, at a blow, 
 divided it. At this critical moment, the head and horrid visage 
 of the evil spirit Vaotere became visible, distorted with rage at 
 being again disturbed. His open jaws, filled with terrible teeth, 
 prepared to make an end of the impious Ono, who, perceiving 
 his danger, with one well-directed blow of his spade-club luckily 
 succeeded in splitting the skull of Vaotere. 
 
 The victorious Ono now leisurely removed the four great 
 gnarled roots which were, in sooth, the arms of the fierce Vaotere, 
 and afterwards divided the enormous trunk — the bleeding body 
 
Tree Myths. 85 
 
 of the demon — into three unequal portions : one to furnish a 
 quantity of long spears, another to be split into arad^ or " skull- 
 cleavers;" the third to furnish aro^ or wooden swords. All this 
 was accomplished by the versatile qualities of Rua-i-paku, which 
 was used first as a spade, then as a club, and now as an axe. 
 
 The thousand chips from the small roots of this wonderful tree 
 falling everywhere over hill and valley and sea-shore, originated 
 the iron- wood trees now covering the island : but, happily, Vaotere 
 can no more injure mankind. 
 
 Until a few years ago this was believed to be the true origin 
 of all the iron-wood on the island. It is not surprising that the 
 heavy wood which in past times furnished all the deadly imple- 
 ments of war, should have been regarded as the embodiment of 
 an evil spirit. The possession of land and the slaughter of men 
 were alike the result of the use of this famous tree. " Toa " 
 signifies indifferently " iron-wood," and. what most resembles it, a 
 " warrior." 
 
 A series of songs on the exploits of Ono once existed. They 
 are believed to have been several hundreds of years old. Such 
 compositions are called "pee manuiri," i.e. "songs relating to 
 visitors." They are known to be the oldest extant. 
 
 The following fragment relates to the preceding myth : — 
 ONO FELLS A FAMOUS TREE. 
 
 TUMU. INTRODUCTION. 
 
 Kotia rai te toa i Vaotere The iron-wood tree of Vaotere is 
 
 felled : 
 Kua aka-inga. It lies low on the earth. 
 
 Tu e tauri te rakau e ! Once it stood erect ; now it is pros- 
 
 trate. 
 
86 
 
 Myths and Songs. 
 
 PAPA. 
 Uriuri ana rai 
 Kua kotia ia rakau 
 Uriuria o te vao 
 
 Tu e tauri te rakau e ! 
 
 FOUNDATION, 
 
 Turn the log over and over, 
 
 The tree thus laid low. 
 
 Formerly it was the glory of the 
 valley, 
 
 Once it stood erect ; now it is pros- 
 trate. 
 
 WANDERINGS OF ONO. 
 
 TUMU. 
 
 Rupitia ra Ono e te matangi, 
 
 Tau akera i tai motu. 
 
 O te rorongo i kauvare a Iva e ! 
 
 PAPA. 
 
 Kua nui ua rai ; 
 Kua tokarekare rire. 
 Ka ara Ono iaku nei 
 Kauvare a Iva e ! 
 
 UNUUNU TAI. 
 
 Ka ara ra koe ra iaku nei e ! 
 
 Iaku nei e ! 
 E enua tauria e te manu 
 Kua kai ana i Ono e, 
 O te ua o te pitai 
 Kura ra i motu e ! 
 Kauvare a Iva e ! 
 
 PAPA RUA. 
 
 E ua te matangi 
 E te matangi tere ariki 
 Kauvare a Iva e ! 
 
 INTRODUCTION. 
 
 Ono tossed about by a tempest. 
 Eventually reached this isle. 
 Alas for the haunts of loved Iva ! 
 
 FOUNDATION. 
 
 How terrific the ocean ! 
 The waves covered with foam ! 
 A punishment for the sins" of Ono. 
 Ne'er more will Iva be seen ! 
 
 FIRST OFFSHOOT. 
 
 How great must be thy sins 
 
 Against the gods ! 
 This isle is but the home of birds. 
 Ono is driven to satisfy hunger. 
 With wild fruits and berries 
 Growing, ruddy, over this isle. 
 Ne'er more will Iva be seen ! 
 
 SECOND FOUNDATION. 
 
 Through rain and fierce winds, 
 On a peaceful errand we sail. 
 Ne'er more will Iva be seen ! 
 
 UNUUNU RUA. 
 
 Tei te matangi tere ariki e, 
 Nai ariki no Ono e, 
 Ka araara i Iva nui 
 E taia e Murake. 
 
 SECOND OFFSHOOT. 
 
 On a peaceful errand we come, 
 Ono, denied his regal honours. 
 Still longs for Iva the Great. 
 Alas for those slain by Murake ! 
 
Tree Myths. '^'] 
 
 Ka eva ra Ono-kura Ono the Handsome chants mournful 
 
 songs 
 I te puka maru. Under the shade of the laurel trees. 
 
 Kauvare a Iva e ! Ne'er more will Iva be seen ! 
 
 This song is complete in itself, and is an introduction to the 
 narrative of his exploits and sorrows. The style is very unlike 
 that of later times, when the art of song-making became a national 
 passion. There is no reference to the known history of Mangara. 
 The '' Iva " referred to is believed to be NukuhzV^. 
 
 It was under the rule of the Mautara tribe that the poetical 
 faculty of these islanders was most highly cultivated ; i.e. during 
 the past 150 years of their history. 
 
88 Myths and Songs. 
 
 CHAPTER VI. 
 INA, THE FAIRY VOYAGER. 
 
 INA'S VOYAGE TO THE SACRED ISLE. 
 
 The only daughter of Vaitooringa and Ngaetua was Ina, whose 
 brothers were Tangikuku and Rupe. The parents of Ina were the 
 wealthiest people in the land of Nukutere, boasting as they did of 
 a rich breast ornament, abundance of finely braided hair, beautiful 
 white shells worn on the arms, and — more precious than all these 
 — a gorgeous head-dress, ornamented with scarlet and black 
 feathers, with a frontlet of berries of the brightest red. 
 
 Early one morning the parents for the first time left their home 
 in the care of Ina ; the mother charging her to put these treasures 
 out to air ; but should the sun be clouded, be sure to take them 
 back into the house. For Ngaetua knew well that in the bright 
 beams of the sun the arch-thief Ngana would not dare to come ; 
 but if exposed on a lowering, cloudy day, the envious foe would 
 not fail to try his luck. 
 
 In a short time the sun shone brightly ; not a cloud could any- 
 where be seen. The obedient Ina carefully spread out these 
 treasures on a piece of purest white native cloth. But the arch-foe 
 
Ina, the Fairy Voyager, 89 
 
 Ngana was on the watch. Very cautiously did he approach 
 through the neighbouring bushes in order to get a good sight of 
 these much-coveted articles. He forthwith used an incantation, 
 so that the sun suddenly became obscured. Ngana now fearlessly 
 emerged from the thicket and endeavoured to grab the long- 
 wished-for ornaments. But Ina was too quick in her movements 
 to permit this. Ngana now with affected humility begged per- 
 mission to admire and try on the various ornaments, for her to see 
 how he would look in them. Ina was very loth, but after great 
 persuasion, consented that Ngana should put them on inside the 
 house. To prevent the possibility of his taking away any of these 
 treasures, she closed the doors. The crafty Ngana now arrayed 
 himself in these gorgeous adornments, excepting the head-dress, 
 which Ina still held in her hand. Ngana, by his soft words, at 
 length induced her to give that up too. Thus completely arrayed 
 he began to dance with delight, and contrived to make the entire 
 circuit of the house, careering round and round in hope of 
 seeing some loophole through which he might escape with his 
 spoil. At last he espied a little hole at the gable end, a few 
 inches wide, through which, at a single bound, he took his flight, 
 and for ever disappeared with the treasures. Ina at first had 
 been delighted with the dancing of her visitor ; but was in utter 
 despair as she witnessed his flight, and heard the parting words : — 
 
 Tamu tamu tai tara Beware of listening to vain words, 
 
 E Ina e tou reka. O Ina, the fair and well-meaning ! 
 
 Not long afterwards the parents of Ina came back in great 
 haste, for they had seen the arch-thief passing swiftly and proudly 
 through the sky, magnificently attired. A fear crept over them 
 that all was not right with their own treasures. They asked the 
 
90 Myths and Songs. 
 
 weeping girl the cause of her tears. She said, " Your choicest 
 possessions are gone." " But is there nothing left ? " demanded 
 the parents. " Nothing whatever," said the still weeping Ina. 
 The enraged mother now broke off a green cocoa-nut tree branch 
 and broke it to pieces on the back of the unfortunate girl. Again 
 and again Ngaetua fetched new cocoa-nut branches and cruelly 
 beat Ina. The father now took his turn in belabouring the girl, 
 until a divine spirit (" manu ") entered and took possession of Ina, 
 and in a strange voice ominously said — 
 
 E kiri taputapu tana kiri ; Most sacred is my person ; 
 
 E kiri akaereere taua kiri ; Untouched has been my person ; 
 
 E kave au i Motu-tapu I will go to the Sacred Isle, 
 
 Na Tinirau e ta ta i taua kiri. That Tinirau alone may strike it. 
 
 The astonished father desisted : her younger brother Rupe 
 cried over his beloved sister. After a while Ina got up, as if 
 merely to saunter about ; but no sooner had she eluded the eyes 
 of her parents, than she ran as fast as her legs could carry her to 
 the sandy beach. When nearly there, she fell in with her elder 
 brother Tangikuku, who naturally asked her where she was going. 
 She gave an evasive answer; but fearing lest he should inform 
 her parents of her flight, she snatched his bamboo fishing-rod, 
 broke it in pieces with her foot, and selected one of the fragments 
 as a knife. ^ She now said to her brother, " Put out your tongue." 
 In an instant she cut off its tip. Tangikuku vainly essayed to 
 speak ; so that Ina was certain that he could not reveal the 
 secret of her sudden departure. She kissed her maimed brother 
 and pressed on to the shore, where she gazed long and wistfully 
 towards the setting sun, where the Sacred Isle is. Looking 
 about for some means of transit, she noticed at her feet a small 
 ^ The only knife known in these islands formerly, save red flint. 
 
hia, the Fairy Voyage7\ 91 
 
 fish named the avini. Knowing that all fishes are subjects to 
 the royal Tinirau, she thus addressed the little avini ^ that gazed 
 at the disconsolate girl : — 
 
 ]\Ianini tere uta koe i teia manini ? Ah, little fish ! art thou a j/z^r^- loving 
 
 avini ? 
 Manini tere tai koe i teia manini ? Ah, little fish! art thou an oceanAoy'vsx^ 
 
 avini ? 
 Oro niai takitakina atu au Come bear me on thy back 
 
 Ki taku tane ariki kia Tinirau, To my royal husband Tinirau, 
 
 Matoto atu au i reira. With him to live and die. 
 
 The little fish at once intimated its consent by touching her 
 feet Ina mounted on its narrow back ; but when only halfway 
 to the edge of the reef, unable any longer to bear so unaccustomed 
 a burden, it turned over, and Ina fell into the shallow water. 
 Angry at this wetting, she repeatedly struck the avini \ hence 
 the beautiful stripes on the sides of that fish to this day, called 
 " Ina's tattooing." 
 
 The disappointed girl returned to the sandy beach to seek 
 for some other means of transit to the Sacred Isle. A fish 
 named the paoro, larger than the avini, approached Ina. The 
 intended bride of the god Tinirau addressed this fish just as 
 she had the little avini ; and then, mounted on its back, started a 
 second time on her voyage. But like its predecessor, the paoro 
 was unable long to endure the burden, and dropping Ina in 
 shallow water sped on its way. Ina struck the paoro in her 
 anger, producing for the first time those ]3eautiful blue marks 
 which have ever since been the glory of this fish. 
 
 Ina next tried the api, which was originally white, but for 
 upsetting Ina at the outer edge of the reef was rendered intensely 
 black, to mark her disgust at her third wetting. 
 
 ^ " Manini " is an old form of "Avini." 
 
92 Myths and Songs, 
 
 She now tried the sole, and was successfully borne to the edge 
 of the breakers, where Ina experienced a fourth mishap. Wild 
 with rage, the girl stamped on the head of the unfortunate fish 
 with such energy that the underneath eye was removed to the 
 upper side. Hence it is that, unlike other fish, it is constrained 
 now to swim flatwise, one side of its face having no eye ! 
 
 At the margin of the ocean a shark came in sight. Addressing 
 the shark in words very like those formerly used, to her great 
 delight the huge fish came to her feet, and Ina mounted triumph- 
 antly on its broad back, carrying in her hand two cocoa-nuts to eat. 
 When halfway on the dangerous voyage to the Sacred Isle, Ina 
 felt very thirsty, and told the shark so. The obedient fish imme- 
 diately erected its (rara tua) dorsal fin, on which Ina pierced the 
 eye of one of her nuts. After a time she again became thirsty, 
 and again asked the shark for help. This time the shark lifted its 
 head, and Ina forthwith cracked the hard shell on its forehead. 
 The shark, smarting from the blow, dived into the depths of 
 the ocean, leaving the girl to float as best she could. From that 
 day there has been a marked protuberance on the forehead of all 
 sharks, called " Ina's bump." 
 
 The king of sharks, named Tekea the Great, now made his 
 appearance. Ina got on his wide back, and continued her voyage. 
 She soon espied what seemed to be eight canoes in a line rapidly 
 approaching her. When near they proved to be eight sharks 
 resolved to devour Ina. Ina in an agony cried to her guardian 
 shark, "O Tekea! O Tekea!" ''What is it? " inquired the 
 shark. " See the canoes ? " said the girl. " How many are they ? " 
 " Eight," replied Ina. Said her guardian shark, " Say to them, 
 ' Mangamangaia, mangamangaia aea koe e Tekea Nui ' = ' Get 
 away, or you will be torn to shreds by Tekea the Great.' " 
 
Ilia, the Fairy Voyager. 93 
 
 As soon as Ina had uttered these words the eight monstrous 
 sharks made off. DeHvered from this peril, Ina again went 
 on her long voyage to the Sacred Isle. But one more danger 
 threatened her : what seemed a fleet of ten canoes, but which 
 proved to be ten ground sharks, started off from the very shores 
 of the Sacred Isle to make an end of Ina. Again they were 
 driven away by the fear of the king of sharks. At length the 
 brave girl reached the long-sought-for Sacred Isle, and Tekea 
 the Great returned to his home in mid-ocean. 
 
 Upon going ashore, and cautiously surveying her new home, 
 she was astonished at the salt-water ponds, full of all sorts of fish, 
 everywhere to be seen. Entering the dwelling of Tinirau ( = In- 
 numerable), the lord of all fish, she found one noble fish-preserve 
 inside. But strangely enough the owner was nowhere visible. In 
 another part of the house she was pleased to find a great wooden 
 drum, and sticks for beating it by the side. Wishing to test 
 her skill, she gently beat the drum, when to her astonishment the 
 sweet notes filled the whole land, and even reached to Pa-enua-kore 
 (= No-land-at-all), where the god Tinirau was staying that day. 
 The king of all fish returned to his islet dwelling to discover who 
 was beating his great drum. Ina saw him approaching, and in 
 fear ran to hide herself behind a curtain. Tinirau entered and 
 found the dmm and sticks all right, but for a time could not 
 discover the fair drummer. He left the house, and was on his 
 way back to No-land-at-all, when the coy girl, unwilling to lose so 
 noble a husband, again beat the wonderful drum. Tinirau came 
 back and found the blushing girl, who became his cherished wife. 
 Ina now discovered that it was the might of Tinirau that inspired 
 her with a "manu," or strange spirit, and then provided for 
 her safety in voyaging to his home in the " sacred islet." 
 
94 Alyths ajid Songs. 
 
 In the course of time Ina gave birth to the famous Koromau- 
 ariki, commonly called Koro. Besides this boy she had a girl, 
 named Ature. 
 
 Her younger brother Rupe wished much to see his sister Ina, 
 who had long since disappeared. Rupe asked a pretty karau- 
 rau (a bird of the linnet species) kindly to convey him where 
 Ina lived. The bird consented, and Rupe, entering the linnet, 
 fled over the deep blue ocean, in search of the Sacred Isle, 
 where his beloved sister had her home. 
 
 It happened one morning that Ina noticed on a bush near her 
 dwelling a pretty linnet, just such a one as she used to see in her 
 old home. As she complacently gazed upon it, the bird changed 
 into a human form. It was Rupe himself! Great was Ina's 
 delight ; but after a brief stay Rupe insisted on going back to tell 
 his parents of the welfare of Ina. They were rejoiced to hear of 
 their daughter, for whom they had long grieved. A feast was 
 made, and the finest cloth prepared for Ina and her children. 
 Mother and son now entered two obliging linnets, and laden with 
 all these good things, flew ofl" over the ocean in search of Ina. 
 Arrived safely at the Sacred Isle, mother and daughter embraced 
 each other tenderly; the past was forgiven. Three whole days 
 were spent in festivities on account of Koro and Ature, the child- 
 ren of Ina. The visitors returned to their home over the sea, 
 and Ina was left happy with Tinirau the king of all fish. 
 
 " Sacred Isle " is an islet in the harbour at Ngatangiia, Raro- 
 tonga. " No-land-at-all " is the residence of the chieftainess Pa, 
 on the mainland. 
 
 This very popular legend seems designed to support shark- 
 
I7ia, the Fairy Voyager. 95 
 
 worship. It is expressly said to be an account of the origin of 
 tattoo, although another myth refers that to Kongo's ill-treatment 
 of his brother Tangaroa. It is, however, true that the tattooing 
 of this island was simply an imitation of the stripes on the 
 avini and the paoro. 
 
 "Tinirau" literally means ''forty miUions." Doubtless it 
 stands for " Inmunerable, " referring to the impossibility of count- 
 ing the small fish-spawn supposed to be under his special care 
 at the Sacred Isle. Tinirau was second son of Vari, The-very- 
 beginning. 
 
 This heroine is known as " Ina, daughter of Ngaetua," to dis- 
 tinguish her from the four Inas born of Kui-the-Blind. 
 
 SONG OF INA. 
 tuka's contribution to akatonu's fete, circa 18 14. 
 
 Call for the music and dance to begin. 
 
 E manini au na Ina e ! Here are we, Ina's little fish,» 
 
 A ta te reu o Tautiti On whom the tattoo was 'first per- 
 
 formed 
 E paoro ina i te apainga e ! As we bare her on her voyage. 
 
 Solo. 
 Taipo e ! Go on ! 
 
 Chorus. 
 Riunga atu na ia Tinirau On her way to Tinirau 
 
 Na Ina Tekea i ta e ! Ina invented tattooing. 
 
 ^ Literally, " Here are we, Ina's avini 2Si^ paoro, from which mortals— z>. 
 Mangaians — derive their tattooing.''^ 
 
 " Te tatau a Kongo,"— i.e. " the tattooing of Kongo," as opposed to that 
 oi Ina, — means the bloody marks inflicted by spears in war. 
 
96 
 
 Myths and Songs. 
 
 Manini tere uta ! 
 
 Eia Ina tata ia i te reu e, 
 Motu te tatau ra e ? 
 
 Takitaki atura na te manini ae ! 
 
 Takitaki atu na te manini 
 
 Anau tama it te akatapunga 
 Tautiti e Koro e ! 
 
 Solo. 
 
 Ah, thou shore-loving little fish ! 
 
 Chorus. 
 
 When did Ina imprint so distinctly 
 
 Those lines on thy body ? 
 
 Solo. 
 
 As I, a little fish, bare her on my 
 back. 
 
 Cho7'us. 
 
 Brave fish that bare her to her hus- 
 band. 
 So that she became the happy mother 
 Of the dance-lovins: Koi-o ! 
 
 FINAL STANZA OF THE DAY-SONG FOR TENIO'S 
 
 FETE. 
 
 BY KOROA, CIRCA 1814. 
 
 Ua pururu ua te etu 
 I maunga Opoa 
 
 Purui tataka i te ara 
 Era vaine taia e te matangi. 
 
 Tarotaro Ina i te pa ika, 
 Oro mai ana tatakina 'tu au, 
 
 E Tekea, i tau tane ariki 
 
 la Tinirau i te moana. 
 Vaia te upoko, tipitake te akari 
 
 I te pane o mango, 
 
 I te mimi o Ina ia takaviriviri, 
 la tae au i Motutapu. 
 Titi kaara na Ina. 
 
 Solo. 
 
 The stars have all set 
 
 Behind the western hills. 
 
 Choj'MS. 
 Like a tall solitary tree is the fairy 
 Who committed herself to the w^inds. 
 Ina invoked the aid of many fish 
 To bear her gaily on their backs ; — 
 The lordly shark to convey her safely 
 To the royal Tinirau o'er the sea. 
 Alas, the bruised head of the angry 
 
 monster, 
 Who hitherto had obeyed the trembling 
 
 maid, 
 Who opened a cocoa-nut 
 On her voyage to the Sacred Isle. 
 Softly she beats the drum. 
 
Ina, the Fairy Voyager. 
 
 97 
 
 Ua rongo Tinirau 
 Ua kanga Unga e oi ! 
 
 Tinirau is enchanted 
 
 By the music of the lovely one. 
 
 Ka uraura pia ; e ura te tere o Our sport is over : the visit of Tautiti is 
 
 Tautiti, ended, 
 
 E numi te tere o Avaiki ka aere ! The guests from spirit-world are gone ! 
 
 THE VOYAGE OF INA. 
 
 FOR A FEMALE REED-THROWING MATCH, CIRCA 1814. 
 
 BY KOROA. 
 
 Patutu i Tekea Nui 
 Ei tarotaro na Ina e ! 
 
 Tena Tane-ere-tue 
 Te apai atu na i te anau ika 
 I uta i te naupata kura 
 I Motutapu e ia Tinirau 
 
 Tinirau taua tane ! 
 
 Aore au e keu i to Iva tangata. 
 Ua ii i te kare i te matangi. 
 I te moana i Rangiriri — 
 I Rangiriri te aroaro ariki. 
 
 Aroaro ariki i kakea e ! 
 
 Oro mai tapoki ake au, 
 
 Te ani maira Ina Paenuakore ; 
 
 Pou enua tapu i taea mai nei. 
 
 Solo. 
 
 Tap gently the head of the shark king, 
 
 And invoke his aid, fair Ina. 
 
 Chorus. 
 
 Here comes Tane-the-fierce 
 Driving along shoals of young fish. 
 To cover the white sandy beach 
 Of the " sacred islet " of Tinirau. 
 
 Solo. 
 
 Yes, Tinirau, my future husband. 
 
 Choriis. 
 I will be no bride to the men of Iva. 
 My feet are wet with the ocean waves. 
 Foam-sprinkled I press on to Rangiriri,* 
 To Rangiriri, the home of my royal 
 husband. 
 
 Solo. 
 
 At the home of my husband I land. 
 
 Chorus. 
 
 Come, throw a garment o'er me. 
 Ina has reached No-land-at-all ; 
 A sacred spot attained by few. 
 
 ^ The name of a place at Rarotonga, near the Sacred Isle. 
 
98 Myths and Songs. 
 
 THE TAAIRANGI, OR PORPOISE. 
 
 Vatea, the elder brother of Tinirau, lived in The-thin-land, 
 and was lord of the ocean ; whilst Tinirau, whose home was the 
 Sacred Isle, was king of all fish — from the shark to the tiniest 
 minnow. The taairangi, or porpoise, was not counted with 
 other fish, as it is covered with pure fat or blubber. How came 
 this to be so ? Why, Vatea himself, half fish and half man, 
 imitating the conduct of their great mother Vari-ma-te-takere, i.e. 
 The-very-begmning, tore off a portion of his own person, and 
 made it into a porpoise. Thus the porpoise is of necessity unlike 
 all other fish. Whales were often seen but never tasted on Man- 
 gaia in heathenism. Had they been obtained, these islanders might 
 have learnt that other fish besides the " sky caught " are covered 
 with pure fat. 
 
 As the ocean was the undisputed property of Vatea, it soon 
 became alive with taairangi sporting about in it. Tinirau 
 became jealous of this magnificent ocean fish-pond, seeing that his 
 own subjects were in danger of dying in the too contracted, 
 though very numerous, fish-ponds of the Sacred Isle. So he 
 craved his brother's permission to let some of his small fish go 
 into the great sea. Vatea would consent only on one condition 
 — that Tinirau would add a portion of his own territory of the 
 Sacred Isle to the land of Vatea. With immense difficulty 
 this was accomplished — the two brother gods had to get under 
 the Sacred Isle, in order to break off a part of it. This done, 
 Tinirau liberated a portion of his finny population, and thus the 
 ocean became swarming, not only with the great half-divine 
 taairangi, but with fish of all sorts and sizes. 
 
Ina, the Fairy Voyager. 99 
 
 THE FINNY SUBJECTS OF TINIRAU. 
 
 BY TEREAVAI, FOR HIS FETE, 1 823, 
 
 Call for dancing and music to lead off". 
 Vaia mai i te akeke i Aitutaki Throw open the fish-ponds of Aitu- 
 
 takii 
 O te pa ika na Tinirau e Koro e ! Where sport the fish of Tinirau and 
 
 Koro. 
 Solo. 
 
 Taipo el Go on ! 
 
 Chorus. 
 
 Vaia mai te tino ika nei, e Vatea, Tear off part of the half-fish body of 
 
 Vatea, 
 Ei taairangi, e Tane ! That it may become a porpoise, O 
 
 Tane. 
 Solo. 
 
 Ae 1 Aye. 
 
 Choriis. 
 
 E utu oki i te kava rauriki, Pour out a libation of ^' kava" 
 
 E roaka mai ai. To win the favour of the gods. 
 
 Solo. 
 Vaia mai e i te akeke ae ! Yes, throw open the fish-preserves. 
 
 Chorus. 
 Vaia mai i te akeke ; Throw them all open, O Tane, 
 
 Tei te moana te ikatauira a Tane. That the little fish may sport in the 
 
 ocean. 
 
 Solo. 
 
 Ae ! 'Tis done. 
 
 Chorus. 
 
 Takave mai i te uru kare See, they are borne on the crest of 
 
 the billows, 
 Na Tane-ere-tue, Driven by Tane-the-Fierce, 
 
 Ka acre e tauri atu i te akau. And are lying in shoals on the reef. 
 
 ^ The Sacred Isle is here confounded with Aitutaki, both lands appa- 
 rently lying in the vast unknown. 
 
lOO Myths and Songs. 
 
 NUMERATION AND THE ART OF FISHING 
 INVENTED. 
 
 Vatea prepared an enormous net which he entrusted to six 
 fishermen, the first of their order. But the subjects of his brother 
 Tinirau were too crafty to be easily caught. Day after day the 
 finny tribes were hunted in vain. At length the aid of Raka, the 
 god of winds, was invoked to make the surface of the ocean rough, 
 and thus to hide the great net of Vatea from the sight of the fish 
 below. Their younger brother, Raka, willingly lent his aid, and 
 the net was completely filled ; but it was not in the power of the 
 six fishermen to hold the net. Tane, son of the great Vatea, 
 came to the rescue, and resolutely held on to the captive fishes. 
 Eight days and nights the finny prisoners raced through the wide 
 ocean, carrying the net with them. At last they became ex- 
 hausted, and Tane exultingly dragged the rich spoil to the feet 
 of his father. Vatea turned out the fish one by one, pronouncing 
 for the first time the various names by which each kind has since 
 been known; and thus, also, originating the useful art of counting. 
 At last, utterly wearied with reckoning, he gave up the remainder 
 as being in truth innumerable. The exhausted inhabitants of the 
 ocean lay in heaps on the reef and sandy beach until the rising 
 tide carried them out again to their proper element, none the 
 worse for this first experiment in fishing. 
 
 THE ORIGIN OF DANCING. 
 
 Tinirau and his son Koro, whose proper home was at the 
 Sacred Isle, occasionally lived on the northern part of Mangaia. 
 The son had repeatedly noticed that his father disappeared by 
 
Ina, the Fahy Voyager. loi 
 
 night, and remained away from their home two or three days at 
 a time. Where the sire went was a mystery. One thing greatly 
 attracted the admiration of Koro ; whenever his father came back, 
 he was adorned with a fresh necklace of fragrant pandanus seeds, 
 yellow and red. Determined to solve this mystery, one night 
 Koro craftily hid away Tinirau's girdle, and then lay down to 
 sleep. Not long afterwards the old man sought everywhere for 
 his girdle — but in vain. At last he woke up his boy, who rose 
 and gave it to his father. Koro pretended to go to sleep again, 
 but, in reality, was narrowly watching his father's movements. 
 Tinirau having adjusted his royal girdle, went outside ; and in a 
 short time Koro slipped out unperceived, and hid himself in the 
 shadow of the house. The old man now passed over his ankles 
 some strong bark in the usual fashion, and climbed a cocoa-nut 
 tree. But to the great astonishment of Koro, he used only his 
 right hand, and did not even permit his chest to touch the tree 
 itself. Tinirau twisted off the ripe nuts one by one, and throwing 
 them on the ground descended, as he had gone up, with the 
 assistance of only one hand. On reaching the ground, still with 
 one hand, he husked the nuts, clave them in two, and scraped out 
 their contents upon the broad leaf of a variety of gigantic taro ^ 
 called "pongi." This finely grated cocoa-nut was then carefully 
 wrapped up in the same great leaf, and secured with bark string, 
 was carried by Tinirau to the sea, a distance of a mile, over rough 
 rocks, by a narrow path overhung with lofty trees. On reaching 
 the beach, he took up his station on a point of rock, still called 
 Akatangi, or the-calling-place, and which runs into the waters 
 of the reef. Koro hid himself in the low bushes growing out 
 of the sand a few yards behind his sire. " The king of all fish " 
 
 ^ Arum costatum. 
 
I02 Myths and Songs. 
 
 now liberally scattered the scraped cocoa-nut over the waters 
 whilst chanting a long incantation to his finny subjects. Koro 
 quickly caught up the words, and treasured them in his memory 
 for his own use at some future period. To the infinite delight of 
 the son, the smaller inhabitants of the reef at once obeyed the 
 call of their lord, and came to taste the food provided for their 
 entertainment. At length the voice of Tinirau was heard by the 
 larger fish in the great ocean, who hurried to the feet of iheir 
 sovereign. Ere the incantation ended, the Sacred Isle itself 
 came bodily from its proper place to the edge of the reef ! Thus 
 the entire throng of Tinirau's obedient subjects assembled on the 
 moving Sacred Isle, and changing their forms into a partial 
 resemblance to human beings, came dancing to meet their lord — 
 who, being himself in his true attributes, half man and half fish, 
 gladly united with them in their dance, which was of the famous 
 sort called " Tautiti," in which hands and feet all move at the 
 same time. The subjects, like their sovereign, were all arrayed in 
 necklaces of sweet-scented pandanus seeds, which grow plentifully 
 over the native home of Tinirau. The Sacred Islet, king, finny 
 subjects and all, started off, and were speedily lost to sight in the 
 distant ocean. Koro returned home to the interior, satisfied as 
 to the real cause of his father's frequent disappearance in past 
 times. 
 
 A day or two afterwards Tinirau returned to his son, all 
 fragrant as before, with a pandanus fruit necklace, but entirely 
 ignorant that Koro had witnessed his proceedings on his last visit 
 to the Sacred Isle. It was some time ere " the king of fish " 
 started off again on a midnight expedition ; but when he did so 
 he did not escape the vigilance of his watchful son, who was 
 anxious to perfect his knowledge of the necessary invocations. 
 
Ina, the Fairy Voyager. 103 
 
 Again with a single hand the old man climbed the tree, threw 
 down the nuts, and descended to the ground. Again he traversed 
 the lonely path to the sea by moonlight, carrying with him a great 
 quantity of finely scraped cocoa-nut. At the projecting piece of 
 rock overlooking the ocean he scattered food for his marine 
 children. The invocation over, fish, islet, and all came again to 
 the feet of the mighty Tinirau, who exultingly joined his meriy 
 subjects in their favourite employment of dancing by moonlight. 
 Koro gained his object : he had learned the magic words, and 
 therefore went home well satisfied with himself On the followino- 
 night he, in his turn, climbed a cocoa-nut as his father had done, 
 and then carried the finely scraped kernel to " the calling place " 
 where Tinirau had performed his wonderful feats. Now was the 
 time to test his own powers as the son of the king of all fish. 
 Reciting the prayers, he scattered the rich food on the waters, 
 when, to his delight, the fish obeyed the summons, swimming in 
 shoals to his feet. The Sacred Isle, too, with all its vast preserves 
 of fish, soon hove in sight Amongst its finny inhabitants he had 
 the joy of recognizing his own father, Tinirau, in the merry throng 
 of moonlight dancers. Koro at once joined this novel assembly, 
 when his father greeted him thus : " Son, this, then, is why you 
 hid away my girdle." 
 
 Arrayed like the rest in beautiful necklaces of fragrant pan- 
 danus berries, father and son that night, and ever after when so 
 inclined, enjoyed the pleasure of a prolonged midnight dance 
 with their finny subjects on the Sacred Isle. It was the 
 renowned Koro who conferred on the inhabitants of Mangaia 
 the favour of planting the first pandanus tree close to the spot 
 (Akatangi) where he was accustomed to summon his scaly friends. 
 He instructed the inhabitants in the mysteries of dancing. His 
 
I04 Myths and Songs. 
 
 time was spent half at the Sacred Isle and half on the northern 
 shore of Mangaia, which is thence named Atua-Koro, ^ i.e. the 
 land of the divine Koro!'' 
 
 A SONG FOR TENIO'S FETE. 
 
 BY VAARUA, CIRCA 1814. 
 
 Call for the dance to begin. 
 
 Tautiti au e ! I am Tautiti. 
 
 O te ara ra i Taipau, e Tane ! O Tane, the fragrant pandanus on the 
 
 beach is mine. 
 
 Solo. 
 Taipo e ! Go on ! 
 
 Chorus. 
 Tanumia te ara i te Atuakoro e ! That fragrant tree was first planted 
 
 by the divine Koro. 
 
 . Solo. 
 Ae ! Aye ! 
 
 Chorus. 
 Tautiti rava ki tonga makatea Tautiti's favourite wreaths grow in 
 
 oopu. yon gullies. 
 
 Solo. 
 
 Nai makatea oopu e ! Yes, in those gullies grow 
 
 O te ara kura o Tautiti ei mai e ! Red pandanus berries to adorn the 
 
 dance. 
 
 ^ Every return of March shoals of bream (ature) find their way to Atua- 
 Koro. The name of Tinirau's daughter is Ature. Of course there is a play 
 upon the name of the beautiful silvery fish which every year visits that part, 
 and that only, of the island, as if the sister and her attendants were paying a 
 visit to the chosen home of her brother Koro. 
 
Ina, the Fairy Voyager. 
 
 105 
 
 UNUUNU TAI. 
 
 FIRST OFFSHOOT. 
 
 Solo. 
 
 E mau te ara e tei Taipau ae ! 
 
 E mau te ara i Taipau, 
 No Tautiti kake mai e ! 
 
 Ae ! 
 
 Groves of pandanus cover yon sandy 
 beach. 
 
 Chorus. 
 
 Yes, groves of fragrant pandanus 
 For Tautiti, w^henever he may come 
 up. 
 
 Solo. 
 
 Aye. 
 
 Chorus. 
 Tere maira te ara no tai tuamotu e ! This famous tree came from some 
 
 other isle, 
 Patiki io i te kea e ! To grace the sacred sandstone. 
 
 Solo. 
 Patiki io i te kea e ! Yes, to grace the sacred sandstone, 
 
 O te ara ra i Taipau, e Tane ! O Tane, the fragrant pandanus on 
 
 the beach is mine. 
 
 Solo. 
 
 Taipo e 
 
 Go on ! 
 
 Chorus. 
 Tanumia te ara i te Atuakoro e ! That fragi-ant tree was first planted 
 
 by the divine Koro. 
 
 Solo. 
 
 Ae! 
 
 Aye ! 
 
 Chorus. 
 Tautiti rava ki tonga i makatea Tautiti's favourite wreaths grow in 
 
 oopu yon gullies. 
 
 Solo. 
 Nai makatea] oopu e ! Yes, in those gullies grow 
 
 O te ara kura o Tautiti ei mai e ! Red pandanus berries to adorn the 
 
 dance. 
 
io6 
 
 Myths and Songs. 
 
 UNUUNU RUA. 
 
 E te opu, e te opu ! 
 Eaa ra ? Eaa ra ? 
 Tei tai ! Tei tai 
 Ae ! Ae ! 
 A kitea ! A kitea ! 
 Tautiti kake mai. 
 
 Kitea mai, e Tane e ! 
 
 Maniania, o maau tara mea. 
 
 Maaraara 'i au e ! 
 O te iva taumara a te ra e ! 
 
 Solo. 
 
 SECOND OFFSHOOT. 
 
 Entwine sweet-scented fern-leaves. 
 
 Chorus. 
 
 Solo. 
 
 Chorus. 
 
 Solo. 
 
 Chorus. 
 
 Solo. 
 
 Chorus. 
 
 Solo. 
 
 What is going on yonder 
 
 At the margin of the sea ? 
 
 Aye ! Aye ! 
 
 The god reveals himself ! 
 
 Tautiti himself has come up (out 
 of nether- world) 
 
 O Tane, he stands revealed ! 
 
 Pleasure thrills through my body. 
 
 I would I were 
 A dragon-fly exulting in the sun 
 beam. 
 
( 107 ) 
 
 CHAPTER VII. 
 MISCELLANEOUS MYTHS. 
 
 A BACHELOR GOD IN SEARCH OF A WIFE. 
 
 Amongst the thirteen principal gods of Mangaia which at the 
 estabhshment of Christianity were surrendered to the missionaries 
 were four bearing the name of Tane.^ They were simply pieces 
 of iron-wood carved roughly into the human shape, once well 
 wrapped up in numerous folds of the finest native cloth. Of 
 these four Tanes three — Tane Ngakiau, Tane-i-te-ata, and Tane 
 Kid — were considered to be inferior to the first, who was usually 
 called Tane, sometimes, however, Tane Papa-kai, i.e. Tane-piler- 
 up-of-food. In order of rank Tane came after Rongo and Motoro, 
 the chief deities of Mangaia. Tane was said to be the fifth son 
 of Vatea, born in Avaiki, or nether-world. The following is the 
 extravagant myth of Tane's exploits when in search of a wife. 
 
 At Ukupolu there lived a woman named Tekura-i-Tanoa, 
 i.e. The-ruddy-one of Tanoa, possessed of uncommon attractions. 
 
 ^ Tane = husband, or the generative principle in nature. Tane is equiva- 
 lent to ^y?. Innumerable modifications of this dance-loving god were wor- 
 shipped throughout eastern Polynesia. 
 
io8 Myths and Songs. 
 
 But she had one sad defect, — her right foot was afflicted with 
 elephantiasis. The chief Ako was violently in love with her ; but 
 the fair one disdained his advances, saying, "If it had been Tane, 
 she would have thought favourably of the proposition." Now 
 Ako was a great friend of Tane's ; so that he at once paddled off 
 to Avaiki to fetch Tane, who cheerfully consented to accompany 
 him. The two friends started for Ukupolu, each in his own 
 canoe. A day or two after their arrival Ako confessed to Tane 
 the real motive of getting him to pay a visit to Ukupolu, and 
 earnestly entreated his assistance in winning The-ruddy-one of 
 Tanoa. Tane good-humouredly promised his aid. 
 
 Ako had two sisters, to whom he applied for two garlands for 
 the neck, of sweet-scented flowers — one for himself and one for 
 his friend, against their projected visit to the inexorable beauty. 
 The sisters were to arrange it so that the fragrant garland intended 
 for Ako should have numerous sprigs of myrtle intermixed with 
 the flowers ; whilst Tane's should be spoiled by the admixture of 
 offensively smelling leaves. When tastefully arranged, these 
 garlands were carefully enclosed in a thin white layer of the 
 banana stalk, according to the invariable custom of the olden 
 times. A mark was set upon the outside, so as to prevent mis- 
 take. Now Tane was a god, and was not to be deceived in this 
 way. Accordingly, when these friends, now become at heart rivals 
 in love, were both arrayed in their best garments, and their hair 
 glistening with sweet-scented oil, Tane took out the fragrant 
 garland of flowers and put it on. Ako, to his dismay, perceived 
 that his crafty friend had by some means got possession of the 
 best garland : being thus outwitted, he declined to put on his 
 own, lest Tane should twit him with his ill-faith. Off these rivals 
 started to the dwelling of The-ruddy-one of Tanoa. Tane first 
 
Miscellaneous Myths, 109 
 
 entered, bearing in his hands a gift consisting of several highly- 
 scented garments ; the rich perfume filled the house. Ako now- 
 made his appearance. Each pleaded his suit with great earnestness, 
 for Tane was at first sight smitten with the charms of the fair 
 girl. But the capricious Tekura-i-Tanoa accepted the advances of 
 Ako, and Tane retired in disgust. He resolved to return at once 
 to Avaiki. With this purpose in view he walked to the sandy 
 beach to launch his canoe and start for his home ; but upon 
 examination found a large hole in its bottom made by his 
 treacherous friend Ako. Tane sat down and loudly bewailed his 
 misfortunes in these words : — 
 
 Kua viivii e ! Kua vavaiia ra tau Unhappy me ! My canoe has been 
 vaka e Ako destroyed by Ako. 
 
 I tua o Avaiki. Ringiringiia toku How shall I return to Avaiki ? I 
 nei roimata will rain down my tears. 
 
 Tane fell musing w^hat he had best do. Upon looking up he 
 now for the first time noticed a gigantic hua tree {beslai'ia lauri- 
 folia) spreading forth its noble branches. In a trice Tane got up 
 the trunk of this tree and clambered to the extremity of one of 
 the longest branches. Tane gave the far-stretching limb on which 
 he sat a mighty jerk, and thus swung himself fairly into another 
 land, Enuakura, i.e. The-land-of-red-patToi-feaihers. After walking 
 about this newly discovered land, he came upon an old woman 
 named Kui-the-Blind, who was busy cooking yams on a fire. In 
 all she had ten yams cooking ; at her side were ten calabashes of 
 water. After awhile the old blind woman took a yam off the fire 
 and scraped it clean with a cockle shell. She then devoured the 
 entire yam, washing it down with a calabash of water. But Kui- 
 the-Blind did not know that the moment she took up a yam, Tane 
 helped himself too, and at the same time emptied a calabash of 
 water. 
 
1 1 o Myths and Songs. 
 
 The old woman had no sooner finished her first yam and her 
 first calabash of water, than she carefully counted the remainder 
 with her fingers, when to her amazement she found a yam and a 
 calabash missing. She angrily exclaimed, " What thief has come 
 here ? Had I my sight I would devour him." 
 
 Having thus vented her indignation, she ate another yam and 
 drank another calabash of water ; Tane helping himself in silence 
 as before. Again the old woman counted the remaining yams 
 and calabashes with her fingers, and found that only six of each 
 remained. Once more she gave vent to her anger against the 
 unknown thief. Tane uttered not a word to reveal his presence. 
 In this way the ten yams and ten calabashes of water disappeared. 
 Each time Kui-the-Blind missed a yam and a calabash of water 
 her anger grew hotter. At last her meal, but half the usual 
 quantum, was finished, and she resolved upon immediate ven- 
 geance. Accordingly, she rose and entering her house felt in the 
 accustomed place for her great-fish-hook, which she had never yet 
 used in vain. Whilst adjusting the long line she slowly chanted 
 this ominous couplet : — 
 
 Oi au ka rave, ka rave i te tautai a Kui matapo. 
 Aa poiri i te ika a te tupuna e ! Ara tatia 
 
 Here am I about to fish. It is the angling of Kui-the-Blind. 
 
 The old woman must have hery?i7z {i.e. human victim). Here goes for it! 
 
 As she Uttered these last words she violently swung round the 
 dreadful sharp-pointed fish-hook. Tane, prepared for this, held 
 in his hand a banana stump to catch the hook, which he retained 
 for a second, deluding Kui into the belief that she had caught the 
 struggling thief The malicious old creature pulled vigorously at 
 the line, hoping to get a victim to eat, when she grasped a mise- 
 
Miscellajieoics Myths. 1 1 1 
 
 rable banana-stalk. Chafing with indignation at her failure, she 
 disengaged the stump and again whirled the hook, uttering the 
 same words. This time a low bush, bearing edible red berries, 
 was used by Tane to tease the old woman. Kui pulled away at 
 her hook with great satisfaction, but found only a bush. Her 
 anger now knew no bounds, having never before missed her 
 victim. A third time she threw her hook, using the old formula. 
 This time Tane allowed himself to be caught. Kui was delighted 
 that she had at last secured the thief. She grabbed him tightly 
 whilst demanding his name. He calmly said, " I am Tane." Kui 
 instantly forgot her anger, and exclaimed, " Why, you are my own 
 grandson Tane ! Stay with me." 
 
 Some time afterwards Tane, again feeling very thirsty, asked 
 his old grandmother for some water to drink. Kui-the-Blind said, 
 " There is no water in this country, save in the nuts of yonder tall 
 cocoa-nut tree. But you had better not attempt to climb it, or 
 you will surely die. You will be slain by my children, the 
 guardians of the tree, viz. the lizard, the centipede, the beetle, 
 and the mantis." Tane resolved to climb the tree, whose top 
 seemed to reach the sky. Kui said to the fearless Tane as he 
 began to ascend, " Do not injure my children who live in this 
 tree." This solitary cocoa-nut tree, the property of the blind 
 grandmother, was remarkable for the wonderful profusion of fruit 
 on it, and for a great accumulation of dry branches underneath the 
 green limbs. In these withered branches were hidden the fairy 
 guardians of the fruit, excepting the mantis, who kept watch on the 
 under side of the green leaves. Their duty was to see that no one 
 stole any of the fruit. At the sight of the intruder Tane climbing 
 up the tree, a large lizard advanced boldly from its hiding-place to 
 drive him away. Tane caught the lizard, tore it in two, and threw 
 
1 1 2 Alyths and Songs. 
 
 the pieces down. Tane now began to dear off the dry branches 
 and cloth-hke coverings, when a great centipede came out wrathfiilly 
 intending to sting Tane to death. But the brave grandson of Kui 
 deUberately killed this foe also. The dry branches were falling in 
 all directions, and the work was nearly completed, when a feeble 
 beetle came forth to defend the precious fruit. But the beetle 
 speedily shared the fate of the lizard and centipede ; and Tane 
 climbed up into the great living fronds and sat down to rest 
 awhile. At this moment a mantis^ of unendurable smell, assailed 
 the intruder, spreading out its gay red wings ; but Tane served the 
 mantis as he had already served the others. Thus he had con- 
 quered all foes. With great admiration he viewed the vast 
 clusters of nuts on every side. Plucking two or three of the nuts, 
 he husked them on the " roro," or unopened sheath,^ containing 
 the young flowers and fruits. 
 
 Tane leisurely slaked his thirst. Then violently swinging this 
 lofty cocoa-nut tree until its top hung over the very land where 
 Tane's home was, he shook off all the nuts as food against the 
 day of his return. But Tane still kept his place at the top of the 
 wonderful tree, which, rebounding, resumed its former position in 
 Enuakura, The-land-of-red-parrot-feathers. There remained on 
 the tree only two tiny nuts, each about the size of a small 
 pebble. Tane plucked them, and descending to the ground, 
 said to Kui, "Turn your face towards me." The old woman 
 
 ^ It is an interesting fact, of which thieves do not fail to avail themselves in 
 seasons of scarcity, that it is quite practicable to husk the hardest cocoa-nut 
 and pierce the eyelet upon the point of the closed sheath referred to, without 
 descending to the ground. Ordinarily a sharp stake is fixed in the earth near 
 the foot of the tree for the purpose of husking the nuts that are thrown down ; 
 but nature has provided a sharp-pointed stake at the top of the tree, where the 
 nuts grow, and the climber finds a sure foothold for cases of emergency. 
 
Miscellaneous Myths. 113 
 
 did so, when she received a smart blow on her right eye from 
 one of the nuts. She cried out in agony \ but in a second found 
 her sight restored. 
 
 Tane again said to Kui, " Look at me." Upon doing so, 
 she received a blow on her left eye from the remaining nut. Her 
 anguish was extreme ; but the reward was great, for she could now 
 see well with both her eyes. 
 
 Kui was delighted with the achievements of her grandson, for 
 she who had hitherto been called Kui-the-Blind, was now Kui- 
 the-Seeing. Tane asked her, '' Have you any daughters ? " 
 " Yes," said Kui, " I have four. Take whichever you please as 
 your wife." Now all these daughters were at some distance at 
 work. After a short time the eldest, named Ina, came and was 
 not a little surprised to see a stranger and to find her mother's 
 sight restored. Tane was not pleased with Ina, who subsequently 
 married the moon (Marama Nui). 
 
 Tane now inquired after the other daughters of Kui. The 
 second soon made her appearance ; it was Ina-who-disappears- 
 with-the-day. Though fair, she did not please Tane. Kui called 
 her third daughter Ina-who-disappears-at-midnight. She was very 
 lovely, yet did not captivate the fastidious Tane. " I have but 
 one daughter more," remarked Kui. " I will summon her." She 
 came : it was Ina-who-rivals-the-dawn. She was, as her name 
 implied, surpassingly beautiful. She became the wife of Tane, 
 who considered himself to be well recompensed for restoring 
 sight to Kui, once called The-blind. 
 
 But, after a time, Ina became jealous of her husband. They 
 quarrelled, and Tane resolved to return to his own land. With 
 this view he climbed up the famous cocoa-nut tree, the glory of 
 The-land-of-red-feathers, and brought down a frond, which he 
 
114 Myths and So7tgs. 
 
 wove into a basket of the sort known as the *' clam-shaped," i.e. 
 without an opening. He now procured a second frond, and 
 therewith wove a second basket of a similar shape. Fastening 
 one to each arm, he used these long baskets as wings, and with 
 their friendly aid took his final flight to his own land Avaiki, from 
 which he had so long been absent, and thus escaped from the 
 tongue of the lovely but jealous Ina-who-rivals-the-dawn. 
 
 The scene of this story is laid in nether-land. This myth 
 unquestionably points to Samoa, the group from which these 
 people originally came. " Ukupolu " is evidently Upolu, and 
 " Avaiki " is only another form of Savai'i. 
 
 Stories like this constituted the esoteric teaching of the priests 
 of Motoro and Tane. The Polynesian idea of a god is mere powery 
 without any reference to goodness. Their gods had all the faults 
 of heathen men and women in an exaggerated degree. 
 
 The centipede, lizard, etc., were sacred; hence their appear- 
 ance in the myth as minor divinities. 
 
 ECHO j OR, THE CAVE FAIRY. 
 
 Rangi was the first man; for Vatea was half man and half fish, 
 and lived in the invisible world. When Rangi complacently sur- 
 veyed the land which he had succeeded in dragging up from the 
 shades, he resolved to explore every nook and comer, to ascertain 
 whether there were any other inhabitants in his territory. 
 
 After travelling some distance along the northern division of 
 the island without discovering the slightest trace of any living 
 creature, he approached a romantic pile of rocks overhanging a 
 tremendous gorge, by which the waters of the neighbouring valleys 
 
Miscellaneous Myths. 115 
 
 discharge themselves into the ocean. A number of caves con- 
 verge at this point, the pathway to which is obstructed by vast 
 boulders. 
 
 Here Rangi shouted, as was his wont, "60" ("Hallo, there !"). 
 To his surprise a voice from the rocks distinctly replied, " 60." 
 Rangi asked, "What is your name?" Instead of a satisfactory 
 reply, came the defiant query, " What is your name ? " Rangi, 
 bursting with indignation, now demanded of this unseen fellow- 
 resident, "Whence do you come ? " Still the invisible speaker 
 declined to reveal herself; and the ears of Rangi were assailed 
 with the irritating words, " Whence do you come ? " Unable to 
 endure this any longer, he cursed the hidden inhabitant of the 
 cave, nicknaming her " Aitu-mamaoa," i.e. the-ever-distant, or 
 the-hide-a7id-seek-spi7'it ; but forthwith heard himself cursed in 
 exactly the same tone and words. Evidently this satirical, unseen 
 being was no respecter of persons. Rangi fell immeasurably in 
 his own estimation at being thus unceremoniously addressed, and 
 felt sure that it was intended as a reflection upon his illegitimate 
 origin. 
 
 The first sovereign of Mangaia now resolved, at any cost, to 
 get a sight of the insolent creature pertinaciously hiding in the 
 rocks. Cautiously leaping from boulder to boulder, he entered 
 the gorge, inquiring as he proceeded, for the hitherto invisible 
 inhabitant ; but receiving for his pains only sarcastic replies. The 
 chasm grew darker and narrower, but Rangi bravely kept on his 
 way. Upon suddenly looking up, to his astonishment, he found 
 that the semi-circular roof was everywhere covered with transpa- 
 rent glittering pendants (stalactites), white, like a row of formid- 
 able teeth, almost touching his person, drops of cold water 
 meanwhile falling like rain upon the stone flooring. Underneath 
 
1 1 6 Myths and Songs, 
 
 was a row of stumps (stalagmites), rising from the basement of the 
 the cave. Awe-stricken at the sight of these vast open jaws, 
 apparently about to swallow him up, he instinctively retreated a 
 few steps, and, looking up once more, for the first time caught 
 a glimpse of the face of a female fairy, heartily laughing at his terror. 
 As soon as Rangi recovered his equanimity, he inquired the 
 proper name of this formidable apparition. Her reply was, "I 
 am Tiwiuteanaoa^'' or Echo (literally, " the-cave-speaking-sprite "). 
 " I am the being that everywhere inhabited the rocks of Mangaia 
 ere you set feet on the soil." Rangi now asked whether she had 
 any children. Echo replied, " I have a very numerous offspring, 
 named Tufnu-ie-ertie via, or Earth-diggers." "Where are they?" 
 demanded the inquisitive king. "They are on the mountains, 
 roaming about in the fern," replied the complaisant spirit of the 
 cave. 
 
 Rangi now left Echo, and went in search of her children. He 
 had not advanced far up the side of the nearest mountain, tramp- 
 ling down the fern and tall reeds, when he came upon a troop of 
 these " earth-diggers," or 7'ats/ Rangi wondered that the progeny 
 were so unlike their mother, who could on no account be per- 
 suaded to leave her favourite haunts in the rocks. 
 
 The cave where Rangi first made the acquaintance of Tumu- 
 teanaoa, or Echo, was thenceforth named Aitu-mamaoa,' or the 
 home of the ever-distant, or hide-and-seek spirit. 
 
 ^ The writer, in company with the Rev. J. Chahiiers, once explored 
 Aitu-mamaoa for half a mile, until the torches were nearly burnt out and 
 the roof necessitated a creeping posture. About midway a running stream 
 crossed our path. We sung a number of hymns, and were delighted to hear, 
 at a great height above our heads in utter darkness, a most pei-fect echo — 
 as if an unseen choir were singing in perfect unison with our torch-lit 
 company. 
 
Miscellaneous Myths. 1 1 7 
 
 In the course of his subsequent explorations, Rangi often met 
 with this notable nymph Echo, who seemed to be ubiquitous, and 
 learnt that besides the " earth-diggers " in the dry grass and fern 
 of the mountains, she had another numerous offspring inhabiting 
 the valleys and the dark waters of the little lake in Veitatei, viz., 
 shrimps, eels, and other fresh-water fish abounding there and in 
 the interior gorges and chasms of the adjacent rocks — her own 
 constant resort. 
 
 Rangi thus found that his little world was already teeming with 
 inhabitants, all descended from the great Tumu-te-ana-oa. No 
 disturbance or difficulty ever arose therefrom, as Echo was a 
 nymph of a gentle and harmless disposition ; her only fault being 
 that she was a little satirical when addressed by strangers. 
 
 It was often contested by the sages of former times, whether 
 Rangi, after all, was rightly designated the first inhabitant of Man- 
 gaia, seeing that he found Echo already in possession of the rocks 
 and caves. They came at last to the conclusion, that whilst 
 Rangi was the first man and king, Echo was the first and parent 
 fairy — the numerous sprites inhabiting rocks, valleys, hills, and 
 streams constituting the prolific progeny of " the cave speaking 
 sprite." 
 
 At the Marquesas, to this day, divine honours are paid to 
 Echo, who is supposed to give them food, and who " speaks to 
 the worshippers out of the rocks." 
 
1 1 8 Myths a7td Songs. 
 
 THE PRINCE OF REED-THROWERS. 
 
 Upon one occasion Tangaroa chanced to see the lovely Ina- 
 ani-vai, i.e. Ina-soliciied-at-ihe-foimtain, bathing at a stream named 
 Kapuue-rangi, and at once became enamoured of her charms. 
 The god unfastened his girdle, which mortals call the rainbow, 
 and by this dazzling pathway descended to earth. The fair but 
 frail Ina could not resist the advances of the great Tangaroa; 
 and in the course of time she gave birth to Tarauri and Turi-the- 
 Bald. She chose to live apart from her friends, so that the divine 
 origin of her offspring was long unsuspected. Both Tarauri and 
 Turi were flaxen-haired. 
 
 There was at the same time a man named Pinga, whose seven 
 sons were alike noted for their shortness of stature and for their 
 proficiency in the art of reed-throwing.^ The clever dwarf sons 
 of Pinga induced Turi-the-Bald to try his luck in this game. 
 Again and again was Turi beaten by the clever sons of Pinga, so 
 that he wept with vexation and shame. 
 
 Now the elder brother had taken no part in these games. But 
 he was distinguished for his skill in wrestling with lads of his own 
 age, and for catching a small fresh-water fish, called kokopu, 
 abounding in the tiny streams which thread the valleys. The 
 mode of angling said to have been invented by Tarauri, and still 
 in use amongst enterprising lads, was curious. The leaves of the 
 pandanus, or thatch, tree are furnished with somewhat formidable 
 thorns. The serrated edges of a stout leaf are pared off; the 
 
 ^ On Mangaia this popular game was practised by men, the women being 
 spectators ; or by women, the men being spectators : never by men and women 
 together, as in some islands. 
 
Miscellaneous Myths. 1x9 
 
 narrow pieces are then carefully tied together with a bit of hibiscus 
 bark, care being taken that there be at least two thorns or tiny 
 fish-hooks on either side, and that these little hooks point upwards. 
 The slit midrib of a long cocoa-nut frond furnishes the fishing 
 rod — the thorny hooks being secured to the tapering end. 
 The sport is enjoyed wherever the stream is dammed up for the 
 purpose of irrigating the little taro-patches of the valleys, or to 
 enable women and children the more easily to fill their empty 
 calabashes with water. The voracious little kokopu leaps to 
 catch the bait — its favourite morsel, the shrimp — when it finds 
 itself a prisoner on one of the thorns of this quaint fish-hook. 
 
 The " seven dwarf sons of Pinga " were delighted with the 
 adroitness of Tarauri, although as yet his name and that of his 
 brother were unknown. Pinga desired his sons to ask the lads 
 their names, — a most unpleasant task to a South Sea Islander. 
 The boys good-naturedly told their names, but did not reveal 
 the secret of their divine origin. As soon as Pinga heard their 
 names, he astonished his " seven dwarf sons " by exclaiming, 
 " Why, these are my grand-children ! Bring them here." 
 
 Very willingly did the lads take up their abode with their 
 newly-found grandfather for a while. One day " the seven dwarf 
 sons of Pinga " made preparations for their favourite amuse- 
 ment of reed-throwing, purposing this time to measure their skill 
 with Tarauri himself. They started off to the deepest recesses of 
 the valleys, where the longest reeds grow. Tarauri, with affected 
 modesty, declined to accompany his seven dwarf uncles, saying 
 to them, " Your broken reeds will be good enough for a clumsy 
 fellow like me." After a while they returned, each with a bundle 
 of fine reeds, and sat down to get them ready. First of all it was 
 necessary to secure with a piece of strong bark the thick end of 
 
I20 Myths and Songs. 
 
 the reed, which might strike against a stone and be broken. 
 Then the smaller end was nicely rounded, so as not to injure 
 the finger of the player; finally, the reeds were slightly singed 
 over a fire, in order to render them perfectly straight. 
 
 The game commenced ; but still Tarauri was without a single 
 reed (tao). " The seven dwarf sons of Pinga," having each thrown 
 his reed, called upon Tarauri to come forward and try his luck. 
 They were all on the tiptoe of expectation to see what he would 
 do in this emergency. Tarauri rose from the ground, and ad- 
 vancing towards the appointed place for throwing, thus invoked 
 the aid of his father Tangaroa : — 
 
 Kau5 lake, kauo iake, Oh, be propitious, oh, be propitious, 
 
 U5 iake te marama, te marama, Grant me light and success. 
 
 la Ruanuku e, Ruanuku ma Tangaroa, Great Ruanuku, associated with Tan- 
 garoa, 
 Omai taku tao, ei teka naku, Send me a reed for this game, 
 
 Ei teka ki te taua e ! That the victory may be mine ! 
 
 At these last words there fell from the skies at the feet of 
 Tarauri a noble reed, perfectly straight, and gaily adorned with 
 red-parrot feathers, the first ever seen on the island. Thus the 
 divine parentage of Tarauri was discovered. Confidently ad- 
 vancing to the place for throwing the reeds, Tarauri swung his 
 arms jauntily in preparation, and again invoked divine aid : — 
 
 Apai na, apai na rava ia, e Tarauri, i te tai karongata, 
 Taki na uri e kai ai, e rere ai e, tu arangaranga, 
 Apai na, e Tangaroa, to manga ! 
 
 Bear it away, oh, bear it far away, for Tarauri's sake, to the treacherous ocean. 
 Guide the flight of my reed, that it may rise to a dizzy height. 
 Great Tangaroa, here goes thine own ! 
 
 At this, " the seven dwarf sons of Pinga," dreading a disgrace 
 to themselves, rushed to encircle Tarauri, so as to render it 
 
Miscellaneous Myths. 121 
 
 apparently impossible for him to exhibit his divinely acquired 
 superiority in the art of reed-throwing over these well-practised 
 but mere human players. A second time the invocation was 
 repeated to Tangaroa^ but again the jealousy of his newly-found 
 relatives prevented him from throwing his gaily ornamented reed. 
 A pause ensued, when Tarauri observing that the legs of one of 
 the seven were a little open, in an instant drove the heaven-sent 
 reed through the gap of the living enclosure. Wonderful, indeed, 
 was the flight of the reed : it rose and rose in the air until lost in 
 the azure skies, where it remained eight whole days ! At last the 
 slender shaft fell at Areuna,^ the original marae of the Mautara, or 
 priestly tribe. Thus did Tangaroa redeem the disgrace of his 
 younger son Turi-the-Bald. And great, indeed, was the chagrin of 
 "the seven dwarf sons of Pinga" to be thus beaten by young 
 Tarauri, who thus at his first trial, aided by his divine parent, 
 proved himself to be the true patron and chief of all reed-players. 
 
 By some this myth is placed in " the land of Ukupolu," i.e. 
 Upolu. The very archaic form of the invocations attests the 
 antiquity of this story. 
 
 Of the many songs for reed-matches, none would be complete 
 without a reference to Tarauri the chief patron of the game. 
 
 ^ Areuna is on the south of the island, and is regarded as the ancient 
 home of the priests of Motoro, who swayed Mangaia — as priests first, and after- 
 wards as chiefs — down to the establishment of Christianity. 
 
 The early part of this myth may serve to explain why in heathenism all 
 illegitimate children were designated "tamariki na te Atua," i.e. children of 
 the sods. 
 
Ua-moa = Egg-shaped. 
 
 Pei'ue =A winged kite 
 (or Bird-shaped). 
 
 Taiaro = Club-shaped. 
 
 Strips Qi^^m• 
 yellow 
 ti leaves 
 
 
 2. ^ 
 
 - 2 
 
 ^3 
 
 o 
 
 ^" 
 
 p 
 
 
 
 i 
 
 o 
 
 3 
 
 a 
 
 o 
 
 5^ 
 
 ►*> 
 
 a 
 
 ? 
 
 • 
 
 ft) 
 
 
 .^ 
 
 
 
 
 H 
 
 
 ^ 
 
 k 
 
 Yellow it 
 leaves. 
 
 ^^""J^t/Jie^ 
 
 ' ^^cUhei^J 
 
 Ti leaves 
 
 G 
 
 n> ^ 
 
 ^^cUa&iui 
 
 <7ecclhe4r^ 
 
Miscellaneous Myths. 12 
 
 o 
 
 THE ORIGIN OF KITE-FLYING. 
 
 Tane in the shades once challenged Rongo to a game of kite- 
 flying. But the issue of this trial of skill was the utter discom- 
 fiture of Tane by his elder brother Rongo, who had secretly 
 provided himself with an enormous quantity of string. From this 
 first kite-flying mortals have acquired the agreeable pastime, the 
 condition of each game being that the first kite that mounts the 
 sky should be sacred to, and should bear the name of, Rongo, the 
 great patron of the art. The names of all subsequent kites were 
 indifi'erent. To this contest reference is made in — 
 
 A KITE SONG FOR TENIO'S FETE. 
 
 BY KOROA, CIRCA 1814. 
 
 Call for the dance to lead off. 
 Ua kapi te puku i Atiu ! The hill-top ^ Atiu is covered with 
 
 kites, 
 Na tere manu a Raka e ! Pets of Raka who rules o'er the 
 
 winds. 
 Ka aka e ! Dance away ! 
 
 Solo. 
 Taipo e ! Go on ! 
 
 Chorus. 
 Ua kapi te puku i Atiu ! See, yon hill-top Atiu covered with 
 
 kites — 
 Na tere manu a Raka e ! Pets of Raka, god of winds. 
 
 Solo. 
 Ae ! Aye. 
 
 Chorus. 
 E manu peru au e ! I am a bird ^ {i.e. kite) of beautiful 
 
 plumage. 
 
 ^ A hill on the east of Mangaia is so named, in memory of Ake's visit to 
 the island. 
 
 ^ Kites were either (?^^-shaped, «:/?/(5-shaped, or (5/r^-shaped. As the 
 latter were more difficult to make, they were scarce, and greatly admired by 
 the childish old men who delighted to fly them on the hill-tops of Mangaia. 
 
124 
 
 Myths and Songs, 
 
 Solo. 
 
 Tomo i te rangi koukou e ! 
 Moaia ea koe e Tautiti, 
 
 Cleave, then, the dark clouds. 
 Chor-us. 
 
 Take care lest Tautiti gain the day. 
 Solo. 
 Taumoamoa e Tane e na Kongo oki, Once Tane and Kongo tried their 
 
 skill. 
 With divine kites in spirit-land. 
 
 Solo. 
 
 Tere manu aitu ki Iva e ! 
 
 Naai te ao i poto e 
 
 Na Tane, tei raro io na kumu e 
 
 E mano o te ao ! 
 
 Na Kongo ; 
 Te vai ra i te aka i te rangi e ! 
 
 Who was beaten ? 
 
 Chorus. 
 
 Tane ; for his string fell short. 
 
 Solo. 
 
 Two thousand fathoms of string 1 
 
 Chorus. 
 
 Yes ; 'twas Kongo's, 
 Whose kite touched the edge of the 
 sky. 
 
 UTI'S TORCH; OR, WILL-A-WISP. 
 
 Riding across the island alone one dark rainy night, I was 
 delighted to see just ahead what seemed to be a man carrying a 
 lighted torch. I shouted to my supposed companion to wait a 
 little until I could get up to him. Receiving no reply, I spurred 
 my horse ; but as the creature made its way with difficulty through 
 the deep mire, I was not a little annoyed to see the light dancing 
 on and on. But as it kept to the path I suspected nothing. A 
 clump of trees now hid the windings of the road : this mocking 
 companion seemed to dart through its gloomiest recesses in a 
 most inexplicable manner. After a long and weary chase the 
 light forsook the beaten track, and hovered over the deep waters of 
 the little lake in that neighbourhood. I had been chasing an ignis 
 fatiius! Upon reaching home that night, and relating my adven- 
 
Miscellaneous Myths. 
 
 I2s 
 
 ture, the natives jestingly remarked, "Uti has been Hghting up 
 your path with her torch." 
 
 In the very depths of nether-land is a district named 
 Manomano, or Countless^ swayed by a female fairy called 
 Uti. Her delight is to climb up at night to this world of ours, 
 provided with a torch, in search of food. Sometimes Uti's torch 
 may be seen slowly moving along the reef; now on the rocky 
 shore ; occasionally she threads the damp valleys, where prawns 
 abound, and thence will glide up mountain ridges. But Uti's 
 chief resort is the neighbourhood of the lake already referred to. 
 Sometimes the fairy moves alone ; at other times attended by one 
 or more of her daughters, each taking a different route. It was 
 Uti who first taught the women of this upper world the pastime of 
 catching the sleeping fish by torch-light,^ or waylaying crabs 
 ashore, or shrimping in her favourite lake on the south of the 
 island. Hence the old song: — 
 
 Tungia te ai, e Uti, 
 
 Ei turama ia Manomano. 
 
 Kua pou Rurapu 
 
 Ma raua o Tevakaroa. 
 
 E tu te anau a Vatea : 
 
 E ara te po, 
 Aore e karo i te rangi. 
 O Iro ua tatai mai raro mai 
 
 Nai te papa ia Tu.^ 
 
 Light thy torch, O Uti, 
 
 That illuminates spirit-world (literally, 
 
 Manomano). 
 Our taro has been robbed ; 
 Our lands are all bare. 
 Wake up, ye children of Vatea : 
 Keep watch through the night — 
 The gloomiest, wettest night — 
 "When Iro creeps up to play his 
 pranks 
 From the depths inhabited by Tu. 
 
 ^ There can be no doubt that most kinds of fish do sleep, or remain in a sort 
 of torpor, during the night. Not so predatory fish, sharks, etc., etc. 
 
 2 *'Tu" is a shortened form of ''Tw-mo.tVi?,''' ^Slick-by-the-parent, who 
 lives in the lowest department of Avaiki with the great mother Vari, in 
 silence, but with intelligence. Here it merely expresses the great depth from 
 which the fairy clambers up. 
 
126 
 
 Myths and Songs, 
 
 The first night of the native calendar was sacred to Iro (in 
 Tahitian, Hiro ; in New Zealand, Whiro), the patron of thieves, as 
 being his natal night ; or, as sceptical moderns think, a moonless 
 night is naturally favourable to a thieving expedition. It is hoped 
 that the great divinities, i.e. "the children of Vatea," will not allow 
 Iro's tricks to pass with impunity. Uti is invoked to come to the 
 aid of the sufferers, by lighting her torch over the taro patches 
 to be robbed : for the boldest thief would be terrified by the 
 sight, and would precipitately retire. 
 
 Vaangaru, lamenting (circa 1815) for his dead mother-in-law, 
 Anau, sings : — 
 
 Taumata ra i te tai : 
 
 Kua eke i Kopuaterea. 
 
 Tunu mai i te ai ramarama. 
 
 Tunu maira i te rama 
 
 I nunga i Araoa i te takanga 
 
 I tangi e moimoi aroa, 
 
 Tungia rava te rama na Uti ! 
 
 She glances at the sea 
 And plies her torch-fishing. 
 Then resting awhile at Araoa, 
 Cooks part of the spoil. 
 Ere leaving that pleasant spot 
 She carefully relights her torch- 
 As taught by the fairy Uti. 
 
 MOSQUITOES. 
 
 These most annoying insects are said to have been unknown 
 in Mangaia, until a woman named Veve landed with her children 
 from Aitutaki. In those days ear-ornaments of a prodigious 
 size were worn by men and women. To admit these clumsy 
 adornments, the ears were slit in childhood and enlarged by 
 constant pressure, until at last a small cocoa-nut ^ (vao) could 
 be inserted. Fragrant leaves and even flowers were put inside, 
 and the opening carefully plugged up. 
 
 Now Veve, on leaving her native island, filled up the hollow of 
 ^ This is a literal truth. 
 
Miscella7ieoiLs Myths, 127 
 
 her enormous ear-ornaments with 7nosquitoes, so as to have the 
 pleasure of hearing their continual hum ! But shortly after landing 
 on the eastern part of the island, she went to a pleasant retired 
 little stream, to enjoy the luxury of a bath, and left her singular' 
 ear-ornaments on the grassy bank. That same night she went 
 torch-fishing on the reef, and there recollected her missing 
 ear-plugs. Upon returning home, she found two of her children 
 stung to death by the mosquitoes, which had by their loud humming 
 contrived to burst their priso7i-house ! Her other two children had 
 escaped with their lives by entirely immersing their bodies in 
 the neighbouring stream, their mouth and nostrils only being 
 above water. 
 
 Veve set fire to her dwelling, hoping to exterminate the 
 noxious insects she had thoughtlessly introduced to her future 
 home. The majority, indeed, perished; but a few escaped to the 
 neighbouring rocks. From that remnant the present disagreeable 
 race of mosquitoes are descended. To this old belief Tenio refers 
 in his fete song : — 
 
 Kua topa te poe i te taringa : Thy ear-ornaments were lost ; 
 
 Kua vare paa i Vaikaute. When bathing at Vaikaute. 
 
 Na tangi namu i vavai. The loud humming burst them open. 
 
 Kua kai te namu ka pou raua. Alas ! they stung both children to death. 
 
 It is the custom of the natives to keep burning outside each 
 house a log of dry iron-wood, which if left alone will, like touch- 
 wood, smoulder on until the whole is consumed. Of course the 
 smoke readily penetrates the reed sides of a native hut, and drives 
 away the mosquitoes. But as the smoke does not invariably 
 suffice to expel these irritating foes, it is the custom to sleep with 
 the head and face well wrapped up. 
 
 In the hot, damp season, if a native cannot sleep on account 
 
128 Myths and Songs. 
 
 of mosquitoes, he lights a torch and waits until all his pertinacious 
 little foes are delightedly buzzing round it. He then slowly 
 carries the light outside, of course conducting the insect-army 
 with it. Suddenly quenching the torch, he now rushes back 
 inside the house and closes the sliding door. 
 
 '' THE-LONG-LIVED." 
 
 The formation of Mangaia is remarkably hilly. In the middle 
 of the island is a hill, half a mile long and 250 feet wide, named 
 Rangimotia, or Centre-of-the-heave?is, from which the lesser hills 
 branch out on every side. 
 
 This central hill was considered very sacred in the olden time, 
 for there the kings of past generations adjusted the sacred girdle 
 on warriors bound on secret murdering expeditions in the name of 
 Rongo. The condition of wearing this girdle was, " succeed or 
 die." About a century ago a rash chief, named Uarau, resolved 
 to celebrate his accession to supreme temporal power by holding a 
 grand feast on this sacred spot. The leading men of the day were 
 sure that such an act of daring impiety would draw down the 
 anger of the gods, and therefore deprived Uarau of his chieftain- 
 ship. The reason alleged for the sacredness of the hill is this : — 
 
 A god, Te-manava-roa,^ or The-long-lived, lies buried, face 
 downwards, at Rangimotia. His proportions are wonderful: the 
 length of the level hill — half a mile — being the measurement of his 
 back I His head is at Butoa, towards the sun-rising. The marked 
 depression between, is the neck of The-long-lived. His right 
 a7'm is the line of hills stretching away to the S.E., a distance of 
 two miles, and touching the mission premises at Tamarua. His 
 
 ^ One of the three primary stationary spirits bears this name, but must be 
 distinguished from this buried giant. 
 
Miscellaneous Myths. 129 
 
 left arui is represented by a hill-range, of equal length, on the 
 opposite side of the island. The right leg of The-long-lived is 
 the line of somewhat irregular hills extending about three miles 
 on the S.W. of the island. The left leg is a chain of equal length 
 on the N.W. 
 
 These " arms " and " legs " serve one important purpose — to 
 mark off the different districts into which the island is naturally- 
 divided. 
 
 It is in allusion to this myth that the southern half of Mangaia 
 is invariably called " the right side," and the northern half " the 
 left side." The eastern part of Mangaia is always termed the 
 *'pauru" or head. 
 
 Whenever, in the olden time, a large stranded fish was 
 obtained, this fancy guided the cutting up and presentation of the 
 different parts of the fish. The head^ as a matter-of-course, went 
 to the two chiefs at " the sun-rising," where the head of The-long- 
 lived ivas supposed to lie. The central part of the fish would go 
 to the two chiefs of the central portion of Mangaia — the fish being 
 divided along the back-bone, in order that the shares might be 
 equal. 
 
 The tail was divided between the two remaining chiefs, whose 
 homes are at "the sun-setting." 
 
 The larger portions were subdivided, until each individual had 
 a minute share. But these subdivisions were not made until the 
 name of the chief of the entire district had first been pro- 
 claimed. 
 
 To this day, in all great feasts, the etiquette is, after calling out 
 the name of the king, to announce in a prescribed order the 
 names of the six chiefs of Mangaia, beginning with one of the 
 chiefs on the east, and then going round in regular order until the 
 
130 Myths and Songs. 
 
 second chief on the east had been called out, and the circuit of 
 the island completed. This is done now partly as a matter of 
 custom, and partly as a matter of real convenience — ^jealousy 
 being thus prevented. Few of the younger people understand 
 the ancient reason for the practice. 
 
 HUMAN ARTS AND INVENTIONS. 
 
 The employments of mortals are mere transcripts of what was 
 supposed to be going on in Avaiki, their knowledge and skill being 
 derived from the invisible world. The first axe ever seen on earth 
 {J.e. Mangaia) was, handle and all, of stone from the shades. The 
 grand secret oi fire was introduced by Maui from nether-world. 
 The female employment of cloth-beating was derived from the she- 
 demon Mueu, who in the shades is ever beating the flail of death. 
 The art of torch-light fishing was gained from the goddess Uti, who 
 on damp nights loves to come up from Avaiki with a lighted 
 torch {ig7iis-fatims) to wander over the island. The art of stealing 
 would infallibly come to grief, did not Iro himself come up on 
 moonless nights from spirit-land, for the express purpose of assist- 
 ing mortals in playing their thievish tricks. The ovens in daily 
 use, especially the enormous ovens for cooking ti {dracoenae ter- 
 minalis) roots, are derived from Miru's awful oven ever blazing in 
 Hades. The aj-t of war was learnt from Tukaitaua and Tutavake, 
 denizens of nether-land. The intoxicating draught was copied 
 from that which the hateful mistress of the invisible world presents 
 to her victims. The pleasant and harmless game of ball-throwing 
 was first taught to Ngaru by fairy-women ; and introduced by him 
 to this world. Veetini came from the dead to instruct mankind 
 how to moimi for their deceased relatives. 
 
Miscellaneous Myths. 131 
 
 An obvious explanation of this style of thought is the universal 
 tendency of the heathen mind to trace to a supernatural source 
 everything in earth, air, or sea. Another suggestion I would 
 make ; — their ancestors undoubtedly brought with them the know- 
 ledge of necessary and useful arts from Savai'i, the " Avaiki " and 
 original home of these islanders. In the eastern islands they 
 speak of having come from Hawai'i (= Savai'i), or the " Po," i.e. 
 Night. By " Night " is intended the far-west, where the sun 
 sets, leaving these eastern islands in darkness. Po, Hawai'i, 
 Avaiki, and Savai'i are convertible terms. 
 
 •The heathen of these islands were everywhere Realists in 
 philosophy, without knowing it. This is the fundamental error of 
 unenlightened nations. 
 
 PERILS OF BEAUTY. 
 
 Ngaroariki,^ wife of Ngata, king of Rarotonga, was famed for 
 her beauty. She was the envy of gods and men. On one occa- 
 sion she was thrown into a thicket of thorns by four men, who 
 thought she could never get out alive. (The thorns of this formid- 
 able creeper resemble fish-hooks. Woe betide the unfortunate 
 man that gets entangled amongst them.) Tangaroa, tutelar god of 
 Rarotonga, took pity on the hapless beauty, and sent Oroio and 
 Roaki with long, heavy sticks to beat down the thicket, and thus 
 afford deliverance. Another time, when rambling near the sea, 
 she heard a siren voice calling to her, " O loveliest of women, 
 come hither ! " She felt impelled to follow the voice. The path- 
 way led over a biia {heslaria laiirifolid) which overspread a rock. 
 Tangaroa whispered to her to tread only the gi'cen branches, as 
 ^ Ngaroariki = the lost queen. Ngata = difficult. 
 
132 Myths and Songs. 
 
 whoever treads upon the dead branches is necessarily bound to 
 spirit-land. She did so. But as she passed on to the sea whence 
 the voice proceeded, she was suddenly caught in a net by two 
 demons, and was utterly helpless in their hands. As she was 
 being borne away to destruction, Tangaroa again interposed on 
 her behalf, and tore the net to pieces and delivered the fair 
 captive. On a third occasion, Ngaroariki told her husband that 
 she was going to bathe in a retired spot. He attempted to 
 dissuade her from her purpose, saying that she might be attacked 
 by the cruel hag Moto (= the strike?'), who was known to be 
 jealous of her charms. Ngaroariki loved to have her own way, 
 and went off gaily to the fountain, and there greatly diverted her- 
 self by beating the water ^vith her hands. 
 
 It happened that the envious woman was preparing cloth in 
 her own dwelling, which was not far away from the bathing-place. 
 As soon as she heard the splashing of the water, she knew that it 
 was Ngaroariki, and immediately left off work and sought how 
 she might wreak her vengeance upon the defenceless queen. 
 
 Tangaroa noticed that Moto's flail ceased to beat, and con- 
 cluded that she was planning some evil against Ngaroariki. Wish- 
 ing to save the ill-fated beauty, he despatched his bird-messenger, 
 the kuriri, who chirped thus : — 
 
 Teuteuae,^ rueraeae, e tu ra, e oro ra, Haste, haste, arise, flee for thy life ! 
 aere ra. 
 
 The warning was repeated two or three times ; but Ngaroariki 
 
 paid no heed. While she was yet splashing about in the fountain, 
 
 Moto violently assaulted the unprepared bather. She then, with a 
 
 keen shark's tooth, shaved off the whole of her hair, which was so 
 
 profuse that it made eight large handfuls. Her face was next so 
 
 1 The alliteration is beautiful : the sense of both words is the same. 
 
Miscellaneous Myths. 133 
 
 disfigured that it was impossible for any one to recognize the once 
 beautiful queen. Her pretty yellow ear-ornament of stained fish- 
 bone, and her fine pearl-shell daintily suspended from her neck, 
 were snatched away. Her gay clothes were all taken from her, 
 and she was wrapped round in a single piece of old black fapa. 
 When at length the hag Moto retreated with the spoil, poor 
 Ngaroariki, utterly forlorn and changed in appearance, hid herself 
 in the forest. 
 
 Her husband Ngata, astonished that his queen did not return 
 home, searched everywhere for her ; but in vain. After some time 
 a grand reed-throwing match in honour of the king came off. The 
 party who throws the farthest wins the day. The chief people of 
 the island were present, and in succession threw their long reeds 
 with various degrees of success. When Ngata and his retinue 
 came forward to exhibit their skill, it happened that their reeds 
 passed near where the lost queen was hiding her deformity and 
 misery. She was wasted to a skeleton through grief and want of 
 food. She knew well to whom the reeds belonged. One after 
 another, as they swept past, they were caught by her and broken in 
 pieces. It was reported to the king that his reeds had actually 
 been destroyed by some ugly, wretched-looking woman. Ngata, 
 greatly incensed, hastened to punish her insolence. Again and 
 again he kicked her, reviling her for her ugliness and impudence. 
 As soon as the king was gone, Ngaroariki wailed thus : — 
 
 Takatakaiia, takatakaiia te mea vaine O royal Ngata, tramplest thou thus — 
 
 Ngata ariki, 
 I Vaitakaiara te nekuere. Tramplest thou thus on thine own 
 
 perishing wife ? 
 
 The king was told what she had said. Was it possible that 
 this ugly creature was indeed his lost wife? He immediately 
 
134 Myths and Songs. 
 
 returned and looked attentively at her face, but could see no like- 
 ness to his beloved Ngaroariki. Yet there could be no mistaking 
 the meaning of her words. At last he bethought himself to open 
 her mouth ; and, on doing so, immediately recognized the pearly 
 teeth of his lost one. He asked what had happened to her. She 
 told him all. Off started Ngata, followed by his wife, in search of 
 the sorceress. She was employed as usual in beating out cloth. 
 The king demanded whether she had touched Ngaroariki and had 
 stolen her queenly ornaments. The hag admitted that these 
 charges were true, but begged the king not to kill her, as she 
 would give back the stolen treasures, and restore her to her 
 pristine beauty. The ornaments and clothing were produced. The 
 sorceress then collected the viscid fluid of the hibiscus and the 
 oronga (iirtica argentea), and prepared a sort of gum which she 
 plastered all over the bald head of Ngaroariki. The hair was 
 thus made by the sorceress to adhere as formerly. The eyebrows 
 were restored in the same way. The hag having, with infinite 
 labour, repaired the damage she had done to the person of the 
 queen, hoped to be forgiven. But Ngata thirsted for revenge. 
 Besides, the jealous Moto might invent some new method of 
 injuring his beloved one. Without heeding her entreaties for 
 mercy, the king stoned the sorceress to death, as he believed. 
 Accompanied by Ngaroariki, he was proceeding home, when, to 
 his utter astonishment, he heard Moto again at her old employ- 
 ment, beating out native cloth. He returned to the hag, who 
 appeared to be uninjured by what had occurred. A second time 
 Ngata stoned the sorceress ; but again she revived and returned 
 to her old work. Driven to his wits' end, he at last hit upon a 
 plan which proved successful; it was to stone her until, as 
 previously, life seemed extinct, and then to sever the limbs and 
 
Miscellaneous Myths. 135 
 
 bury them in different parts of the island. Thus, at length, an 
 end was put to the malicious tricks of the envious Moto, and the 
 lovely Ngaroariki lived in peace with her royal husband. 
 
 ORIGIN OF PIGS AT RAROTONGA. 
 
 Of the seven islands constituting the Hervey Group, Mangaia 
 and Aitutaki are the only ones without a native breed of pigs. 
 The first were landed in 1823 by the martyr Williams. On occa- 
 sion of the annual May festivities in 1852, a thousand pigs were 
 killed and eaten ! Of late years the number of these useful 
 animals has greatly fallen off, owing to the desolation occasioned 
 by successive hurricanes. 
 
 The only quadruped previously known on Mangaia was the rat^ 
 which was considered to be delicious eating. To this day a rat- 
 hunt is rare sport for boys, who afterwards divide the spoil. Their 
 seniors have relinquished the practice of rat-eating. " As sweet as 
 a rat " is a common proverb ; and the Rarotongans revile Manga- 
 ians as " rat-eaters." 
 
 The following is the legend given to account for the origin of 
 pigs at Rarotonga : — 
 
 Some two miles from the settlement of Avarua is a place 
 named Kupolu, where there once lived the aged blind Maaru, 
 and his son Kationgia.. They lived by themselves in a pleasant 
 spot, not far from the base of mountains whose summits are nearly 
 always robed in clouds. 
 
 In consequence of the continual fighting of those days, there 
 was a most severe famine. Maaru became too feeble to stir from 
 the house ; so that the boy had to provide, as best he could, for 
 the wants of the old man and himself. Kationgia could find 
 nothing better to eat than the stump of the banana, which 
 
136 Myths and Songs. 
 
 ordinarily no one would condescend to taste. Very diligently did 
 he grate these stumps on a lump of madrepore coral, strain off the 
 farina into a tub hollowed out of a solid tree, and mixing a little 
 of the refuse (ota), in order to give it substance, cooked the whole 
 in the oven. Kationgia would now go on the reef to fish, in 
 order to get something to render this wretched diet palatable. 
 The fish, when obtained, was grilled over a fire, on an extempore 
 gridiron of green cocoa-nut branches. 
 
 The dutiful son invariably gave to his aged parent the banana- 
 root pudding and the larger fish, whilst he satisfied the cravings of 
 his own appetite on sea-slugs and shell-fish. Maaru, wearied of 
 this diet, and suspected Kationgia of playing him a trick. Pos- 
 sibly the secret of his boy's uncomplaining cheerfulness was that 
 he reserved all the good things for his own eating, knowing that 
 his old father was stone blind. Resolved to find out the truth, he 
 waited till his son had gone on the reef to fish. Maaru now felt 
 about for the calabash of salt water, and spilled its contents. In 
 due time the son returned with some fish, and prepared their meal. 
 But to his surprise, the salt water was gone. Without a word of 
 complaint the lad started back to the beach to refill the empty 
 calabash with this indispensable condiment. 
 
 This was just the opportunity the old blind father desired. 
 Everything was spread for his own dinner and for his son's : he re- 
 solved to ascertain what his boy was living on from day to day, 
 seeing that his own fare was so indifferent. To his grief he found 
 that Kationgia had been really starving himself, whilst the father 
 had constantly eaten the only tolerable food obtainable. Maaru 
 wept at the thought of what his poor boy had endured for his 
 sake : hearing, at length, the footsteps of the lad, he restrained his 
 tears. 
 
MiscellaneotLS Myths. 137 
 
 The meal was finished in silence. The old man then requested 
 Kationgia to come to him. The boy obeyed, wondering at this 
 novel proceeding. The blind Maaru then felt all over his person, 
 and found him to be a living skeleton. Father and son now wept 
 together. 
 
 Kationgia was told to prepare an oven. " What have we to 
 cook ? " naturally asked the son. The father repeated his 
 command. When the oven was nearly ready, Maaru directed his 
 son to dig about the posts of the house, where he had, with a wise 
 forethought, during a previous season of plenty, concealed a 
 quantity of food against the time of scarcity. 
 
 Near the first post w^as a large quantity of " mai," or sour 
 bread-fruit, carefully packed up in leaves.^ About the second post 
 was a lot of excellent chestnuts {tuscarpiis edulis). To crown the 
 whole, a bunch of four cocoa-nuts was discovered close to the 
 third principal support of their dwelling. Said the old father, 
 " Cook all this food ; for we will have a feast to-night. When I 
 am gone, dig about all the minor posts of this house, and you will 
 find plenty of food expressly reserved for this time of sore need." 
 
 That evening father and son enjoyed the luxury of a second 
 meal. Maaru then solemnly said, " I have eaten my last food. I 
 am about to die. As soon as the breath is out of my body, take 
 me to Nikao (a good fishing-place about a mile distant). On no 
 account carry me ; but drag me there. Conceal my body in the 
 bush ; cover it well with leaves and grass. At the expiration of 
 four days, come and look at my body. Should you see worms 
 crawling about, cover me over again with fresh leaves and grass. 
 At the expiration of another four days come back — and something 
 
 ^ Thus packed and buried in the earth, it will keep good two or three 
 years. 
 
138 Myths a?id Songs. 
 
 will follow you. Peace will be 7'estored to this island^ and you will 
 be king r^ 
 
 That same night the old man died. Kationgia faithfully 
 carried out the last wish of his parent. The bruised corpse was 
 deposited in the dense ironwood forest, not far from the beautiful 
 white sandy beach of Nikao. At the end of four days the lad 
 revisited the sequestered grave, and saw worms crawling about. 
 According to the instructions of Maaru, he gathered abundance of 
 fresh leaves and grass, and piled them over the corpse to a great 
 height. But when, after the expiration of another four days, he 
 paid a second visit to the grave, he was surprised to see the entire 
 mass strangely heaving ; — it was all commotion ! Alarmed at 
 this, he rushed away home in horror. His ears, however, were 
 assailed and his steps arrested with the novel grunts of the first 
 brood of figs on Rarotonga. In that first brood were all the 
 varieties of white, black, and speckled, which have since prevailed. 
 These young pigs, of their own accord, followed Kationgia to his 
 home at the foot of the mountain. They increased at a wonder- 
 ful rate, and made their owner famous all over the island. 
 
 Being now a man of consideration, Kationgia married to 
 advantage. Peace prevailed, and eventually, on account of his 
 owning these wonderful animals, he was elected king ! Such was 
 the reward of his filial piety. 
 
 To the present day pigs at Rarotonga are, in allusion to this 
 story, called " e iro no Maaru " = worms of Maaru. 
 
 Kationgia = bite and smelly as if the model child of their 
 heathen antiquity only bit and smelt his own share of food. 
 A spot at Rarotonga is to this day called Kupolu. 
 
Miscellaneous Myths. 139 
 
 SEEKING FOR LIGHT. 
 
 AN AITUTAKIAN MYTH. 
 
 Te-erui, son of Te-tareva = the expanse, lived long in utter 
 darkness in the shades (Avaiki). He had heard that there was 
 somewhere a land of light ; very earnestly he desired to visit it. 
 He ruminated as to the best way of attaining his purpose, and 
 finally resolved to make a canoe, in which he might paddle away 
 to "the land of light." 
 
 Te-erui divulged his secret purpose to his brother Matareka = 
 
 smiling face. Being of one mind, they at once set off in search 
 
 of suitable wood for their purpose. As they felled the trees, 
 
 they chanted these words : — 
 
 Nga Te-erui, nga Matareka e amo i te toki i te tumu o te rakau. 
 E aumapu ma taku toki, e aumapu. 
 
 Te- erui and Matareka have brought their axes to the root of this tree. 
 Merrily rings the axe ! merrily O ! 
 
 The trees fell. The top and branches were speedily lopped 
 off, the outer bark was peeled off, and the trunks hollowed out 
 into two fine canoes. The outriggers were secured. The first 
 canoe was named, " Weary of Darkness \ " the second, "Sleepless 
 Nights." These enterprising brothers dragged their canoes to 
 the ocean's edge, set up a mast and sail in each, and started for 
 the much-wished-for " land of light." When the winds grew light, 
 they diligently plied their paddles. On and on they went, and, 
 to their great joy, reached a region called " Glimmering of Light." 
 Here they met with a great misfortune — their canoes upset. 
 They, however, swam back for their lives, and succeeded in 
 reaching their homes again. In no degree discouraged by the 
 
140 Myths and Songs. 
 
 result of this, their first experiment, the brothers cut down two 
 trees, chanting as before : — 
 
 Te-erui and Matareka have brought their axes to the root of this tree. 
 Merrily rings the axe ! merrily O ! 
 
 The trees fell ; and in due time the canoes were completed. 
 One was named, "Unalterable Purpose;" the other, "Sidle 
 Along " (because unable to go direct). These new canoes were 
 launched, and a second time the brothers started off in search of 
 " the land of light." All went on well until they arrived at the 
 comparatively pleasant region of " Glimmering of Light," where 
 their fragile barks were sunk by the violence of the waves. The 
 adventurous voyagers happily succeeded in swimming back to 
 shore a second time. But Te-erui and Matareka did not despair. 
 Again they felled timber for two new canoes in the place of those 
 they had lost, singing as before : — 
 
 Te-erui and Matareka have brought, etc. 
 
 When these canoes were completed, they were respectively 
 called "Tack In," and "Tack Out." Once more the brothers, 
 each in a separate canoe, started off in search of "the land of 
 light," but were again doomed to disappointment ; for, on reach- 
 ing the region of " Glimmering of Light," the rough waves again 
 broke up their canoes. Te-erui and Matareka, however, got back 
 to shore a third time. 
 
 The brothers now doubted whether they would ever succeed 
 in getting to the wished-for land. They resolved to try once 
 more. Again they selected the best trees for their purpose; 
 and, whilst cutting them down, sang as formerly, "Te-erui and 
 Matareka," etc. When these canoes were completed, they held 
 a consultation as to the probable cause of their previous failures. 
 
Miscellaneous Myths. 141 
 
 The carpenter, or priest, inquired the name of the masts of 
 the former canoes. The brothers repHed, " Te-tira-o-Rongo," 
 i.e. The mast of Rojigo. The carpenter remarked, " It is on 
 this account that you have hitherto failed. Change the 
 name, and you will yet succeed." " What name do you pro- 
 pose ? " asked the brothers. " Call it," said the priest-carpenter, 
 " 0-tu-i-te-rangi-marama " ^ = Erect in the Light of Heaven. 
 This was gladly agreed to. Everything was at length completed 
 for the fourth expedition in search of " the land of light." What 
 with paddling and sailing, they reached the dangerous region of 
 " Glimmering of Light," and saw the mad billows seemingly 
 resolved again to swallow up the frail barks. But " Erect in the 
 Light of Heaven " kept on through storm and calm until they 
 reached "the land of light" — a region where they could clearly see 
 each other ; where the sun shone brightly, and all was pleasant. 
 
 No more caring to return to the dark land from which they 
 had originally set out, they looked about for a resting-place, and 
 at last espied a half-sunken island ahead. But the ocean waves 
 were threatening, and the surf rolled heavily against the coral reef. 
 The brothers fought against these billows, and lo ! the sea became 
 smooth. Nearing the partially submerged island, they could find 
 no dry place on which to set their feet. The brothers again con- 
 tended with the ocean j the shallow waters vanished, leaving the 
 island elevated far above the surrounding ocean. Te-erui and Mata- 
 reka took possession of their new-found home in "the region of light," 
 and thenceforth appropriately called it " Aitu-taki " = God-led. 
 
 Such is the legendary history of the " Adam " of Aitutaki. It 
 is, of course, a highly exaggerated account of the voyage of the 
 
 ^ A possible meaning of this name is "Tu-(bathed)-in-the-Light-of-Heaven." 
 I prefer that given in the text. 
 
142 Myths and Songs. 
 
 first settlers fi-om Avaiki = Savai'i, the sun-setting, to " the land of 
 light," i.e. the sun-rising. Said the heathen priests to Papehia, 
 one of their first teachers, " Te-erui was the first man ; we know 
 nothing about your Adam." 
 
 RATA'S CANOE. 
 
 A LEGEND FROM AITUTAKI. 
 
 In the fairy land of Kupolu lived the renowTied chief Rata, who 
 resolved to build a great double canoe, with a view of exploring 
 other lands. Shouldering his axe, he started off to a distant valley 
 where the finest timber grew. Close to the mountain stream stood 
 a fragrant pandanus tree, where a deadly combat was going on 
 between a beautiful white heron (ruru), and a spotted sea-serpent 
 (aa). The origin of the quarrel was as follows : — 
 
 The heron was accustomed, when wearied with its search after 
 fish, to rest itself on a stone rising just above the waters of the 
 coral reef, and chanced to defile the eyes of a monstrous sea- 
 serpent, whose hole was just beneath. The serpent, greatly 
 enraged at this insult, resolved to be revenged. Raising its head 
 as far as possible out of the water, it carefully observed the flight 
 of the white heron and followed in pursuit. Leaving the salt 
 water of the reef, it entered the mountain torrent, and eventually 
 reached the foot of the fragrant pandanus, where the unconscious 
 victim was sleeping. The sea-serpent easily climbed the pandanus 
 by means of one of its extraordinary aerial supports or roots ; 
 and now, holding on firmly with its twisted tail, began the attack 
 by biting the lovely bird. 
 
 They fought hard all through that night. At da\\Ti, the white 
 heron seeing Rata passing that way, plaintively called out, " O 
 Rata, put an end to this fight." But the sea-serpent said deceit- 
 
Miscellaneous Myths. 143 
 
 fully, " Nay, Rata ; leave us alone. It is but a trial of strength 
 between a heron and a serpent. Let us fight it out." Again the 
 white heron begged Rata to interfere ; and again the crafty sea- 
 serpent bade Rata go on his way — which he did, being in a great 
 hurry to fell timber for his canoe. But as he walked heedlessly 
 along, he heard the bird say reproachfully, " Ah ! your canoe 
 will not be finished without my aid." Still Rata heeded not the 
 white heron's cry for help, but entered the recesses of the forest. 
 Selecting the finest timber he could find, he cut down enough for 
 his purpose, and at sunset returned home. 
 
 Early on the following morning the chief returned to the valley, 
 intending to hollow out the trees he had felled on the previous 
 day. Strangely enough, the logs were missing : not a lopped 
 branch, or even a chip or a leaf could be seen I No stump could 
 be discovered, so that it was evident that the felled trees had, in 
 the course of the night, been mysteriously restored to their former 
 state. But Rata was not to be deterred from his purpose, so 
 having again fixed upon suitable trees, a second time he levelled 
 them to the ground. 
 
 On the third morning, as he went back to the forest to his 
 work, he noticed that the heron and the serpent were still fighting. 
 They had been thus engaged for two days and nights without 
 intermission. Rata pursued his way, intending to hollow out his 
 canoe, when to his astonishment, as on the previous day, the fallen 
 trees had resumed their original places, and were in every respect 
 as perfect as before the axe had touched them. Rata guessed by 
 their position and size, which were the trees that had twice served 
 him this trick. He now for the first time understood the meaning 
 of what the suffering white heron had said to him on the first day, 
 " Your canoe will not be finished without my aid." 
 
144 Myths and Songs. 
 
 Rata now left the forest and went to see whether the white 
 heron was aHve. The beautiful bird was indeed living, but 
 very much exhausted. Its unrelenting foe, sure of victory, was 
 preparing for a final attack when Rata chopped it in pieces with 
 his axe, and thus saved the life of the white heron. He then went 
 back to his work, and for the third time felled the timber for his 
 canoe. As it was by this time growing dark, he returned home to 
 rest. 
 
 From the branch of a distant tree the somewhat revived white 
 heron watched the labours of Rata through the livelong day. As 
 soon as the chief had disappeared in the evening, the grateful 
 bird started off to collect all the birds of Kupolu to hollow out 
 Rata's canoe. They gladly obeyed the summons of their sovereign, 
 and pecked away with their beaks until the huge logs were 
 speedily hollowed out. Next came the more difficult task of join- 
 ing together the separate pieces. The holes were bored with the 
 long bills of the sea birds, and the cinet was well secured with the 
 claws of the stronger land birds. It was almost dawn ere the 
 work was completed. Finally, they resolved to convey the canoe 
 to the beach close to Rata's dwelling. To accomplish this, each 
 bird — the small as well as the large — took its place on either side 
 of the canoe, completely surrounding it. At a given signal they 
 all extended their wings, one to bear up the canoe, the other for 
 flight. As they bore the canoe through the air they sang, each 
 with a different note, as follows : — 
 
 E ara rakau e ! E ara rakau e ! A pathway for the canoe ! A pathway 
 
 for the canoe ! 
 E ara inano e ! A path of sweet-scented flowers ! 
 
 E kopukopu te tini o Kupolu The entire family of birds of Kupohi 
 
 E matakitaki, ka re koe ! 06 ! Honour thee (Rata) above all mortals ! 
 
 05! 
 
Miscella7ieotis Myths. 145 
 
 On reaching the sandy beach in front of Rata's dweUing the 
 canoe was carefully deposited by the birds, who now quickly 
 disappeared in the depths of the forest. 
 
 Awakened by this unwonted song of the birds, Rata hastily 
 collected his tools, intending to return to his arduous employment 
 in the valley. At this moment he caught sight of the famous 
 canoe, beautifully finished off, lying close to his door. He at 
 once guessed this to be the gratitude of the king of birds, and 
 named the canoe " Taraipo " = Buili-in-a-night (or Built-in-the- 
 invisible-world). 
 
 Rata speedily provided his bird-built canoe with a mast and a 
 sail, and then summoned his friends, and laid in food and water 
 for his projected voyage. Everything being now ready, he went 
 on board, and was just starting when Nganaoa asked permission 
 to go in this wonderful vessel. But Rata would not consent. The 
 crafty Nganaoa seeing the canoe start without him ran to fetch an 
 empty calabash, knocked off the top, and squeezing himself in as 
 best he could, floated himself off on the surface of the ocean, until 
 he got a little ahead of the canoe. The people in Rata's canoe 
 were surprised to see an apparently empty calabash floating 
 steadily just before their vessel. Rata desired one of his men to 
 stoop down to pick up the calabash, as it might prove useful. 
 The man did so, but to his astonishment found it very heavy — 
 actually containing a man compressed into the smallest possible 
 compass. 
 
 A voice now issued from the calabash, O Rata, take me on 
 board your canoe." " Whither away ? " inquired the chief 
 " I go," said the poor fellow inside the calabash, " warned by an 
 oracle, to the land of Moonlight, to seek my parents Tairitokerau 
 and Vaiaroa." Rata now asked, " What will you do for me if 
 
 L 
 
146 Myths and Songs, 
 
 I take you in ? " The imprisoned Nganaoa replied, " I will look 
 after your mat sail." " I do not want your help," said Rata. 
 " Here are men enough to attend to the great mat sail." 
 
 After a pause, Nganaoa, still unreleased from his awkward 
 position, again earnestly addressed Rata : " Let me go in your 
 canoe." " Whither away ? " again demanded the chief. " I go," 
 said Nganaoa, "warned by an oracle, to the land of Moonlight, 
 to seek my parents Tairitokerau and Vaiaroa." Rata again asked 
 " What now will you do for me if I take you in ? " The reply 
 issued from the calabash, " I will unweariedly bale out the water 
 from the bottom of your canoe." Again Rata said, " I do not 
 want your help. I have plenty of men to bale out the water from 
 the bottom of the canoe." 
 
 A third time, in similar terms, Nganaoa entreated permission to 
 go :in the canoe — to paddle it whenever the wind should grow 
 light or adverse. But Rata would not accept his services. 
 
 At last, upon the fourth application, the desponding Nganaoa 
 was successful, on the promise to destroy all the monsters of the 
 ocean which might infest their path. Rata wisely reflected that he 
 had" entirely forgotten to provide against this emergency; and 
 who so fertile in expedients as Nganaoa, who was now permitted 
 to emerge from his calabash, and to take his place armed at 
 head of the canoe to be on the look-out for monsters. 
 
 Swiftly and pleasantly, mth a fair wind, they sped over the 
 ocean in quest of new lands. One day Nganaoa shouted, "O Rata, 
 here is a terrible foe starting up from the main." It was an open 
 clmn of fearful proportions. One shell was ahead, the other 
 astern — the canoe and all on board lying between ! In another 
 moment this horrid clam might crush them all by suddenly closing 
 its mouth ! But Nganaoa was ready for the emergency. He 
 
Miscellaneous Myths. 147 
 
 seized his long spear and quickly drove it down into the fish, 
 so that the bivalve instead of suddenly snapping them all up sank 
 immediately to the bottom of the ocean. 
 
 This danger escaped, they again sped pleasantly on their way. 
 But after a while the voice of the ever vigilant Nganaoa was heard : 
 " O Rata, yonder is a terrible enemy starting up from ocean 
 depths." It proved to be an octopus of extraordinary dimensions. 
 Its huge tentacula encircled the vessel in their embrace, threaten- 
 ing to destroy them. At this critical juncture Nganaoa seized his 
 spear and fearlessly drove it through the head of the octopus. 
 The tentacula now slowly relaxed, and the dead monster floated 
 off on the surface of the ocean. 
 
 Again they pursued their voyage in safety. But one more 
 great peril awaited them. One day the brave Nganaoa shouted, " O 
 Rata, here is a great whale .^" Its enormous mouth was wide open ; 
 one jaw beneath the canoe, and the other above it ! The whale 
 was evidently bent on swallowing them up alive. Nganaoa, the 
 slayer of monsters, now broke his long spear in two, and at the 
 critical moment when the whale was about to crush them all, 
 he cleverly inserted both stakes inside the mouth of their foe, 
 so that it became impossible for it to close its jaws. Nganaoa 
 nimbly jumped inside the mouth of this great whale and looked 
 down into the stomach, and lo ! there sat his long lost father 
 Tairitokerau and his mother Vaiaroa, who had been swallowed 
 alive when fishing by this monster of the deep. The oracle 
 was fulfilled ; his voyage was prosperous. 
 
 The parents of Nganaoa were busily engaged in platting cinet 
 Great was their joy at seeing their son, being assured that 
 deliverance was at hand. Nganaoa resolved, whilst extricating 
 his parents, to be fully revenged upon the whale. He therefore 
 
148 Myths and Songs. 
 
 extracted one of the two stakes — the remaining one sufficing to 
 prevent the monster from enclosing him as well as his parents in 
 this living tomb. Breaking this prop into two pieces, he con- 
 verted them into hre-sticks. He desired his father to hold firmly 
 the lower one, whilst he worked assiduously with the upper stick, 
 until at length the fire smouldered. Blowing it to a flame, 
 Nganaoa set fire to the fatty portion of the stomach. The 
 monster, writhing in agony, sought relief in swimming to the 
 nearest land, where, on reaching the sandy beach, father, mother, 
 and son quietly walked out through the open mouth of the 
 stranded and dying whale. 
 
 The island proved to be Iti-te-marama, or Moonlight. Here 
 the canoe of Rata was drawn up on the beach, and for a time 
 they all lived pleasantly. They daily refreshed themselves with 
 its fruits and fish, adorning their persons with fragrant flowers. 
 At length they longed for the land of their birth in Avaiki, 
 and they resolved to return. The canoe was repaired and 
 launched ; food and water were laid in ; the great mat sail was 
 set up, and at length the brave navigator Rata, with the scarcely 
 saved parents of Nganaoa, and the entire party, started once 
 more. After many days, but without further peril, they event- 
 ually reached their original homes in the lands of the sun- 
 setting. 
 
 This myth materially differs from the Rarotongan one, to 
 which Mr. Williams refers in the " Enterprises " (chap, xiii.), which 
 relates how Tangiia first came to Rarotonga. In the latter part, 
 one is strongly reminded of the story of Jonah : the natives look 
 upon it as a distorted version of the Bible narrative. The 
 myth says " a whale " (toora) swallowed the parents of Nganaoa ; 
 
Miscellaneous Myths, 149 
 
 whereas the native Bible merely states that " a great fish " (ika 
 maata) swallowed Jonah. 
 
 This myth, which may be regarded as one of the primitive 
 stories of the race, points to Samoa. At Pangaroa, in the island 
 of Upolu (in Rarotongan and Aitutakian story Xupolu; but in 
 Mangaian traditions C/'/^upolu), amid some rocks near the sea, 
 is a block of stone, about twenty-seven feet in length, very much 
 resembling a canoe, and called " the canoe of Rata ! " 
 
 The story of Rata was unknown at Mangaia. Yet a reference 
 to this hero occurs in a canoe-making song — 
 
 Tapaia e Una e ! Slash away, O Una, 
 
 E toki purepure o tai enua. With the wonderful axe from another 
 
 land. 
 A tua te vao ia Rata E'en with that which enabled Rata 
 
 Kua inga te rakau ! To fell the forest. 
 
 "The Song of the Birds" ("A Pathway for the canoe," etc.) 
 has always been in use at Aitutaki and Rarotonga as one of those 
 chanted in hauling heavy timber. 
 
 The bird intended by the native word " ruru " is a matter 
 of dispute amongst the islanders ; some asserting it to be the 
 albatros, others say it is the white heron. The objection to 
 the former is, that is is purely a roamer over the ocean. The fish 
 intended is the "vaaroa," or spotted sea-serpent, which attains 
 the length of eight feet, and is very vindictive. It may seem 
 incredible that a species of eel should climb trees, but such 
 nevertheless is said (by the natives) to be the fact. On low coral 
 islands, where the pandanus grows close to the lagoon, it is com- 
 mon for this fish to make its way over the sand and broken coral 
 until, reaching the shafts which support the trunk, it climbs with 
 great ease in search of lizards which sleep on the branches. The 
 
I50 
 
 Myths and Songs. 
 
 octopus climbs the same tree for the sake of the sweet-scented 
 flowers and fruit. Like the octopus, this sea-serpent is an expert 
 rat-catcher — feigning death until the unwary rat comes within 
 its reach. The sight of a human being causes it to return to the 
 water with the utmost expedition. 
 
 PRAYER OR CHARM FOR A THIEF OR A 
 MURDERER. 
 
 USED BY THE CHIEF RAOA AND HIS CLAN. 
 
 Tena rava te tira : 
 
 Ka tu i nunga, 
 
 Ka tu i mua i te are : 
 E tira Omataianiiku : 
 E tira Outuuturoroa ; 
 
 Oavaavaroroa. 
 
 Tei iti au era tangata kekeia, 
 O ua rere i maui ia kiritia ; 
 
 I taviria ia turua. 
 Ia turua a nu koe e te atua i te are : 
 
 Ka mate koe i te atua i te are. 
 
 Tamoe i te au mea katoa 
 Tena rava te moenga, maora atu na, 
 
 F moe, e te tangata noou te are. 
 E moe, e te tirango noou te are. 
 E moe, e te portipoti noou te are. 
 
 E moe, e te ueue noeu te are. 
 
 Here is our sure helper. 
 
 Arise on our behalf : 
 
 Stand at the door of this house, 
 O thou divine Omataianuku ! 
 O thou divine Outuutu-the-Tall, 
 
 And Avaava-the-Tall ! 
 
 We are on a thieving''- expedition — 
 Be close to our left side to give aid. 
 
 Let all be wrapped in sleep. 
 Be as a lofty cocoa-nut tree to support 
 
 us. 
 O house, thou art doomed by our 
 
 god! 
 
 Cause all things to sleep. 
 
 Let 
 
 profound sleep overspread this 
 dwelling. 
 Owner of the house, sleep on ! 
 Threshold of this house, sleep on ! 
 Ye tiny insects inhabiting this house 
 
 sleep on ! 
 Ye beetles inhabiting this house, sleep 
 on ! 
 
 ^ " Keia," applies equally to thieving and murdering. 
 
Miscellaneoics Myths. 
 
 151 
 
 E moe, e te kakaraunga noou te are. 
 
 E moe, e te ro noou te are. 
 
 E moe, e te mata noou te are. 
 
 E moe, e te pou noou te are. 
 
 E moe, e te tauu noou te are. 
 
 E moe, e te oka noou te are. 
 
 E moe, e te tarava noou te are. 
 
 E moe, e te kao noou te are. 
 
 E moe, e te tiritiritama noou te are. 
 
 E moe, e te au noou te are. 
 
 E moe, e te kakao noou te are. 
 E moe, e te rau noou te are. 
 
 O te mata i niua o te tansfata 
 
 Ye earwigs inhabiting this house, 
 
 sleep on ! 
 Ye ants inhabiting this house, sleep 
 
 on ! 
 Dry grass spread over the house, sleep 
 
 on ! 
 Thou central post of the house, sleep 
 
 on ! 
 Thou ridge-pole of the house, sleep 
 
 on ! 
 Ye main rafters of the house, sleep 
 
 on ! 
 Ye cross beams of the house, sleep 
 
 on ! 
 Ye little rafters of the house, sleep 
 
 on ! 
 Ye minor posts of the house, sleep 
 
 on ! 
 Thou covering of the ridge-pole, 
 
 sleep on ! 
 Ye reed-sides of the house, sleep on ! 
 Thatch of the house, sleep on ! 
 
 The first of its inmates unluckily 
 awaking 
 
 Put soundly to sleep again. 
 
 If the divinity so please, man's spirit 
 must yield. 
 
 Aere katoa, tukua i te rangi, e Kongo. O Kongo, grant thou complete suc- 
 cess ! 
 
 E ara mai nei, — vareaio ! 
 Mea po te atua oi te io tangata, 
 
 This prayer was uttered as near as possible to the dwelling to 
 be robbed. The users of it were famous for their success. 
 
152 Myths and Songs. 
 
 CHAPTER VIII. 
 
 HADES; OR, THE DOCTRINE OF 
 SPIRIT-WORLD. 
 
 The proper name for Hades is Avaiki ; in Tahitian, Hawai'i ; 
 in New Zealand, Hawaiki. Many other expressions occur in their 
 ancient songs and myths, but they are to be regarded as designa- 
 tions for places or territories in Avaiki, the vast hollow over which 
 the island is supposed to be placed. As the dead were usually 
 thrown down the deepest chasms, it was not unnatural for their 
 friends to imagine the earth to be hollow, and the entrance to this 
 vast nether-world to be down one of these pits. No one can 
 wonder at this who knows that the outer portion of Mangaia is 
 a honeycomb, the rock being pierced in every direction with 
 winding caves and frightful chasms. It is asserted that the 
 Mission premises at Oneroa are built over one of these great 
 caverns, which extends so far towards the sea that the beating 
 of the surf can be distinctly heard, whilst the water, purified from 
 its saline particles, continually drips from the stony roof. The 
 
Hades ; ^r, The Doctrine of Spii^it-World. 153 
 
 inland opening to this subterranean territory was the grand 
 repository of the dead, and is known by the significant name of 
 
 y / 
 
 -_. "->'u/~,. 
 
 / ^' /■ y y''\^ ^'' SLIW -~*V i\ ^ "v ^N ^N 
 
 / / / / / /U ":''^'f/St:!,'^-t:;"^ ^^^f ^"n^ '^\^ ^\. '\. '\^ ^ 
 
 ^^ 
 
 '^ ^' 
 
 
 
 
 
 
 /^^^^. 
 
 -'% --' 
 
 
 X^y\ .^-' 
 
 y 
 
 ' ^-^^/-V .. 
 
 X . 
 
 .-'-.>i: 
 
 / 
 
 y 
 
 ^' -3, ^'d'i 
 
 / ^-5 y 
 
 
 / / / / / 
 
 fe- «y/>.; 2 
 
 I Jlo ^'^i J) 
 
 f^^ iS^m^ 
 
 '^i /I ' "• \ ^ ^ ^^ ^ \ 
 
 '7^T'tl,''iy/^t^i/-l^ \ ■'s \ ^ ^^ 
 
 > — ~^ : ^ ^ \ \ \ 
 
 
 JJifi- -rpo£^ Q^a7i^-£^ci^^f>> 
 
 THE UNIVERSE, ACCORDING TO THE IDEAS OF THE NATIVES OF 
 
 MANGAIA. 
 
154 Myths and Songs. 
 
 Auraka = ^^;//. Doubtless this is the true origin of their idea 
 of the whereabouts of spirit-world. 
 
 The proper denizens of Avaiki are the major and lesser 
 divinities, with their dependants. These marry, multiply, and 
 quarrel like mortals. They wear clothing, plant, cook, fish, build, 
 and inhabit dwellings of exactly the same sort as exist on earth. 
 The food of immortals is no better than that eaten by mankind. 
 The story of Kura's marvellous escape from Hades represents 
 some districts of spirit-land as inhabited by cannibals, whose 
 delight is to entrap unwary mortals to their destruction — it is to 
 be presumed without the knowledge of dread Miru. Birds, fish, 
 and rats ; the mantis, beetle, and centipede \ the cocoa-nut tree, 
 the pandanus, the myrtle, the morindo citrifolia, and the yam, 
 — all abound in Hades, either for the support or adornment of 
 immortals. Murder, adultery, drunkenness, theft, and lying are 
 practised by them. The arts of this world are fac-similes of what 
 primarily belonged to nether-land, and were taught to mankind 
 by the gods. The visible world itself is but a gross copy of what 
 exists in spirit-land. If fire burns, it is because latent flame was 
 hidden in the wood by Mauike in Hades. If the axe cleaves, it 
 is because the fairy of the axe is invisibly present. If the iron- 
 wood club kills its victim, it is because a fierce demon from 
 Tonga is enshrined in it. 
 
 At a spot named Aremauku, about half a mile from the principal 
 village, on a cliff overhanging the western ocean, it was pretended 
 that the direct road to spirit-land existed. Through it continual 
 communication was anciently kept up with Hades. By this 
 route Maui descended to the home of Mauike, and wrested the 
 secret of fire. In one district lived a race possessed of only one 
 eye apiece ! At evening the Sun-god Ra drops down through 
 
Hades ; or, The Dodrijie of Spirit-World. 155 
 
 the opening made for his convenience at the edge of the horizon, 
 and thus Hghts up the inhabitants of the nether-world. One myth 
 asserts that he descends thus frequently to Avaiki to visit his wife 
 Tu, who lives with the Great Mother Vari, at the very bottom of 
 the vast cocoa-nut hollow — knees and chin meeting ! 
 
 Hence the ancient proverb, ^^ Day here; night in Avaiki,^'' and 
 vice versa. As the priest Teka sang (1794) : — 
 
 Ua po Avaiki 'Tis night now in spirit-land ; 
 
 Ua ao nunga nei. For 'tis light in this upper world. 
 
 At the appointed interval, the Sun-god Ra climbs up, not without 
 great difficulty, out of nether-world through a hole at the edge of 
 the eastern horizon, and lights up Mangaia. That his movements 
 are so reasonable and regular is due to the exertions of Maui. 
 The high-road to Avaiki is for ever closed. This was not 
 the fault of mankind, but the penalty of the excesses of the 
 denizens of spirit-land. They became very troublesome to man- 
 kind — continually afflicting them with disease and death. They 
 occasioned great dearth by stealing all kinds of food, and even 
 ravished the women of this world. The brave and beautiful Tiki, 
 the sister of Veetini, determined to put an end to these annoy- 
 ances. For this purpose she rolled herself alive down into the 
 gloomy opening, which immediately closed upon her. From that 
 memorable day the spirits of mortals have been compelled to 
 descend to Avaiki by a different route. Happily, however, the 
 natives of Avaiki no longer dare molest mankind. The closed 
 chasm is known by the name " te rua ia Tiki " = TikVs hole. 
 
 The spirits of the dead were often spoken of as wandering 
 along the margin of the sea most disconsolately; not a little 
 
156 Myths ajid Songs, 
 
 annoyed at the extreme sharpness of the rocks, and the entangle- 
 ment of their feet in the bindweed and thick vines. They were 
 arrayed in ghostly net-work, and a fantastic mourning of weeds 
 picked upon the way, relieved, however, by the fragrant heliotrope 
 which grows freely on the barren rocks. A red creeper, resem- 
 bling dyed twine, wound round and round the head like a turban, 
 completed their ghostly toilet. 
 
 Rather inconsistently with this, a smooth, shelving piece of 
 coral rock on the western coast is known as " te renanga a te 
 atua," i.e. the place where ghosts blanch their new-made garments; 
 as if during the weary months of their wanderings over the rough 
 rocks they were driven, like the living, to prepare new clothing 
 from time to time, and thus replace the garments torn by the 
 bushes and thorny creepers. Was it to assist in the manufacture 
 of such garments that females Avere invariably buried with one or 
 more cloth mallets used in life ? 
 
 The great delight of these weeping, melancholy spirits, was to 
 follow the sun.^ At the summer solstice, January, he apparently 
 rises out of the ocean opposite to And-kiira (the "red-cave," so 
 called as receiving the red rays of the morning) ; at the winter 
 solstice, June, rising at Karanga-iti (" the little welcome," winter 
 being but half welcome). These points became, therefore, grand 
 rendezvous of disembodied spirits : those belonging to the northern 
 half of the island assembling at the last-named rendezvous, 
 Karanga-iti ; those, by far the greater number, belonging to the 
 southern half of the island meeting at the former, Ana-kura. 
 
 Many months might elapse ere the projected departure of the 
 ghosts took place. This weary interval was spent in dances and 
 
 1 The dead, if buried at all, were buried with the feet towards the setting 
 sun, on account of this ancient solar worship. 
 
Hades ; or, The Doctrine of Spirit- World. 157 
 
 in revisiting their former homes, where the Uving dwell affection- 
 ately remembered by the dead. At night-fall they would wander 
 amongst the trees and plantations nearest to these dwellings, 
 sometimes venturing to peep inside. As a rule, these ghosts were 
 well-disposed to their own living relatives ; but often became 
 vindictive if a pet child was ill-treated by a step-mother or other 
 relatives, etc. 
 
 Sometimes wearied with these wanderings, the ghosts huddled 
 together in the Red-cave, the stony base of which is constantly 
 laved by the waves of the Pacific, rolling in with terrific violence 
 from the east. Or, if it so pleased their fancy, they clambered up 
 the open, lawn-like place above the cave, out of reach of the 
 billows and foam of the ocean (now a favourite resting-place for 
 fishermen, where they cook and eat part of their finny spoil). 
 This open grassy space, so renowned in their songs and myths 
 concerning the dead, is known as " One-ma-kenu-kenu " = the 
 smooth spot, or the well-weeded spot. A coarse species of grass 
 covers the sandy soil, pleasingly contrasting with the utter barren- 
 ness beyond, where Desolation seems to be enthroned. 
 
 The precise period for final departure was fixed by the leader 
 of the band. But if no distinguished person was amongst them, 
 they must of course wait on until such a leader was obtained. 
 Thus in the beautiful classic laments for Vera, he is represented 
 as the chosen captain of the dead, as his uncle Nagara ruled over 
 the living about 125 years ago. 
 
 The chief of this disconsolate throng resolves to depart. 
 Messages are sent to collect those stray ghosts who may yet be 
 lingering near their ancient haunts. With many tears and last 
 lingering looks they assemble at the Red-cave, or on the grassy 
 lawn above it, intently watching the rising of the sun. At the 
 
158 Myths and So7igs. 
 
 first streak of dawn the entire band take their departure to meet 
 the rising sun. This done, they follow in his train as nearly as 
 may be : he in the heavens above, they at first on the ocean 
 beneath, but afterwards over the rocks and stones (always avoid- 
 ing the interior of the island),^ until late in the afternoon of the 
 appointed day they are all assembled at Vairorongo, facing the 
 setting sun. 
 
 " Vairorongo " means " Rongo's sacred stream." It is a little 
 rivulet rushing out of the stones at the marae of Rongo, where in 
 the olden time only the priests and kings might bathe. 
 
 At last the congregated throng, whose eyes are fixed upon the 
 setting sun, feel that the moment has come when they must for 
 ever depart from the cherished scenes of earth — despite the tears 
 and solicitations of relatives, who are frequently represented as 
 chasing their loved ones over rocks and across fearful precipices, 
 round half the island. The sun now sinks in the ocean, leaving 
 a golden track ; the entire band of ghosts take a last farewell, and 
 following their earthly leader, flit over the ocean in the train of 
 the Sun-god Ra, but not like him destined to reappear on the 
 morrow. The ghostly train enter Avaiki through the very 
 aperture by which the Sun-god descends in order to lighten up 
 for a time those dark subterranean regions. 
 
 This view is expressed in the beautiful myth of Veetini. 
 
 After the crowd of spirits had taken their departure, a 
 solitary laggard might sometimes be left behind — arriving at the 
 appointed rendezvous only in time to see the long annual train 
 disappear with the glowing sun. The unhappy ghost must wait 
 
 1 The rocks encircling the island and near the sea were the home of the 
 vanquished in battle, too often hunted or starved to death ; also the temporary 
 home of these exile spints. 
 
Hades ; or, The Doctrine of Spirit-World. 159 
 
 till a new troop be formed for the following winter, its only amuse- 
 ment being " to dance the dance of the //////, or starved ! " or to 
 " toss pebbles in the air " through the weary months that inter- 
 vene. 
 
 The point of departure for spirit-land is called a '^reinga 
 vaerua." There are three on Mangaia, all facing the setting sun. 
 The boundary of the Mission premises at Oneroa is marked on 
 one side by a bluff rock standing out by itself like a giant facing 
 the west. It was believed that the spirits of those buried in that 
 grand repository of the dead " Auraka," at the proper season left 
 its gloomy, winding subterranean passages and divided themselves 
 into two bands : the majority starting from " Araia " and lodging 
 on the fatal biia tree; some — those issuing from "Kauava" — 
 going in mournful procession to the projecting rock alluded to, 
 thence leapt one by one to a second and much smaller block of 
 stone resting on the inner edge of the reef, and thence again to the 
 outer and extreme edge of the reef on which the surf ceaselessly 
 beats. From this point they take their final departure to the 
 shades in the track of the sun. 
 
 At Atua-koro, on the north-west coast of the island, are two 
 great stones very similarly placed by the hand of nature. This 
 was considered to be an arrangement for the convenience of 
 ghosts on that part of the island. Like the former these stones 
 are known as " Reinga vaerua," i.e. Leaping-place-of-souls / 
 
 These are but trifling modifications of the highly poetical 
 representation of disembodied spirits, not the slain, being impelled 
 to follow in the train of the setting sun to spirit-land. 
 
 At Rarotonga the great "reinga" or " rereanga vaerua " was at 
 Tuoro ; on the west of the island, as at Mangaia. So, too, in all 
 
i6o Myths and Songs. 
 
 the other islands of the group. At Samoa, a spirit leaving the dead 
 body at the most easterly island of that group would be compelled 
 to traverse the entire series of islands, passing the channels 
 between at given points, ere it could descend to the subterranean 
 spirit-world at the most westerly point of Savai'i. 
 
 However, the standard and esoteric ^ teaching of the priests 
 was that the souls of the dying leave the body ere breath is quite 
 extinct, and travel to the edge of the cliff at Araia ( = hinde7'ed, or 
 sent back) near the marae of Rongo, and facing the west. If 
 a friendly spirit should meet the solitary wanderer at any point 
 of the sad but inevitable journey from the place where the seem- 
 ingly dead body lies, and should say, " Go back and live," the 
 now joyful ghost at once returns to its old home and re-inhabits 
 the once forsaken body. This is the native theory oi fainting. 
 
 But if no friendly spirit interfere, the departing soul pursues its 
 mournful travels and eventually reaches the extreme edge of the 
 cliff. Instantly a large wave (the sea is about loo yards distant) 
 approaches to the base, and at the same moment a gigantic bua 
 tree {beslaria laicrifolia), covered with fragrant blossom springss, 
 up from Avaiki to receive on its far-reaching branches unhappy 
 human spirits. Even at this last moment, with feet almost 
 touching the fatal tree, a friendly voice may send the spirit- 
 traveller back to life and health. Otherwise, he is mysteriously 
 impelled to climb the particular branch reserved for his own tribe 
 and conveniently brought nearest to him. The worshippers of 
 
 1 The difference is merely as to the mode of access to the shades, — whether 
 by following the setting sun, or by climbing on a branch of the mysterious bua 
 tree. In either case the END of all who die a natural death is to be cooked and 
 eaten by Miru, her children and followers. 
 
Hades ; or, The Doctrine of Spirit- World. 1 6 1 
 
 Motoro have a branch to themselves, the worshippers of Tane 
 have another — the tree in question having just as many branches 
 as there are principal gods in Mangaia. The whole batch of lesser 
 Tanes congregate on one great branch, etc., etc. 
 
 Immediately the human soul is safely lodged upon this gigantic 
 tree, the bua goes down with its living burden to nether-world. 
 While yet on the tree the wretched spirit looks down to the root, 
 and to his horror sees a great net spread out beneath to catch it.^ 
 This net, from the strong meshes of which there is no escape, is 
 firmly held by Akaanga and his assistants. The doomed spirit at 
 last falls into this fatal net, and is at once submerged in a lake of 
 fresh water which lies near the foot of the gigantic bua tree and 
 bears the name of Vai-roto-ariki = the-i'oyal-fresh-waier-lake. In 
 these treacherous waters captive ghosts exhaust themselves by 
 wriggling like fishes in the vain hope of escape. The great net is 
 eventually pulled up, and the half-drowned spirits tremblingly 
 enter the presence of the inexpressibly ugly Miru, generally called 
 " the ruddy " (Miru Kura), because her face reflects the glowing 
 heat of her ever-burning oven. The hag feeds her unwilling 
 visitors with red earth-worms, black beetles, crabs, and small 
 blackbirds. 
 
 The grand secret of Miru's power over her intended victims is 
 the " kava " root [piper mythisticum). It consists of one vast 
 root, and is named by her '' Tevoo," being her own peculiar 
 property. The three sorts of ''kava" known in the upper world 
 were originally branches off this enormous root ever-growing in 
 
 ^ Hence the proverb in regard to the dying, " Ka ei i roto i te kupenga 
 tini mata varu" = " Will be caught in the net of innumerable meshes,''^ i.e. the 
 net of Akaanga. It is curious that the proverb should outlive the faith on 
 which it was founded. 
 
 M 
 
1 62 Myths and Songs. 
 
 Avaiki. Mini's four lovely daughters are directed to prepare 
 bowls of this strong kava for her unwilling visitors. Utterly 
 stupefied with the draught, the unresisting victims are borne off 
 to the oven and cooked. Miru, with her son and peerless 
 daughters, subsist on these human spirits. The refuse is thrown 
 to her servants, Akaanga and others. Such is the inevitable fate 
 of those who die a natural death, i.e. of women, cowards, and 
 children. They are amiihilated.^ 
 
 Not so warriors slain on the field of battle. The spirits of 
 these lucky fellows for a while wander about amongst the rocks 
 and trees in the neighbourhood of which their bodies were thrown, 
 the ghastly wounds by which they met their fate being still visible. 
 A species of cricket, rarely seen, but whose voice is continually 
 heard at night plaintively chirping "kere-kerere-tao-tao," was be- 
 lieved to be the voice of these warrior spirits sorrowfully calling to 
 their friends. Hence the proverb, "The spirit cricket is chirping" 
 (Kua tangi te vava). At length the first slain on each battle- 
 field would collect his brother ghosts at a place a short dis- 
 tance beyond Araia (the point of departure for those who 
 perish by sickness), still on the edge of the cliff, and facing the 
 setting sun. It overlooks the marae of Rongo, the god of battles. 
 Indeed, one extraordinary myth represents Rongo as coming up 
 from nether-world at certain periods in order to feast himself 
 upon the spirits of those slain in battle assembled for their last 
 journey. With bits of ripe banana Rongo tempts them to his 
 side, and then treacherously swallows them whole ! But these 
 g'hosts have the consolation of escaping the fire of Miru : besides, 
 they are eventually disengaged alive from the intestines of the 
 
 ^ Some " wise men" will have it that these spirits live again after passing 
 through the intestines of Miru and her followers. 
 
Hades ; or, The Doctrine of Spirit -World. 163 
 
 grim war-god. They at last rise to the upper sky and join their 
 warrior brethren there. 
 
 But the more pleasing version represents these ghosts as 
 lingering awhile on the cliff. Suddenly a mountain springs up 
 at their feet. The road by which they ascend this mountain is 
 over the spears and clubs by which they were slain. Arrived at 
 the summit, they leap into the blue expanse, thus becoming the 
 peculiar clouds of the winter (or dry) season. These clouds are 
 to be distinguished from the ordinary rain clouds. 
 
 The warrior spirits of past ages, as well as those recently slain, 
 together constitute the dark clouds of morning which for a while 
 intercept the bright rays of the sun throughout the year. 
 
 During the rainy season they cannot ascend to the warrior's 
 Paradise. In June, the first month of winter, the atmosphere is 
 pervaded by these ghosts, to whom the chilliness of death still 
 clings. Their great number hides the sun for days together, 
 occasioning the dull heavy sky, chillness and oppression of spirits 
 usual at that season of the year. This lasts till the beginning of 
 August, when the coral tree opens its blood-red blossoms, and the 
 sky becomes mottled, and light fleecy clouds pass over the 
 heavens. It it the spirits of the brave dead preparing for their 
 flight. The heavens soon become cloudless ; the weather bright 
 and warm. It is because they have taken their departure. The 
 living now resume their ordinary avocations in comfort. 
 
 The spirits of those who die a natural death are excessively 
 feeble and weak, as their bodies were at dissolution ; whereas the 
 spirits of those who are slain in battle are strong and vigorous, 
 their bodies not having been reduced by disease. 
 
 These ghosts were said to have '''' leaped into the expa7ise''^ (kua 
 rere ki te neneva). This cheerful home of the brave is some- 
 
1^4 Myths mid Sojigs. 
 
 times called Tiairi, from the name of the place where Matoetoea, 
 the first man ever slain at Mangaia, is said to have fallen : the idea 
 being " the land which Matoetoea first inhabited," i.e. the expanse 
 of heaven. At other times it was termed Poepoe, or Speck-land; 
 because in the distance of the upper sky these warrior spirits 
 appear as the veriest specks. 
 
 The spirits of the slain are immortal. They are clothed with 
 garlands of all sorts of sweet-scented flowers used in mundane 
 dances. The white gardenia, the yellow biia, the golden fruit of 
 the pandanus, and the dark crimson, bell-like blossom of the 
 native laurel are gracefully interwoven with myrtle for this purpose. 
 
 The employment of these fortunate spirits is to laugh and 
 dance over and over again their old war-dances in remembrance of 
 their achievements in life. In every possible way they enjoy 
 themselves; but look down with ineffable disgust upon those 
 wretches in Avaiki who are compelled to endure the indignity 
 of being covered with dung falling from their more lucky 
 friends above. A well-known and ludicrous proverb refers to 
 the vain flapping of the wings of the unhappy spirits in Avaiki 
 who, besmeared with filth, are endeavouring, though to no purpose, 
 to escape out of Akaanga's net. 
 
 The natural result of this belief was to breed an utter contempt 
 of violent death. Many anecdotes are related of aged warriors, 
 scarcely able to hold the spear, insisting on being led to the battle- 
 field, in hope of gaining a soldier's paradise. One may well 
 exclaim, " Light and immortality were brought to light by the 
 Gospel." 
 
 A song lying before me represents the ghosts of certain warriors 
 belonging to the tribe of Tane as "wandering about at Maungaroa 
 
Hades ; or, The Doctrine of Spirit- World. 165 
 
 and Maputu," the most famous maraes belonging to that family, 
 there to await the period appointed for them to ascend, like the 
 rest, to " Speck-land." 
 
 In allusion to the myth of the bua tree, a person who has been 
 very ill and yet has recovered will even now playfully say, " Yes, 
 I have set foot upon a branch of the bua tree, and yd have been 
 sent back (by God) to life ! " 
 
 Those who die a natural death were said "to go to night, or 
 darkness (aere ki te po), implying that they are doomed to be 
 cooked and eaten by Miru, i.e. annihilated. The happier lot of 
 warrior-spirits was "to go to day, or light ^^ (aere ki te ao). Of 
 course, as Christian missionaries, we have not failed to make use of 
 phrases so well adapted to our purpose. The standard expression 
 for " heaven" is ^^the day, or light of God ;'''' the converse is simply 
 "night, or darkness." 
 
 On the northern part of this island is a deep indentation in the 
 reef The rush of waters from the reef meeting the ocean occa- 
 sions a miniature whirlpool. To account for this simple fact, it 
 was said that a piece of sacred sandstone was once throwTi down 
 there : and hence the never ceasing turmoil of waters. In the 
 time of Ngauta, a party of fishermen — Karaunu and others — 
 dreamt that they were swept away at this ill-omened place. An 
 attacking party overheard the relation of the dream, and made it 
 come true by slaying them all and throwing their bodies into the 
 seething eddy. 
 
 This unpromising place was regarded as one entrance to the 
 shades, chiefly for the worshippers of Motoro. The destined 
 traveller in his sleep sees a house built on long poles rising above 
 
1 66 Afyths and Songs. 
 
 the restless waters, with a ladder to ascend to it. The sides of 
 this house are of closely-fitting yellow reeds, adorned with black 
 cinet. Outside this snug, tempting little dwelling are hung new 
 calabashes, etc., etc., to decoy the passer by. Should the spirit- 
 traveller pause to admire this illusive hut, he will in all probability 
 feel impelled to climb the ladder and take possession of some of 
 the good things hung all round. The moment his hand is on the 
 exquisitely braided yellow cinet, by which the calabashes are sus- 
 pended, to his horror, house, ladder, visitor, and calabashes are all 
 swept away into the depths of the ocean, and the doomed spirit 
 finds himself in the unwelcome spirit-world, and in the power of 
 Miru. 
 
 There are said to be three such " houses of Motoro," or in- 
 visible soul-traps to catch unwary spirits. This is but a variation 
 of the doctrine of the bua tree, to meet the circumstances of those 
 who have the ill-luck to be sucked down by the three miniature 
 whirlpools existing here. 
 
 Since the introduction of Christianity the belief has sprung 
 up that "Avaiki," from which the first inhabitants of this island 
 came, is "Savai'i," the largest island in the Samoan Group. In the 
 Hervey dialect the 6" is dropped, and the break between the two • 
 / 's filled up with k. At the Penrhyns the natives speak of " going 
 to Savaiki,'' when referring to death. Dropping the S, we have 
 the usual form " Avaiki." In the Tahitian islands the H takes 
 the place of -5", and the word becomes "Hawai'i," there being no 
 K in the Tahitian dialect. Thus Avaiki, Hawai'i, and Savai'i 
 are slightly varying forms of the same word. Savai'i lying west, or 
 as these islanders say, '■''down^' it would be strictly correct to assert 
 that their ancestors " came up " from Savai'i. 
 
Hades ; or, The Doctrine of Spirit- World. 1 6 7 
 
 This view of the origin of all these eastern islanders is con- 
 firmed by the continual recurrence of the names of western 
 islands in the ancient songs and traditions of the natives. In 
 addition to the names of all the near islands of the Hervey and 
 Tahitian Groups, we have " Manu/^a," i.e. Manu'a, " Tutuila," 
 " C/^upolu," for " Upolu," of the Samoan Group. " The distant 
 land of Vavau " is referred to in song ; also Rewa. Tonga contin- 
 ually recurs. A double canoe of '' Tongans-sailing-through-the 
 skies" landing on the south of Mangaia, founded the warlike 
 Tongan tribe, now almost extinct. It is well known that that 
 adventurous race once held possession of Savai'i and conquered 
 Niue. 
 
 Places on Mangaia are called Niue, Rotuma, and Papua. 
 These are ancient appellations indicating, as it seems to me, the 
 course of the original settlers. The reader will recall the names 
 of Savage Island, Rotumah, and the vast island of New Guinea. 
 
 It has been suggested that the northern Avaiki (Hawai'i) was 
 the original home of the islanders. A careful study of their mytho- 
 logy produces an irresistible conviction that Savai'i, the original 
 Avaiki, is the true centre from which this race emigrated, willingly 
 or unwillingly, some five or six centuries ago. How their ancestors 
 got to Samoa remains to be discovered ; but the ordinary trade 
 winds north of the equator would make that easy, even if they did 
 not step from island to island, starting from the Malayan peninsula, 
 ever pursued by the savage Negrito races. 
 
 The son of the elder of three brothers from Avaiki was named 
 " Papa-rangi " — literally, the sky-beate?\ This is the very name by 
 which all foreigners are designated at Samoa at this day. It was 
 evidently in commemoration of the first settlers having "burst 
 through the sky," in order to get to Mangaia. 
 
r68 Myths and Songs. 
 
 Mokiro's son was named " Vaerua-rangi " = Spirit-of-the-sky. 
 
 " Te-akataaira," the name of the third brother from Avaiki, 
 signifies a7'?'wed. Thus' the very names of the three royal 
 brothers from Avaiki signify voyagers from the sun-setting. It 
 suited the purpose of the priests of the dominant tribe in after 
 times, to assert that Avaiki is the hollow of the vast cocoa-nut 
 shell, over the aperture of which Mangaia is placed. In later 
 times it came to be believed that all these distant islands were 
 situate in nether-land. Their ancestors came from " Avaiki ; " 
 and the spirits of those who died a natural death went to 
 "Avaiki," i.e. to the homes of their ancestors. 
 
 That " Avaiki " and " Po " are interchangeable is clear from 
 the name of a gloomy rent in the rocks at Ivirua, known as 
 " Avaiki-te-po," that is, Avaiki^ or night. 
 
 The old proverb " Na Avaiki e ranga "=^2^^/-^/ will revenge 
 it, means " the gods whose home is in Avaiki, particularly Rongo, 
 will revenge it." Sometimes it is said of depth, "deep as Avaiki;" 
 and figuratively of craft or knowledge, " so and so is Avaiki," i.e. 
 rivals the depth of Hades in wisdom, etc. In every instance 
 iinknoivn depth is implied. " Araara i Avaiki " = //^/;/Z' of Avaiki, 
 as being about to die. 
 
 The Samoan ^ heaven was designated Pulotu or Purotic, and 
 was supposed to be under the sea. In these eastern islands 
 the same word means " the perfection of beauty." May not this 
 be an adaptation from the former ? 
 
 At Samoa only pigs die, men by a euphemism " finish." The 
 spirits of the dead are said "to go on a journey." Of great men 
 it is asserted that " they have gone to a meeting of chiefs," i.e. 
 
 ^ Compare Dr. Turner's Nineteen Years in Polynesia, pp. 235-7. 
 
Hades ; or, The Doctrine of Spirit- World. 1 69 
 
 in the invisible world. In relation to the death of such, '' the 
 heavens are said to be opened," "the clouds have rolled away," 
 i.e. to admit the spirits of these grandees. 
 
 At Rarotonga the grand rendezvous of ghosts was at Tuoro, 
 facing the setting sun. Those from Avai'iia travelled the ordinary- 
 road towards this rocky point of departure for the invisible world. 
 Until very recently, near the sandy beach of Nikao, in sight of the 
 inevitable Tuoro, stood a stately tree known as " the weeping 
 laurel" (te puka aueanga), where disembodied spirits halted 
 awhile to bewail their hard fate. If unpitied and not sent back 
 to life, the enfeebled and disconsolate traveller passed on to the 
 rendezvous and climbed on a branch of an ancient hua still 
 flourishing. Underneath is a natural circular hollow in the rock 
 where Muru spreads his net. Should the branch of this biia 
 break off through the weight of the ghost, the victim is instantly 
 caught in the net. Occasionally, however, a lively ghost would 
 tear the meshes and escape for a while, passing on by a resistless 
 inward impulse towards the outer edge of the reef, in the hope of 
 traversing the ocean. But in a straight line from the shore is a 
 second round hollow, where Akaa?iga''s net is concealed. In this 
 the very few who escape out of the hands of Muru are caught 
 without fail. Escape is impossible. The delighted demons (taae) 
 take the captive ghosts out of their nets, dash their brains out 
 upon the sharp coral, and carry off in triumph their victims to 
 the shades to eat. 
 
 Ghosts from Ngatangiia ascended the noble mountain range 
 which extends across the island from east to west, dipping into the 
 sea at Tuoro. Inexpressibly weary and sad was this journey over 
 a road inaccessible to mortals. For this tribe at the rendezvous 
 
I 70 Myths and Songs. 
 
 of ghosts was appointed a large iron-wood tree, some of whose 
 branches were green, some dead. The spirits that trod on the 
 g7'een branches came back to life ; whilst those who had the mis- 
 fortune to crawl on the dead branches were at once caught in the 
 net of either Muru or Akaanga. 
 
 Warrior spirits were more fortunate, and were said to " acre kia 
 Tiki," that is to join Tiki, the first who so died. At Mangaia Tiki 
 is a woman, sister to Veetini, the first who died a natural death. 
 
 Tiki sits at the threshold of a very long house with reed sides, 
 in Avaiki, i.e. the shades. All around are planted shrubs and 
 flowers of undying fragrance and beauty. This guardian of the 
 Rarotongan Paradise is ever patiently awaiting new arrivals from 
 the upper world. It was customary at Rarotonga to bury with the 
 dead the head and kidneys of a hog, a split cocoa-nut, and a root 
 of " kava" [pipei' mythisticiwi), to enable the spirit-traveller to 
 make an acceptable offering to Tiki, who thus propitiated, admits 
 the giver inside his dwelling. Here, sitting at their ease, eating, 
 drinking, dancing, or sleeping, are assembled the brave of past 
 ages, ready to welcome the new comer, and to relate over again 
 the story of their sanguinary achievements performed in life. 
 
 The luckless ghost who had no present for Tiki was compelled 
 to stay outside in rain and darkness for ever, shivering of cold and 
 hunger. 
 
 At Titikaveka, near the sea, is a mass of blood-red stone. It 
 was believed that there is in the sky an oven for cooking human 
 spirits ; the blood of these victims dropping down on the rock 
 gives it a deep red colour ! 
 
 At Aitutaki it was usual to place at the pit of the stomach of 
 the corpse the kernel of a cocoa-nut and a piece of sugar-cane. 
 At Mangaia the extremity of a cocoa-nut frond served the same 
 
Hades ; ^r, The Doctrine of Spirit- World. 171 
 
 purpose, as a charm or safe-conduct on entering the invisible 
 world. 
 
 The sacred men of Pukapuka, or Danger Island, gave me in 
 1862 two ''ere vaerua, " i.e. snares for catching souls, made of stout 
 cinet. One snare is 28 feet long, the other about half that length. 
 The loops are arranged on either side, and are of different sizes 
 to suit the dimensions of ghosts ; some being thin, others stout. 
 When a person was very sick, or had given offence to the sacred 
 men, the priests hung up some of these " soul-traps " in the upper 
 branches of trees near the dwelling, and pretended to watch the 
 flight of the spirit. If the spirit of the sick man, in the shape of an 
 insect or a small bird, did not enter the snare, the patient 
 recovered ; but if, as the sacred men averred, the wretched ghost 
 became entangled in one of the meshes, there was no hope. The 
 demon " Vaerua," or " Spirit " presiding over spirit-world, hurried 
 off the unlucky ghost to the shades to feast upon, for ceremonial 
 offences. 
 
 The spirits of those who escape the anger of Vaerua follow the 
 track of the setting sun, and find themselves in a spacious house 
 owned by Reva. Inside are a number of mats, on each of 
 which a divinity keeps watch over the souls belonging to him. 
 These disembodied spirits amuse themselves w4th beating gongs, 
 dances, and devouring the essence of offerings of food hung up in 
 the marae by relatives in the upper world. A fierce sea-god 
 keeps ceaseless watch all round this house, in case any of the land- 
 gods inside should pity one of these forlorn ghosts and allow it to 
 escape back to its old earthly tenement. 
 
 At Uea, one of the Loyalty Islands, it was the custom formerly 
 when a person was very ill to send for a man whose employment 
 
172 Myths and Songs, 
 
 it was " to restore souls to forsaken bodies. ^^ The soul-doctor would 
 at once collect his friends and assistants, to the number of twenty 
 men and as many women, and start off to the place where the 
 family of the sick man was accustomed to bury their dead. Upon 
 arriving there, the soul-doctor and his male companions com- 
 menced playing the nasal flutes with which they had come pro- 
 vided, in order to entice back the spirit to its old tenement . The 
 women assisted by a low whistling, supposed to be irresistibly 
 attractive to exile spirits. After a time the entire procession pro- 
 ceeded towards the dwelling of the sick person, flutes playing and 
 the women whistling all the time, leading back the truant spirit I To 
 prevent its possible escape, with their palms open, they seemingly 
 drove it along with gentle violence and coaxing. On approaching 
 the village they danced and shouted, " We have brought back the 
 spirit of so and so ! " Then would succeed loud laughter and 
 vociferations of delight at the cleverness of their leader, the spirit- 
 doctor. 
 
 On entering the dwelling of the patient the vagrant spirit was 
 ordered in loud tones at once to enter the body of the sick man, 
 who, as might be supposed, would not be a little moved by the 
 entire procedure. A good feasting would be provided by the 
 relatives of the invalid. Sometimes the poor fellow died : the 
 cause assigned by the soul-doctor would be that the spirit had 
 refused to re-inhabit its former dwelling on account of the small- 
 ness of the feast. 
 
 AITUTAKIAN HELL. 
 
 The priests asserted that at death human spirits descend to the 
 domains of the goddess Miru, whose body is frightfully deformed 
 and her countenance terrible. For unknown ages she had feasted 
 
Hades ; or, The Doctrine of Spirit- World. 173 
 
 on the spirits of the dead, but at length was checkmated by a 
 brave man named Tekauae, ^ or the-chin. Being apparently near 
 death, he directed his friends, as soon as the breath was out of his 
 body, to get a cocoa-nut, and cautiously cracking it to disengage 
 the round kernel from the shell. This kernel was wrapped up in a 
 piece of cloth and placed next to the stomach of the dead, being 
 completely concealed by the grave coverings. 
 
 In due time Tekauae descended to spirit-world, and was 
 greatly shocked at the dreadful aspect of the mistress of those 
 regions. Miru had but one bi'east — the other had somehow been 
 cut off. Only one leg was perfect — the other had been amputated 
 at the knee. But one arm was complete — the other had been cut 
 off at the elbow. 
 
 The deformed hag commanded Tekauae to draw near. The 
 trembling human spirit obeyed, and sat down before Miru. 
 According to her unvarying practice she set for her intended victim 
 a bowl of food, and bade him eat it quite up. Miru with evident 
 anxiety waited to see him swallow it. 
 
 As Tekauae took up the bowl, to his horror he found it to 
 consist of living centipedes. The quick-witted mortal now recol- 
 lected the cocoa-nut kernel at the pit of his stomach, and hidden 
 from Miru's view by his clothes. With one hand he held the 
 bowl to his lips, as if about to swallow its contents ; with the other 
 he secretly held the cocoa-nut kernel, and ate it — the bowl 
 concealing the nut from Miru. It was evident to the goddess that 
 Tekauae was actually swallowing something: what else could it be 
 but the contents of the fatal bowl ? Tekauae craftily contrived 
 whilst eating the nourishing cocoa-nut to allow the live centipedes 
 to fall on the ground one or two at a time. As the intended 
 1 Mangaian " te kauvae " = chin. 
 
1 74 Myths and Songs. 
 
 victim was all the time sitting on the ground, it was no difficult 
 achievement in this way to empty the bowl completely by the 
 time he had finished the cocoa-nut. 
 
 Miru waited in vain to see her intended victim writhing in 
 agony and raging with thirst. Her practice on such occasions was 
 to direct the tortured victim-spirit to dive in a lake close by, 
 to seek relief. None that dived in that water ever came up alive ; 
 excessive anguish and quenchless thirst so distracting their 
 thoughts that they were invariably drowned. Miru would after- 
 wards cook and eat her victims at leisure. 
 
 Here was a new event in her history : the bowl of living 
 centipedes had been disposed of, and yet Tekauae manifested 
 no sign of pain, no intention to leap into the cooling but fatal 
 waters. Long did Miru wait ; but in vain. At last she said to 
 her visitor, " Return to the upper world " [i.e. to life). " Only 
 remember this — do not speak against me to mortals. Reveal not 
 my ugly form and my mode of treating my visitors. Should you 
 be so foolish as to do so, you will certainly at some future 
 time come back to my domains, and I will see to it that you 
 do not escape my vengeance a second time." 
 
 Tekauae accordingly left the shades, and came back to life. 
 His friends, delighted at his recovery, inquired where his spirit had 
 been, and how it had fared. He heeded not the anger of Miru 
 and the promise of secrecy made to her, but informed the inhabi- 
 tants of this upper world what they might expect should they 
 unfortunately fall into the clutches of this foe to mankind. 
 
Hades; or, The Doctrine of Spirit- World. 175 
 
 AITUTAKIAN HEAVEN. 
 
 There is, also, a good land, Iva, under the guardianship of 
 Tukaitaiia,^ a being of pleasing and benevolent aspect, as well 
 as of a gentle disposition. In Iva there is abundance of good 
 food : the finest sugar-cane grows there. The fortunate spirits 
 who get to this pleasant land spend their time in the society of 
 Tukaitaua, chewing with unalloyed appetite this sweet sugar-cane. 
 
 Tekauae warned the people of this world to be on their guard 
 against Miru, The way to avoid her is to have a cocoa-nut kernel 
 and a piece of sugar-cane placed close to the stomach at death — in 
 order to deceive Miru. Departing spirits thus provided go to the 
 pleasant land of Iva, and lying at their ease, evermore feast on the 
 richest food and chew sugar-cane. 
 
 DRAMATIC SONG OF MIRU, MISTRESS OF SPIRIT- 
 WORLD. 
 
 A 
 
 FOR TEREAVAIS FETE. COMPOSED BY KAPUA, 1824. 
 
 Chorus. 
 Na Miru te umu i Avaiki, Miru has an oven ^ in spirit-land, 
 
 Ei rangi tae ia Tane e ! Like that which devoured (the tribe 
 
 of) Tane.' 
 Solo. 
 Ae ! Aye ! 
 
 ^ At Mangaia "Tukaitaua" was of a malevolent disposition, the first 
 violent death being due to his prowess. Tukaitaua taught the world the art of 
 war. 
 
 ^ The oven in daily use in each household, and particularly the monster 
 Ovens in which it was the office of the tribe of Tane to cook ii roots {dracoena 
 terminalis), were said to have been derived from Miru's original oven in Hades. 
 
 ' The reference is to the tribe of Tane, twice treacherously destroyed by 
 their foes in the fires of their own ovens. 
 
176 
 
 Myths and Songs. 
 
 Ei rangi tae ia Tautiti, 
 E kai karii na Rongo e ! 
 O Tane mata reirua ! 
 
 Nai mata reirua e, 
 
 Na Mini oki te umu ka roa 
 
 I raro e ! 
 E nunumi atu e i te aerenga ae ! 
 
 E nunumi atu, 
 Ka aere paa i te umu tao 
 I te umu kai na Miru e ! 
 
 Noea Miru ? 
 No Avaiki, i te po anga noa e ! 
 
 Tao na i te eki ! 
 E ti rakoa e ! 
 E ti uaua e ! 
 E ti tara are e ! 
 E ti nongonongo ia Avaiki e ! 
 Ae, Miru, naau tena ! 
 
 Choj-us. 
 
 An end was put to the dance, Tautiti, 
 By the warlike behest of Rongo. 
 Alas, Tane ! author of all our amuse- 
 ments. 
 
 Solo. 
 
 Those pleasures all came to an end ; 
 For Miru's dread oven for ever burns 
 
 In the shades ! 
 She devours all who go down. 
 
 Chorus. 
 
 She devours 
 All who approach the blazing oven 
 Where Miru's food is to be cooked. 
 
 Whence came Miru ? 
 From Avaiki (spirit-land), out of 
 
 horrid darkness. 
 Prepare thy intoxicating draught. ^ 
 Cook the graceful // — 
 Spare not the prolific ti ; 
 Nor even that grown at thy doorway, 
 And that which is the pride of Hades. 
 Ah, Miru ! such are thy tricks ! 
 
 An ancient farewell in prospect of dissolution was, " Ei ko na 
 ra, tau taeake, ka aere an i te tava ia Miric^^'' i.e. " Farewell, 
 brother, I go to the domains of Miru I" How inexpressibly 
 affecting ! " Having no hope, and without God in the world." 
 
 The mistress of the invisible world, so cruel to visitors, was 
 very tenderly attached to her only son Tautiti. She would permit 
 no one to carry his drinking water but herself On dark nights, or 
 
 ^ Miru is charged by the chorus to prepare the intoxicating cup in order to 
 stupefy her intended victims. She is represented as building up a vast oven of 
 ti roots of all kinds for a feast ; but Miru's ti roots are human souls ! (The 
 song is not quite complete. ) 
 
Hades ; or, The Dochdiie of SphHt- World. 177 
 
 when deep sleep had locked up the senses of mortals, Miru would 
 make her way to the well-known fairy streams Auparu and 
 Vaikaute, carrying the empty calabashes to be filled. To this 
 there is an allusion in Tereavai's Fete Song : — 
 
 E taa vai no Tautiti. A calabash of water for Tautiti. 
 
 Na Miru rai e kave, Miru herself will provide it, 
 
 Kia inu Tane i te vai kea ra e ! So that Tane may drink this living 
 
 water. 
 
 Her " peerless " daughters were often seen and admired; but 
 the mother was most solicitous to conceal her ugly form. 
 
 SNEEZING. 
 
 The philosophy of sneezing is, that the spirit having gone 
 travelling about — perchance on a visit to the homes or burying- 
 places of its ancestors — its return to the body is naturally attended 
 with some difficulty and excitement, occasioning a tingling and 
 enlivening sensation all over the body. Hence the various 
 customary remarks addressed to the returned spirit in different 
 islands. At Rarotonga, when a person sneezes, the bystanders 
 exclaim, as though addressing a spirit, " A, kua oki mai koe " = 
 " Ha ! you have come back." At Manihiki and Rakaanga 
 (colonised from Rarotonga) they say to the spirit, " Aere koe 
 ki Rarotonga " = " Go to Rarotonga." At Mangaia the customary 
 address is, " Ua nanave koe " = " Thou art delisfhted." 
 
 ^t3^ 
 
 The following well-known lines refer to Poepoe, or Speck-land. 
 (For Umuakaui, circa 1823.) 
 
 Puputa motu taua e ! Alas, we part for ever ! 
 
 Ka aere au tei Poepoe I I go alone to SpeckUand. 
 
 E enua akarere Mangaia e taea mai ai ! My home, Mangaia, for ever fades 
 
 from sight. 
 
 N 
 
178 Myths and Songs, 
 
 Here is a reference to Tiairi, by Koroa, in his " Lament for 
 Tae," who was slain circa 18 15. 
 
 Vaerua aere i tai Spirits wandering towards the sea ; 
 
 I Rangikapua te nuku o te Atua At Rangtkapua is assembled a divine 
 
 host — 
 la tu roeroe. A feeble, tottering throng ! 
 
 Takina koe iia ? Whither goest thou, friend ? 
 
 I Puara-moamoa i aka i Tiairi^ From the leaping-place I go to dance 
 
 at Tiairi, 
 I pare i te kiato. Clothed in fragrant flowers. 
 
 Another reference to Tiairi occurs in a lament for the sons of 
 Rori, 1790 (circa). 
 
 Na tokotoru a Rori Three brave sons of Rori 
 
 Ei tupeke pare kura e ! Wearing noble head-dresses ! 
 
 Tera roa te anau te aka mai i te Yonder are they dancing the war- 
 
 ngaere dance 
 
 I te kapa toa i Tiairi. Of brave spirits in Tiairi. 
 
 When Ikoke heard of the murder of his beloved younger 
 brother Takurua, he feelingly said, "We will meet in the 
 warriors' resting-place,"' i.e. " I, too, will die a violent death, so 
 that we may meet in the warriors' heaven." Not long after, this 
 wish was granted \ for he fell in the battle of Tuopapa by those 
 who had slain his brother. Ikoke could, according to his faith, 
 only meet his favourite brother by a violent death, as all who die 
 a natural death are devoured by Mini. 
 
 Another saying of theirs in reference to the unseen world is : 
 " Ka aere i nunga i te puokia ei aka i Tiairi :" " We will go to yon 
 place of safety, Tiairi, to dance the warriors' dance." 
 
 ^ " I nunga i te puokia maua e araveitu ei." 
 
Hades ; or, The Doctrine of Spirit- World. 179 
 
 Subjoined is a mention of the famous bua tree from the shades 
 (Arakauvae's funeral games for his father, circa 181 7). 
 
 E metua tane ra e, Vara, kua topa ra My father Vara, thou art forsaken by 
 
 i te io, thy god. 
 
 Kua veevee te po, ka eke atu ai e ! Night is at hand, whither thou must 
 
 descend. 
 E rua metua i raro e ! Alas, to be deprived of both 
 
 parents ! 
 E metua tane ia Kovi, kua pa te rakau Thy father Kovirua watches thy 
 
 e ! wasting frame, 
 
 Ei toko ake i te maki ra e ! And vainly seeks to re -invigorate it. 
 
 Mitikia mai Kovirua, taraia mai, taraia Day by day thy once-rounded limbs 
 
 ra e ! are adzed away — 
 
 Taraia ra e te io tupu na Motoro. Pitilessly adzed away by thy god 
 
 Motoro ; 
 Kua vai te ata ivi e ! Toou anga So that only a living skeleton is left. 
 
 rakau oi ra e ! 
 Tu maira tei runga koe i te pua i Take thy place on the bua tree in 
 
 mareva. the shades. 
 
 Kua mareva te metua i oro i Avaiki. Lost for ever is the parent gone to 
 
 Avaiki. 
 
 A FAREWELL (VEE) CHANTED AT A REED- 
 THROWING MATCH FOR WOMEN. 
 
 COMPOSED IN MEMORY OF VAIANA, BY HER HUSBAND NAUPATA, 
 
 IN 1824. 
 
 Solo. 
 Teiia'ua ngaro e ? Whither has she gone ? 
 
 Chorus. 
 Tei Avaiki e oro atu, She has sped to Avaiki, 
 
 Kore e ariu tei te nii moana : She disappeared at the edge of the 
 
 horizon, 
 Tei te opunga i te ra. Where the sun drops through. 
 
 Ka tangi i reira ! We weep for thee ! 
 
I So 
 
 Myths and Songs, 
 
 Ka tangi ana 'i, 
 Oki ra a kimi ra ae ! 
 
 Tangi au ka tangi e, 
 
 Tangi ki te vaine ua ngaro ra, 
 
 Aore koe e tu e angairi. 
 
 Mai tu e angairi ! 
 
 Ariu mai i te ao e ! 
 Oki maira iaku nei. 
 Akia koe, ua motu ia tarereia au ! 
 
 Mai tarere au e tei Avaiki — 
 Te enua mamao i oro atu na e ! 
 
 Solo. 
 
 Yes, I will for ever weep, 
 And ever seek for thee ! 
 
 Chorus, 
 
 Bitter tears I shed for thee ; 
 
 I weep for the lost wife of my bosom. 
 
 Alas ! thou wilt not return. 
 
 Solo. 
 
 Oh, that thou wouldst return ! 
 
 Chonis. 
 
 Stay ; come back to this world ! 
 Return to my embrace. 
 Thou art as a bough wrenched off by 
 the blast ! 
 
 Solo. 
 
 Wrenched off, and now in Avaiki — 
 That distant land to which thou art 
 fled. 
 
 The author of this " farewell " became a devoted servant of 
 the Lord Jesus Christ. These words are exceedingly popular 
 with the natives. Part is omitted. 
 
 Rakoia, chanting (in 1815) the praises of his first-born, 
 Enuataurere, who was accidentally drowned at Tamarua, says : — 
 
 O Enuataurere i te tai kura i te Enuataurere now trips o'er the ruddy 
 
 moana. ocean. 
 
 Te nunga koe i te uru o te kare i tai e ! Thy path is the foaming crest of the 
 
 billow. 
 Aue e ! Enuataurere e ! Weep for Enuataurere, — 
 
 Enuataurere e ! For Enuataurere. 
 
( i8i ) 
 
 CHAPTER IX. 
 
 VEETINI;^ OR, THE IMMORTALITY OF 
 
 THE SOUL. 
 
 The first who ever died a natural death in Mangaia was Veetini. 
 He was the only and much beloved son of Tueva and his wife 
 Manga. But Veetini, when in the prime of early manhood, 
 sickened and died. The parents, in their grief, instituted 
 those signs of mourning and funeral games which were ever 
 afterwards observed amongst these islanders. The chief mourners 
 were Tueva, Manga, and the lovely Tiki — the attached sister of 
 Veetini. All these, with the more distant relatives, blackened 
 their faces, cut off their hair, slashed their bodies with shark's 
 teeth, and wore only " pakoko," or native cloth, dyed red in the 
 sap of the candle-nut tree, and then dipped in the black mud of a 
 taro-patch. The very offensive smell of this mourning garment is 
 symbohcal of the putrescent state of the dead. Their heads were 
 encircled with common fern, singed with fire to give it a red 
 
 ^ The allegorical character of this interesting myth is evident from the 
 names. Veetini means all-separating ; Tueva, mourner ; Manga, food, in 
 allusion to the custom of offering food to the dead. Tiki signifies fetched : 
 if a person dies, his spirit is said to be '* fetched." 
 
1 82 Myths and Songs. 
 
 appearance.^ It was on account of Veetini that the eva, or dirge, 
 in its four varieties, and the mourning dance, were invented and 
 performed by the sorrowing relatives day by day. 
 
 These melancholy ceremonies occupied from ten to fifteen 
 days, according to the rank and age of the party deceased. 
 During the entire period of mourning no beating of bark for 
 native cloth was permitted in the district where the death 
 occurred. A woman wishing to beat out her bark must go to 
 another part of the island. The object in view was to avoid 
 giving offence to the female demon Mueu, who introduced cloth- 
 beating to this world ; but who herself beats out cloth of a very 
 different texture. Her cloth-flail is the stroke of death. So long 
 as the mourning and funeral games were going on, Mueu was sup- 
 posed to be present ; when all was over she returned to her home 
 in Avaiki, or the shades. Hence the proverb when a person dies, 
 " Era, kua tangi te tutunga a Mueu," i.e. " Ah ! Mueu's flail is 
 once more at work ! " 
 
 The last resting-place of Veetini is at Rangikapua, a green 
 spot about half a mile from the sea. The rays of the setting sun 
 fall upon the hill, about loo feet above the level of the ocean, 
 thus distinguished. On the evening he was buried the dirges and 
 dances that had been invented in his honour were performed. 
 The parents and the sister looked wistfully towards the norths 
 hoping for his return to their midst — but in vain ! 
 
 The day following they walked in sad procession, slowly 
 chanting dirges expressive of passionate desire again to embrace 
 the departed, along the western shore of the island. At night, 
 
 ^ Since the establishment of Christianity this extravagant mode of mourn- 
 ing for the dead, with the single exception of the bad-smelling "pakoko," 
 has been discontinued. 
 
Veetini ; or, The Immortality of the Soul, i"^ 
 
 o 
 
 exhausted with grief and weariness, they slept in one of the 
 rugged caves near the sea, having in vain strained their eyes over 
 the ocean path where the spirit of Veetini had so lately dis- 
 appeared. 
 
 The mourning band next sought the lost one on the sotcthern 
 and almost inaccessible shore of Mangaia; still there was no 
 response to the loud cries and entreaties of the disconsolate 
 parents and the lovely Tiki, 
 
 At last they arrived at the eastern coast, and gazed over the 
 vast expanse swept by the life-giving trade-winds. Once more the 
 lamentations and funeral dances were duly performed. At night 
 they occupied the Ruddy Cave (Ana-kura). The entrance to this 
 spacious cave is washed by the surf. Ere dawn Tueva rose from 
 his stony couch to watch the rising of the sun. The shadows of 
 night were fast passing away. In a few minutes more the sun rose 
 in all its wonted glory. Tueva now noticed a tiny dark speck 
 beneath on the ocean, which, as the sun advanced on its course, 
 grew larger and drew nearer, passing over the ocean in the bright 
 trail of the sun. On arriving nearer still, this wonderful object, 
 lightly skimming over the crest of the waves, proved to be no 
 other than their own lost Veetini ! 
 
 The now rejoicing parents rushed forwards to kiss their son, 
 who was indeed Veetini, yet not altogether like his former self 
 He said to the joyful throng that he had been permitted to revisit 
 this upper world in consequence of the passionate lamentations of 
 his parents, and to comfort their sorrowing hearts. He also came 
 to show mortals how to make offerings of food to please the dead. 
 For himself, he had come and must depart in the bright track of 
 the sun, being now a denizen of spirit-land. However, to gratify 
 his parents and friends, Veetini asked great Tangaroa to detain 
 
184 Myths mid Soiigs. 
 
 the sun for a short time in its course, in order that he might rest 
 and converse awhile with his relatives. The prayer was granted, 
 and the sun was detained while Veetini and his friends pleasantly- 
 rested in a sort of extempore house, or booth, erected for him on 
 the spot known as Karanga-iti. 
 
 At length Veetini rose, and led the half-glad and half-sorrowful 
 procession along the beach towards the west, the sun now moving 
 on as usual in the heavens. At last they reached Vairorongo, or 
 Kongo's sacred stream, directly facing the setting sun. Here they 
 rested a few minutes only, as day was fast fading away. Not far 
 distant on the hill lay the body of Veetini. As the sun dis- 
 appeared beneath the horizon, and the ocean was covered with its 
 golden light, Veetini said he must go. The weeping parents 
 begged him to stay with them. The son replied, " I cannot ; 
 I do not belong to this world now ; " and then shouted im- 
 patiently : — 
 
 Takai ia te ra Thrust down the sun, 
 
 Ei eke i Tekurutukia. That I may descend to nether-land ! 
 
 The parents now endeavoured to detain him by force ; but, 
 lo ! they grasped at a shadow. They watched him gliding swiftly 
 over the western ocean in the ruddy track of the sun, and, with its 
 last rays, Veetini, now a tiny distant speck in the train of the king 
 of day, for ever disappeared. 
 
Veetini ; or, The Immortality of the Soul. 185 
 
 VAIPO'S DIRGE FOR VEETINI. 
 
 FOUNDED ON THE PRECEDING MYTH. 
 (FIRST PERFORMED CIRCA 1794: FOR THE SECOND TIME IN 1819.) 
 
 Call for the music and dance to begin 
 
 Kua pa te rongo i Avaiki 
 Kua inga paa Veetini 
 Aue ka mate e ! 
 
 The news has sped to Avaiki 
 Of Veetini about to die. 
 Sad day of death ! 
 
 Taipo e ! 
 
 Akatu are i Karanga-iti, 
 I te rua paa i te ra e ! 
 
 Ae! 
 
 Kua tau paa Veetini i te rangi ; 
 
 Ka oro ! 
 O na mavae ia Avaiki e ! 
 
 Kakea mai e i te tautua ae ! 
 
 Kakea mai i te tautua ia Avaiki 
 Ka rekireki mai e, 
 I nunga i te moana. 
 
 Kua titotito aere Veetini. 
 
 E kau, kau mai e ! 
 E aru atu i to miringa ae ! 
 
 Solo. 
 
 Go on ! 
 
 Cho7-us. 
 
 A house is built for him at Karanga- 
 iti 
 To face the rising sun. 
 
 Solo. 
 
 'Tis done ! 
 C horns. 
 
 Veetini has gained the sky [/.^. the 
 place where the sun drops down] ; 
 Has fled ! 
 Oh, all-dividing Spirit-world ! 
 
 Solo. 
 
 Whence came he ? 
 
 Chorus. 
 
 He came up out of Spirit-world, 
 Stepping lightly on his path 
 O'er the treacherous waves. 
 Veetini is again trembling on the 
 
 wing. 
 He skims, he skims the sea ! 
 
 Solo. 
 
 Alas, he follows thy track, [O Sun !] 
 
1 86 
 
 Myths and Songs. 
 
 E aru atu i to miringa, 
 O te ra paa e opuopu atu na e ! 
 
 Takai ia te ra, 
 Ei eke i Tekurutukia ! 
 
 Chorus. 
 
 Yes, he follows thy dazzling light, 
 As thou gently settest in the ocean. 
 
 Thrust down the sun, 
 That he may descend to nether-land. 
 
 THE CLOSING OR DAY-SONG FOR TENIO'S FETE. 
 
 BY KOROA. CIRCA 1814. 
 
 Call for the dance to lead off. 
 
 Iti pakakina o te ra e ! 
 Ka roi te tere o Tautiti 
 
 Ka aka e I 
 Taipo e ! 
 
 Kua aati te nio o Veetini 
 Kua akama i te ao e ! 
 
 Ao mata ngaa e ! 
 
 Day is breaking ; 
 The visit of Tautiti ^ is drav;ing to a 
 close — 
 
 Dance away ! 
 
 Solo, 
 
 Go on ! 
 
 Chorus. 
 
 Alas, the teeth of Veetini * are all 
 
 broken, 
 He is ashamed to linser in the licht. 
 
 Solo. 
 
 The eye of day is unclosing. 
 
 E aru mai ia Tautiti 
 
 Chorus. 
 
 Come, obey the behests of Tautiti. 
 Kai a mata tuitui kaka ra o Vatea e ! As a burning torch is the opening eye 
 
 of Vatea. 
 Ungaunga te ra e tu e ara ! Awake from thy slumbers, O Sun 
 
 arise. 
 
 It is in reference to this myth of the sad journeyings of the 
 beautiful Tiki with her parents in search of Veetini, that at the 
 
 ^ Tautiti was supposed to be present at the particular dance of which he 
 was the originator. As soon as it was over, he returned to the shades. 
 2 Broken by death, i.e. no longer eats. 
 
Veetini ; or, The Ivnnortality of the Soid. 187 
 
 breaking up of a funeral party it is commonly said, " Ka ruru i te 
 tere ia Tiki ka aere ei," i.e. " The weary travels of Tiki are over : 
 we part." 
 
 A principal reason why Veetini's spirit was permitted to revisit 
 this world, was to institute the practice of propitiating the good- 
 will of the dead by offerings of food. This is alluded to in a 
 ancient song about Veetini, by Kirikovi, circa 1760. 
 
 VEETINI MEETING HIS FATHER. 
 
 Tueva aka-itu i te eva i te nietua, Tueva, who seven times lamented for 
 
 his boy, 
 Ae ; eaa toou ara i te ao nei ? Asked, " Why didst thou return to 
 
 this world ? " 
 I ana mai au i te kave " I came," (said Veetini,) "to instruct 
 
 you 
 I te pakuranga ma te meringa. In making food-offei-ings to the dead, 
 
 Meringa mai Avaiki e, Ofterings to those in spirit- world ; 
 
 Meringa mai io tatou metua Gifts from their relatives, 
 
 E noo i te ao nei. Ei aa ? \Anio yet linger in this upper world. " 
 
 Such was the belief and practice of heathenism. As soon as 
 the corpse was committed to its last resting-place, the mourners 
 selected five old cocoa-nuts, which were successively opened, and 
 the water poured out upon the ground. These nuts were then 
 wrapped up in leaves and native cloth, and thrown towards the 
 grave ; or, if the corpse were let down with cords into the deep 
 chasm of " Auraka," the nuts and other food would be succes- 
 sively thrown down upon it. CalHng loudly each time the name 
 of the departed, they said, " Here is thy food ; eat it." When 
 the fifth nut and the accompanying " raroi," or pudding, were 
 thrown down, the mourners said, " Farewell ! we come back no 
 more to thee ! " 
 
1 88 Myths mid Songs. 
 
 Seventeen years ago, Arikikaka, the last heathen of Mangaia, 
 lost his only son — a consistent church member. The old man 
 was inconsolable at his loss. How could it be otherwise with a 
 heathen parent ? The corpse was buried with his mother's 
 deceased relatives, on the west of the island. The friends had 
 dispersed to their respective homes. A day or two after, Ariki- 
 kaka and his wife walked with difficulty across the island, arriving 
 at dusk at the grave of their beloved son, with a basket of cooked 
 food and some unopened cocoa-nuts. With many tears and 
 affectionate words they called upon their boy to eat the food and 
 drink the nuts (carefully opened for the convenience of the ghost 
 at the grave, and the contents poured out upon the earth), which 
 they had carried six miles. The aged couple slept under a tree, 
 close to the last resting-place of their son ; and at dawn on the 
 following morning departed. How sad that, whilst their son died 
 in the faith and hope of the Gospel, the parents should cling to 
 the effete superstitions of a bygone age ! It is, however, pleasing 
 to add that in May, 1865, Arikikaka and his wife were baptized. 
 In this case "at eventime there was light." 
 
 A few years previous to the discovery of the island by Captain 
 Cook in 1777, Ngara, priest of Motoro, was paramount chief of 
 Mangaia. His nephew Vera died, it was believed, in consequence 
 of having incurred the anger of that divinity by setting fire to a 
 forest of thatch trees growing on the eastern part of the island. 
 Not that the pandanus trees were sacred, but the oronga 
 {tirtica argentea), growing between them, was considered to be 
 " the hair of Motoro." 
 
 Very imposing funeral rites were performed for this lad, on 
 account of his relationship to Ngara. As in the case of Veetini, 
 the relatives are said to have paraded the island in the vain 
 
Veetini ; or, The Immortality of the Soul. 189 
 
 hope of Vera's return. The body was conveyed to Tamarua and 
 thrown down Raiipa, a fearful chasm, 150 feet deep, and having 
 communication with the sea. The entrance to this gloomy place 
 is in the Mission premises at that village. The sorrowful parents 
 slept in a cave hard by, in the hope that Vera would return for a 
 day, in answer to their passionate laments. Next day the disap- 
 pointed parents, followed by a long procession of mourners, 
 returned to their dwellings. 
 
 DIRGE FOR VERA : A DEATH-TALK. 
 
 COMPOSED BY UANUKU. A " TIAU," OR PARTIAL WEEPING. 
 
 CIRCA 1770. 
 
 TUMU. 
 
 Turokia i Vairorongo ; 
 
 Noo mai koe i te aiai 
 Ka aei-e au, e Manga e, 
 
 I te ara taurere ki Iva e ! 
 
 INTRODUCTION. 
 
 Solo. 
 
 At Vairorongo,^ towards the setting 
 sun — 
 
 Tarry with us this evening. 
 I go far away, mother, 
 
 Chorus. 
 
 By a perilous path to spirit-land. 
 
 PAPA. 
 
 Pare mai Vera i te kau ara, 
 Ariua te mata i Mangaia. 
 Te karo nei i o metua, 
 Te roe nei i te ao e ! 
 
 FOUNDATION. 
 
 Solo. 
 
 Halt, Vera, on thy journey : 
 Turn thine eyes towards Mangaia. 
 Look again at thy parents, 
 Whose days are spent in tears, 
 
 ^ Wherever the body might be buried, the spirits of the dead assembled at 
 Vairorongo, facing the setting sun, to await the proper period for their departure. 
 " Iva " ( ^ Nukuhiva) I have rendered " spirit-land " — its true meaning here. 
 
igo 
 
 Myths and Songs. 
 
 E niaki i te tere i Anakura e aere ei 
 
 UNUUNU TAI. 
 
 Turokia e 
 
 i tona are e ! 
 I tona are, e manga kai na Vera. 
 Tu a rau kura Tueva akatapu. 
 
 Tu a rau kura Tueva akatapu. 
 
 Kua tangi te ike a Mueu 
 
 Kua taroe ua miringa, e Vera e ! 
 
 Ka aere au, e Manga e, 
 I te ara taurere ki Iva e ! 
 
 PAPA. 
 
 Pare mai Vera i te kau ara, 
 Etc. etc. etc. 
 
 Chorus. 
 
 Resting in the Red-Cave by the way. 
 
 FIRST OFFSHOOT. 
 
 Solo. 
 
 .Towards the setting sun 
 
 Chot^s. 
 
 is his home ! 
 A home and food in plenty for Vera. 
 Tueva, encircled with red leaves, is 
 mourning. 
 Solo. 
 
 Tueva, encircled with red leaves, is 
 
 mourning. 
 Alas ! the death-flail of Mueu is 
 
 beating. 
 Weeping, we follow thee, beloved 
 Vera. 
 I go far away, mother, 
 Chorus. 
 
 By a perilous path to spirit-land. 
 
 FOUNDATION. 
 
 Solo. 
 
 Halt, Vera, on thy journey. 
 Etc. etc. etc. 
 
 UNUUNU RUA. 
 
 Vaia 
 
 te rua e, i te tokerau e 1 
 I te tokerau, e ngaa mai ki tai. 
 Iki ki te iku parapu — 
 
 SECOND OFFSHOOT. 
 
 Solo. 
 
 Rush forth, 
 Chorus. 
 
 O north-west wind ! * 
 Bear him gently on his way. 
 Awake, O south-west — 
 
 ^ The north-west and south-west are known as "spirit-winds." It is fabled 
 that the latter restored Veetini to his friends. Perchance it will restore Vera 
 to his sorrowing parents. Mautara, the grandfather of Vera, was dead at the 
 period (more than a century ago) when this song was composed. The name of 
 the illustrious chief is put for Ngara, his youngest son, then "lord of Man- 
 gaia." 
 
Veetini; or, The Immortality of the Soul. tqi 
 
 ki te iku parapu 
 Tei te turuki mai Vera e ! 
 Te tangi nei a Mautara c ! 
 Te tirae tangata i pou rai. 
 Ka aere au, e Manga e, 
 
 I te ara taurere ki Iva e f 
 PAPA. 
 
 Pare mai Vera i te kau ara, 
 Etc. etc. etc. 
 
 Solo. 
 
 O south-west. 
 Perchance Vera will return. 
 Even Mautara weeps for thee, 
 How desolate is our home ! 
 I go far away, mother, 
 
 Chorus. 
 
 By a perilous path to spirit-land. 
 
 FOUNDATION. 
 
 Solo. 
 
 Halt, Vera, on thy journey, 
 Etc. etc. etc. 
 
 UNUUNU TORU. THIRD OFFSHOOT. 
 
 Solo. 
 Kaukau, Skim, 
 
 Chorus. 
 Vera e, i tuaanga e ! Vera, the surface of the ocean, 
 
 I te tuaanga to nga mata i te tai o The ocean-path once traversed by 
 
 Ngake. 
 
 Porutu te ua i te moana, 
 Te toa ranga nuka te atua 
 E tau ai te tere o Vera e 
 
 Tei Tikura moana ! 
 
 Ka aere au, e Manga e, 
 
 I te ara taurere ki Iva e ! 
 
 PAPA. 
 
 Pare mai Vera i te kau ara 
 Etc. etc. etc. 
 
 Solo. 
 
 Ngake. 1 
 
 Torrents of rain obstruct thy journey. 
 
 Yet by the aid of a mighty god 
 
 The band led by Vera shall safely 
 
 reach 
 Their home beneath the glowing 
 ocean. 
 I go far away, mother. 
 Chorus. 
 
 By a perilous path to spirit-land. 
 
 FOUNDATION. 
 
 Halt, Vera, on thy journey : 
 Etc. etc. etc. 
 
 ^ Ngake was one of the three first slain, inconsistently represented as 
 traversing the ocean. 
 
192 
 
 Myths a7id Songs. 
 
 UNUUNU A. 
 
 Pokai 
 
 te tere e ia tau ai e ! 
 Kia tau Vera i rangi maanga 
 No Maautaramea te tere i oki mai. 
 
 FOURTH OFFSHOOT. 
 
 Solo. 
 
 Slowly 
 
 Chorus. 
 
 traverse these rugged shores, 
 Ere Vera gain the western skies. 
 
 Veetini ^ once returned to earth. 
 
 Solo. 
 
 Te tere i oki mai Vera e ! 
 Tei tipurei moana i ! 
 
 Ka aere au, e Manga e, 
 
 I te ara tiroa ki Iva e ! 
 
 PAPA. 
 Pare mai Vera i te kau ara, 
 Etc. etc. etc. 
 
 UNUUNU RIMA. 
 
 E kiato 
 
 te vaka e kia mau ai e ! 
 Kia mau ai i Koatu-taii-roa. 
 Noo mai Vera i te tapaa i mua ! 
 
 I te tapaa i mua 'i o te tangi tai 
 I ara mania : kua taatonga 'i 
 Ki raro i tei Tuatua-pipiki, 
 Ka aere au, e Manga e, 
 
 O that Vera might but revisit earth, 
 Gliding over the shimmering sea. 
 I go far away, mother, 
 
 Chorus. 
 
 By a perilous path to spirit-land. 
 
 FOUNDATION. 
 
 Halt, Vera, on thy journey, 
 Etc. etc. etc. 
 
 FIFTH OFFSHOOT. 
 
 Solo. 
 
 Lash firmly 
 
 Chorus. 
 
 the outrigger of thy bark,^ 
 Ere starting on thy long voyage. 
 Linger awhile. Vera, on the sea- 
 shore — 
 
 Solo. 
 
 On the beach where the waves beat ; 
 Near this rough path. Must thou go 
 To the regions of the sun-setting? 
 I go far away, mother, 
 
 ^ In the original a second name [Maautaramea] is substitued for Veetini, 
 which I have dropped. 
 
 2 Vera's spirit is actually starting. The canoe is on the outer edge of 
 the reef ready to cleave the billows. See that the outrigger is well secured, 
 or the voyager will certainly be drowned. What the outrigger is to the cajioe, 
 the god is to the soul. Without this necessary aid, tread not this treacherous 
 ocean-path. 
 
Veetini ; or. The Im77iortality of the Soul. 193 
 
 Chorus. 
 I te ara taurere ki Iva e ! By a perilous path to spirit-land. 
 
 PAPA AKAOTI. . LAST FOUNDATION. 
 
 Solo. 
 Pare mai Vera i te kau ara, Halt, Vera, on thy journey : 
 
 Ariua te mata i Mangaia. Turn thine eyes to Mangaia. 
 
 Te kare nei i o metua, Look again at thy parents, 
 
 Te roe nei i te ao e ! Whose days aie spent in tears. 
 
 Chorus. 
 E niaki te tere i Anakura e aere e ! Resting in the Red-Cave by the way. 
 
 AKAREINGA. FINALE. 
 
 Ai e ruaoo e ! E rangai e ! Ai e ruaoo e ! E rangai e ! 
 
 The beauty of this dirge is much enhanced by covert allusions 
 throughout to the myth of Veetini. At the conclusion of each 
 stanza, in the native, the name " Manga," i.e. the mother of 
 Veetini, occurs, instead of the name of Vera's own mother. To 
 prevent confusion of ideas, I have throughout rendered it 
 " mother." 
 
 To this day it is said of the dying at Rarotonga, " So-and-so 
 is passi?ig over the sea." 
 
 The foregoing dirge has been presented exactly as recited at 
 their " death-talks." On account of the numerous repetitions, 
 those succeeding will be given in an abbreviated form. 
 
194 
 
 Myths and Songs. 
 
 THE GHOSTS LED BY VERA PREPARING FOR THEIR 
 FINAL DEPARTURE. 
 
 A "tiau," or partial weeping, by uanuku, circa 1770. 
 
 TUMU. 
 
 Akarongo, Vera, i te tangi tai. 
 Reki atu koe i te ara pepe ; 
 Tangi mai paa i Maunuroa. 
 
 Tutu atu ka aere ; 
 
 O te uru matie kura ra e te nau. 
 
 INTRODUCTION. 
 
 Solo. 
 
 List, Vera, to the music of the sea. 
 Beyond yon dwarfed pandanus trees 
 The billows are dashing o'er the 
 
 rocks. 
 'Tis time, friends, to depart ; 
 
 Chorus. 
 
 Our garments are mourning weeds 
 and flowers. 
 
 PAPA. 
 
 Reki atu koe i te ngau rua ; 
 E tatari koe i te parapu, 
 Naku mai paa i tua moana. 
 Te karo nei Mitimiti e, 
 
 Solo. 
 
 FOUNDATION. 
 
 Advance to yonder level rock ; 
 There to await the favouring wind 
 That will bear thee o'er the sea. 
 (Thy father) Mitimiti looks sorrow- 
 fully on 
 
 Chorus. 
 I te vivi matangi, e taku tere e ! The departing band led by thee. 
 
 INUINU TAI. 
 
 FIRST OFFSHOOT. 
 
 Solo. 
 
 Akarongo Vera e, 
 
 Kua patai tau ara, 
 Na te uru o Iva — 
 
 List, dear Vera, 
 
 Chorus. 
 i te tangi tai e ? to the music of the sea. 
 
 Thou art a wretched wanderer, 
 Almost arrived at Iva — 
 
VeHiiii; or, The Im77Z07^tality of the Soul. 195 
 
 Solo. 
 na te uru o Iva 'i. yes, at Iva ; 
 
 Mai Iti au, mai Tonga e, Once from Tahiti, then from Tonga ; 
 
 Mai Onemakenukenu ; Now bound to the land of ghosts, 
 
 O te rua mato ngaa ei. Entered though the gaping grave. 
 
 Tutu atu ka aere ; 'Tis time, friends, to depart ; 
 
 Chorus. 
 
 te uru matie kura ra e te nau e ! Our garments are mourning weeds 
 
 and flowers. 
 
 INUINU RUA. SECOND OFFSHOOT. 
 
 Solo. 
 Ariunga atu e I turn my eyes 
 
 Chorus. 
 I tai enua e ; . to another land. 
 
 1 tai enua patiki atu tau vaerua. In some other region may my spirit 
 
 rest ! 
 Tei koatu tauri, tei te ngutu i te rua, On this trembling stone, at the edge 
 
 of the chasm (I stand) — 
 
 Solo. 
 Tei te ngutu At the entrance 
 
 Chorus. 
 i te rua 'i. Of this dark chasm. 
 
 O puaka ngunguru, tei te veenga i te My path is over yon black rocks near 
 
 papa. the sea. 
 
 Na rotopu i Vaenga, tei o Tamakoti, Over the roughest and sharpest stones 
 
 E takina aereia e te ui rauono. I lead this feeble troop of ghosts. 
 
 Noea ra ? ikonei, na nunga atu Whence come we ? We are awaiting 
 
 Ki te miri, The long-hoped-for 
 
 Solo. 
 nanu atu south-eastern 
 
 Chorus. 
 ki te miri breeze 
 
 Tei kopua-reia ; a tai ra tomokia. To waft us over the far-reaching 
 
 ocean. 
 Tei are toka, tu ra i te rae, We have wandered hither and thither, 
 
196 
 
 Myths and Songs. 
 
 Tei Teunu i te kea, ka eke na tai e, Stepping lightly on the sea- washed 
 
 sandstone. 
 Na koatu putuputu, tei kaiti-te-ra. Over thickly studded rocks we have 
 
 come. 
 Kua kapitia e te po, akaroimata i reira, Overtaken by darkness we sit down to 
 
 weep, 
 
 Vaka roimata no Vera e ! 
 
 Angiangi te ua i te aiai ; 
 Tairo atu i te tau are no Moke, 
 
 Kua parea e te au tai. 
 
 Tutu atu ka aere ; 
 
 O te uru matie kura ra e te nau e ! 
 
 Solo. 
 
 A tearful band, under the guidance of 
 
 Vera. 
 At one time a drizzling shower 
 Hides from view the heights of the 
 
 interior ; 
 At another we are besprinkled with 
 
 ocean spray. 
 'Tis time, friends, to depart ; 
 
 C/iorus. 
 
 Our garments are mourning weeds 
 and flowers. 
 
 INUINU TORU. THIRD OFFSHOOT. 
 
 Soio. 
 Aere tu e Press forwards 
 
 Chorus. 
 
 i Raumatangi e. 
 Kia ripoia na Tautuaorau. 
 
 E kake i Auveo, 
 
 on our journey; 
 Take care that we miss not the way. 
 
 Solo. 
 
 Yonder is the landing-place. 
 
 Chorus. 
 o te mata o Katoanu, Auveo, 
 
 O te ui ava e ngaro, o Taumatatai. The entrance of which is so difficult 
 
 to find. 
 Tera to metua. There, too, is my father. 
 
 Solo. 
 tei runga i Pepeura. watching our course. 
 
 Taueue o te ra, tukuroi ki Teone. The sun is low ; rest we awhile. 
 
Veetini; or. The Immortality of the Said. 197 
 
 Chorus. 
 E mania ra tau vaevae i te takai, Our feet are worn out over these 
 
 stones ; 
 Kua avanga Raupa. Yonder is the gloomy cave Raupa. 
 
 Anuenue i Omoana, e tangata matiroe- Let us move slowly on our way. 
 
 roe. 
 Tei Tuatuakare, i raro i Auneke : We friendless ghosts have reached 
 
 Auneke. 
 Eanga ki runga ; eanga ki raro ; Look eastward ; look westward ; 
 
 E anga ki te ra e ana atu. Gaze at the setting sun. 
 
 Solo. 
 Ana atu paa Mitimiti, e amoremore Ah"! Mitimiti is following hard 
 
 behind, 
 I to miringa ; takiri koe kia oki mai. Beckoning me to return. 
 Noo mai paa i Tepukatia. Here let us halt awhile. 
 
 Tutu atu ka aere ; 'Tis time, friends, to depart ; 
 
 Chorus. 
 
 te uru matie kura ra e te nau e ! Our garments are mourning weeds 
 
 and flowers. 
 
 INUINU A. FOURTH OFFSHOOT. 
 
 Solo. 
 Ka iia Vera ra e, Thy feet, Vera, 
 
 Chorus. 
 e te rau kovi e, are entangled with wild vines. 
 
 Mataratara i Vavau, te nooanga tan- Art thou bound for Vavau, the home 
 gata. of ghosts ? 
 
 1 Rangioroia, Over 
 
 Solo. 
 mai Rangi the foaming billows 
 
 Chorus. 
 panakonui : ^vilt thou voyage ? 
 
 Tei Omaoma-atu-na, o te ara tai rau, Thread now thy way through groves 
 
 of pandanus, 
 O te enua tuarangi, te Omangatiti ; The favourite haunt of disembodied 
 
 spirits ; 
 Ariki Utakea i Takanga-a-tuturi. Near where the royal Utakea landed, 
 
198 Myths and Songs. 
 
 Solo. 
 Na Ooki aitu ki te papa o Aumea. A level beach laved by the sea. 
 
 Tikiriri e atua, ei ara paa noku e, The ci'icket-god is chirping to direct 
 
 thy path, 
 I angamakoitia, ki tuki naupata, Through the thickets to the shore 
 
 I te pou o Atuturi, turi ai Where the spirits of the dead wander. 
 
 Koukou rouru, e V-era e, Bathe thy streaming locks, Vera. 
 
 Omai tai noku ora e, o Te-ata-i- Grant me a new life, O Light of the 
 
 maiore. morning ! 
 
 Tutu atu ka aere ; 'Tis time, friends, to depart ; 
 
 Chorus. 
 O te nau matie kura ra e te nau e ! Our garments are mourning weeds 
 
 and flowers. 
 
 INUINU RIMA, FIFTH OFFSHOOT. 
 
 Solo. 
 Buapua-ariki Descendant of the kings 
 
 Chorus. 
 i Mauke-tau, of Mauke ; 
 
 Kua ikiikitia e, e te matangi au ra Favoured one, led by a prosperous 
 
 wind 
 No te tumu i te rangi, tei Kopuakanae, From the root of the skies to these 
 
 shores, 
 Tei Nukuterarire, e angaanga ikonei, Ere taking a long farewell, turn back ! 
 Na Mokoaeiau Vaio ra ikonei, Idol of my dwelling, remain awhile, 
 
 Solo. 
 
 Vaio ake ia turina kapara ; o te pua Decked with the buds of sweet- 
 
 scented flowers 
 
 Taurarea e, raumiremire no Tutuila. And fragrant leaves brought from 
 
 Tutuila. 
 
 Tutu atu ka aere ; 'Tis time, friends, to depart ; 
 
 Chorus. 
 O te uru matie kura ra, e te nau e ! Our garments are mourning weeds 
 
 and flowers. 
 
 AKAREINGA. FINALE. 
 
 Ai e ruaoo e ! E rangi e ! Ai e ruaoo e ! E rangai e 
 
Veetmi; ^r, The Immortality of the Sotd. 199 
 
 In this " lament " it is supposed that the spirits of the dead 
 have been marshalled by Vera on the eastern shore of Mangaia, 
 and then weariedly led by him over the rocks and through 
 the thickets of the southern half of the island, until reaching the 
 point due west, where the entire troop take their final departure 
 for the shades. " Auneke " is a point on the shore about midway 
 between the rising and setting sun. The poet evidently places 
 Vavau, Tonga, and Tahiti in the invisible world ! 
 
 Very beautifully is the father, Mitimiti, represented as chasing 
 the spirit of his beloved Vera in this mournful journey of ghosts 
 round half the island. The ghosts stop occasionally to refresh 
 themselves, their feet lacerated with the sharp stones over which 
 the living can pass only when sandalled. They weep continually 
 at the thought of leaving earth for ever. Many days are occupied 
 in this sad journey. Mitimiti, taking advantage of these delays, 
 hurries forward, and almost clutches the ever visible but airy form 
 of his boy, which somehow eludes the detaining hand of the 
 sorrowing parent. 
 
 PUVAI LEADING A BAND OF GHOSTS TO 
 THE SHADES. 
 
 A " TIAU," OR PARTIAL WEEPING. COMPOSED BY IIKURA, 
 
 CIRCA 1795. 
 
 TUMU. INTRODUCTION. 
 
 Solo. 
 E matangi tu i te nguare i Anakura, A favouring breeze sweeps the en- 
 
 trance of the ghost-cave ; 
 No Puvai, kua roiroi ka tere, 'Tis for Puvai, about to depart. 
 
 Chorus. 
 Kua kake atu ki te uru kare e ! Lightly he skims o'er the crest of the 
 
 billows. 
 
200 
 
 Myths and Songs. 
 
 PAPA. 
 
 Ei kona ra, e au metua ! 
 Eva ake ai iaku nei 
 I te naupata i Taamatangi. 
 Te tangi nei i te tama angai ra, 
 
 Ka uaki mai te matangi ki Iva e ! 
 
 FOUNDATION. 
 
 Solo. 
 
 Farewell, beloved parents ! 
 Let a mourning procession follow * 
 Over the rugged shore of the south. 
 Weep for the son so tenderly natured, 
 
 Chorus. 
 
 Ere a fair wind bear me to spirit- 
 land ! (literally to Iva). 
 
 INUINU TAI. 
 E matangi tu e 
 
 i te nguare e! 
 I te nguare i Anakura. 
 Kua va te tuarangi : 
 
 FIRST OFFSHOOT. 
 
 Solo. 
 
 A favouring breeze 
 
 Chorus. 
 
 sweeps the entrance 
 Of the ghost-cave Anakura. 
 List to the hum of the ghosts ! 
 
 Solo. 
 
 Kua va te tuarangi tei Kokirinui e ! 'Tis the hum of spirits passing o'er 
 
 the rocks ; 
 Kua niu aere i Tengaatanga i Ana That crowd along the beach by Double 
 
 Cave. 
 He is about to depart. 
 
 Chorus. 
 
 Lightly he skims o'er the crest of the 
 billows. 
 
 SECOND OFFSHOOT. 
 
 orua. 
 Kua roiroi ka tare, 
 
 Kua kake atu ki te uru kare e ! 
 
 INUINU RUA. 
 
 Te vaka i te vaka 
 
 o Puvai e ! 
 Kua tipoki i te riu i te oa. 
 
 Solo. 
 
 Yonder is the bark — 
 
 Chorus. 
 
 the canoe — of Puvai 
 Sorrowfully he bends over it ! 
 
 * That is of living friends and relatives, not ghosts. 
 
Veetini; or, The Immortality of the Soul. 201 
 
 Kua tipoki i te riu i te oa 'i. 
 
 Noo mai koe i te ta ia mua, 
 Kua kakau i te kirikiriti 
 Riu atu te aro ki tera enua. 
 Kua roiroi ka tere 
 
 Kua kake atu ki te uru kare e ! 
 
 INUINU TORU. 
 Parepare i tai e 
 
 i te parapu e ! 
 I te parapu, vaia mai i te tokerau 
 
 Solo. 
 
 Aye, very sorrowfully does he bend 
 
 over it ! 
 Take thy seat, son, in front. 
 Clothed in ghostly network ; ^ 
 And turn thy face to yonder land. 
 He is about to depart. 
 
 Chorus. 
 
 Lightly he skims o'er the crest of the 
 billows. 
 
 THIRD OFFSHOOT. 
 Solo. 
 
 Let a south-west wind 
 
 Chorus. 
 
 ruffle the sea. 
 Awake thou north-west. 
 
 Na Tiki e oe atu ; na Tiki e oe atu. Tiki, sister of Veetini, leads the way. 
 
 Solo, 
 Motuanga enua Mangaia no Puvai. Mangaia fades from the sight of 
 
 Puvai, 
 Driven away by the violence of the 
 winds. 
 He is about to depart. 
 
 Chorus. 
 
 Lightly he skims o'er the crest of the 
 billows. 
 
 Kua peke ke i nga taoa. 
 Kua roiroi ka tere 
 
 Kua kake atu ki te uru kare e ! 
 
 INUINU A. 
 
 Tama aroa e 
 
 na Motuone e ! 
 Na Motuone, tangi mai e 
 I te uru o te maunga, 
 
 FOURTH OFFSHOOT. 
 
 Solo. 
 
 Beloved child 
 
 Chorus. 
 
 of Motuone — 
 Of Motuone, thy weeping mother, 
 Glance fondly back on the hills 
 
 ^ Network was said to be part of the clothing of departed spirits. 
 
202 Myths mid Songs. 
 
 Solo. 
 I te uru o te maunga 'i. And mountains of the interior. 
 
 Ka ano ki Tamarua'i, ' Come back to the fair vale of Ta- 
 
 marua, 
 Kia tae ki Angauru. The place where thou wast born. 
 
 Kua roiroi ka tere He is about to depart. 
 
 Chorus. 
 Kua kake atu ki te uru kare e ! Lightly he skims o'er the crest of the 
 
 billows ! 
 
 AKAREINGA. FINALE. 
 
 Ai e ruaoo e ! E rangai e ! Ai e ruaoo e ! E rangai e ! 
 
 This song is precisely parallel with those relating to Vera. 
 Nephew to Potiki, supreme temporal chief of Mangaia, Puvai by 
 his early death is qualified to lead off a band of ghosts to the 
 shades. Great honours were paid to him as the near relative of 
 the living ruler of the island. 
 
 From a Christian point of view the following " lament " is very 
 affecting : — 
 
 KOROA'S LAMENT FOR HIS SON KOURAPAPA ' 
 
 {Endearingly shortened into " Ura''''). Cii'ca 1796. 
 
 FOR THE "death-talk OF KOURAPAPA." 
 
 TUMU. INTRODUCTION. 
 
 Solo. 
 Karangaia e Koroa e, Koroa gave the command — 
 
 E pa akari na Tueva, A feast of cocoa-nuts, like Tueva's ^ 
 
 of old, 
 Na Ura oki i te rua e ! For dear Ura in his grave ; — 
 
 ^ Koura-papa = small shrimp. 
 
 2 " Like Tueva's of old." " Like Tiki's." The former was the father, the 
 latter the lovely sister, of the mythical Veetini. 
 
 The feast was "all dry," because it was ill prepared, and lay exposed for 
 an entire day at the entrance to the gloomy cave " Auraka." At nightfall the 
 food was wrapped up in native cloth and thrown down to the corpse. 
 
Veetini; or, The Immortality of the Soul. 203 
 
 Chorus. 
 Butungakai na Tiki oki i rara e ! A feast for ghosts, all dry, like Tiki's. 
 
 PAPA. FOUNDATION. 
 
 Solo. 
 
 Nai kume au i te ngutupa, At the entrance to thy sad home I 
 
 shout — 
 Teia to pakuranga ! *' Here is the feast 
 
 Tei raro Ura i te taeva For Ura who lies at the bottom 
 
 Chorus. 
 te enua ia, e vae ! of the deep cave." 
 
 INUINU TAI. FIRST OFFSHOOT. 
 
 Solo. 
 Karangaia ra e 'Twas Koroa 
 
 Chorus. 
 Koroa nei e ! that gave the command. 
 
 E Koroa nei, Kua rongo e, Alas ! Koroa heard (his boy) lament- 
 
 ing— 
 Kua kai ongutungutu, "The ghosts fought over my food ; — 
 
 Solo. 
 Kua kai ongutungutu, aore au e tongi Fought so fiercely that I did not get a 
 
 ana. taste. 
 
 Kua kirikiritia e te ueuera kaka Evil spirits ^ stole it all away. (Their 
 
 chief) 
 O Naukino, na pakoti i te ara nei. Nau-the-Bad would not let me get 
 
 near it." 
 Na Ura oki i te rua e ! 'Twas for Ura in his grave 
 
 Chorus. 
 Putungakai na Tiki oki i rara e ! We bore a feast, all dry, like Tiki's. 
 
 ^ " Evil spirits," more literally, " bright evil spirits ; " but brightness is in 
 our ideas associated with goodness. These " Dii inferi " at night became 
 luminous ; not so the unfortunate human spirits that go down to their abode. 
 Yet these spirits are supposed to linger a while about the cave where their dead 
 bodies had been thrown ; the period for their final departure to the shades not 
 havin? come. 
 
!04 Myths and Songs. 
 
 INUINU RUA. SECOND OFFSHOOT. 
 
 Solo. 
 Putungakai e, That feast for the dead, 
 
 Chorus. 
 na Tiki oki e, like Tiki's — long ago, 
 
 Na Tiki oki na Ura. "Was designed for our beloved Ura, 
 
 Te porea mai i te toketoke kura, — Who is condemned to feed on red 
 
 worms ; 
 
 Solo. 
 I te toketoke kura *i, 1 te viivii taae. Yes, on earth-worms and other vile 
 
 creatures. 
 Akaatua atu ana oki te tangata, e tau Pet child, thou hast taken thy place 
 potiki. amongst the gods. 
 
 Na Ura oki i te rua e I 'Twas for Ura in his grave 
 
 Chorus. 
 Putungakai na Tiki oki i rara e I We bore a feast, all dry, like Tiki's. 
 
 INUINU TORU. THIRD OFFSHOOT. 
 
 Solo. 
 Nai kume au ra At the entrance 
 
 Chorus. 
 i te ngutupa e ! to thy sad home I shout, 
 
 I te ngutupa pakia io i te umauma. And despairingly beat my breast. 
 
 Voa atu to metua, voa atu to metua 'i Thy father Koroa is sadly seeking for 
 e Koroa 'i. thee. 
 
 Solo. 
 Kua o koe i te tupu i te takanga o te Thou art now compelled to feed on 
 
 ueue ; — black beetlts^ 
 
 Na manga a te tangata mate. The food of disembodied spirits. 
 
 Na Ura oki i te rua e ! 'Twas for Ura in his grave 
 
 Chorus. 
 Putungakai na Tiki oki i rara e ! We bore a feast, all dr>', like Tiki's. 
 
Veetini; or, The Immortality of the Soul. 205 
 
 INUINU A FOURTH OFFSHOOT. 
 
 Solo, 
 E tatau atu e Wait patiently 
 
 Chorus. 
 ia po rima e ! five days 
 
 la po rima e tau ai na umu manga And we will prepare yet another 
 
 feast. 
 E leave tere : kua oti na ropanga ; — Again and again will we do this. 
 
 Solo. 
 Kua oti na ropanga 'i, e Koroa 'i. Koroa will not quickly weary. 
 
 Pururu tau nagarau, e tama akaaroa. Then, beloved son, our mourning will 
 
 be over, 
 One atu au i te kainga. And finally we'll return to our dwell- 
 
 ings. 
 Na Ura oki i te rua e \ 'Twas for Ura in his grave 
 
 Chorus. 
 Putungakai na Tiki oki i rara e ! We bore a feast, all dry, like Tiki's. 
 
 INUINU RIMA. FIFTH OFFSHOOT. 
 
 Solo. 
 Kua rara oki ra ; All dry is thy food 
 
 Chorus. 
 kua roia e ! and bad ; 
 
 Kua roia i te karaii ma te momo'o. The relish with it is crabs and black- 
 
 birds.^ 
 Ei ko na ra, kai ai. Farewell ; eat. 
 
 ^ The reference is to the "Momoo," a beautiful but small species of the 
 blackbird, which has a pleasing note. It was then regarded as the incarnation 
 of the god " Alod,''^ who delights to secrete men and things. " Momoo " 
 is strictly *' the Moo-bird." This bird is caught with extreme difficulty, being 
 very expert in hiding itself in rat holes, tufts of grass, etc. Its eyes are fiery 
 red. When the Pakoko tribe went on a murdering expedition, this blackbird 
 was supposed, if propitious, to lead the way by a ball of fire lighting up the 
 path of warriors. These pretty birds were regarded as suitable food for the 
 dead, i.e. for dwellers in the " po " = darkness, on account of their blackness. 
 Hence the appropriateness of crabs and black beetles as diet for the ghosts ; 
 besides, crabs, beetles, and worms bore into the soil, or crawl about in caves 
 where the dead lie. 
 
2o6 
 
 Myths and Songs. 
 
 Solo. 
 Ei ko na ra, kai ai, e Ura, i to me- Farewell. Enjoy thy feast, my Ura. 
 
 ringa 'i. 
 Kua akaui maua i to enua. We return no more to thee. 
 
 Pai ia mai to putungakai i te kainga. We go back to our desolate home. 
 
 Na Ura oki i te rua e ! 'Twas for Ura in his grave 
 
 Chorus. 
 Putungakai na Tiki oki i rara e We bore a feast, all dry, like Tiki's. 
 
 AKAREINGA. 
 
 Ai e ruroo e ! E rangai e ! 
 
 FINALE. 
 
 Ai e ruaoo e ! E rangai e ! 
 
 Kourapapa died at the age of four or five years, and was uncle 
 to my worthy native co-pastor Sadaraka. This was all the con- 
 solation heathenism could give the afflicted parent Koroa, who was 
 associated at that time with his father Potiki in the government of 
 the island. 
 
 It was believed that the ghosts ate the " essence " (ata) of these 
 food offerings. The living friends never (like the Chinese) ate the 
 solid residuum. To do so would be sacrilege. 
 
 ANOTHER LAMENT FOR KOURAPAPA.^ 
 
 BY KOROA, CIRCA A.D. 1 796. 
 
 TUMU. 
 
 Ua roiroi ka aere e ! 
 Mirimiri Koroa ia rurou 
 Naoeoe te aue a Koi 
 
 Roimata i te anau. 
 
 INTRODUCTION. 
 
 The little voyager is ready to start. 
 Koroa is distracted for his boy. 
 (The rocks) re-echo the cries. 
 Of Koi the heart-broken mother. 
 
 1 This and the subsequent "laments" are given without the solos and 
 choruses being marked off. With the aid of the preceding specimens, the 
 reader virill easily see how they were actually chanted. 
 
Veetini; or, The I immortality of the Sotd. 207 
 
 PAPA. 
 Kapitia ra e te matangi i pae ake e ! 
 Pae ake Ura i ruruta e ! 
 
 A roi te roi o te ngarie, 
 Oro atu na kimi motu ke 
 No taua, ia kite e oki mai ? 
 E tere akaonga e Ruru e 
 
 UNUUNU MUA. 
 
 Ka roi te roi e i tai enua e 
 
 I tai enua tumiri te ua o te kakara. 
 
 Na te uanga kuru koe, 
 E vae, e tau ai i te kainga. 
 Na te uanga kuru koe, 
 E vae, e tau ai i te kainga. 
 Mirimiri Koroa ia rurou. 
 Naoeoe te aue a Koi 
 
 Roimata i te anau. 
 
 UNUUNU RUA. 
 
 Tuoro atu e i te tokerau e ! 
 
 I te tokerau te taka nei i te aanga. 
 
 E kauaka ia — e kauaka tai — 
 
 E kauaka ia — e kauaka tai — 
 
 No te Kaura, e tuamotu no Mangaia, 
 
 Ua puia e te aua mei te moana. 
 Mirimiri Koroa ia rurou. 
 Naoeoe te aue a Koi 
 
 Roimata i te anau. 
 
 UNUUNU TORIU. 
 
 Pae ake Ura ra, i ruruta nei e ! 
 
 I ruruta nei tei paenga o Kurarau, 
 
 Tei paenga o Kurarau, — 
 
 Pangitia te vaine reua, 
 
 Ua tae koe! Ua tae Metua 
 
 I te maora nui i Onemakenu kenu ! 
 
 FOUNDATION. 
 
 Should an ill wind o'ertake thee. 
 Seek shelter, O Ura, my spirit- 
 child. 
 Go on thy way, fated voyager ! 
 
 Go seek some other land ; 
 
 Then return to fetch me. 
 
 'Tis a spirit pilgrimage, O mother. 
 
 FIRST OFFSHOOT. 
 
 Speed, then, on thy voyage to spirit- 
 land. 
 Where a profusion of garlands awaits 
 
 thee. 
 There the bread-fruit tree, 
 Pet son, is ever laded with fruit. 
 Yes ; there the bread-fruit 
 Is for ever in season, my child. 
 Koroa is distracted for his boy. 
 (The rocks) re-echo the cries 
 Of Koi the heart-broken mother. 
 
 SECOND OFFSHOOT. 
 
 Awake, thou spirit-bearing winds ! 
 Gently waft him o'er the ocean. 
 Yonder is a frail bark — 
 Yes ; yonder is a frail bark. 
 'Tis a canoe full of spirits from Man- 
 gaia, 
 Hurried o'er the sea by fierce currents. 
 Koroa is distracted for his boy. 
 (The rocks) re-echo the cries 
 Of Koi the heart-broken mother. 
 
 THIRD OFFSHOOT. 
 
 Oh for a shelter from the tempest 
 On some well-sheltered shore ! 
 Yes ; on some well-sheltered shore I 
 The mother mourns the dead : — 
 But thou and thy sister have reached 
 The gathering-place of spirits. 
 
208 
 
 Myths and Songs. 
 
 Ua iri te pa kura o Tueva. 
 Mirimiri Koroa ia nirou. 
 Naoeoe te aue a Koi 
 
 Roimata nui i te anau. 
 
 UNUUNU A. 
 
 E tere ia, e tere akaonga e ! 
 
 ngai te akarua, aore e tae tika, 
 Aore e tae tikai : kua topa 
 
 1 te tere o Kovi ia Angatoro. 
 Ua puia e te aua mei te moana. 
 
 Mirimiri Koroa ia rurou, 
 Naoeoe te aue a Koi 
 
 Roimata nui i te anau. 
 
 AKAREINGA. 
 
 Ai e ruaoo e ! E rangai e ! 
 
 Whilst we lament, like Tueva of old, 
 Koroa is distracted for his boy. 
 (The rocks) re-echo the cries 
 Of Koi the heart-broken mother. 
 
 FOURTH OFFSHOOT. 
 
 Prosperous be thy perilous pilgrimage 
 
 May soft zephyrs waft thee on I 
 
 Maybe thou hast miscarried, 
 Too late to accompany the ghosts 
 Which are hurried o'er the sea by 
 fierce currents. 
 
 Koroa is distracted for his boy. 
 (The rocks) re-echo the cries 
 Of Koi the heart-broken mother. 
 
 FINALE. 
 
 Ai e ruaoo e ! E rangai e ! 
 
 DEATH-LAMENT FOR VARENGA, DAUGHTER OF 
 
 AROKAPITI. 
 
 COMPOSED BY KOROA, CIRCA 1817. 
 
 TUMU. 
 Tei Iti au, e Varenga e, 
 
 Kua kite Aro kua noo tane i Avaiki, 
 
 Te ania mai e te ata e ! 
 
 Te Vivitaunoa ra tau moe e ! 
 
 PAPA. 
 Tau moe ra tei Iti, e Arokapiti e ! 
 
 Uira e rapa ia maine e ! 
 
 INTRODUCTION. 
 
 Varenga, Avho came from the "sun- 
 rising, " ^ 
 In spirit-land is now wed. 
 She was wooed by a Shadow ! 
 Such was my dream on the mountain. 
 
 FOUNDATION. 
 
 My dream was of thee at the sun- 
 rising — 
 Thy form dazzling as lightning. 
 
 ^ Referring to the ancient home of the tribe of Tane at " Iti " ( ^ Tahiti), 
 or **the sun-rising." The "ancestral marae " where her remains were laid 
 was expressly selected (being due east) with an eye to this circumstance. 
 
Veetini ; ^r, The Immortality of the Sotil. 209 
 
 Kimi koe i te kavainga 
 
 O mata ngaae, tau itirere i te ao e ! 
 
 Tei te enua taparere maunga e ! 
 
 UNUUNU TAI. 
 
 Tei Iti oki ra o Varenga nei e ! 
 
 O Varenga nei ! 
 Na Miru e akarito kia tupu a vaine, 
 
 Kia tupu a vaine 'i. 
 Kua tioria e te are tangata i Pan- 
 
 goauri 
 Tei Vaekura, tei Vaikaute nei. 
 Te ania mai e te ata e ! 
 Te Vivitaunoa ra tau moe e ! 
 
 UNUUNU RUA. 
 
 Enua i enua e, taparere e ! 
 
 Taparere i Maungaroa, 
 
 Tei nunga i te tuaronga ; 
 
 Tei nunga i te tua*ronga 'i, 
 
 Tei Tuarangi, tei Araturakina e ! 
 
 Tei Rinui aina 'i ? 
 
 Te ania mai e te ata e ! 
 
 Te Vivitaunoa ra tau moe e ! 
 
 UNUUNU TORU. 
 
 Kua veru te are i Kauava e ! 
 
 Thou wert watching for the dawn 
 When I awoke from my sleep 
 On the steep mountain side. 
 
 FIRST OFFSHOOT. 
 
 Varenga, who came from "the sun 
 rising :" 
 Yes, my Varenga ! 
 
 Miru ^ will cherish thee in thy 
 maidenhood — 
 Thy lovely maidenhood ! 
 
 In life thou wert the admiration of 
 all, 
 
 Wherever thy light steps wandered. 
 
 Now thou art wooed by a Shadow ! 
 
 Such was my dream on the moun- 
 tain. 
 
 SECOND OFFSHOOT, 
 
 Thou wast buried in the ancestral 
 marae 
 
 On the side of steep Maungaroa, 
 
 Hidden by the tall fern — 
 
 Aye, hidden by the tall fern. 
 
 Perchance thy spirit is revisiting the 
 spot, 
 
 Hovering amongst the wild rocks. 
 
 Now thou art wooed by a Shadow ! 
 
 Such was my dream on the moun- 
 tain. 
 
 THIRD OFFSHOOT. 
 
 Thy house ^ in the west is decayed. 
 
 ^ It is hoped that the great beauty of this damsel will induce the dread 
 Miru to forego her horrid repast, and in its stead adopt her as her daughter-in- 
 law. 
 
 ^ Near the sea, on the western part of this island, is a cave called 
 "Kauava," where some families of ghosts loved to congregate. In this 
 neighbourhood a house had been set up for the special accommodation of this 
 distinguished spirit. But it is now hopelessly decayed, i.e. she is about to 
 
 P 
 
2IO 
 
 Myths and Songs. 
 
 Tei Kauava, kua oti i te akatu, 
 
 E nga tupuna kia kioro ua ra : 
 
 Kia kioro ua ra'i ia aiai, 
 
 E kaunuku atu ai io Tumaronga, 
 
 E niaki mai i te uru mato. 
 
 Te ania mai e te ata e ! 
 
 Te Vivitaunoa ra tau moe e ! 
 
 AKAREINGA. 
 
 Ai e ruaoo e ! E ran^ai e ! 
 
 At the gathering-place of ghosts is 
 this home, 
 
 Built by thine ancestors, where 
 spirits 
 
 Rest awhile and chatter in the 
 evening ; 
 
 Or wander about at the edge of the 
 cliffs ; 
 
 Or sit on the stones gazing at the 
 interior. 
 
 Now thou art wooed by a Shadow ! 
 
 Such was my dream on the moun- 
 tain. 
 
 FINALE. 
 
 Ai e ruaoo e ! E rangai e I 
 
 LAMENT FOR MOURUA 
 
 (the friend of captain cook). 
 
 by uanuku. circa 1780. 
 
 TUMU. INTRODUCTION. 
 
 Kua tu te are i Imogo ; There is a spirit-dwelling at Imogo : 
 
 E enua koe no Kavoro, 'Tis the burial-place of Kavoro, 
 
 Kua tupuria e te rakau. In a shady grove. 
 
 O te ukenga i nunga 'i ! There we dug his grave ; 
 
 O te one kuru i erue ! There the red soil was thrown up. 
 
 O taua nei te aroa 'i tangi e ! How bitter the widow's grief ! 
 
 PAPA. 
 
 Ukea mai Kavoro e ! 
 I te rua e i tanu ai. 
 
 FOUNDATION. 
 
 But Kavoro was disinterred ; 
 Was taken out of the grave where he 
 had lain. 
 
 descend finally to nether-world. Ghosts from this cave, when the coral tree 
 blossomed, took their departure by leaping from a rock in the Mission 
 premises to a smaller one on the inner part of the reef ; thence to the outer 
 edge of the reef ; and then tripping over the ocean, like Veetini, disappeared 
 with the sun in nether-world. Although these disembodied spirits avoid the 
 fragrant but fatal bua tree, they cannot escape Miru, mistress of the shades. 
 
Veetini; or, The Immoj^tality of the Soul. 211 
 
 Kua eteia te ara nio 
 
 Kua vai te ivi i te mokotua ; 
 
 Kakaro io au e 
 Kua ngaro iaaku te angaanga e ! 
 
 UNUUNU TAI. 
 
 Kua tu te are e tei Imogo e ! 
 
 Tei Imogo, e enua koe no Kavoro. 
 
 Kua otinga atu na, 
 
 Kua otinga atu na 'i. 
 
 Kua tanu kere i uri ra ki te rua e ! 
 
 O te ukenga i nunga 'i ! 
 O te one kura i erue ! 
 
 taua nei te aroa tangi e ! 
 
 UNUUNU RUA. 
 
 Uri mai te aro e i to vaine e ! 
 
 1 to vaine ia Turuare, 
 
 The teeth all exposed — 
 His form, oh, how wasted, 
 As we gazed on him 
 Now so mournfully changed ! 
 
 FIRST OFFSHOOT. 
 
 There is a spirit-dwelling at Imogo, 
 For there our Kavoro was buried. 
 
 There we parted ; 
 
 Aye, parted for ever ! 
 Shallow was the grave where we 
 buried him, 
 
 There we dug his grave ; 
 
 There the red soil was thrown 
 up. 
 
 How bitter the widow's grief! 
 
 SECOND OFFSHOOT. 
 
 Look once more at thy wife — 
 At thy beloved Turuare ; ^ 
 
 1 The night Mourua (Kavoro) was slain, Turuare, the most beloved of his 
 three wives, and her little son Taingarue, were with him in the fishing hut on 
 the beach which they temporarily occupied. The father feared lest his little 
 boy should be struck, but he escaped unhurt. Not so the mother of Taingarue, 
 who bravely stripped off her own clothing in order to break the force of the 
 blows aimed at her husband. For a time she was successful ; but, despite the 
 efforts of this heroic woman, Mourua fell, the wife's arm being broken in the 
 fray. 
 
 Upon the retirement of the exultant party of Potai, the elder son of 
 Mourua came to Turuare's help. The body of the slain warrior was laboriously 
 carried by a very circuitous route, so as to escape observation, to a gorge called 
 Imogo, half a mile from the scene of murder. In performing this last 
 office of love, the son had at first only the aid of Turuare, who ^^-as herself 
 suffering from the anguish of a broken arm ; but afterwards friends arrived 
 from the interior. A grave was speedily dug with their iron-wood spades, and 
 the body of Mourua, wrapped in several folds of native cloth, was laid in the 
 grave. Instead of filling it with earth, it was merely covered with a laro-e 
 stone, so as to elude the notice of his foes. 
 
 It happened that the women of that part of the island, when employed in 
 collecting candle-nuts, availed themselves of this large stone for shelling them. 
 
212 
 
 Myths and Songs. 
 
 Kua peka te rima ka akauta, 
 
 Kua peka te rima ka akauta 'i. 
 Angi nga rua, taura rima te mou. 
 
 Kua rikarika te tama i te toa akarere, 
 
 Tamaki tutai e, tamaki a ta e ! 
 
 Oi atu koe i vao, kua pa ra, kiritia, 
 
 Tukua o au no te mate e ! 
 
 She whom thou once clasped in thy 
 
 arms, 
 Intwining her in thy fond embrace. 
 We who lived so happily together, 
 
 now part, 
 The cruel spear slew thee, to the 
 
 horror of thy son. 
 Thou wast attacked by stealth in the 
 
 night, 
 (Entreating thy wife), "Escape, 
 leave me, for I am struck, 
 
 I am doomed to die ! " 
 
 O te mate ia i tangi no Kavoro i tai. 
 Tei Nukutaiparia, te vai rai i reira. 
 
 Naai e takitaki ? Taua ka apai 
 
 Ka uuna kia ngaro e ! 
 
 Tupeke atu na e, tupeke atu na, kia 
 
 mamao, 
 O te kimi te mataku, o te kimi te 
 mataku, 
 
 Ka kitea i te ngara anga. 
 
 Thus perished beloved Kavoro by 
 
 the sea. 
 His bleeding corpse lay on the sandy 
 
 beach. 
 Who shall bear it ? Wife and son 
 
 will carry it away, 
 And hide it where foes shall find it 
 
 never ! 
 Bear him, aye, bear him far away ; 
 
 So that if carefully sought by his 
 
 foes, 
 His body shall ne'er be found. 
 
 The family felt so sure that Mourua must be dreadfully annoyed by the 
 incessant noises over his head, that they disinterred the body ; which, although 
 in an advanced state of decay, was re-anointed with fragrant oil and re-invested 
 with fine white cloth. In a few days it was borne across the island to 
 Tamarua, and finally thrown down the deep and gloomy chasm — Raupa. A 
 night or two after, one of the sons had a dream, in which Mourua reproached 
 his relatives for the bad treatment he had received at their hands, for no sooner 
 had his body reached the bottom of Raupa, where so 7nany of his own victims 
 had been so unceremonioicsly hurled at different titnes, than the slain rose up, and 
 most vigorously pummelled his bones until they became intolerably sore ! 
 
 However, it was too late to remove him again. The motive for letting the 
 corpse down Raupa was to prevent its falling into the hands of his numerous 
 living enemies. 
 
Veetini ; or, The Immo7^tality of the Soul. 2 1 3 
 
 Kua aite te po, kua popongi i tai, 
 
 Kua aenga te ata i te ngongoro a te 
 
 vaine. 
 I raro i te roroutu ; kua teitei te naru 
 
 I te kakenga i Katoe ki runga i te 
 
 tokoraa 
 Ki te utu a Terimu, taukapua tatou : 
 
 Tei Tapataparangi. Apai tu na uta, 
 
 Tei Atupa te ara ; te kimi nei i te 
 rua. 
 Eiia ra tanu ai ? Ei Imogo, 
 
 Kia tae mai au i te veivei aere e ! 
 Tuku io, e Teau ! Koia te rua kia 
 
 akaaka. 
 Taaturia te koatu. Akaruke atu ia 
 Kavoro. 
 
 O te ukenga i nunga 'i 
 
 O te one kura i erue. 
 
 O taua nei te aroa 'i tangi e ! 
 
 UNUUNU TORU. 
 
 Taingarue e ! rave ake koe. 
 
 E rave ake koe, e taua ariki ! 
 Kia karo ake Nekaia ! 
 
 Night is wearing away. On the 
 
 beach 
 The first streak of morning reveals 
 
 the widow's tears. 
 Concealed amongst the trees, trem- 
 blingly 
 They climb the rocks. On yon level 
 
 top 
 They repose beneath the shade of 
 
 the iitii tree,^ 
 Near the brow of the hill. Again 
 
 they take the corpse. 
 Yonder is the narrow path : select a 
 
 grave. 
 Where shall it be? Let it be at 
 
 Imogo, 
 Where I can often come to weep. 
 Lay him gently down, O Teau, in the 
 
 lowly grave. 
 Pile up the stones. Farewell, 
 Kavoro ! 
 
 There we dug his grave. 
 
 There the red soil was thrown 
 up. 
 
 How bitter thy widow's grief! 
 
 THIRD OFFSHOOT. 
 
 O Taingarue, mayst thou be pro- 
 tected ! 
 Mayst thou live, pet son ! 
 Be loving to thy brother, O Nekaia ! ^ 
 
 1 The noble Barringtonia tree. 
 
 2 "Nekaia" was the eldest daughter of Mourua, whose husband, Uanuku, 
 composed this death-lament for his warlike father-in-law. Their son 
 "Patiatoa," or "Tiki," is adjured to take under his protection his young 
 relative Taingarue. Patiatoa ( = pie7'ced-with-a-spear) died of measles in 
 1854, at an advanced age. Not long before his death, he was admitted to the 
 Church upon a profession of his attachment to Christ. I well recollect his 
 bent and venerable figure the day he came to be a candidate. He was a priest, 
 and a special depository of all the lore of idol- worship. He was a "koroma- 
 
214 
 
 Alyths and Songs. 
 
 Kia karo ake Nekaia 'i ! 
 
 Na Patiatoa e uuna 'i ! 
 Etai ra no vaevae, e taua ariki, 
 E maru aina iaau ? 
 O te ukenga i nunga 'i 
 O te one kura i erue. 
 
 O taua nei te aroa 'i tangi e ! 
 
 Ah ! Nekaia, be gentle to him. 
 Patiatoa, too, will shield thee. 
 For many a day to come, dear child. 
 Will he be safe in thy hands ? 
 
 There we dug his grave. 
 
 There the red soil was thrown 
 up. 
 
 How bitter thy widow's grief ! 
 
 UNUUNU A, 
 
 Okitumurua e i te tanumanga e ! 
 
 I te tanumanga 'e ! 
 Apai au teiia ? Tei te rua taeva. 
 
 Tei te rua taeva 'i. 
 Apairia atu Kavoro nei. 
 Kua pe te papa e vai ai, atikauria. 
 
 O te ukenga i nunga 'i, 
 
 O te one kura i erue. 
 
 O taua nei te aroa 'i tangi e ! 
 
 FOURTH OFFSHOOT. 
 
 A second time thou wast buried, — 
 
 Committed to the earth ! 
 Whither shall we bear thee? To 
 some deep chasm : 
 
 To some fathomless fissure. 
 Come, let us carry Kavoro there, for 
 His body is fast crumbling to dust. 
 
 There we dug his grave. 
 
 There the red soil was thrown 
 up. 
 
 How bitter thy widow's grief ! 
 
 AKAREINGA. 
 
 Ai e ruaoo e E rangai e ! 
 
 FINALE. 
 
 Ai e ruaoo e ! E rangai e ! 
 
 tua," or instnictor of kings — a peculiarly sacred office. It was a striking 
 homage to Christianity to see this aged man give the lie to all that had given 
 him rank and fame amongst his countrymen during a long life, and when past 
 the ordinary term of human life, come and sit humbly at the feet of Jesus. But 
 when the Sabbath came for Patiatoa to partake of the tokens of His Saviour's 
 dying love for the first time, he was too weak to walk so far. His sons extempo- 
 rized a platform of a number of green branches, and carried the aged disciple 
 to the foot of the pulpit, where he received the ordinance of the Lord's Supper 
 for the first and last time in his long eventful life. 
 
 The " second offshoot " is called ^^ a surprise'^ {yLrnxwr^yx rako), on account 
 of its great length, and because the weeping is continuous. The fact is, the 
 song evinces blank, hopeless sorrow and tears from the beginning to the end. 
 One of Vera's laments also contains a verse or two of " surprise." 
 
Veetmi ; or, The Im7nortality of the SouL 2 1 5 
 
 A SPIRIT-JOURNEY. 
 
 A DIRGE FOR PUKUKARE AND KOURAPAPA, BY THEIR FATHER 
 
 KOROA, CIRCA I 796. 
 
 TUMU. 
 
 Te io kikino o tau potiki, 
 
 Kua pa te rakau 
 Ki te miro ia vero i mate ua ! 
 
 Ki, rave atu na koe, kare e ! 
 
 PAPA. 
 
 Moe araara Pukukare e reire ! 
 
 Ua tauria e te maremare 
 
 Ua tupo ua ngonga ua rai. 
 
 " Teia au, e Ruru e, ka eke, atu! 
 
 Taka e, tei Avaiki te moenga." 
 
 UNUUNU TAI, 
 
 Te io ! i te io ra e kikino e ! 
 
 Kikino ra, e vae ! 
 
 Kai akakorekore Turanga e ! 
 
 Ta ta keke mai e ! 
 Ua taka te eka i te atua o Rurungapu. 
 
 E tika paa tai rangi e ! 
 Tai manuiri ei akarongo 
 Ki te miro ia vero i mate ua ! 
 
 Ki, rave atu na koe, kare e ! 
 
 UNUUNU RUA. 
 
 Akaete te maki e, ua toira e ! 
 Ua toira i to kaki e tuarangi 
 
 INTRODUCTION. 
 
 Thy god, pet child, is a bad one ; 
 
 For thy body is attenuated. 
 
 This wasting sickness must end thy 
 
 days. 
 Thy form once so plump, now how 
 changed ! 
 
 FOUNDATION. 
 
 The nights of Pukukare are sleepless — 
 Are spent in coughing and pain. 
 Panting foi breath, he gasps out — 
 ' ' Mother, I am going to leave you. 
 My rest will be in spirit-world." 
 
 FIRST OFFSHOOT. 
 
 Ah, that god — that bad god ! 
 Inexpressibly bad, my child ! 
 The god "Turanga" is devouring 
 
 thee. 
 Although only partially his own. 
 I am disgusted with the god of thy 
 
 mother. 
 Oh, for some other Helper ! 
 Some new divinity, to listen 
 To the sad story of thy wasting 
 
 disease ! 
 Thy form once so plump, now how 
 
 changed ! 
 
 SECOND OFFSHOOT. 
 
 Thy disease went on increasing. 
 Like a demon squatting on 
 shoulders, 
 
 thy 
 
2l6 
 
 Myths mid Songs. 
 
 Ko te ua o Taa ! 
 Mei te ua o Taa, me tairia mai, 
 Kia marekaeka, ua toko auau ! 
 
 Mei toko auau ra ! 
 Ua kakau i te vai o Ruanuku, 
 No Rongo paa, no Tangaroa, 
 Ka puaki e mama ki nunga 
 I to kiri, mei nunga ra i to kiri. 
 Rikarika te mate ia vero. 
 
 te rua tapu o te rua noa — 
 
 Na tuataka i te motu anga ia Puku- 
 
 kare. 
 Ua rakaraka te io Ngariki. 
 
 1 moria e ao ia matengatenga, 
 Norea-norea, norea te kiko. 
 Reia-reia, reia e mana ! 
 
 E vae, kua tae koe i te oreore 
 ]a Ikurangi e enua kai marama, 
 
 E enua kai marama no Tonga-iti, 
 
 Na Tonga ra, na veravera o Iti ngaru- 
 
 erue. 
 Ka mimiti ki te aro o Vatea ! 
 
 Was the swelling on thy neck. 
 
 Thou wast fain to be fanned. 
 
 To gain relief from burning fever — 
 
 A fever sure to return. 
 
 Thou wast loved in the sacred streams 
 
 Of Ruanuku, Rongo, and Tangaroa. 
 
 Sometimes hopes of thy recovery 
 
 Vainly flattered thy friends. 
 
 Again thy body wasted away, 
 
 And the mouths of ancestral caves 
 
 Seemed to gape for our Pukukare. 
 
 The god (Motoro) of Ngariki is en- 
 raged. 
 Wherefore this pining death. 
 And thy flesh ever wasting away. 
 At length thou takest a long flight. 
 Dear child, ere now thou hast reached 
 The loftiest heights of Mount Iku- 
 rangi, 
 Where the moon itself is devoured 
 By the gods from Tonga and Tahiti. 
 
 Thou shalt enter the presence of great 
 Vatea. 
 
 Ka oki au ! A oti te ariki o Tonga 
 
 Ua kake atu na i katoa i te taurere, 
 Ua taparere i Enuakura na Oarangi 
 
 Ei ingoa manuiri tei Tatangakovi au ! 
 
 Te kai maira i te au tai, 
 
 I te pia paa i te vai i Vaikapuarangi, 
 
 Ua tunoko i te matoroa, 
 Ua akarongo i te tangi tai tei Aarua e ! 
 Te aiai ua ra oa te vaerua mato 
 I te naupata, ua takangaia. 
 E Kourapapa, tei Opapa te ngai i 
 turukia'i ! 
 
 I go home now. So, too, will the 
 
 king from Tonga. 
 Thou hast entered the expanse ; 
 And wilt visit " the-land-of-red-par- 
 
 rot-feathers," 
 Where Oarangi was once a guest. 
 Thou feed est now on ocean spray. 
 And sippest fresh water out of the 
 
 rocks. 
 Travelling over rugged cliffs. 
 To the music of murmuring billows. 
 Thy exile spirit is overtaken 
 By darkness at the ocean's edge. 
 Kourapapa there sleeps. All three * 
 
Veetini ; or, The Immortality of the Soul. 217 
 
 Tei Opapa te ngai i turuki ai Stood awhile to gaze wistfully 
 
 Nga tokotoru. Ua kakaro i te ata ata At the glories of the setting sun. 
 
 I te opunga 'tu e Tireo ma te Oiro. 
 Ua iterere nga po o te atua ra e I 
 Ua tau ua 'i e te enua kino i raro. 
 I pa te umere, uaua, oaoa. 
 Oai te akatu ? Oai te akatu ? 
 Koouou aere i Tuatuakare 
 
 I te uiui matangi, tauoaoaia ra 
 
 E te Iva tureture i te umu kavakava 
 Tei Ovave aina e ariki tua rire, 
 Karekare au e ! 
 
 Moonless nights shall pass, ere 
 The fatal one shall arrive 
 To conduct you to the dismal shades. 
 The denizens will be astonished 
 At the arrival of you, pet children. 
 The ghosts sorrowfully crowd round 
 
 the spot, 
 Whence the wings of the wind shall 
 
 bear 
 Them to great spirit-land, where 
 A dreadful oven awaits all who 
 Pass o'er the ocean. 
 
 AKAREINGA. 
 
 Ai e ruaoo e ! E rangai e ! 
 
 FINALE. 
 
 Ai e ruaoo e ! E rangai e ! 
 
 INTRODUCTION TO THE FETE OF RIUVAKA. 
 
 COMPOSED BY KIRIKOVI, CIRCA 1760. 
 
 Solo. 
 
 O Tane metua i Avaiki e ! 
 Tu mai i to akari ! 
 
 Great parent Tane of the shades,^ 
 Rise, eat this feast ! 
 
 1 "Pukukare" was older than the "pet Kourapapa." A deceased young 
 sister is "the third" referred to in this song, which pertains to the " death - 
 talk of Kourapapa." 
 
 "^ Riuvaka was a worshipper of Tane. Hence the praises of his deity are 
 celebrated throughout this "Introductory Song." Kirikovi was supreme 
 temporal chief of Mangaia at the date of the discovery of the island by Captain 
 Cook, in 1777. 
 
 The "parent Tane," was " Tane-papa-kai, " i.e. Tafte-piler-up-of-food, son 
 of Papa. 
 
2l8 
 
 Myths and Songs. 
 
 Eiaa te rua ia Tiki 
 Ei poani ia Avaiki. 
 
 Tueva aka-itu te eva i te metua. 
 
 Ae ; eaa toou ara i te ao nei 
 
 I ana mai au i te kave 
 I te pakuranga ma te meringa, 
 Meringa mai Avaiki e, 
 Meringa mai i o tatou metua 
 E noo i te ao nei. Ei aa ? 
 
 Oai te roa i te eiva, e Tane ? 
 
 Oi te rangi Orovaru ? E vaia 
 
 Oi te rangi mataotao ? E vaia. 
 
 Ei ! ei ! e Papa, taku metua ! 
 
 Ae, e Papa, oro atu koe, 
 E Avaiki o, akaatua mai ! 
 
 Ae, ua puapau ai koe i to upoko, 
 le uiia o e, oai te atua 
 
 I keinga 'i o tatou metua ? 
 
 Ae, ua ara iaku. 
 E ariki taotaoaia e te tuarangi, 
 
 Chorus. 
 
 Wherefore the chasm of Tiki ? 
 To shut down the natives of 
 
 Avaiki (nether-world). 
 Tueva, who seven times lamented for 
 
 his boy, 
 Asked, Why didst thou return to 
 
 this world ? 
 I came (said he) to instruct you 
 In making food-offerings to the dead, 
 Offerings to those in spirit-world ; 
 
 Gifts from their relatives 
 Who yet linger in this upper world. 
 
 Solo. 
 
 Wherefore this delay in thy dance, O 
 Tane? 
 
 Choriis. 
 
 Is it a flat of the gods ? Break 
 
 through it. 
 Is it the lowering clouds of war ? 
 
 Dissipate them. 
 Ha ! Ha ! Great Papa is my (Tane's) 
 
 mother. 
 But why. Papa, didst thou descend 
 To Avaiki, to obtain the honours of 
 
 a goddess ? 
 Ah ! thou hast shaved thy head ! ^ 
 Should it be asked. Which of the 
 gods 
 
 Devoured our parents ? 
 
 The fault is all my own. 
 I (Tane) am a sovereign possessed of 
 an evil spirit. 
 
 ^ Shaving the head was one way of mourning for the dead. Tane glories 
 in having occasioned this mourning. This is a reference to Tane-Ngakiau, 
 or Tane-striving-for-power, from Iti (Tahiti), who was believed to kill people 
 prematurely, by devouring their souls. Of course, their bodies, however strong 
 and healthy formerly, quickly faded and died after this ! 
 
Veetini ; or, The Immortality of the Soul. 219 
 
 Aitoa, e Rongo, kia unuia te tumu Yes, Kongo, I will drink up the souls 
 
 I o tatou metua ! Aue ! Aitoa ! Of our ancestors. / will, without 
 
 fail. 
 Aue tou e ! E Papa, taku metua ! I fear naught ; for great Papa is my 
 
 mother. 
 
 Call for music and dance. 
 
 Tataia i te tanga o Tane : 
 O te vaa ia i tuku ai te kaara. 
 
 Taipo e ! 
 
 Kua tangi reka te vaa o Tane. 
 Rutu ake i te rangi. 
 
 Ka rutu au, e Tan ! 
 
 Oai tua roi au e ? 
 
 E Papa, taku metua ! 
 
 Solo. 
 
 Beat the drum ^ of Tane — 
 Those lips which so sweetly speak. 
 
 Go on. 
 
 Chorus. 
 
 How pleasant is] the voice of Tane 
 
 [i.e. the drum). 
 The very heavens re-echo. 
 
 Solo. 
 
 Tane, I will beat thy drum ! 
 
 Chorus. 
 
 But who shall take the lead ? — 
 I (Tane), for Great Papa is my 
 mother. 
 
 Second call for music and dance. 
 
 E kakara tuputupu, 
 
 E kakara koritonga 
 E maire titatoe e a kake. 
 
 Taipo e ! 
 Uru are te kakara i tau ai, 
 
 Ae! 
 
 Solo. 
 
 Let there be abundance of fragrant 
 
 leaves, 
 Magnificent, sweet-scented flowers, 
 With garlands of myrtle for the advent 
 
 (of Tane). 
 
 Go on I 
 
 Chorus. 
 
 Cull all sorts of fragrant flowers. 
 
 Solo. 
 
 Aye ! 
 
 ^ The dance was specially under the patronage of Tane. Hence the big 
 drum used on the occasion is called ' ' the voice of Tane. " 
 
220 
 
 Myths and Songs. 
 
 E maire e kakara tuputupu. 
 O Aratea te ei. 
 
 Porutu te vai e tei te moana ae ! 
 
 Chorus. 
 
 Abundance, too, of sweet-scented 
 myrtle. 
 And white pandanus blossoms. 
 
 Solo. 
 
 But what if torrents of rain should 
 fall ? 
 
 Chorus. 
 
 Though torrents of rain should fall, 
 To-night and to-morrow we will be 
 
 merry. 
 Fairies ^ from the shades are prepar- 
 ing ; 
 Are entwining myrtle leaves with their 
 
 hair, 
 Robbing the sacred myrtle of the king 
 of its sprigs. 
 Tei nunga te kapa i te Rongo Nui no The fete comes off on the nights ^ 
 Tane. dedicated to Rongo and Tane. 
 
 Porutu te vai i te moana e ! 
 Auenei, apopo Tautiti e ! 
 
 Ua kokoti Avaiki i te rau o te pua 
 
 Tapokipoki rauru e i te maire, 
 
 E rau maire tapu e no te ariki 
 
 ^ The peerless daughters never failed to honour the fetes of Tane with their 
 presence. Like mortals, they will come attired with sweet-scented flowers 
 and myrtle sprigs. It is pretended that the fairy toilet is nearly complete ; 
 the dance must for very shame lead off without delay. 
 
 ^ The night of the 26th of each month was sacred to Tane ; the night 
 following to Rongo. 
 
2 2 1 
 
 CHAPTER X. 
 
 ADVENTURES IN SPIRIT-WORLD, 
 
 AN ESCAPE FROM SPIRIT-LAND. 
 
 In the Sacred Islet lived Eneene, his wife Kura, and his sister 
 Umuei. These women were young and fair, and loved to roam 
 the woods in quest of sweet-scented flowers, which they weaved 
 into wreaths and necklaces. On one occasion they fortunately 
 discovered a noble bua {beslaria laicrifolid), whose far-spreading 
 branches were covered with fragrant yellow blossoms. The 
 sisters-in-law sat awhile at the foot of the tree discussing the 
 division of the spoil. It was clear that Kura should collect on 
 one side of the tree, and Umuei on the other. But the great 
 central branch seemed the richest prize of all. It was eventually 
 agreed that Kura should have this treasure. 
 
 The young women set to work in good earnest ; but, after a 
 time, it became evident that Kura was gathering more than fell to 
 her share. To punish her, Umuei took possession of the coveted 
 central branch. The wife of Eneene was speedily chastised for 
 her covetousness without the intervention of Umuei ; for the 
 branch on which she was leaning heavily in order to steal some of 
 
222 Myths and Songs. 
 
 her sister-in-law's, suddenly broke. Kura, basket and all, fell with 
 the branch of the sacred tree, cleaving the earth, and continued to 
 fill until she reached Avaiki, or spirit-world. The ghosts, happen- 
 ing to be on the look-out, caught her in their arms, so that she was 
 not killed by the fall. The captive Kura was hurried off to a 
 considerable distance, and at once firmly tied up to the central 
 post of a house. It was settled by these infernals — called " the 
 army of Marama " — that to-morrow Kura should be cooked and 
 eaten. A special guard was set over her, both blind and aged, 
 named Tiarauau. At regular intervals the old fellow would shout, 
 " E Kura e ! " (O Kura), to which the unvar}nng reply of the 
 victim was, " E Tiarauau e ! " (O Tiarauau). Thus was the blind 
 wakeful guardian assured of the safety of his prisoner. 
 
 Now Umuei, witnessing the sudden fall and entire disappear- 
 ance of Kura into the very bosom of the earth, ran weeping to 
 inform Eneene. Anxious, if possible, to recover his wife, he 
 bethought himself of his god Tumatarauua, himself manufactured 
 out of the bua. Invoking the aid of the god, and carrying it in 
 his arms, he went to the very spot where his wife had lately 
 disappeared ; and, pronouncing the invocation to the divinity of 
 the sacred bua tree, the earth opened and he descended to spirit- 
 land. Eneene at once began his search for his beloved young 
 wife, so suddenly removed from his sight. Now the name of that 
 particular part of nether-world was Marama. As, fortunately for 
 Eneene, it was night at the period of his entrance, his presence 
 in the shades was unnoticed. Anxiously wandering about from 
 place to place, he heard the loud interrogations of the old blind 
 keeper and the replies of Kura herself His lost wife was found ; 
 but the puzzle was how to get her away without exciting the 
 suspicions of Tiarauau and other hungry denizens of the shades, 
 
Adventures ijt Spirit- World, 223 
 
 Cautiously peering in all directions through the darkness, he dis- 
 covered a cocoa-nut tree with eight cocoa-nuts on it. Eneene 
 climbed the tree, carefully plucked a single nut : holding the stem 
 between his teeth, he silently descended to the ground. This 
 process was repeated again and again, until the tree was cleared, 
 without attracting the notice of the ever-watchful Tiarauau. With 
 extreme care during that long night Eneene succeeded in husking 
 the nuts and scraping out their contents, too, without noise. 
 
 There were eight paths leading to the house where Kura was 
 kept prisoner. Eneene was careful liberally to scatter the finely 
 grated cocoa-nut over all these pathways, and close to the house 
 itself The rats, scenting the rich food, now came by hundreds to 
 feast themselves. They even fought and quarrelled over the 
 delicious morsels, not only on the ground but on the low-thatched 
 roof, enough to drive a man out of his senses. Certainly it 
 seemed strange to Tiarauau that the rats should be so unusually 
 noisy. Amidst this turmoil, Eneene climbed the roof and 
 cautiously removed part of the thatch to discover in what part of 
 the house his wife was tied up. At this moment the old blind 
 guardian called out, " O Kura ! " Listening intently to the reply, 
 he discovered that his poor trembling young wife was in the middle 
 of the dwelling. Advancing to where the voice seemed to come 
 from, Eneene carefully removed part of the thatch, put down his 
 hand and touched his imprisoned wife. The astonished Kura asked 
 in an undertone, "Who that was?" and received the joyful 
 answer, " Your own husband Eneene." The roof of the house 
 was sufficiently low to permit the husband to untie the cords by 
 which his wife was tied up to the post. He then drew her up on 
 the roof to himself Eneene now directed her to descend to the 
 ground, and run off as fast as she could to the foot of the closed 
 
2 24 Myths and Songs. 
 
 chasm by which she had so summarily entered Avaiki, and there 
 to await his arrival. 
 
 Eneene now let himself down through the low roof, and 
 occupied the place of the released prisoner, so as to give her time 
 to escape. The old guard called out as usual, " O Kura ! " to 
 which Eneene replied, closely imitating the voice of his wife, " O 
 Tiarauau ! " The trick was not discovered, either by Tiarauau or 
 the drowsy inmates of the prison-house. Eneene now thought it 
 to be high time to provide for his own safety. Crawling up 
 through the hole in the thatch, he cautiously let himself on the 
 ground and ran as nimbly as he could to the appointed rendezvous, 
 where he found his trembling wife waiting for him. 
 
 There was no time to be lost, for he could hear the echo of 
 Tiarauau's stentorian voice giving the alarm. Clasping his wife in 
 his arms, he offered the following prayer to his god : — 
 
 Pupu-kakaoa, United in one fate, 
 
 Pureke-pureke, We ascend, we rise, 
 
 E ao, e ao ! To light, to light, 
 
 Kua avatea ! To clear mid-day. 
 
 At these potent words the gloomy rent again opened, and both 
 were borne through the chasm up to this world of ours, where 
 it was still daylight. A moment later, and the enraged "army 
 of Marama " would have caught Eneene and Kura, so close were 
 those infernal hosts upon their heels. 
 
 The bua was in some islands used in the manufacture of idols, 
 on account of its fine grain and being almost imperishable. The 
 purport of the myth is to indicate the standard faith of the past — 
 that the souls of the dead congregate on this tree, and on its 
 branches are borne by a merciless fate to Hades. 
 
Adventures in Spirit- Wo^dd. 225 
 
 THE ADVENTURES OF NGARU. 
 
 In Shady-Land^ (Marua) there lived the brave Ngaru, his 
 mother Vaiare, and the grandfather of the lad, who was no other 
 than Moko, or Great Lizard, the king of all lizards. Tongatea, 
 the youthful wife of Ngaru, was the envy of all Shady-Land on 
 account of her fairness. Thirsting for distinction, Ngaru resolved 
 to try his strength against some of the numerous monsters and 
 evil spirits of his time. He learned from his grandfather that 
 two fierce enemies of mankind had their appropriate home in the 
 ocean, viz. Tikokura, or the-stonn-wave^ and Tumuitearetoka, or 
 a vast shark, which fed exclusively upon human flesh. These 
 evil spirits always went in each other's company ; but Ngaru 
 determined to meet both. The enterprise seemed hopeless ; for 
 who had ever escaped their anger ? Ngaru's first care was to 
 provide himself with a surf-board of the lightest description, 
 which he named Orua = the-tiuo, in allusion to the two sea- 
 gods he was about to encounter. He now appeared on the 
 inner edge of the reef, carrying his surf-board ; but the wide coral 
 surface was perfectly dry. Moko sat on a projecting crag of rock 
 to watch over the safety of his grandson, who now advanced to 
 the outer edge of the reef, where the surf ceaselessly beats, and 
 loudly cursed these sea-monsters by name. Tikokura and Tumui- 
 tearetoka smarted under this unprovoked insult, and resolved to 
 be revenged on Ngaru without delay. All of a sudden the dead 
 calm which had made the reef dry changed into a furious tempest. 
 Long breakers rushed inland far beyond the accustomed bounds 
 of the sea, and spent themselves against the gnarled roots of the 
 utu trees. Moko still kept his place on his rocky eminence, 
 
 ^ That is, the shades. 
 
 Q 
 
2 26 Myths and Songs. 
 
 whilst his grandson floated daringly out to sea on the crest of the 
 retreating billow. The shark-god, perceiving his opportunity, 
 crept stealthily behind his intended victim, and was preparing for 
 the final leap which would seal the fate of the impious Ngaru, 
 when the quick eye of Moko caught sight of his dark outline, and 
 shouted lustily to the boy, " The shark is under you." Ngaru, 
 hearing this, instantly leapt high in the air, so that this first 
 attempt failed. The foe now leapt in the air after Ngaru ; but he 
 dived under the water and again escaped. The disappointed god 
 was excessively enraged ; so that it was needful for Ngaru to put 
 forth all his skill and strength to avoid the open jaws of the 
 monster. Tumuitearetoka became crafty ; but Ngaru was still 
 craftier : Moko often giving his pet grandson timely warning of 
 the insidious approach of the adversary. For eight weary days 
 and nights this terrible contest went on, until the exhausted Ngaru 
 put an end to it by throwing his surf-board to the sea-monsters, 
 who gladly retired to their ancient haunts in the deep blue ocean. 
 Great was the delight of the old grandfather and of his 
 countrymen at the exploit of Ngaru, the first who had dared the 
 sea-gods in their own domain, and yet had escaped with life. But 
 the hero himself was sadly battered, and his skin excoriated with 
 the sharp coral. He made his way home ; but on the road fell in 
 with his fair wife Tongatea. Arrived at a fountain, they determined 
 to bathe ; but a friendly dispute took place who should have the 
 first dip. It was finally arranged that the husband should take the 
 precedence. Once in, Ngaru was in no hurry to get out. At 
 sunset he got out, and the wife was horrified to find that his skin 
 had become almost black through long exposure to salt-water, 
 during the mighty contest with the monsters of the deep. Reviling 
 Ngaru for his blackness, she ran off to her friends. 
 
Adventures in Spirit-World. 227 
 
 When at length Ngaru reached home, Moko inquired what 
 had become of his fair spouse, and learnt that, disgusted with her 
 husband's appearance, she had fled to Teautapu. Said Moko, 
 *' Nothing blackens the skin so soon as the sea and the sun." 
 The grandson inquired how his skin could be blanched. Moko 
 said, " The only way to blanch your skin is to treat you as green 
 bananas are treated when they are to be ripened.^ Ngaru agreed 
 to this proposal. Accordingly they dug a deep hole in the 
 ground, and lined it with layers of sweet-scented fern-leaves. 
 Ngaru descended into this hole, and was duly covered with 
 leaves ; a thin layer of earth crowned the whole. On the eighth 
 day flashes of lightning proceeded from the spot where Ngaru had 
 so long been buried, increasing in intensity until it smote away 
 earth and leaves, permitting him to emerge from his strange 
 abode. It then became evident that these flashes of liffht 
 proceeded from the face and person of Ngaru, being in reality 
 the dazzling fairness of his skin. But there was one drawback : 
 the steam of the blanching oven had rendered Ngaru perfectly 
 bald. Moko sent his mother Vaiare to great Tangaroa, to ask 
 for some new hair. It was given ; but when Moko examined 
 it, it proved to be frizzly. Moko resolved not to spoil the head 
 of his fair grandson with such a wretched mop. Vaiare took it 
 back to the god, and asked for some better hair. Tangaroa put 
 the suppliant off with some light yellow.'^ " This will never do," 
 said Moko ; " I must have the best.^'' Once more Vaiare trudged 
 back to the god to beg him to exchange the hair. Finding that 
 there w^as no escape from the importunity of the grandfather, 
 
 1 In the native language "ta-para," or blanched: Europeans would say 
 " ripened." 
 
 ^ A detestable colour in the eyes of a Hervey Islander. Tangaroa's own 
 hair was of the objectionable light yellow. 
 
2 28 Myths and So7igs. 
 
 Tangaroa gave a profusion of wavy, smooth raven locks. Moko 
 was delighted, and gladly secured it to the bald pate of his fair 
 grandson. 
 
 The lightning, or dazzling flashes of light, from the face and 
 person of Ngaru reached even to the distant abode of Tongatea 
 ( = the fair Tonga?i), so that everybody said, " Behold the 
 dazzling fairness of Ngaru ! " Said the runaway wife, " This 
 Ngaru you praise must be a different individual from the Ngaru 
 I know." The bystanders asserted that it was her despised hus- 
 band ; but Tongatea remained incredulous. 
 
 Now, Tongatea had got up a reed-throwing match for women ; 
 but men were invited from all parts to decide upon the merits 
 of the game, and to applaud the successful throwers. At the time 
 appointed all the fair ones, gaily attired and covered with fragrant 
 garlands, stood ready to begin the amusement of the day, each 
 with a long reed in her right hand. Tongatea, as mistress of the 
 day, was about to make the first throw, when Ngaru made his 
 appearance, and was at once recognized by the fair runaway. 
 Her arm fell powerless by her side. She struggled to conceal her 
 emotion, and to proceed with the game, but could not. Such 
 a violent tremor seized Tongatea, that it was with difficulty that 
 she retained her garments about her person. All was confusion : 
 the intended sport of the day was lost. As the visitors dis- 
 appeared, the weeping, repentant, love-smitten wife followed 
 Ngaru, entreating him to return to her. Ngaru, in whose heart 
 still rankled the bitter insult in reference to his former dusky 
 colour, in this moment of triumph said to the penitent, ^^ Never 
 will I return to thee." The despairing Tongatea hearing this, set 
 off in search of some poisonous kokii kura, chewed it, and died. 
 
 There lived in Avaiki, or nether world, a fierce she-demon, 
 
Adventures in Spirit-World. 229 
 
 named Miru, who, envious of the great fame of Ngam, resolved 
 to destroy him in her fearful, ever-blazing oven. But before 
 enjoying this horrid banquet, it was needful to decoy him into 
 her domains. Nor did this seem difiicult. She at once directed 
 two Tapairu, or peerless ojtes — her daughters — to ascend to this 
 upper world to induce the brave Ngaru to marry them both. 
 Kumutonga-i-te-po = Kiimutonga-of-the-night, and Karaia-i-te-ata 
 = Km' aia-t he-shadowy^ were to induce him to pay a visit to 
 the shades in their agreeable society : once there, his fate was 
 sealed in Miru's estimation. On their entering the dwelling of 
 Moko, Ngaru feigned to be asleep, whilst his grandfather tried 
 to discover their real intent. They averred that their mother, 
 Miru, had sent them to escort Ngaru to Avaiki ; that as soon 
 as they arrived, Ngaru was to be united to both these " peerless 
 women," with whom the daughters of mortals could not for a 
 moment be compared. 
 
 Moko, suspecting the real nature of their visit, sought to gain 
 time by exercising the utmost hospitality to his unwonted guests. 
 Whilst these fairy women were enjoying themselves, the king 
 of lizards (Moko) sent his servants, i.e. all the little lizards,^ on a 
 secret mission to Miru's domains in the under world to ascertain 
 what dangerous weapons were at her disposal, and what were 
 her usual avocations. Off scampered the little lizards in all 
 possible haste; and on arriving at Avaiki, unperceived by Miru, 
 they noticed that the old, deformed, and inexpressibly ugly hag 
 had a house full of kava {piper mythistiaun), kept exclusively 
 for the purpose of stupefying her intended victims, who were 
 
 ^ The black and yellow lizards hide during the day in the caves supposed to 
 be the high-road to spirit-land ; whereas the common green variety suns itself 
 all the day on the leaves and grass. 
 
230 
 
 Myths and Songs. 
 
 eventually cooked in her mighty oven, and eaten by herself, her 
 fair children, and her servants. These little keen-sighted lizards 
 safely returned to this upper world, and reported to their sovereign 
 what they had discovered. Moko privately told this to his 
 son, and admonished him to be careful, or he would infallibly 
 perish, as multitudes had done before him. As evening drew 
 on, all three started off on their journey to the land of Miru in 
 the shades. The mode of transit was peculiar. These " peerless 
 ones " had with them rolls of finest tapa, in which they insisted 
 upon wrapping up their future husband ; they then secured the 
 bundle well with cords, and slung to a long pole, carried off Ngaru 
 in triumph. After some time Kumutonga-of-the-night and Karaia- 
 the-shadowy began to ascend a mountain named " The- 
 heavenly," when the imprisoned husband became conscious of 
 a steep and sudden movement, and prayed thus : — 
 
 Oi au tiria, tiria 
 
 Oi au tara, tara 
 
 Taraia akera 
 
 Kia kite au i teia maunga 
 
 O te maunga poro oa teia 
 
 A tau tupuna a Moko Roa, 
 
 Tau metua a Vaiare, 
 
 Tau vaine a Tongatea. 
 
 Put me down, put me down. 
 Set me free, set me free. 
 Oh that I had liberty 
 To gaze on this mountain ! 
 'Tis surely the mountain spoken of 
 By my grandfather, " The long- 
 Lizard ; " 
 And by my mother Vaiare [stay-at- 
 home)?- 
 And by my wife, ' ' The fair Tongan. " 
 
 To this Kumutonga and Karaia responded (temporarily releas- 
 ing Ngaru) : — 
 
 Kiritia kai e kinana ! 
 
 To koivi, vaio i Erangi maunga ! 
 
 Thou shalt be forthwith devoured ! 
 Thy body shall rot on this " Hea- 
 venly mountain," 
 
 ^ Evidently in allusion to sickness. The sick "stay at home." 
 
Adventures in Spirit-World. 231 
 
 To vaerua, e kave i te po Thy spirit shall be borne to the 
 
 shades, 
 Na to maua metua na Miru ! To furnish a repast for our mother 
 
 Miru. 
 
 To this Ngaru replied, " 'Tis thus you treat your intended 
 husband !" 
 
 Again wrapping up and cording their intended victim, they 
 bore him to another spur of the same mountain range. Conscious 
 of this, the imprisoned victim again prayed to be released : — 
 
 Oi au tiria, tiria, etc. , etc. Put me down, put me down, etc. , etc. 
 
 To this entreaty the same ominous reply was given as 
 before : — ■ 
 
 Kiritia kai e kinana ! etc. Thou shalt be forthwith devoured, etc. 
 
 To this Ngaru replied, " 'Tis thus you treat your intended 
 husband ! " At this the " peerless ones " again seized upon Ngaru, 
 wrapped him again in numerous folds of tapa, and well securing 
 their victim with cords, bore him along until, reaching a shady 
 grove of chestnut trees, they set him down and unfastened the 
 cords. These fairy women now hastened to fetch some kava, ^ 
 named '' Miru's own," and gave it to him to chew. Ngaru chewed 
 the whole, and still, to their amazement, remained wakeful and 
 active : on him alone of the children of men the powerful narcotic 
 failed to produce its usual effects. The ever-blazing oven of 
 Miru was ready for its victim. The voice of the pitiless Miru was 
 now heard : " Kumutonga-of-the-night and Karaia-the-shadowy, 
 bring along your husband ; the oven of Miru is waiting for 
 him." At these words Ngaru put on the girdle his grandfather 
 
 ^ The three sorts of " kava " known in this world are but offshoots from the 
 original root. 
 
232 Myths a7id Songs. 
 
 had wisely provided for his use. Thus equipped, the dauntless 
 visitor from the upper world proceeded in search of the hag Miru 
 and her dread oven. At this juncture the voice of the anxious 
 Moko was heard in the shades : '' Return, Ngaru — yonder is the 
 oven in which she means to cook you." Heedless of this warning, 
 the brave visitor went on his way, and finding the red-hot stones 
 of the oven raked ready for the victim, he asked the horrid 
 mistress of the invisible world what she meant to do with this 
 burning oven. Miru promptly replied, "27? cook you I '" Ngaru 
 reproached her thus : " Ah, Miru ! my grandfather Moko did not 
 prepare an oven for your daughters \ but gave them food to eat, 
 cocoa-nut water to drink, and sent them away in peace ! You 
 cook and devour your visitors ! " 
 
 At these words the heavens became intensely black. Ngaru 
 walked to the edge of the flaming oven, and placed one foot 
 on the red-hot stones. At this critical moment the clouds, 
 which had been gathering ever since he had entered Avaiki, burst 
 suddenly. A fearful deluge ^ of waters extinguished the blazing 
 oven, and swept away Miru herself, her younger fairy daughters, 
 and all her servants and accomplices. Ngaru was saved by 
 clutching hold of the stem of the nono,^ the beautiful Tapairu 
 girls, who allured him to the domains of Miru, held each by one 
 of his legs, and so escaped the fate of their mother and sisters. 
 These fairies taught Ngaru the art of ball-throwing. 
 
 After a time the waters entirely abated. Ngaru, wearied 
 of the society of these attractive but dangerous fairy women, 
 succeeded in finding a dark, winding passage to a land called 
 
 * A deluge-myth is inserted in a forthcoming popular volume, entitled 
 *' Life in the Southern Seas." 
 
 ^ Morindo cilrifolia. Its root is wonderfully tenacious. 
 
Adventures m Spirit- World. 233 
 
 Taumareva ( = expanse), where fruits and flowers grow profusely, 
 and the inhabitants of which excelled in flute-playing.^ Here 
 he married a girl kept by her parents inside a house in order 
 to whiten her skin. Time passed pleasantly in this new residence. 
 But one day two pretty little birds, known as " Karakerake," 
 perched upon the ledge of a pile of rocks. Ngaru immediately 
 recognized them as belonging to Moko, and asked them whether 
 they came at his grandfather's bidding. The birds nodded assent, 
 whilst Ngaru wept for joy, and prayed thus : — 
 
 Karakerake e, tukua iora te taura ! Ye little birds, pray drop a cord : 
 
 O te taura oa tena i tukuia 'i o maua Aye, the cord used for the imperious 
 
 ariki 
 
 O Raka maumau e. Tukua, tukua Oraka,^ the all-devouring. Drop, 
 
 ra ikona ! drop it at once ! 
 
 At these words two cords fell, one from the feet of each bird. 
 Securing himself by means of this double rope, Ngaru gave 
 the signal to the birds, and without a word of farewell to his 
 late spouse and her musical countrymen, was borne aloft to this 
 upper world, and was safely deposited in the presence of Moko, 
 who had long been ill, pining for the presence of his brave Ngaru, 
 so long a prisoner in the shades. 
 
 Ngaru had conquered the monsters of the deep ; had con- 
 quered the aversion of the proud Tongatea; had been buried 
 in the earth \ had descended to the shades, where he had proved 
 victor over the hitherto unconquered Miru and her satellites. 
 One more trial was reserved for Ngaru, ere he should be permitted 
 to live in peace. The last foe was a heavenly one. 
 
 ^ A piece of bamboo pierced with three holes, and blown through the nose. 
 2 Oraka, i.e. "Auraka,"the dreadful chasm down which the dead were 
 thrown: here, ^^ the gates of Hades." 
 
234 Myths and Songs. 
 
 One day the people of this world were astonished at the sight 
 of a large basket (some say " a vast fish-hook ") let down from the 
 sky. Two or three anxious to see the wonders of the upper 
 world, hitherto unexplored, entered the basket and were speedily 
 drawn up out of sight. Not many days after, this process was 
 repeated ; but it came to be noticed, after a time, that none 
 ever came down again to report what they had seen. This 
 looked decidedly suspicious. The fact was, a sky-demon named 
 Amai-te-rangi, or Carry-iip4o-heaven, had taken a fancy to feed 
 on human flesh, and had invented the basket and ropes as 
 a means of satisfying hunger. Hearing from his victims of the 
 prowess of Ngaru, he resolved to entrap and devour him. Now 
 the basket itself was a very attractive object, and on the day 
 of Ngaru's return from his visits to the invisible world it was let 
 down close to the dwelling of Moko. Ngaru, regarding this as a 
 challenge, determined to ascend and have a fight with its owner. 
 The more wily Moko detained his heroic grandson until his faith- 
 ful little lizard subjects should go up and find out what was going 
 on in the sky. The word having been given by The-king-of-lizards, 
 a number of his sharp-eyed attendants entered the basket, which 
 was speedily pulled up by Amai-te-rangi. On discovering that he 
 had only caught a number of miserable little reptiles, he was greatly 
 chagrined. Meanwhile the nimble subjects of Moko overran the 
 place. When next the basket was let down, they were permitted 
 to go down in it. They reported to Moko what they had seen : 
 the gigantic size of " Carry-up-to-heaven -, " beautiful women 
 engaged in ball throwing ; a huge chisel and mallet in the hands 
 of the sky demon ; and piles of human bones. 
 
 Ngaru fearlessly got into the beautiful basket, and was at once 
 drawn up by the delighted Amai-te-rangi, who anticipated a good 
 
Advenhires in Spirit -World. 235 
 
 feast, as the intended victim Avas uncommonly heavy. Upon 
 touching the magnificent paving of blue stone, Ngaru found the 
 demon drawn out to his full size, chisel and mallet in hand ready 
 to deal the fatal blow. At this moment the human hero gave it a 
 sudden jerk, that precipitated himself and the basket down to 
 earth again. The disappointed demon hastily drew up Ngaru 
 again, resolving not to permit him to escape a second time. But 
 the grandson of Moko was not to be outwitted ; for as soon as 
 the basket again touched the solid vault of heaven, he once more 
 jerked it back to earth. Amai-te-rangi eight times pulled his 
 ropes, until his strength was nearly exhausted ; but at last, to his 
 satisfaction, saw Ngaru coolly walk out of the basket and confront 
 his giant foe, who again prepared to deal the fatal blow with that 
 chisel from which no mortal had hitherto escaped. 
 
 Now Moko had foreseen all this, and to provide for the safety 
 of Ngaru, each time the baskeL touched the ground had sent 
 into it a number of lizards, which leaped out on the sky as 
 soon as the basket touched the blue paving, unregarded by the 
 demon, whose whole thoughts were concentrated on the destruc- 
 tion of this fearless human enemy. At the moment his huge arms 
 were uplifted to effect the murder of Ngaru, all these faithful 
 guardians rushed up the legs of Amai-te-rangi, covering his face, 
 neck, arms, and body. Particularly clustering about the armpits, 
 they tickled the giant to such a degree that it was impossible for 
 him to strike with precision. Again and again the monster 
 endeavoured to brush off these little fellows from his naked body, 
 so that he might accomplish his purpose; but the lizards perti- 
 naciously returned to their appointed task of distracting Amai-te- 
 rangi's thoughts and movements, until at length this cruel enemy 
 of mankind, utterly unable to slay Ngaru, and tickled almost 
 
236 Myths and Songs. 
 
 to madness, dropped chisel and mallet. Ngaru, seizing these 
 weapons, succeeded in killing Amai-te-rangi, and then let himself 
 down to earth again, accompanied by his four-footed protectors, 
 and carrying with him the chisel and mallet of his slain foe. Ere 
 leaving, he tried ball-throwing with Ina and Matonga, who kept 
 eight balls going at a time, and succeeded in beating them too. 
 Such were the exploits of this Polynesian Hercules. 
 
 In the original, when describing the repentance of Tongatea at 
 the reed-throwing match, the question is asked, " Whose place in 
 Manono is vacant?" The reply is, "Tongatea's." " Why, then, does 
 she not begin ? " There is a spot on Mangaia so named ; but 
 every one believes that the reference is to the island of " Manono," 
 in the Samoan Group. The wife's name, " Tongatea," means The- 
 fair-Tongan-. I believe this story to have been one brought by 
 the original settlers when they came originally from Avaiki, or 
 Savai'i. It is no objection to this view that the myth, as now told, 
 is localized here, as a long residence would be sure to produce 
 this. The proper depositories of such lore invariably assert that 
 they were introduced here from other lands. 
 
 The story of Miru is merely a vivid representation of their old 
 belief as to the state of those who die a natural death. Fairy 
 women come to fetch Ngaru : he is like any other corpse, wrapped 
 up in tapa, and well corded, and borne by two individuals to the 
 deep cavernous domain of Miru. " Oraka " is but a disguise for 
 " Auraka," the great repository of their dead, from which two 
 cords pull up the victor upon his return to life. 
 
 In this story Miru and all her servants and two of her 
 " peerless " daughters perish. The ever-burning oven, too, is 
 
Advenhcres in Spwit-World. 237 
 
 extinguished. But the standard behef of the past represents 
 Miru as immortal, and the oven as still blazing and consuming 
 the spirits of all who die a natural death. Does not this myth 
 express a deep-seated hope and intense yearning after that real 
 victory over death and hell which Christianity alone can satisfy ? 
 
 Apai-te-rangi is in heaven the exact counterpart of Miru in the 
 shades; but still a man of divine descent — Ngaru — comes off 
 victor ! 
 
 It is a curious fact that one family on Mangaia claims 
 descent from this sky-demon Apai-te-rangi. But this heavenly 
 descent did not prevent the '' Amai" tribe from being devoted to 
 furnish sacrifices to Rongo from generation to generation. (The 
 name is indifferently spelt Amai and Apai.) 
 
 As Miru in the shades is the parent of Tapairu, or " peerlesl> " 
 fairy women, so in the sky Apai-i-te-rangi has about him a set of 
 Tapairu women, whose sole employment is ball-throwing — some 
 keeping seven, others eight, balls going at a time. One of these 
 heavenly fairies is Ina, another is named Matonga. Ngaru intro- 
 duced the art to this world. 
 
 The basket of the heavenly monster is the counterpart of the 
 stupefying kava, of Miru, his chisel and mallet answering to the 
 fiery oven of the shades. 
 
238 Myths and Songs. 
 
 THE DRAMA OF NGARU. 
 
 A REED-THROWING MATCH FOR WOMEN, IN HONOUR OF 
 PATIKIPORO. COMPOSED BY TUKA, CIRCA 1815. 
 
 Tzuo women. 
 Akiakia tute te manava ia Tevoo 'i Strip the branches* off Miru's "kava " 
 
 tree 
 Ei mana paa no Ngaru Avaiki, To stupefy wonder-working Ngaru, 
 
 Koia i pau taae ! Victorious over all monsters, 
 
 Tepoi arire na Moko ra. Pet grandson of Moko, 
 
 Na Vari-ma-te-takere e 1 Descended from Vari-originator-of-all- 
 
 things. 
 
 Chorus. 
 Te taa o te rangi The natives of the sky 
 
 A tuku te ata apai Ngaru e, Let down a trap to catch Ngaru, 
 
 I te kakenga atu rava. Who ascended on high. 
 
 Two women. 
 Kake atu Ngaru i te tautua, To save Ngaru the golden lizards 
 
 I te tau aro o te Moko kura i tau e. Climbed up the front and back, 
 
 Ka pare nei kia Apai-te-rangi e ! Baffling cruel Apai-te-rangi. 
 
 Kua kino Ngaru ei te taeke ae ! T'was Ngaru blackened by diving, 
 
 Cho7^tcs. 
 Kua kino Ngaru i te taeke, Ngaru blackened in the billows. 
 
 E anga turoko ka oro ai Tongatea e ! The sight disgusted the fair Tongan, 
 
 Tei Itikau te roki Whose loved resort is at Itikau. 
 
 Two woi7ien. 
 Tei Itikau te roki e ! Yes ; her loved resort is at Itikau. 
 
 * The 7'oot only of the piper-mythisticiiin is chewed to make the stupefying 
 drink. But Minims own original plant, of enormous size, in the shades is 
 narcotic even to its branches. The inebriate spirits are helplessly carried to the 
 fatal oven, and are cooked. Ngaru alone defeats her cruel arts. 
 
Adventures in Spirit-World. 
 
 239 
 
 Choftts. 
 Papa paka, a inu ra i te vai o Marua, Refresh yourselves, fair ones, in 
 
 Shady-Land, 
 E rua enua e pei ai te pei. Like celestials proficient in ball 
 
 throwinof. 
 
 INUINU TAI. 
 
 FIRST OFFSHOOT. 
 
 Pei ikiiki na No^aru e ! 
 
 Two women. 
 
 Oh ! the wondrous skill of Nraru. 
 
 Tera rava te karanga, 
 E karanga ia Ngaru. 
 Iti niai rapa te uira, 
 E uira tu akarere, 
 Na mana o Ngaru-taL 
 
 Noea toou mana ? 
 No raro i Avaiki, — 
 Na Vari-ma-te-takere, 
 Na ooki atu na, 
 
 Tena ia ia kava. 
 
 E tere aa ra, e Miru ? 
 E tere kai tangata ! 
 
 Chorus. 
 
 List to yonder voice ! 
 
 'Tis addressed to Ngaru. 
 
 Lightning is emitted from his person, 
 
 And flashes all around. 
 
 Great is the might of Ocean-loving 
 
 Ngaiii. ^ 
 Whence this unheard of power ? 
 From the depths of spirit-land, 
 From Vari-originator-of-all- things. 
 Who sends him back again (to this 
 
 world). 
 Ah \ there comes the stupefying 
 
 draught. 
 What have you come for, Miru ? 
 I come to devour mankind. 
 
 Two women. 
 Takina ra Avaiki, e Miru e 1 Do thy worst, Miru ! 
 
 Ei rapanga uira i tane. 
 
 Chorus. 
 
 Provoke not the flashing lightning of 
 your betrothed — 
 
 ^ Ngaru = wave : a play on the name is intended, as well as a reference 
 to his first exploit. 
 
240 
 
 Myths and Songs. 
 
 Tane oro ki Iti ! ^ 
 
 Ae, Ngaru-tai. 
 
 Two zvomen. 
 
 The betrothed, whose loved resort is 
 at Itikau — 
 
 Chorus, 
 
 Aye, Ocean-loving Ngaru. 
 
 Tzvo women. 
 
 Akiakia tute te manava ia Tevoo 'i, 
 
 Ei mana paa no Ngaru Avaiki, 
 Koia i pau taae ! 
 
 Tepoi arire na Moko ra, 
 Na Vari-ma-te-takere e ! 
 
 Te taa o te rangi 
 A tuku i te ata apai Ngaru e, 
 I te kakenga atu rava. 
 
 Kake atu Ngaru i te tautua 
 
 I te tau aro o te moko kura i tau e, 
 
 A pare nei kia Apai-te-rangi-e ! 
 
 Strip the branches off Miru's kava 
 
 tree. 
 To stupefy wonder-working Ngaru, 
 Victorious over all monsters. 
 
 Pet grandson of Moko, 
 Descended from Vari-originator-of- 
 all-things. 
 
 Chorus. 
 
 The natives of the sky 
 
 Let down a trap to catch Ngaru, 
 
 "Who ascended on high. 
 
 Two women. 
 
 To save Ngaru the golden lizards 
 Climbed up the front and back, 
 Baffling cruel Apai-te-rangi. 
 
 Kua kino Ngaru e i te taeke ae ! 'Twas Ngaru blackened by diving. 
 
 Chorus. 
 Kua kino Ngaru i te taeke, Ngaru blackened in the billows : 
 
 E anga turoko ka oro ai Tongatea e. The sight disgusted the fair Tongan, 
 
 Tei Itikau te roki. Whose loved resort is at Itikau. 
 
 Tei Itikau te roki e ! 
 
 Two women. 
 
 Yes ; her loved resort is at Itikau. 
 
 1 "Iti," an abbreviation for "Itikau," the name of a famous resort for 
 lovers on the west of the island. 
 
Adventures hi Spirit-World. 
 
 241 
 
 Chorus. 
 
 Papa paka, a inu ra i te vai o Marua. Refresh yourselves, fair ones, in 
 
 Shady- Land, 
 
 E rua enua i pei i te pei. Like celestials proficient in ball-throw- 
 
 ing. 
 
 INUINU RUA. 
 
 O Marua tai o are e ! 
 
 Takina o Ngaru-tai 
 Na Kumutonga i apai, 
 E apai ki Avaiki, 
 Ei kai na Miru-Kura, 
 Ei tane Ngaru tai 
 Akiakia tute, akiakia kava, 
 
 Te manava ia Tevoo. 
 
 Tataia e Iva, porotua te rangi ra. 
 
 Kakea ra e Ngaru te enua 
 Taumareva, te enua iri kura e, 
 Na te taa o te rangi. 
 E tere aa ra, e Miru ? 
 E tere kai tangata. 
 
 Takina ra Avaiki, e Miru e ! 
 
 E rapanga uira i tane 
 
 Tane oro ki Iti ! 
 
 Ae, Ngaru-tai. 
 
 SECOND OFFSHOOT. 
 
 Two women. 
 
 In Shady-Land is thy true home. 
 
 Chorus. 
 
 Lift up Ocean-loving Ngaru ; 
 Kumutonga shall bear thee on 
 Until thou reach spirit-land 
 As food for the ever-ruddy Miru — 
 Our betrothed Ocean-loving Ngaru. 
 Strip the branches off the "kava" 
 
 tree, 
 To stupefy thy senses. 
 The heavens are black — torrents de- 
 scend. 
 But Ngaru passes on to Taumareva — 
 The land of scarlet garments, 
 At the edge of the skies. 
 What have you come for. Mini ? 
 I come to devour mankind. 
 
 Two women. 
 
 Do thy worst, Miru ! 
 
 Chorus. 
 
 Provoke not the flashing lightning of 
 your betrothed — 
 
 Two women. 
 
 The betrothed, whose loved resort is 
 at Itikau. 
 
 Chorus. 
 
 Aye, Ocean-loving Ngaru. 
 
242 
 
 Myths and Songs. 
 
 Two zwmen. 
 Akiakia tute te manava ia Tevoo 'i, Strip the branches off Miru's " kava " 
 
 tree, 
 Ei mana paa no Ngaru Avaiki, To stupefy wonder-working Ngaru, 
 
 Koia i pau taae ! Victorious over all monsters. 
 
 Oi au tiria, tiria. 
 
 Oi au tara, tara, 
 
 Taraia akera, 
 
 Kia kite au i teia maunga. 
 
 O te maunga poro oa teia 
 
 A tau tujxma a Moko-Roa, 
 
 Tau metua a Vaiare, 
 Tau vaine a Tongatea. 
 
 Chorus. 
 
 Put me down, put me down. 
 
 Set me free, set me free. 
 
 Oh, that I had liberty 
 
 To gaze at this mountain ! 
 
 'Tis surely the mountain spoken of 
 
 By my grandfather " The-long- 
 
 Lizard," 
 And by my mother Vaiare, 
 And by my wife, " The-fair-Tongan. " 
 
 Kiritia kai e kinana ! 
 
 To koivi, vaio i Erangi maunga ! 
 
 To vaema, e kave i te po 
 
 Na to maua metua na Miru ! 
 
 Thou shalt be forthwith devoured ! 
 Thy body shall rot on this " Heavenly 
 
 Mountain " 
 Thy spirit shall be borne to the 
 
 shades, 
 To furnish a repast for our mother 
 Mii-u. 
 
 Kumutonga, Karaia-i-te-ata oi, 
 
 Tukua maira ta korua tane, 
 Kua roa oa te umu a INIiru ! 
 
 Hist, Kumutonga ! Hist, Karaia-the- 
 
 Shadowy, 
 Bring me your intended husband, 
 For the oven of Miru is waiting ! 
 
 Aore a e pau atu i tau moko ; 
 E tapu te tikinga vaine a Ngaru 
 
 I will not part with my grandson. 
 'Tis thus ye fairies treat Ngaru. 
 
 Tuku atu te taura i Enua-Kura. 
 E taura viriviri, e taura varavara, 
 
 Pray drop down some cords to Spirit- 
 Land ; 
 
 Ropes of many strands and of great 
 strength, 
 
Adventures in SpiiHt- Woidd. 
 
 243 
 
 Ruia e tematangi, kakea e Ngaru, Swaying to and fro in the breeze, yet 
 
 able 
 Kakea e te rangi tautua, To bear Ngaru, the heaven-climber, 
 
 Kakea e te rangi tuamano. Resolved to explore all nature. 
 
 E tuku te taura i Enua-Kura e ! 
 Mauria ! 
 
 Pray, drop down some cords to Spirit- 
 Land. 
 Hold fast. {Great emphasis.) 
 
 Mauria, e Ruateatonga, 
 Te pitonga i te taura 
 I tukua 'i i maua ariki. 
 O Raka maumau e ! 
 Tukua, tukua ra ik5na ! 
 
 Spirit of the shades ! hold fast 
 To the end of these ropes. 
 Intended to rescue our favourite 
 From all-devouring " Auraka." 
 Drop, drop them down at once ! 
 
 Oki mai, e Ngaru ! 
 
 Tera 'tu te umu e tao iaau ! 
 
 Hasten back, Ngaru ! 
 Yonder is the oven intended to con- 
 sume you. 
 
 This curious drama was performed at Tamarua by daylight, at 
 the base of the hill Vivitaunoa. Several women still livino" took 
 part in the performance. One was named Miru for the occasion ; 
 a second Moko ; a third Ngaru. Two others represented the 
 daughters of Miru — Kumutonga and Karaia-i-te-ata. These fairies, 
 at the proper time, carried over the crest of the hill a large bundle 
 like a seeming corpse, ready to be thrown down "Auraka," the 
 last resting-place of the dead. An oven was made, but no fire 
 lighted. Two cords were fastened to the woman who sustained 
 the part of Ngaru, and who was dragged to the edge of the sup- 
 posed oven. 
 
 The husband of Patikiporo is still living. He has for many 
 years sustained a good Christian profession. 
 
 The part commencing "Put me down," etc., down to "a 
 
244 Myths and Songs. 
 
 repast for our mother Miru," is taken from the myth, which is 
 known to be of great antiquity. 
 
 Sadaraka well recollects the performance, at which, as a male, 
 he could only be a spectator. 
 
 THE BALL-THROWER'S SONG; OR, THE FAIRIES 
 BEATEN BY NGARU. 
 
 FOR THE FETE OF POTIKI, CIRCA I79O. 
 
 Call for the dance to lead off. 
 
 Pei ikiiki tei to rima, e rua toe, Keep the balls all going ; two are 
 
 left, 
 Tei Iva e ; a tai ra koe. In all spirit-land thou hast no equal. 
 
 Solo. 
 Taipo e ! Go on ! 
 
 Chorus. 
 
 Pei aea nga Tapaini no Avaiki ; Here are fairy players from nether- 
 
 land, 
 No nunga paa i te rangi e ! As well as natives of the sky. 
 
 Solo. 
 Ae e ! Aye ! 
 
 Chorus. 
 Pei aea i te pei itu, i te pei varu, e Ina alone keeps seven, yea, eight 
 
 Ina e ! balls in motion. 
 
 Ka re koia o Matonga-iti kau rere. Little Matonga is beaten — utterly 
 
 beaten. 
 
 Solo. 
 Ka re oki, e Matonga e, i te pei— Ah ! Matonga, thou art beaten— 
 
 Ka topa i to rima ; a tai 6 ! At the outset a ball has fallen to the 
 
 ground. 
 
 INUINU TAI. FIRST OFFSHOOT. 
 
 Solo. 
 Tiria mai taku pei. Give me the balls. 
 
Adventures in Spirit -World. 
 
 245 
 
 Chorus. 
 E pei ka topa i te rima o nga tupuna This art was taught me by the gods, 
 'tu, 
 
 By Teiiri and Teraranga.^ 
 Encircled with chaplets of laurel, 
 
 I select round scarlet fruits 
 
 To serve as balls for our game, 
 For fairy women who once and 
 
 again 
 Have come up from spirit-world to 
 
 dance at Kaputai." 
 Of these fairies the most strangely 
 
 fascinating 
 And proficient at our game is 
 
 Ina. 
 
 te pua mata reka, o te akatu nga Lovely blossom, whose home is in 
 
 are the sky, 
 
 1 ikitia i Marama Nui e. Era koe, Beloved wife of Full-Moon, I have 
 
 Na Teiiri na Teraranga. 
 
 Taku rima, taku ei kapara turina, 
 Ua toro, pati kura konikoni, 
 No nunga no te akinga pei 
 
 O nga Tapairu, tu tai e, kiri i-ua e, 
 
 Paiereiere ikitia i raro o Kaputai. 
 A tai nei vaine i nginingini ai, 
 I toro pa titi, toro pa tata. 
 
 e Ina ! 
 
 Taipo e ! 
 
 Pei aea nga Tapairu no Avaiki ; 
 No nunga paa i te rangi e ! 
 
 Ae e! 
 
 beaten thee 
 
 Solo. 
 
 Go on! 
 
 Chorus. 
 
 Here are fairy players from nether 
 
 land. 
 As well as natives of the sky. 
 
 Solo. 
 
 Chorus. 
 
 Aye 
 
 Pei aea i te pei itu, i te pei varu, e Ina alone keeps seven, yea, eight balls 
 
 Ina e ! in motion. 
 
 Ka re koia o Matonga-iti kau rere : Little Matonga is beaten— utterly 
 
 beaten. 
 
 ^ Gods presiding over the game of ball-throwing. 
 
 ^ The shore-king's residence, close by the altar of Kongo. 
 
246 
 
 Myths and Songs. 
 
 Ka re oki e Matonga e i te pei — 
 Ka topa i to rima ; a tai ! 
 
 Solo. 
 
 Ah ! Matonga thou art beaten — 
 At the outset a ball has fallen to the 
 ground. 
 
 INUINU RUA. 
 
 Tei nunga! 
 
 Solo. 
 
 SECOND OFFSHOOT. 
 
 How high ! 
 
 To kura pei kura, maautara, 
 Mea Auraka te metua, e nui ana, 
 
 Chorus. 
 I nunga o pei tini, i raro o taaonga. All the balls in the air ; how dexterous 
 
 the hand ! 
 The balls are all red and greatly 
 
 admired. 
 Thanks to the divinities who taught 
 thee, 
 E mau ana, peiia, tuia te toa i Rangi Catch them, throw them in succes- 
 riri. sion. 
 
 Anga mai te vai ia mata. All eyes are fixed on thee. 
 
 E vai tuaine, e vai tungane, Women and men in wonder 
 
 Riu atu to tau, anga mai to oro. Gaze at thy face and form. 
 
 Tela taku pei, e pei ikiiki Marama With these balls again I challenge 
 rua e ! you fairies. 
 
 Era koe, e Matonga ! I have beaten thee, too, 
 
 Matonga ! 
 
 Call the second. 
 
 Pei ikiiki tei to rima, e rua toe, 
 Tei Iva e, a tai ra koe e ! 
 
 Taipo e ! 
 
 Pei aea nga Tapairu no Avaiki ; 
 No nunga paa i te rangi e ! 
 
 Ae! 
 
 Solo. 
 
 Keep the balls all going; two are 
 
 left. 
 In all spirit-land thou hast no equ^il. 
 
 Go on ! 
 
 Chorus. 
 
 Here are fairy players from nether- 
 land. 
 As well as natives of the sky. 
 
 Solo. 
 
 Aye 
 
Adventures in Spirit-World. 247 
 
 Chorus. 
 
 Pei aea i te pei itu, i te pei varu, e Ina alone keeps seven, yea, eight balls 
 
 Ina e ! in motion. 
 
 Ka re koia o Matonga-iti kau rere ! Little Matonga is beaten — utterly- 
 
 beaten. 
 
 Solo. 
 Ka re oki, e Matonga e, i te pei, Ah ! Matonga, thou art beaten. 
 
 Ka topa i to rima ; a tai 5 ! At the outset a ball has fallen to the 
 
 ground. 
 
 INUINU TORU. THIRD OFFSHOOT. 
 
 Solo. 
 A tai ! Again ! 
 
 Chorus. 
 Tai, rua, tora, a, rima, ono, itu, varu. One, two, three, four, five, six, 
 
 ev en, eight balls ! 
 Tu akarongo no Pai, no Manoinoi ariki Pai and the royal Manoinoi admire. 
 
 E tangi te vai i Aratatia. The crowd is astonished. 
 
 Akairi i nunga i Aramaunga i te Akaina, though skilled in all arts, 
 kopuku. 
 Aakina i te maro Akaina, Surpassing the men of his day, 
 
 Na tumaanga nginingini i te rearea. The bravest and wisest of men, 
 
 E tangata e tu i Torea, Ne'er could equal thee. 
 
 E mania i te kura, e mania i te rearea ! Let perfect silence now be pre- 
 served. 
 Era koe, e Ina ! Again I have beaten thee, Ina ! 
 
 Solo. 
 Taipo e ! Go on ! 
 
 Chonis. 
 Pei aea nga Tapairu no Avaiki ; Here are fairy players from nether- 
 
 land, 
 No nunga paa i te rangi e ! As well as natives of the sky. 
 
 Solo. 
 Ae e ! Aye ! 
 
248 Myths and Songs. 
 
 Chorus. 
 Pei aea i te pei itu, i te pei varu, e Ina alone keeps seven, yea, eight balls 
 
 Ina e ! in motion. 
 
 Ka re koia o Matonga-iti kau rere. Little Matonga is beaten — utterly 
 
 beaten. 
 
 Solo. 
 Ka re oki, e Matonga e, i te pei, Ah ! Matonga, thou art beaten. 
 
 Ka topa i to rima ; a tai 6 ! At the outset a ball has fallen to the 
 
 ground. 
 
 INUINU A. FOURTH OFFSHOOT. 
 
 Solo. 
 E retia ! Avaunt ! 
 
 E retia, e retia O Tua-niinii Avaunt, avaunt, thou of a scraggy 
 
 back ! 
 
 Chorus. 
 E retia, e retia O Tua-ara-roa ! Avaunt, avaunt, thou of the long 
 
 spine — 
 Ara-roa i te iki-tanga i te akamatenga. Tall to deformity and ready to die. 
 Na kura pei kura, na tama reionga. Give me my grand scarlet-balls, 
 
 Na kakara onu e rutu i te tua o Vatea. Like young turtle in the palm of 
 
 Vatea. 
 Re tai, re rua, re toru, re a. Beaten once, twice, thrice, yea, four 
 
 times ; 
 Re rima, re ono, re itu, re varu, Beaten again, again, and again ; 
 
 Re iva, re ngauru, tinitini, manomano. Beaten times innumerable, all of you. 
 O Arauru, O Ara peipei, tei kai te Pack up your traps, one and all — 
 
 reinga. 
 Koi tangatanga iri, koi mata kerekere. Ye sweet-scented ball-players from 
 
 the skies 
 Koi nunga, koi raro, koi te patiu e ! And from nether-land — and be off! 
 
 Era koe, e Matonga ! Again I have beaten thee, 
 
 Matonga. 
 
 Third Call. 
 Pei ikiiki tei to rima, e rua toe. Keep the balls all going ; two are 
 
 left. 
 Tei Iva e, a tai ra koe e ! In all spirit-land thou hast no equal. 
 
Advenhtres in SpiiHt- World. 249 
 
 Solo. 
 
 Taipo e 
 
 Go on ! 
 
 Chorus. 
 Pei aea nga Tapaim no Avaiki ; Here are fairies from nether-land, 
 
 No nunga paa i te rangi e ! As well as natives of the sky. 
 
 Solo. 
 
 Aee! 
 
 Aye 
 
 Chorus. 
 Pei aea i te pei itu, i te pei varu, e Ina alone keeps seven, yea, eight balls 
 
 Ina e ! in motion. 
 
 Ka re koia o Matonga-iti kau rere ! Little Matonga is beaten — utterly 
 
 beaten. 
 
 Solo. 
 
 Ka re oki, e Matonga e, i te pei, Ah ! Matonga, thou art beaten. 
 
 Ka topa i to rima ; a tai 5 ! At the outset a ball has fallen to the 
 
 ground. 
 
 MAUTU. 
 
 E ara pei na Kumutonga, 
 
 Na Karaia-i-te-ata e, a kake e \ 
 
 CONCLUSION. 
 Fourth Call. 
 
 And now a game of ball-throwing 
 
 with Kumutonga, 
 With Karaia - the - shadowy from 
 nether-world. 
 
 Solo. 
 
 Taipo e 1 
 Te pei maira te peinga i te ata. 
 Ae e! 
 
 Go on ! 
 
 Chorus. 
 
 Play as ye are wont in the shades. 
 
 Solo. 
 
 Aye! 
 
 Chorus. 
 Te rere maira te manu pepe kura. A bird of gay plumage is watching 
 
 you. 
 
250 Myths and Songs. 
 
 Solo. 
 E ara pei oki ra na Karaia ae e ! A game of ball-throwing with 
 
 Karaia ! 
 
 Chorus. 
 E ara pei na Kumutonga, A game of ball-throwing with 
 
 Kumutonga 
 Na Karaia-i-te-ata. And her sister Karaia-the-shadoMT'. 
 
 Aore paa e kitea te ikonga i te rima ! The quick movements of the fingers 
 
 are invisible. 
 
 Of the sky-fairies, Ina and Matonga were the most clever at 
 this game. Both, however, are vanquished by Ngaru : in the first 
 and third stanzas Ina is beaten ; in the second and fourth, 
 Matonga. In the " conclusion " Ngaru is trying his fortune with 
 the infernal sirens with equal success. 
 
 In the dance the performers imitated the movements of the 
 ball-throwers, without balls, however. 
 
 The contemptuous language of the fourth stanza is in direct 
 contradiction of the standard belief in their " peerless " beauty. 
 It is a sly hit at certain ladies at the dance personifying the two 
 sets of fairy women. Proud of their assumed name, " Tapairu," 
 they are really the butt of the whole assembly. 
 
 A JOURNEY TO THE INVISIBLE WORLD. 
 
 A TAHITIAN MYTH. 
 
 Ouri bare Oemd two sons, of whom Arii was the elder, and 
 Tavai the younger. On one occasion, for a trivial offence, some of 
 the father's relatives severely beat little Tavai, who was his mother's 
 pet. Ouri was so enraged at this, that her husband Oema 
 
Adventures in Spirit-Woidd. 251 
 
 descended to Hawaii to hide his shame. The now regretful wife 
 waited many days in vain for his return. 
 
 Little Tavai, who was naturally a brave child, resolved to go 
 in search of his father. On mentioning his intention to his mother 
 and older brother, the former strongly objected, whilst the latter 
 volunteered to accompany him. Said Tavai to Arii, "Stay to take 
 care of our mother." But Arii would on no account consent to be 
 left behind by his younger brother. 
 
 The mother, finding it impossible to detain her beloved child- 
 ren, disclosed to them the secret road to spirit-land, and taught 
 them the needful formula. 
 
 Using this charm, the earth clave asunder, and the lads 
 descended. They now found themselves in the land of Kui-the- 
 Blind. Arii was excessively alarmed at her appearance, and con- 
 fessed his fears to his younger brother, who only remarked, "I told 
 you not to come, but you would have your own way." 
 
 Now Kui was employed in cooking her daily oven when the 
 brothers approached her and in silence watched her operations. 
 Kui did not suspect the presence of these intruders. The food in 
 her oven consisted of: — 
 
 2 heads of taro. 
 2 plantains. 
 2 halves of bread-fruit. 
 2 packages of sour bread-fruit paste. 
 Laying on a goodly pile of leaves, she covered in her oven and 
 pressed it down with large stones. Kui now sat quietly inside 
 her house till it was done, still ignorant of the presence of mortals. 
 
 When she judged the food to be sufficiently cooked, she 
 opened her oven. She took up a taro and placed it in her basket. 
 On putting out her arm to take up the second— lo, it was gone ! 
 
252 Myths ajid So7igs. 
 
 Kui was greatly surprised, but did not speak. She thought, " What 
 daring fellow has invaded my land and come to steal my food ? " 
 
 Kui next took up a plantain and put it into her basket. But 
 on seeking for the second — lo, it was gone ! And thus, too, of the 
 bread-fruit and the packages of sour bread-fruit paste. 
 
 The old blind woman, now thoroughly enraged, exclaimed, 
 '' Whoever this is that has dared to come to my land, I will devour 
 himr She then re-entered her house, carrying the diminished 
 supply of food. Tavai whispered to his elder brother, " Beware of 
 her tricks : touch nothing belonging to her." At this moment Kui- 
 the-Blind came out, armed with a terrible fish-hook fastened to a 
 long line. This she swung backwards and forwards, all the while 
 chanting a song, in order to catch the thief. The lads contrived 
 to keep clear of it, but threw a pandanus log at it. The log was 
 hooked. Whilst Kui was pulling in her line with immense satis- 
 faction, the boys chanted these words : — 
 
 Carefully secure thy fish, 
 
 Ere thou be o'ertaken by a shark. 
 
 To which Kui replied : — 
 
 For him that is caught by my hook 
 
 There is no hope. Strong is my hook. 
 
 Its name is (" Furnisher of) food for immortals." 
 
 The line is called " The indivisible." 
 
 Kui seized her supposed victim, which proved to be a mere log of 
 wood. Angry at this, she again threw out her dreadful fish-hook. 
 This time she caught the elder boy Arii. Both the brothers wept 
 bitterly. Kui again chanted the former ominous words, " For 
 him," etc. When the youthful victim had almost arrived at the 
 doorway where the cruel blind woman sat, the brave Tavai ran 
 forwards, and seizing the fatal string snapped it asunder by sheer 
 
Adventures in Spirit-World. 253 
 
 force, thus rescuing Arii from her pitiless clutches. The brothers 
 then entered the house of the now defenceless Kui, and discover- 
 ing the stone axe with which she was accustomed to despatch 
 her victims, slew her therewith. Her body was next chopped 
 in pieces ; the house pulled down and set on fire, thus consuming 
 this foe of mankind. 
 
 Tavai now proposed that they should resume the search for 
 their father, and that Arii, as the elder, should take the lead. 
 
 The brothers accordingly prepared to leave the land of Kui- 
 the-Blind. 
 
 Arrived at the sea-shore, they walked over the ocean and saw 
 a 7'ed streak ahead on the surface of the water. On drawing 
 nearer to the red streak, they found a red shark swimming under- 
 neath. Arii trembled and entreated Tavai to go in front. As the 
 younger brother sturdily refused, Arii had still to go on. The 
 great red shark now rose to the surface, and said : — 
 
 O era taata e aere Yon daring travellers 
 
 Na raro i te moana ra e ! O'er the briny sea 
 
 Keinga korua e au ! Shall furnish my repast. 
 
 These words struck both lads with terror, but Tavai, recollecting 
 himself, replied : — 
 
 Art not thou our aged ancestor, 
 Nutaravaivaria ? And are not we 
 The offspring of Oema and Ouri ? 
 
 The enormous fish now learning that these boys were his own 
 grandchildren, allowed them to get on his back, and conveyed 
 them safely to the shore of Rauai'a-Nui, where Tavai landed. The 
 red shark now asked Tavai to give him Arii to eat. But the 
 brave boy said, " You must not devour him, for I have but one 
 
2 54 Myths aiid So7igs. 
 
 brother." Three times did the red shark ask for Arii : three times 
 was the request denied by Tavai. 
 
 Now there was a great abundance of cocoa-nuts in this new 
 land. Tavai climbed the trees and gathered the nuts, so that the 
 ground was everyAvhere covered with the fallen nuts. Tavai's next 
 work was to tie these nuts together in fours and count them. In 
 all there were a thousand nuts, which he with no little labour 
 placed on the back of the great red shark. And not until the last 
 four was given up did the shark give up his brother. 
 
 Arii and Tavai spent three days on that island. On the morn- 
 ing of the fourth day the red shark came back. The lads again 
 mounted on his back and were borne over the ocean in search of 
 their lost father. Now the boys had provided themselves with 
 cocoa-nuts to eat by the way. All but one had been disposed of 
 during their long voyage. At their wits' end to know how to open 
 it, they broke it on the head of the shark. Pained by the smart 
 blow, the red shark dived down to the bottom of the ocean, 
 leaving the boys swimming on the surface. When at length the 
 strength of Arii was exhausted, the red shark again rose to the sur- 
 face, and generously forgiving the late offence, carried them to 
 shore. This is the farthest limit of spirit-land. 
 
 The brothers now travelled about in search of the inhabitants. 
 They fell in with a man who asked what they were in quest of 
 They told him that they were seeking for their father, and inquired 
 whether he could give them any intelligence respecting him. The 
 old man advised them to apply to the oracle. Tavai at once 
 started off to the residence of the famous priest. Without ceremony 
 they opened the door and entered. The priest sharply asked 
 "What stranger is this that has dared to come to my land?" Tavai, 
 annoyed at this brusque reception, struck the priest on his head. 
 
Adventures in Spirit- World. 255 
 
 causing him to writhe in agony. Having thus humbled the priest, 
 he asked him where Oema was. The priest repHed, "Yonder — he 
 is dead. Go on until you meet an old woman — she has charge of 
 the corpse." 
 
 At length they met an aged woman, and inquired where the 
 dead body of Oema was deposited. She promptly replied, " In the 
 ' stercus' hole." The brothers said, "Go, then, and fetch it." They 
 closely followed the old hag. On coming to the place, they found 
 that he had long been dead, for only the skeleton remained. 
 They tenderly took up the bones and wrapped them in a mat. 
 They next killed the old woman, and burnt down her house. Not 
 satisfied with this, they slew the priest and the first person they 
 had met, and set fire to their dwellings. 
 
 Finally, these brave boys, Arii and Tavai, made their way back 
 to this upper world, bringing to Ouri the bones of her long-lost 
 husband. In doing this they traversed the old road, the chasm 
 opening up again as the words taught by their wise-hearted mother 
 were uttered by Tavai. 
 
 Compare this with the myths entitled, " A Bachelor God in 
 Search of a,Wife," and "The Wisdom of Manihiki." "Kui-the- 
 Blind " figures in all three versions of their ancient faith. 
 
256 Myths and Songs. 
 
 CHAPTER XI. 
 FAIRY MEN AND WOMEN, 
 
 TAPAIRU; OR, FAIRY WOMEN AND MEN. 
 
 The deformed and ugly Miru has her home in the nether-world, 
 where she cooks human spirits in her oven. Her son Tautiti 
 presides over the dance called by his name.^ Besides Tautiti, 
 the pitiless spirit-eater has four daughters, called Tapairu, or 
 peerless ones, on account of their matchless beauty. They de- 
 light to make their appearance in this upper world whenever a 
 dance is performed in honour of their brother. Thus, if a dance 
 took place anywhere in the norther7i half of the island, they would 
 be sure to make their appearance that evening at sunset, bathing 
 at a little shady stream named Auparu (= soft-dew). These 
 fairies would then climb the almost perpendicular hill overlooking 
 the fountain, in order to dry themselves and to arrange their 
 beautiful tresses in the moonbeams, ere proceeding to witness the 
 
 ^ The graceful "Tautiti" dance stands opposed to the "Crab," in which 
 the side movements of that fish are most disagreeably imitated. Dances 
 always took place by moonlight. 
 
Faiiy Men and Women. 257 
 
 performances of mortals. But if the dance were to take place 
 in the southern part of the island, these " peerless ones " would 
 make their appearance at two little streams, named Vaipau and 
 Vaikaute, and then perform their usual toilet on the crest of the 
 neighbouring hill. 
 
 These fairies, always associated with the worship of Tane, 
 would even deign to take part in the dance, provided that one 
 end of the dancing ground were well covered with fresh cut 
 banana leaves. But after merrily tripping it over these exquisitely 
 fragile leaves through the livelong night, not one of them would 
 be in any degree soiled or injured. As soon as the morning star 
 rose they disappeared, and returned to their gloomy home in 
 Avaiki. 
 
 Throughout the eastern Pacific islands " Tapairu," or " fairest 
 of the fair," is a favourite name for girls. 
 The names of these fairies are : — 
 
 1. Kumutonga-i-te-po = Kumutonga-of-the-night. 
 
 2. Karaia-i-te-ata = Karaia-the-shadowy. 
 
 3. Te-rauara = Pandanus-leaf. 
 
 4. Te-poro = Point. 
 
 A SONG IN HONOUR OF MAUAPA. 
 
 BY PANGEMIRO, LORD OF MANGAIA, CIRCA 1816. 
 
 Turina eia ra e te Aumania ra, Red necklaces for Mauapa, 
 
 Kia turuki te vaine moe atu te tane o, To win the favour of the fair, 
 Na te ei papa kura. Mixed with leaves of purple hue. 
 
 Riro i Motuenga i te puku On the mountains sit we down 
 
 Maunga ra i akamae te maire, To interweave beautiful flowers 
 
 Taki rua o rau te tiare tapu. With double rows of myrtle leaves. 
 
 s 
 
258 Myths and Songs. 
 
 Tangi atu au ra i te aunga tiere. I love the fragrance of the flowers 
 
 Tei Aupara na vaine tau nongonongo At Auparu, from fairy women 
 
 I te pa etu na Ina e ! Arraying themselves by starlight, 
 
 Te aiai a Kura ! Eu e ! Ae ! Whilst Ina in the moon looks on. 
 
 To are karioi e Tekura-i-Tanoa. Ah ! ye e'en surj^ass Tekura-of-Tanoa. 
 
 In each valley of this island are crevices in the soil, through 
 which superfluous waters drain. The direct road to spirit-land, 
 through Tiki's chasm, having long since been closed, fairies avail 
 themselves of these narrow passages to climb up from time to 
 time, in order to be present at the dances of mortals. 
 
 The fete of Terangai, ancestor of the present tribe of Tane, 
 was specially honoured by fairy visitors. The fete came off at 
 Butoa. Teporo and Terauara, fair daughters of Miru, availed 
 themselves of the gorge just by, to come up out of nether-world 
 to take part in the festivity. The sound of the great drum used 
 on that occasion reached to the very depths of spirit-land, in- 
 ducing four other fairies — usually said to be males, and, of course, 
 connected with Miru — also to climb up to witness their favourite 
 dance, Tautiti. Oroiti ^ and Teauotangaroa ^ came up at a gorge 
 known as Tuaoruku, on the south. Marangaitaiti 3 got up through 
 a disagreeable-looking hole on the west, Marangaitaao 4 through a 
 gorge at the north of the island. Guided by the sound of the 
 drum, these four male fairy visitors tripped along different moun- 
 tain ridges, until they all met at the fete ground, conspicuous by 
 their unearthly beauty. At dawn they disappeared in the depths 
 of Avaiki through the various crevices. 
 
 To this myth the prologue to Potiki's fete-songs alludes. After 
 years of anarchy and bloodshed, peace was proclaimed in the name 
 
 ^ Oroiti = sloto-footed. ^ Teauotangaroa = reign-of-Tangaroa . 
 
 ^ Marangaitaiti = gentle-east-ivind. ^ Marangaitaao = Jierce-east-wind. 
 
Fairy Men and Women. 
 
 259 
 
 of the gods. At this, the first fete inaugurating the era of peace, 
 it is hoped the fairies will be present as at Terangai's. The 
 greater gods, whose jealousies occasion the wars of mortals, 
 should be chained. 
 
 PROLOGUE TO THE DRAMATIC FETE OF POTIKI, 
 
 ON HIS ASSUMPTION OF THE TEMPORAL 
 
 SOVEREIGNTY, CIRCA 1790. 
 
 Vaia te rua i Avaiki, 
 Kia kake mai Oroiti e Tane 5i ! 
 
 Solo. 
 
 Open the entrance to spirit -world, 
 That Oroiti and Tane may come up. 
 
 Tireia Tautiti, 
 Kia aka i Onemakenukenu. 
 
 Tane ao i te tua o Terangai. 
 
 Chorus. 
 
 On this merry night 
 The ghosts are dancing on the smooth 
 
 sward ; 
 As at Terangai's famed fete of old. 
 
 Te moko ia Tautiti e ! 
 Kareia ! 
 
 Solo. 
 
 Tane is the patron of dancing. 
 (War dance). 
 
 Tukua, tukua e ! 
 Tukua ki raro. 
 
 Down with your burdens,^ 
 Down with them and rest. 
 
 ^ Each fete has its distinctive symbolism. In Captain Cook's song, 
 "caulking" is appropriately introduced : in this the employments of peace, 
 as contrasting with those of war. The "burdens" were bundles of long 
 bamboos, suitable for fishing-rods. These fm-nished employment for men in 
 time of peace. "The cloth-beating mallet" was intended to illustrate the 
 work of industrious wives. This could not be pursued with safety in time of 
 war, as the far-reaching sounds would only guide the murderer to his prey. 
 At this fete, however, men beat mimic cloth-boards. These fairies were 
 acted — one coming from either end, met in the middle. 
 
26o 
 
 Myths and Songs. 
 
 E ngae pu Avaiki i te papa, 
 
 Chorus. 
 
 Spirit-land is stirred to its very 
 depths 
 E tukia ma te kaara. At the music of the great drum. 
 
 Kua mau mai nei Teporo ma Terauara. The fairies Teporo and Terauarahave 
 
 come up. 
 
 Takaia te papa i maui ; 
 Rumakina te papa i katau. 
 E era te taua i Tuaoruku 
 
 Na Oroiti, na Teauotangaroa, 
 Kimi pou enua ke atu. 
 
 Ka tutu Kongo i te rangi e ! 
 
 No te ike tangi reka e papa i tua. 
 Tutua ! Tutua I 
 
 Kano korua kiea ? 
 
 Kano maua a kimi ia Tautiti, 
 Kua ngaro mai nei. 
 
 Lead off the dance, ye of the left ; 
 
 And you, too, of the right. 
 At Tuaoruku is a fairy dancing- 
 ground, 
 For Oroiti and Teauotangaroa, 
 Who have dared to come up to this 
 world. 
 
 Solo. 
 
 Great Ronsfo shakes his club. 
 
 Chorus. 
 
 Softly sounds the cloth-beating mallet 
 o'er the sea. 
 Beat away ! Beat away ! 
 
 Solo. 
 
 Whither go ye, fairies ? 
 
 Chorus. 
 
 We go in , search of the pleasing 
 dance, 
 So long disused. 
 
 Tela. 
 
 Tela te akatu, ma te akarongorongo, 
 Ma te matakitaki. 
 
 Here it is. 
 Here are the dancers, the torch-bearers. 
 And the spectators. 
 
 Solo. 
 Kano koi-ua kiea ? Whither go ye, fairies ? 
 
 Chorus. 
 Kano maua a kimi i te marua kapa We follow the merry sounds of 
 
 Kua ana mai nei. 
 
 dancing ; 
 Therefore have we come. 
 
Fairy Men and Women, 
 
 261 
 
 Tela. Here it is. 
 
 Teia te akarongorongo ma te mataki- Here are the torch-bearers and the 
 
 taki. 
 Apaina eretia te anau Atea 
 
 Te papa i te itinga e ! 
 Apaina ! Apaina ! 
 Tautiti ngarue i Teakaruru. 
 
 Eia ia ! Eia ia. 
 la ! Ia ! 
 
 spectators. 
 Chain up the gods, the offspring of 
 Vatea, 
 That our sport be not spoiled. 
 Avaunt ! Avaunt ! 
 Ha! I hear shouts of dances at 
 Butoa ! 
 
 (War dance, 
 twice performed. ) 
 
 Solo. 
 Vaia, e Marangaitaao, te rua i Avaiki. Open up for Marangaitaao an en- 
 trance from spirit-land. 
 
 Chorus. 
 Kikimi mai \ Aere mai ! Search us out, join our throng ! 
 
 Solo. 
 
 Vaia, e Marangaitaiti, te rua i Tipitake ! Open up for Marangaitaiti the dark 
 
 gorge. 
 
 Choru s. 
 
 Kikimi mai ! Aere mai ! 
 Kano korua i Temangarea. 
 
 Pua ! Pua ! 
 Ereti ua viriviri, ua varavara, 
 
 Ruia e te matangi maira, maira, 
 Ruia e te matangi maira, maira, 
 
 Search us out, join our throng ! 
 To what distant spot are these fairies 
 bound ? 
 Beat away ! Beat away ! 
 Give me a many-stranded, powerful 
 
 rope. 
 Waving to and fro in the wind. 
 Waving to and fro in the wind, 
 Kua oro Tautiti i Avaiki Nui ma te To pull up Tautiti and his drum out 
 
 kaara. 
 Teia Marangaitaao te kimi atu nei. 
 
 Tutua ! Tutua ! 
 Ka apai te tere i mua o te kaara. 
 
 E taki aere i te uto o Terangai, 
 
 I rakoa ! I rakoa ! 
 
 of Great Spirit-Land. 
 Here is the fairy Marangaitaao in 
 search of us. 
 Beat away ! Beat away ! 
 Let the fairies pass in front of the 
 
 drum ; 
 The fairies who once honoured the 
 fete of Terangai, 
 How dazzling ! How brave ! 
 
262 Myths and Soiigs. 
 
 Solo. 
 E uru tupu ariki te apai o te pau e I Now for a war-dance as we bear on 
 
 this drum, 
 Kareia ! (War dance. ) 
 
 Apai nuku, apai rangi ! Let all take a part ; toss it aloft. 
 
 Chorus. 
 Tuia uta, tuia tai. Those over yonder ; those near at 
 
 hand ; 
 Tuia i te kapa o Tautiti e te aka nei. Prepare to lead off our fairy dance. 
 
 Solo. 
 Uakina e Kaukau te papa i Teaka- The dance-loving tribe assembled of 
 
 ruru, yore 
 
 Te papa o Terangai. On the lands of Terangai. 
 
 Chorus. 
 Tatakina te kaara, urikaka. Up with the great drum ; toss it in 
 
 the air. 
 
 Solo. 
 Rumakina e Rongoimua,^ The illustrious Mautara fought 
 
 Te papa i Pekekura, te papa i te ngaere. And conquered the island for us, his 
 
 children. 
 
 Chorus. 
 
 Vaoo ra ikona tena kaara, Up with this great dnim ; toss it in 
 
 air, 
 
 Ei poani i te ma i Avaiki. And close up the mouth of spirit- 
 
 world. 
 
 Solo. 
 Te miro o te tata koe ! Come forward, ye players of melo- 
 
 dious flutes, 
 Choncs. 
 Tautiti te kapa i Atea. la. In honour of this dance of the gods ! 
 
 (Shouts.) 
 
 1 Mautara's true name was Rongoimua, but it has been entirely dropped in 
 later years in favour of the nickname "Mautara," because he took to the 
 cannibal ways of that outcast. 
 
Fairy Men and Women. 
 
 263 
 
 Call for the dance to lead off. 
 Tanumia Tevoo i Avaiki rangi taea e! "Miru's own" kava grows in spirit- 
 
 Taipo e ! 
 Te kava ru au e rupepea. 
 
 Ae e ! 
 
 E atua nio-renga i Iti, e Tane ! 
 Eaa ia manu kai tangata ra e ! 
 
 land . 
 
 Solo. 
 
 Go on ! 
 
 Ch0fT4,S. 
 
 The finest and most intoxicating 
 
 drink. 
 
 Solo. 
 
 Aye! 
 
 Chorus. 
 
 Tane, god with yellow teeth, was 
 
 once expelled Tahiti, 
 Yellow with devourino; mankind ! 
 
 Solo. 
 Nai kava kura te kava akiakia 'i Let the red * ' kava " be carefully 
 
 plucked, 
 Te tere o turina kake e ! As a draught for dancers in the upper 
 
 world. 
 Te rangia te kava e no te atua ae e ! Let the drink be prepared for the 
 
 priests. 
 
 Te ranaria te kava o te atua. 
 
 Chorus. 
 
 The sacred bowl of the priests is 
 ready. 
 Kia inumia ia pau e i te titara are. To be quaffed only by yon sacred 
 
 men. 
 
 Kiekie toro e ! 
 
 E raui tapu e taki na, 
 
 Solo. 
 
 Chorus. 
 
 Is there not yet another sort ? 
 
 'Tis too sacred for mortal use. 
 
264 Myths and Songs. 
 
 Solo. 
 Takina te kava, e vaio te noko The shoots only may we strip off ; 
 
 the parent stem 
 la Tevoo i akamae ana e ! Is " Miru's own," reserved for the 
 
 destruction of souls. 
 
 These " Tapairu," or " peerless ones," were sometimes repre- 
 sented as taking up their abode with the sea-side king, who was 
 regarded as being specially under their protection : — 
 
 Te ui a te Tapairu The questionings of the Tapairus 
 
 A vari koe ia Kaputai Who came up at Kaputai 
 
 Te moea ra te enua marama e ! To sojourn in a land of light. 
 
 After all, these fairies formed one family, known as "fairies 
 from ;^<?//^^r-world." Ngaru climbed the sky, in his passion for 
 exploring all nature, and discovered a different set of " Tapairus " 
 — all fair women. Of these the most celebrated is Ina, wife of the 
 moon, and Little-Matonga. They are known as " fairies of the 
 sky." Like those of nether-world, the heavenly fairies are won- 
 drously skilled in ball-throwing, Ina being able to keep eight 
 balls going at one time. Ngaru learnt the art from the nether- 
 fairies in his long residence in their home. So proficient did he 
 become, that he actually beat the nether and the sky fairies at 
 their own game, which he afterwards introduced to this world. 
 
 Tukia koe tei Apepe Thou wast smitten down at Apepe. 
 
 Ka aere ra, e Ati, i te enua poiri. Ah, Ati ! thou art bound to the land 
 
 of darkness. 
 
 Kua pou au nei, Riuvaka ra, Alas, Riuvaka, I am devoured of the 
 
 gods, 
 Tai kai e ou te atua. Who have assembled to feast upon 
 
 me 
 
 Te ravea ra e te are Tapairu I was saved by the friendly Ta- 
 
 parius 
 Tei te ara veerua. Who met me on the road. 
 
Fairy Men and Women. 265 
 
 THE FAIRY OF THE FOUNTAIN. 
 
 In Rarotonga, at the pretty village of Aorrangi, is the small 
 fountain of Vaitipi. On the night after full moon, a woman and a 
 man of dazzling white complexion rose up out of the crystal water. 
 When the inhabitants of this world were supposed to be asleep, 
 they came up from the shades to steal taro, plantains, bananas, 
 and cocoa-nuts. All these good things they took back to nether- 
 world to devour raw. 
 
 Little did the fairies think that they had been seen by mortals, 
 and that a plan was being devised to catch them. A large scoop 
 net of strong cinet was made for this purpose, and constant watch 
 set at the fountain by night. On the first appearance of the new 
 moon they again came up, and, as usual, went off to pillage 
 the plantations. The great net was now carefully outspread at the 
 bottom of the fountain, and then they gave chase to the fair 
 beings from spirit-world. The fairy girl was the first to reach the 
 fountain, and dived down. She was at once caught in the net, 
 and carried off in triumph. But in replacing the net after the 
 struggle, a small space remained uncovered ; through this tiny 
 aperture the male fairy contrived to escape. 
 
 The lovely captive became the cherished wife of the chief Ati, 
 who now carefully filled up the fountain with great stones, lest his 
 fairy spouse should return to nether-world. 
 
 They lived very happily together. She was known all over 
 Rarotonga as the " peerless one (Tapairu) of Ati." She got 
 reconciled to the ways of mortals, and grew content with her 
 novel position. In the course of time she became pregnant, and 
 when the period for her delivery had come, she said to her 
 
2 66 Myths and Songs. 
 
 husband, " Perform on me the Caesarean operation, and then 
 bury my dead body. But cherish tenderly our child." Ati 
 refused to accede to this proposition, but allowed Nature to 
 take her course, so that the fairy became the living mother of 
 a fair boy. 
 
 When at length the child had become strong, the mother 
 one day wept bitterly in the presence of her husband. She told 
 him that it was grief at the destruction of all mothers in the shades 
 upon the birth of the first-born. Would he consent to her return 
 thither in order that so cruel a custom should be put an end 
 to ? Ati should accompany her. This was agreed upon, and 
 accordingly the great stones were dragged up from the bottom 
 of the fountain. All kinds of vegetable gums were now collected, 
 and the fairy carefully besmeared the entire person of Ati, so as 
 to facilitate his descent to the lower world. 
 
 Holding firmly the hand of her human husband, the fairy 
 dived to the bottom of the fountain, and nearly reached the 
 entrance to the invisible world. But Ati was so dreadfully ex- 
 hausted, that out of pity for him she returned. Five times was 
 this process repeated — in vain ! The fair one from spirit-land wept 
 because her husband was not permitted to accompany her ; for 
 only the spirits of the dead and immortals can enter. 
 
 Sorro\\fully embracing each other, the "peerless one" said, 
 " I alone will go to spirit-world to teach what I have learnt from 
 you." At this she again dived down into the clear waters, and was 
 never again seen on earth. Ati went sorrowfully back to his old 
 habitation; and thenceforth their boy was called "Ati-ve'e" = 
 Ati-the-forsaken, in memory of his lost fairy mother. He was 
 surpassingly fair, like his mother from spirit-land ; but strangely 
 enough, his descendants are dark, like ordinary mortals. 
 
Fairy Men and Wo^nefi. 267 
 
 It is to this lovely fairy woman the old song of the Ati clan 
 alludes : — 
 
 Kua ve'eia te pou enua, She has descended again to spirit- 
 
 world ! 
 Ka paa 'i te rau atua o Ati e i Vaitipi Men praised the divine being tirst seen 
 
 e ! by Ati at the fountain. 
 
 Akana tu a kino te inangaro ! But his heart is now filled with grief. 
 
 Hence the origin of the common name " Tapairu " = peerless 
 one, in memory of their fairy ancestress. 
 
268 Myths and Songs. 
 
 CHAPTER XII. 
 
 DEATH-TALKS AND DIRGES. 
 
 GHOST-KILLING (TA I TE MAURI). 
 
 Upon the decease of an individual, a messenger (" bird," so called 
 from his swiftness) was sent round the island. Upon reaching 
 the boundary line of each district, he paused to give the war-shout 
 peculiar to these people, adding " So-and-so is dead." Near rela- 
 tives would start oif at once for the house of the deceased, each 
 carrying a present of native cloth. Most of the athletic young 
 men of the entire island on the day following united in a series of 
 mimic battles designated " ta i te mauri," or slaying the ghosts. 
 The district where the corpse lay represented the " mauri," or 
 ghosts. The young men belonging to it early in the morning 
 arrayed themselves as if for battle, and well-armed, started off for 
 the adjoining district, where the young men were drawn up in 
 battle array under the name of " aka-oa," or friends. The war- 
 dance performed, the two parties rush together, clashing their 
 spears and wooden swords, as though in right earnest. The 
 sufferers in this bloodless conflict were supposed to be malignant 
 spirits, who would thus be deterred from doing further mischief to 
 mortals. 
 
Death-Talks a7id Dirges. 269 
 
 The combatants now coalesce, and are collectively called 
 " mauri," or ghosts, and pass on to the third district. Through- 
 out the day their leader carries the sacred "iku kikau," or cocoa- 
 nut leaf, at the pit of his stomach, like the dead. Arrived at this 
 third village, they find the younger men ready for the friendly 
 conflict, and bearing the name of '' aka-oa." " The battle of the 
 ghosts " is again fought, and now with swelling numbers they pass 
 on to the fourth, fifth, and sixth districts. In every case it 
 was supposed that the ghosts were well thrashed. 
 
 Returning with a really imposing force to the place where the 
 corpse was laid out in state, a feast was given to the brave ghost- 
 killers, and all save near relatives return to their various homes 
 ere nightfall. 
 
 So similar was this to actual warfare, that it was appropriately 
 named "e teina no te puruki," i.e. "a younger brother of war." 
 
 DEATH-TALKS. 
 
 The " ghost-fighting " took place immediately after the decease ; 
 the " dirge-proper " months afterwards. The former was common 
 to all ; the latter was reserved for persons of distinction. Some- 
 times the friends of the illustrious dead preferred a grand tribal 
 gathering for the purpose of reciting songs in their honour. This 
 was called " e tara kakai," or " talk about the devoii7'mg" i.e. 
 a " death-talk." For when a person died, it was customary to say, 
 " he was eaten-up by the gods." 
 
 A " death-talk," like the festive " kapa," i.e. dance, came 
 off at night : but whilst the other was performed under long 
 booths, the former took place in large houses built for the purpose, 
 and of course well lighted with torches. 
 
270 Myths and Songs. 
 
 As many as thirty songs, called " tangi," were often prepared 
 for a death-talk. These were the " weeping songs." Each 
 " tangi " was supplemented with a song designated a " tiau," or 
 "pe'e" proper. Thus, in all, as many as sixty separate songs would 
 be mournfully chanted in honour of the dead. Of course the 
 merit would greatly vary. Each adult male relative must recite a 
 song. If unable to compose one himself, he must pay some one 
 to furnish him with an appropriate song. The warrior chief and 
 poet, Koroa, supplied to different parties ten different songs for 
 one " death-talk." 
 
 A near relative of the deceased was appointed to start the 
 first " tangi," or " crying-song." At the proper pauses the chorus 
 catches up and carries forward the song. In the "tangi" the 
 weeping is reserved for the close, when the entire asse7nhly abandon 
 themselves to passionate cries and tears. A song of this descrip- 
 tion invariably begins, " Sing we " (Tio ra). 
 
 The appropriate "tiau," or "pe'e" proper, follows. "Tiau" 
 means "a slight shower;" and metaphorically, "a /^;Y/<3;/ weeping." 
 The songs relating to Vera and Puvai are, with one exception, 
 " showery " songs. In these the chief mourner was the solo. 
 Whenever, as indicated, the entire assembly took up the strain, 
 the former solo wept loudly until it again became his duty to take 
 up his part in a soft plaintive voice. 
 
 The accompaniments of this performance were the great 
 wooden drum, called " the awakener " {kaara), and the harmonicon. 
 Sometimes the " pau " was added. The musical instruments 
 were called into use between each song ; in the case of the 
 " showery " songs the great drum accomjoanied the grand chorus. 
 The true accompaniment of the " crying songs " was the pas- 
 sionate weeping of all present. 
 
Death-Talks and Dirges. 271 
 
 The most touching songs were the most admired and the 
 longest remembered. Several months were requisite for the 
 preparations needful for a " death-talk." Not only had the songs 
 and dresses and complexions to be thought of, but a liberal pro- 
 vision of food for the guests. 
 
 If a person of consequence in the same clan died or was slain 
 within a year or two, the old performance might be repeated with 
 the addition of a few new songs. It was then termed ''e veru," 
 or " second-hand." 
 
 The songs relating to Vera are known as " te kakai ia Vera " 
 = " the death-talk about Vera." So, too, the dirges for Mourua, 
 the friend of Captain Cook, are known as appertaining to "the 
 death-talk about Vaepae," his mother. These are ancient. Some 
 of the best modern songs belong to " the death-talk of Arokapiti," 
 whose eldest son was the first to embrace Christianity, which 
 necessarily put an end to this high effort of heathen poetry. 
 
 EVA, OR DIRGE-PROPER. 
 
 Some months after the decease of a person of note, funeral 
 games called " eva " were performed in honour of the departed. 
 These entertainments invariably took place by day. 
 
 Ve'eteni was fabled to have been sent back to life for a day, 
 in order to instruct mankind in the art of mourning, and to in- 
 stitute solemn " eva " in memory of the dead. 
 
 There are four varieties of the dirge-proper : — 
 
 I. The "eva tapara,^^ or funeral dirge, with blackened faces, 
 streaming with gore, shaved heads, and stinking garments. This 
 was a most repulsive exhibition, and well expressed the hopeless- 
 ness of heathen sorrow. 
 
272 Myths and Songs. 
 
 2. The " eva piiruki" or wa7'-dirge. For this long spears 
 were made, as if for war ; only they were adzed out of orotea 
 (a white, brittle sort of wood), not of fatal iron-wood {casuarina 
 equasitifolia). The war-dirge for Tuopapa^ is a famous specimen 
 of this sort. Nearly all the natives of Mangaia were present on 
 that occasion, arranged in two long columns facing each other, 
 with a space of eighty yards between. The performance began 
 with an animated conversation between the leaders of the two 
 squadrons of supposed enemies, as to the grounds for war; to 
 excite a lively interest in what followed. When this is concluded, 
 the person most nearly related to the deceased begins the history 
 of the heroic deeds of the clan by slowly chanting the introduc- 
 tory words. At the appointed pause both companies take up 
 the strain and vigorously carry it forward. The mighty chorus 
 is accompanied by a clashing of spears and all the evolutions of 
 war. At the close of what in writing would be a paragraph a 
 momentary pause takes place ; a new story is introduced by the 
 soft musical voice of the chief mourner, caught up and recited in 
 full chorus by both companies as before. 
 
 These war-dirges were most carefully elaborated, and em- 
 bodied the only histories of the past known to these islanders. 
 
 3. The "eva toki^'' or axe-dirge. In this iron-wood axes, 
 not stone, were used ; that is, mimic axes, as the use of sto?te axes 
 would infallibly end in bloodshed. In this scenic dirge the axes 
 were used to cleave the cruel earth which had swallowed up the 
 dead. Hades (Avaiki) was supposed to be under Mangaia. In 
 cleaving the earth a vain wish was expressed that an opening 
 might be made through which the spirit of the departed might 
 return — tears streaming down the cheeks of the performers. 
 
 ^ Translated by the writer with a number of clan songs, but not yet pub- 
 lished. 
 
Death-Talks and Dirges. 273 
 
 The axe-dirge was appropriate to artisans only, who enjoyed 
 great consideration, seeing that such knowledge was the special 
 gift of the gods. 
 
 4. The " eva /^," or crashing-dirge^ in which each person 
 belonging to the two supposed armies is furnished with a flat-spear 
 or a wooden sword a fathom long. This differs from the war-dirge 
 in the weapons used and in the style of composition. Reasons 
 are assigned for the anger of the gods as shown in the death of 
 their friends. A sort of comedy generally wound up these per- 
 formances. 
 
 The " dirge-proper," dancing-fetes, reed-matches, and " death- 
 talks," were all comprehended under the general name of " eva,"' 
 or " amusements " (called by Cook the " heeva "). 
 
 KARAPONGA'S DIRGE-PROPER (EVA) IN HONOUR 
 OF RURU (Circa a.d. 1816). 
 
 EVA-TOKI, OR AXE-DIRGE. 
 
 Solo. 
 la Rangi te toki ia Avaiki Sing we of Rangi's axe ^ from the 
 
 shades, — 
 E Rongo 6i ! Thou descendant of Rongo ! 
 
 1 The first house on Mangaia was built by Rauvaru at Tamarua, who slept 
 in it as soon as it was finished, the long thatch ends hanging loosely down. 
 A heavy shower of rain fell, causing the thatch to lie smoothly. 
 
 Now Rangi greatly admired this new invention of house-building ; but 
 thought he could improve upon what Rauvaru had accomplished. He there- 
 fore descended to the shades (Avaiki), to pay a visit to his grandfather Rongo, 
 who presented him with a wonderful axe, the handle and all being of stone in 
 one piece, and withal very sharp. During the rain Rangi came up unobserved 
 
 T 
 
2 74 
 
 Myths and Songs. 
 
 Tera Tane-mata-ariki, 
 Ei koti i te ua ma te ra, 
 Ei tua i te pa rakau, 
 E mae ai te toki ia Iti. 
 Ie-kok5-koko ! 
 
 Era ei tiki i na tumangamanga 
 
 E noo i te are ! 
 Taumaa Kaukare i te inapoiri, 
 
 A motu oki 6 ! 
 Kotia aea ia Ruateatonea. 
 
 Kapitia oki te tiraa i Paataanga 6 ! 
 
 E tama e ! E Uri e ! 
 
 Tena te tamaki. 
 Ka ma 'i ia Turanga o ! 
 
 Taamaa te toki ia ake te upoko ! 
 
 le-koko-koko ! 
 
 Chorus. 
 
 Here is Tane-of-royal-face, 
 Keen in rain and sunshine, 
 To lay low the loftiest trees. 
 They are felled by the Tahitian axe. 
 (War-dance. ) 
 
 This axe is to slay the brave 
 
 When buried in sleep. 
 E'en as Kaukare^ perished in the 
 night. 
 
 The fiat went forth ! 
 The axe from spirit-land did the 
 
 deed. 
 
 Prostrate they all lay on the ground. 
 
 Alas for thee, eldest son ! 
 
 They come rushing on. 
 Twice has the god Turanga^ thus 
 
 served our clan. 
 Their axes enter the skulls of the 
 
 victims. 
 
 (War-dance.) 
 
 from the shades, and trimmed the thatch of Rauvaru's house all round. Great 
 was the astonishment of the owner in the morning to see what an improve- 
 ment had been effected by an unseen friend during the peltering storm. The 
 magic-axe of Rangi, named Ruateatonga, became the envy of men and the 
 gods too. When Rangi died, it disappeared for ever. 
 
 ^ "Tane-of-royal-face" is the name of the axe-god, identified with the 
 clever Mangaian method of securing ordinary stone axes to wooden handles. 
 This valuable knowledge was introduced by Una from Tahiti (or Iti). These 
 axes were equally valuable for felling trees and men I It is made to stand for 
 the veritable axe which slew Kaukare and others. 
 
 ^ Ruru died a natural death ; but being on his mother's side descended from 
 Kaukare, an animated description of that warrior's cruel end is introduced, 
 with a natural cry for vengeance which was but too truly answered not long 
 afterwards. 
 
 ' The Tongan tribe introduced the iron-wood tree, and first made spears 
 out of its timber. The god "Turanga" (now in the Missionary Museum) is 
 put for the tribe. 
 
Death-Talks and Dii^ores. 
 
 275 
 
 Tena oa te toki paekaeka a Tinirau. 
 
 Taraiia i te rangi te upoku o Kae. 
 
 la totoia, ia tangi a pu te iku o te 
 toora. 
 
 Ia tangi kekina, 
 Tuparua te kapu, 
 la motu a uka, 
 la eveeve ua, 
 la kite i te kata. 
 Taina ra ! 
 Taki na te toki ia Iti, 
 Ei koti i te iku o te toora, 
 E puta i tokerau, 
 Taumaa o Te-ariki-takoto-i-vaenga- 
 
 moana, 
 E tae a vai oki te pera o Tutavake o ! 
 
 This is the axe greatly coveted by the 
 god Tinirau ; 
 
 Now uplifted against the head of its 
 victim : — 
 
 Irresistible as a blow from the tail of 
 a whale. 
 With a ringing sound 
 Descend on the hapless skull. 
 As unresisting thatch 
 Is trimmed by this axe, 
 Let him feel its keen edge. 
 
 Slay him ! 
 Lift the famed Tahitian axe, 
 To chop off the tail of the whale 
 Come from some northern sea. 
 
 Let the shark-god, supreme in the 
 ocean, devour thee. 
 
 That avenging Tutavake may wade 
 in human blood ! 
 
 Puruki Tongaiti. 
 
 Ua ta Tongaiti. 
 
 E karonga na Rongo ; 
 
 E karonga tuturi. 
 
 Te vaka autu, 
 
 Te vaka aueke. 
 
 Kua pau Mangaia oi ! 
 
 Aue te tamaki e ! 6i ! 
 Aue, ka mate e ! 
 Eaa te puruki ? 
 E toa te puruki — 
 Te vaa o Tongaiti — 
 
 Te kai kaka, 
 Tumaeu kura e ! 
 E ati mata tao, 
 Ei taki i te ara toko i te ngaere ! 
 
 le-ie ! Ie-k5k6-k6k5. 
 
 The Tongans struck the blow. 
 
 The Tongans shed thy blood. 
 
 The war-god is delighted. 
 
 Shoulder to shoulder they come. 
 
 Will they prove victorious ? 
 
 Or are they des.tined to fail ? 
 
 The warriors of Mangaia have 
 fallen ! 
 
 Alas ! that fearful night. 
 
 How dreadful is death ! 
 
 With what were they slain ? 
 
 With iron-wood spears — 
 
 The special teaching of the Ton- 
 gans. 
 
 O poisonous wood, 
 
 Red like human blood. 
 
 That defies all other weapons, 
 That hurries the greatest chiefs to an 
 untimely grave ! 
 (War-dance twice performed.) 
 
276 
 
 Myths and Songs. 
 
 The whole of this dirge, excepting the first two hnes, was 
 chorus. 
 
 This "eva" was performed by his father's clan, and takes 
 precedence of Arokapiti's. 
 
 AROKAPITI'S DIRGE PROPER (EVA) IN HONOUR 
 OF RURU. (Circa a.d. 1816.) 
 
 EVA TA, OR CRASHING-DIRGE, 
 
 Solo. 
 la Rum te toko i te ra oi ! Hail, Ruru, predestined chief ! 
 
 Chorus. 
 Tera, e Ruru, te uira vananga ei unui O Ruru, the flashing lightning came 
 i to nianava ! to fetch thy spirit ! 
 
 O Ruru atia vaie — Cut down with a stroke — 
 
 Te kutu i te mangungu e karara i te The crashing thunders of heaven 
 
 salute thee. 
 
 (War-dance). 
 
 rangi. 
 Tie-koko koko. 
 
 Vavaia, e Rongo, te rua i te matangi, 
 la katamutamu Avaiki. 
 
 Koia aea i te kopuvaru. 
 E maiti te pura o Tutavake e rere i 
 
 erangi. 
 I aa to taumaa, e te rangi maoaoa ? 
 
 To punanga, e te veri tautua? 
 
 Great Rongo, cleave an aperture in 
 
 the horizon, 
 Through which may be heard the 
 
 whispers of spirit-land. 
 Each (god) wields an octagonal club. 
 Sparks of fiery war fly up to heaven. 
 
 Why this curse, ye angry skies ? 
 Art thou offended, O Centipede, 
 
 everywhere present ? 
 The enraged Mantis flits over mount 
 
 Ikurangi. 
 The irate Lizard has arrived from the 
 shades. 
 Ka moe koe, e te karaunga, i Art thou, Earwig, in haste to occupy 
 tona are. the dwelling (of the dead) ? 
 
 Ka pura te e i Ikurangi, 
 Reia e te moko i Enua-kura. 
 
Death-Talks and Dirges. 
 
 277 
 
 I akaaraia atu koe, e te tukununga. 
 
 E tu ra koe, e te ueue : 
 
 To peau, e te manu ka rere. 
 
 I narea koe e te potipoti — 
 
 I narea koe e te vava — 
 E atare kai roro i te kikau. 
 
 Taumaa to pauru, e te ro ; 
 
 To komata toto, e te namunamua, 
 
 Na Tiereua koe e anau. 
 E manu tu e mai koe, e te kereteki, 
 
 Tokoa e te iva i vaenga moana. 
 I tuiiianuku koe e Tutavake. 
 I turua mataotaoa te apai o te rangi. 
 Eia e manu e pungaverevere. 
 Ei ei nuku na manu o te rangi, 
 
 Pirake e piri te papao ! 
 
 Na tamaroa e tu i te taua, 
 Anaua te tamaroa e Tutavake 5 ! 
 O Miru te metua ! 
 E enua akarere Mangaia. 
 
 Puputa motu no Tirango, 
 E pa te rongo i Avarua. 
 
 The ever-watchful Spider is already- 
 weaving its web, 
 And the drowsy Beetle is on the 
 
 move. 
 Each insect is on the wing. 
 Horrid vermin are devouring 
 
 thee. 
 The Cricket, too, is eating thee up, 
 (In league with) the despoiler of 
 
 the cocoa-nut palm. 
 A curse upon thy head, O Ant ! 
 And on thee, too. Mosquito, ever- 
 thirsting for blood : 
 All children of the god Tiereua. 
 Ha ! there is a Grasshopper in the 
 
 cruel throng. 
 Followed by a Dragon-fly from mid- 
 ocean. 
 Oh that war loving Tutavake would 
 
 pity thee ! 
 Oh, that the fierce demon of the sky 
 
 would save thee ! 
 Thou art doomed like a fly in a 
 
 spider's web ; 
 Snared by the relentless fairies of the 
 
 air ; 
 Helpless as a fish in the meshes of 
 a net, 
 
 Alas ! brave sons destined for fight. 
 Begotten of war-loving Tutavake, 
 Dread Miru ^ awaits you. 
 Mangaia will soon fade from your 
 
 sight. 
 Even great Tirango was slain, 
 He whose fame reached other 
 lands. 
 
 ^ As Ruru did not die a warrior's death, his spirit necessarily enters the 
 domains of cruel Miru. 
 
278 
 
 Myths and Songs. 
 
 Taevaia e Tane te nianavaroa o te The clan of Tafie was cut up by the 
 
 Keanui. 
 Oaia te ara puku i tu i Maungarua. 
 
 A puta koe i te rangi, e Kongo ! 
 Oai te tiaki i te are o Tongaiti ? 
 
 O Teio, a tai. O Tevaki, a rua. 
 
 Tirango, a toru. 
 O Paia, ka a. Teuira, ka rima. O 
 
 Rarea, ka ono. 
 
 shark- worshippers, 
 Who love to worship on steep 
 
 Maungarua . 
 Favoured children of the god Rongo. 
 Who maintained the ancient fame of 
 
 the Tongans ? 
 Teio, Tevaki, and Tirango, 
 
 Paia, Teuira, and Rarea ; — all six 
 famous warriors. 
 
 E akaara i te moe o te koromatua They loved to waken the slumbers of 
 i Mangonui — the wise man at Mangonui, 
 
 E tu, e ara ! E tu, e ara (With the words) Get up ! Get 
 
 E ara na tokorua te papakura. 
 Ka eva Tane i Tiairi. 
 
 up 
 
 Day would dawn upon these 
 watchers. 
 Ah, Tiairi ' is filled with the tribe 
 of Tane. 
 Te tu ra oa Ruaika i Tikura, ua mau Brave Ruaika gaily equipped was 
 
 te rakei. speared. 
 
 Na Rerepuka i aae i te tua o Tuku- Rerepuka attacked his foes from 
 
 tuku, behind, 
 
 I rauka 'i tana taua. And gained a decisive victory. 
 
 Na makona o Tutavake e tu i te taua; Successful fishermen of the war-god 
 
 E akaara i te tiraa i te rau tamanu, Avenged him who sleeps under the 
 
 " tamanu " tree, 
 The fearless Kotuku. 
 This place is henceforth sacred. 
 None dare approach. 
 Only the fairies may come, Teiiri 
 and Terarama. 
 Rongo himself has been here ! 
 
 Tu iora ikona e Kotuku. 
 Aore e taea teia paepae, — 
 E paepae tua-manomano. 
 O tai i tae5, o Teiiri o Terarama. 
 
 O tai i taeo, a tai paepae o Rongo. 
 
 E Ina 5i ! E Ina 6i ! 
 
 Solo. 
 
 Hail,'^ Ina! Fair Ina ! 
 
 ^ Tiairi is the warrior's paradise, in which the clan of Tane is supposed to 
 have a large share, most of them having died a violent death. The reference 
 is introduced to distract attention from the dismal fate of all who fall into the 
 clutches of Miru. 
 
 - This is a sort of comedy. The performers now divide themselves into 
 
Death-Talks and Dirges. 279 
 
 Ua akia oa to puta vai na, e Ina ! E Thy fruits are stolen. Alas ! Ina, 
 Ina the moon-goddess. 
 
 Chorus. 
 A mau ; Tera rava te maoaoa. Catch (the thieves.) The sky is 
 
 threatening. 
 
 One half. 
 E kake ra koe, e te unga. O Robber-crab, climb and catch 
 
 them ! 
 Other half. 
 Aua au e kake ; na te irave e kake. I will not climb ; let the " Irave " 
 
 catch them. 
 
 One half 
 
 E kake ra koe, e te "Irave" — O " Irave," climb and catch 
 
 them ! 
 
 Other half. 
 Aua au e kake ; na te " Papaka " e I will not climb ; let the *' Papaka " 
 kake. catch them. 
 
 One half. 
 E kake ra koe, e te papaka. O "Papaka," climb and catch 
 
 them ! 
 
 Other half 
 Aua au e kake ; na te tupa e kake. I will not climb ; let the " Tupa " 
 
 catch them. 
 
 One half. 
 E kake ra koe, e te tupa. O " Tupa," climb and catch them ! 
 
 two bands, alternately addressing each other. At length two men, calling 
 themselves mice, actually climb a pandanus tree well-laden with ripe fruit, and 
 squeak ! Showers of nuts are scattered over the performers to their great 
 amusement. 
 
 The "eva," or "dirge properly so called," was always performed by 
 day ; usually in the early morning. 
 
 The "irave," "papaka," and "tupa" are well-known varieties of the 
 land-crab. 
 
28o Myths and So7igs. 
 
 Other half. 
 Alia au e kake ; ne te karau e kake. I will not climb ; let the tiny crab 
 
 catch them. 
 
 One half. 
 E kake ra koe, e te karaii. O tiny crab, climb and catch them ! 
 
 Other half 
 Aua au e kake ; na te kiore e kake. I will not climb ; let the mouse catch 
 
 them. 
 
 Two. 
 Noai tela ngai ? Who is up there ? 
 
 Chorus. 
 
 Ake ! Ake ! Keka ! Keka ! ! Tutute ! What noises are these of nibbling 
 
 Tutute ! ! ' and crunching — 
 
 Ngengene ! Ngengene ! ! Kaika ! Squeaking and fighting ? 
 Kaika ! ! 
 
 Akaruke i te katu ! The hard shells are falling. 
 
 Pururu te katu a te kiore, te katu a te They are scattered in all directions 
 
 kiore. by the mice. 
 
 Tai naku, e Kio ! Tai naku, e O mouse, give me some ! Pray 
 
 Kio ! give me some ! 
 
 Tera ake oa te kuriri ! Hark to the song of the birds ! 
 
 Tikaroa te iroiro. Our amusement is concluded. 
 
 This dirge was performed by the mother's clan under the 
 direction of Arokapiti. There happened to be thunder and 
 hghtning on the day Ruru died ; which was, of course, regarded 
 as a celestial compliment to the dying chief. 
 
 All the minor gods {i.e. reptiles and insects) have resolved to 
 kill the illustrious Ruru. None of the major gods pitying him, 
 his ghost sorrowfully enters the shades. 
 
Death-Talks aiid Dirges. 
 
 281 
 
 " BLACKENED-FACE " DIRGE-PROPER FOR ATIROA. 
 
 BY HIS FATHER KORONEU, CIRCA 1820. 
 
 E Pange oi ! e rau raua ia tama. 
 Kua tomo te vaka ! 
 
 A, aore e tu, e tau atua. 
 
 I naau ai kua oki 6, 
 E vaorakau raui naau, 
 
 Aore tetai e tukua i te urunga piro, 
 Ina tika oki Turanga, 
 E vaimangaro ra taana ! 
 
 Parau aore, e kai oki taau. 
 Taparu atura i te koi parara — 
 
 Kororo-kururu ua 'tu ra. 
 E atua te tangata e oia ! 
 
 Solo. 
 
 Alas, Pangeivi ! The case is hopeless. 
 The canoe ^ is lost ; 
 
 Chorus. 
 
 Oh, my god (Tane) thou hast failed 
 me ! 
 
 Thou didst promise life ; 
 Thy worshippers were to be as a 
 
 forest. 
 To fall only by the axe in battle. 
 Had it been the god Turanga — 
 That liar ! I would not have trusted 
 
 him. 
 Like him, you are a man-eater ! 
 May thy mouth be covered with 
 
 dung : 
 Slush it over and over ! 
 This god is but a man after all ! 
 
 Solo, 
 
 Tiria i mua, e Kori ! Ei ! Ei ! 
 
 (Women's shouts). 
 
 Plaster him well, friends. Ha ! Ha! ! 
 
 Tutae keinga e te tuarangi ! 
 Kua kau te metua i te ngarau ! 
 
 E ngarau no Tiki. 
 Ei eva i te tama akaaroa ; 
 Ei tuveu i te are rangorango, 
 Kia ara te tangata mate. 
 E takanga mate no Tutaemaro, 
 Te taka ra i One-makenukenu. 
 
 Chorus. 
 
 Dung is fit food for such gods ! 
 We parents are in deep mourning, 
 Like that lirst used by Tiki. 
 We mourn for our beloved first-born. 
 Oh, that one could stir up the gods, 
 And cause the very dead to awake ! 
 Yonder stands thy weeping mother. 
 Thy spirit wanders about One-makenu- 
 kenu, 
 
 ^ " The canoe is lost " — "The child is dead." 
 
282 
 
 Myths and Songs. 
 
 E kimi i te ara, 
 Kia kitea te ara i keinjja 'i ! 
 
 Itia e Ruateatonga te ii 
 I te keremuta o Vatea 
 la amama Avaiki ! 
 
 Ua, e Tiki, i te u tuarangi ! 
 
 Aria ! 
 
 Ua, uaia ! 
 K6! 
 
 To taringa, e Pangeivi ; 
 I kai koe i tau tamaiti na ! 
 
 Solo. 
 
 Inquiring the reason 
 Why his poor body was devoured (by 
 the gods). 
 
 Fairy of the axe ! cleave open 
 The secret road to spirit-land ; and 
 Compel Vatea to give up the dead ! 
 
 7. 
 
 Puff, ^ Tiki, a puff such as only ghosts 
 can ! 
 
 Chorus. 
 
 Solo. 
 
 Wait a moment. 
 
 (Again I say) puff, puff away ! 
 
 {Chorus of pretended explosions !) 
 
 Chorus. 
 
 A curse upon thee, priest Pangeivi. 
 Thou hast destroyed my boy. 
 
 As no one would undertake to compose an atheistic dirge for 
 the angry mourner, Koroneu made his own. It was performed 
 successfully amongst the other more regular dirges for Atiroa. 
 
 THE FIRST MURDER AND THE FIRST BATTLE. 
 
 The earlier part of the reign of Rangi was " the golden age " 
 of these people. Children grew up to maturity ; men became 
 aged — their limbs tottering, their backs curved, and their teeth 
 dropping out, so that they were fed again with the expressed juice 
 of the cocoa-nut, poured into the mouth by means of the leaf 
 of the tiere, or gardenia — still, Death had not made its appear- 
 
 ' In Latin, pedite. 
 
Death- Talks and Dirges. 283 
 
 ance ; and of course war, famine, sickness, and pain were un- 
 known. 
 
 But this happy state of things did not last. Even during the 
 Hfetime of the famous Rangi a mighty change took place. 
 
 There lived in those days a famous man named Matoetoea. 
 Many had tried to kill him ; but in vain. For as soon as the 
 arms of an adversary were uplifted to strike him, a violent shiver- 
 ing and trembling would seize the limbs of the would-be murderer, 
 so that the weapon would fall to the ground and Matoetoea escape 
 unharmed. Hence the saying in daily use, when any one shivers 
 and his skin becomes rough in consequence, " he has been 
 smitten by Matoetoea " (te kiri o Matoetoea). 
 
 There lived in spirit-land (Avaiki) a " brave," named Tukaitaua,^ 
 ever ready to perform the behests of Rongo. Hearing of the 
 marvellous power possessed by Matoetoea, he longed to measure 
 his own strength with one of earth. With this view he came up 
 to this upper world and searched over the island for his foe, until 
 he found him. For the first time Matoetoea's power of self- 
 defence was at fault, and he easily fell under the blows of the 
 redoubtable Tukaitaua. Ngake and Akuru were also slain by this 
 " brave ; " in all, three persons were murdered successively on one 
 night by Tukaitaua — one from each of the three primitive tribes. 
 
 Thus death entered into the world (Mangaia). Matoetoea 
 was the first to die a violent death, as Veetini afterwards was the 
 first to die a natural one. Rangi was much grieved at this violent 
 breach, now first made, in his hitherto peaceful domain. He 
 sought everywhere for the unknown murderer ; but to no purpose. 
 He therefore descended to (Avaiki) nether-land, to pay a visit 
 to his grandfather Rongo, as the only possible way of discovering 
 
 * =^ " He whose delight it is to fight " (tu =^ stand ; kai ^^eat; tau= battle.) 
 
284 Myths and Songs. 
 
 the murderer. Upon entering the presence of the great Kongo, 
 he found Matoetoea there, his head and face all covered with 
 blood. Rongo asked Rangi what he had come for. Rangi 
 replied, " To ascertain who murdered Matoetoea." The war-god 
 now inquired, " Have you not seen any new face in the upper 
 world ? " "I have," replied Rangi. " He is the murderer," re- 
 joined Rongo. 
 
 Rangi, now thirsting for revenge, asked how he, a mortal, could 
 kill Tukaitaua. Rongo said, " Go back to ' daylight ; ' you cannot 
 conquer Tukaitaua. /will send some one to punish him." Upon 
 this the king left the shades and returned to his old home in this 
 upper world of light. 
 
 The war-god kept his word. There lived with him in spirit- 
 land another " brave," Tutavake, cousin to the redoubtable Tu- 
 kaitaua, who represented the elder branch of the family. The 
 father of Tukaitaua was Tavarenga (Deceiving) ; the parent of 
 Tutavake was Tuatakiri (Entirely-brave). Summoned to the 
 presence of Rongo, Tutavake was ordered to go at once " to 
 daylight" and slay Tukaitaua. "How can I manage it?" asked 
 Tutavake. Rongo directed him to search through the six districts 
 of Mangaia. " And if you cannot then discover him, climb the 
 hills, and you will be sure to find his whereabouts. Only do not 
 attack him early in the morning, for then he is in his full strength ; 
 nor in the evening, for as the shadow lengthens his strength 
 increases. Recollect that as the shadow of morning shortens, 
 Tukaitaua's strength wanes. At mid-day it is at the lowest point. 
 Stand erect on a hill in the sun until its rays are vertical ; then go 
 and attack him." 
 
 Tutavake obeyed. Coming up to " daylight," he found the 
 inhabitants of Auau (Mangaia) crowded together in the interior 
 
Death- Talks and Dirges. 285 
 
 in terror of the unknown murderer of mankind. For some time 
 he could get no clue to the exact whereabouts of Tukaitaua. He 
 had indeed been seen occasionally performing his wonderful war- 
 like evolutions hitherto unknown to mankind. Ascending a hill 
 (which represents the left heel of the giant " Te-manava-roa ") he 
 espied a small cloud of dust rising from a spot not far from " the- 
 chasm-of-Tiki," by which constant communication was at that time 
 kept up with nether-world. Tutavake cautiously approached the 
 spot, and peered through the dense growth of trees and bush 
 which surrounded the open space cleared by Tukaitaua for spear- 
 exercise. There, indeed, was his unconscious foe vigorously 
 fighting the air. Day after day, from dawn to sunset, this was 
 Tutavake's sole delightful employment. On this occasion Tu- 
 kaitaua was somewhat exhausted, for the sun was vertical. Ever 
 and anon an " ugh " would escape the accomplished warrior, as 
 he failed in some delicate movement. Encouraged by these 
 heavy grunts of disappointment, Tutavake, spear in hand, suddenly 
 darted from his hiding-place to the edge of the circle inside which 
 his cousin was practising. The astonished Tukaitaua exclaimed : — 
 
 Ana mai ta Tauatakiri, The son of " Entirely-brave " did not 
 
 come 
 Kua pakua ta Tavarenga. Until the son of "Deceiving" was 
 
 exhausted. 
 
 Yet Tukaitaua did not for a moment cease his spear-practice. 
 His antagonist followed him very adroitly, as he went round and 
 round the great circular area, in order to avoid a hasty meeting. 
 This was in accordance with the instructions of Rongo. Tu- 
 kaitaua's obvious aim was to close in with his foe as quickly as 
 possible, and to give the death blow. Seven times Tukaitaua 
 wheeled round, but was skilfully avoided by Tutavake. The 
 
286 Myths and Songs. 
 
 eighth time he made the circuit, it was evident that his strength 
 was much impaired. At this Tutavake suddenly swung round in 
 the opposite direction and dealt the hitherto invincible Tukaitaua 
 a fatal blow on his head. 
 
 Rangi was delighted that the death of Matoetoea and his 
 friends was thus speedily avenged. Tutavake returned to the 
 shades. But the former peaceful state of things could never be 
 enjoyed again. Blood had been shed ; first in sheer wantonness, 
 next in just retribution. Ever since, mankind has been engaged 
 in either aggressive or defensive warfare. Diseases of various 
 kinds followed in the train, and lingering death ; Veetini being the 
 first. Hurricanes and famines came, too, into existence. 
 
 Tukaitaua, when prowling round the island in search of 
 Matoetoea, etc., discovered in the exterior pile of rocks sur- 
 rounding the fertile interior, a remarkable narrow gorge which 
 runs right round, — not unlike a wide road, fenced on either side 
 with imperishable walls of hardened sharp-pointed coral. Yet, 
 strangely enough, in this coral large trees and beautiful creepers 
 of different kinds grow luxuriantly. At various points in this 
 natural road round Mangaia, Tukaitaua had cleared the bush and 
 removed the rough loose stones in order to prosecute his favourite 
 pastime : at one time with a long spear ; at another with a double- 
 edged wooden sword ; anon with a curved club ; occasionally with 
 a sling. 
 
 The inhabitants of the world (Mangaia) contrived to get 
 glimpses of the proceedings of this extraordinary fellow from 
 behind trees or elevated blocks of rock ; without, however, being 
 seen by him. For it was evidently a dangerous thing to go near a 
 native of nether-world possessed of such fearful strength. It was 
 
Death- Talks aiid Dirges. 287 
 
 in this furtive manner that mankind first learnt what sort of 
 weapons to make and how to fight with them. 
 
 This knowledge was very seasonable. For not long after- 
 wards there arrived at Tamarua, on the south of the island, a 
 fleet of canoes of " Tongans-sailing-through-the-skies " (Tongaiti- 
 akareva-moana). The leader of this formidable band was the first 
 high-priest of the god Turanga. The secret of his successful 
 navigation was a vast ball of string which he held in his hand during 
 his long voyage^ and which was quite exhausted upon their safe 
 arrival on the southern coast of Mangaia.^ Hence his name, Te- 
 ab-roa, or TJu-man-of-the-long-string. In those days the now 
 unruly ocean was smooth as the little lake in Veitatei ; its surface 
 occasionally disturbed with gentle ripples, so that it was the 
 easiest thing possible to voyage over it at any time and in any 
 direction. But in after ages, ceaseless wars and shedding of 
 blood disturbed the course of the elements, and so gave rise to 
 the fearful storms and cyclones we now suffer from. 
 
 A battle ensued between these driftaways from Tonga and the 
 original possessors of the soil, who claimed to have come up out 
 of nether-world. This was \}ci^ first of the forty-two pitched battles 
 which have been fought on Mangaia. This primary conflict took 
 place at Te-rua-noni-anga," or Valley-of-spoil. Of this battle 
 it is expressly asserted that as men fell in the ranks of Rangi, their 
 places were immediately filled up by new warriors from the shades ! 
 Sceptical modems think their places were filled up from a re- 
 serve force hidden behind the rocks. However, the result was 
 that the warlike invaders, who had despised the small arm}^ of 
 
 ^ Until lately was shown the hole in the coral reef where "The-man-of-the- 
 long-string " tied this end of the enormous ball of string ! The bit of i-ock is 
 now destroyed. 
 
2 88 Myths and Songs. 
 
 Rangi, and who were sure of securing the entire island to them- 
 selves, fled in utter disorder. The numerous names of different 
 points of road across the island to the cave of Tautua, where the 
 remnant took shelter, are but so many memorials of those slain in 
 the pursuit. 
 
 Of Rangi's victorious force three fell — one out of each of 
 the three original tribes. And thus was established the ancient 
 doctrine (ara taonga), that victory and chieftainship of all degrees 
 can only be secured by fiist shedding the blood of some of the 
 victorious party, so as to secure the favour of Rongo, the arbiter of 
 the destinies of war. 
 
 In the persons of Rangi and Tiaio, but in no other, the 
 secular and spiritual sovereignties were united. 
 
 Peace was secured by the offering up on the altar of Rongo a 
 human sacrifice, Vaioeve. Rangi now consented that the unfortu- 
 nate Tongans should permanently occupy that part of the island 
 where they had so recently landed. The art of war would not, 
 however, have reached perfection but for these Tongan settlers, 
 who had the credit, or discredit, of introducing the iron-wood 
 tree, from the wood of which in after years all weapons of war 
 were manufactured. 
 
 The settlement of a Tongan colony on the south, and their 
 first conflict with the earlier inhabitants, are historical facts. Their 
 bravery is universally admitted. 
 
 The restless character of these Tongans is indicated in the 
 proverb, " A stone-77io2ith is needed to exhort the Tongans to keep 
 the peace," i.e. Hps that never tire. 
 
 When dealing a death-blow it was sometimes said, " Go, eat 
 the stale food of Tukaitaua ; " the food in question being the club 
 and the spear which Tukaitaua loved so well. 
 
( 289 ) 
 
 CHAPTER XIII. 
 HUMAN SACRIFICES, 
 
 WHY HUMAN SACRIFICES WERE OFFERED. 
 
 Rangi's first propitiatory offering to Rongo was a rat laid with 
 great ceremony on the original marae of the god of war. But on 
 descending to the shades to pay a visit to his divine grandfather, 
 Rongo evinced his displeasure by averting his face from Rangi 
 on account of his having been imposed upon with so unworthy 
 a sacrifice. Rangi, who was naturally averse to blood-shedding, 
 now learnt that nothing less than a hiifnan sacrifice would give 
 saiisfiaction. 
 
 Upon his return to this upper world, Rangi successfully fought 
 his first battle at a spot ever since called " Teruanoninga," or 
 Valley-of-spoil. In this engagement the newly arrived colony 
 from Tonga received a great check. A fugitive from the battle- 
 field, Vaioeve, was overtaken and slain expressly for sacrifice 
 to the god of War and of Night. Vaioeve was \\\^ first human 
 sacrifice ever offered on Maftgaia. The place where the victim fell 
 still bears his name. 
 
290 Myths a7id So7igs. 
 
 The practice once begun was continued until Christianity put 
 a stop to it for ever. The second human sacrifice was Turuia, 
 first priest of Tane on Mangaia, from Iti (Tahiti). Turuia was 
 slain at the instigation of Tamatapu, during the lifetime of Rangi. 
 The tribe of Tane arrived after the Tongans, and from being first 
 regarded as guests, were devoted by the original lords of the soil 
 — who claimed direct descent from the god Rongo — to furnish 
 human sacrifices whenever required. 
 
 The successive priests of Tane, viz. Matariki, Tiroa, and 
 Tepunga, were in after times slain and offered in sacrifice by the 
 older tribe. The martial supremacy of Mautara alone saved 
 Tevaki, the last of that devoted race, and from whom the present 
 tribe of Tane is descended. As human sacrifices were indispens- 
 able, Mautara reverted to the original tribe of Tongans (in which 
 Teipe was included), from which Rangi had selected the first 
 human sacrifice. It is mournful to think that almost every 
 member of these families was offered in sacrifice ; a few of their 
 number being always reserved, and even cherished, for the express 
 purpose of providing future sacrifices. 
 
 Later still, the Amai tribe was devoted on account of their 
 complicity in a murder of a chief of the once all-powerful Mautara 
 clan. Thus it became the custom to devote each new band 
 of settlers (with one or two exceptions), on some pretence or 
 other, to the altar. The only tribe never thus treated was the 
 original one who worshipped Rongo and Motoro : the alleged 
 reason being that Rongo would be angry if his own worshippers 
 and so-called children were offered. With perfect consistency, 
 then, it was proposed by the angry heathen, in 1824, to offer up 
 Davida, the first Christian teacher, to the god Rongo. This 
 was with the view of extinguishing Christianity. The plot almost 
 
Hu7nan Sacrifices. 291 
 
 succeeded. Providentially, a convert named Maiiapa ^ revealed it 
 to Davida, and so set the Christian party on their guard. 
 
 The following ancient myth refers to the only instance related of 
 stealing away the sacrifice from Rongo's altar ; for it is well known 
 that fish were not offered to that god. His fish were humaji victims. 
 
 Three varieties of butterflies are indigenous on Mangaia : a 
 large, velvety, purple beauty ; a somewhat smaller one, with red 
 spots ; and a small, unattractive, yellow sort. 
 
 One day Rongo missed from his altar a fine sword-fish (aku) ; 
 it had been stolen by the Lizard-god, Matarau, whose marae is at 
 Aumoana,^ at Tamarua. Rongo ordered his swift messengers, the 
 birds, to fly to that marae to see whether it was not hidden there. 
 The birds obeyed, and found the stolen sword-fish in the sacred 
 shade of the marae. Hard by, in a gloomy little recess, the Lizard 
 kept constant watch. Now this Lizard had, as its name Matarau 
 implies, two hundred eyes, besides eight heads and eight tails. 
 So that all that the bird-messengers could do was to look on 
 with awe at a distance, from the branches of the sacred trees. 
 They returned to great Rongo, and told what they had seen. 
 They were chided by Rongo, and bidden to return to the grove of 
 the Lizard-god, and endeavour to bring aAvay the " fish " stolen 
 from his altar. The birds returned, and in their zeal venturing too 
 near the cave of the god possessed of two hundred eyes, were all 
 summarily devoured. Several other bird-messengers shared a 
 similar fate. Rongo now commissioned rich velvety butterfiies 
 to attempt the rescue ; but they, too, were all snapped up by the 
 Lizard-god. The red butterflies fared no better. At last Rongo, 
 
 ^ A heathen song in honour of this man is given on p. 257, 
 - 1= Ocean current. 
 
292 Myths mid Songs. 
 
 at his wits' end, hit upon a notable device to get back his stolen 
 sacrifice : two little yellow butterflies were summoned to his 
 presence, and were directed to a banyan tree growing out of the 
 rocks just over the entrance to the cave where the ever-vigilant 
 Lizard kept watch. Adhering to the inside of two sere yellow 
 leaves, their presence would not be noticed. The trusty little mes- 
 sengers, so utterly insignificant in appearance, easily made their 
 way unnoticed to the banyan tree. All the butterflies and moths 
 of Mangaia hid themselves amongst the leaves in the immediate 
 neighbourhood, in order to render assistance. Rongo now caused 
 the " moio " (w. by n.) wind to blow violently across the island 
 (in a straight line from the grove of Rongo to that of the Lizard- 
 god). Down came a shower of yellow leaves with the two yellow 
 butterflies upon the stolen " fish." Little did the Lizard suspect 
 that two messengers of his rival Rongo were hidden underneath 
 the multitude of leaves which caused his eyes to blink for a 
 moment. The clever little butterflies inwardly chuckled, as 
 success was now certain, for they had seized their prey. And 
 now myriads of butterflies and moths of all sorts and colours came 
 to the aid of their friends. The ears of the astonished Lizard-god 
 were assailed by the defiant shouts of the war-dance, as the sword- 
 fish was borne on the wings of the army of butterflies through the 
 air across the island to the altar of Rongo. With infinite chagrin 
 the Lizard-god helplessly watched the disappearance of his stolen 
 " fish." As they fled they sang : — 
 
 E uru tupu ariki, e ika na Rongo ! Dance in triumph before this (fish) 
 
 offering to Rongo. 
 E apai e takitaki acre. Lift it on high ; bear it carefully on. 
 
 " Aumoana " is the ancient marae of the Tongan tribe, to 
 
Hicman Sacrifices. 293 
 
 whom Vaioeve belonged. Unquestionably this is an allegorical 
 account of the loss and recovery of Vaioeve, or some other very 
 early victim ; the object being to conceal the fact from the vulgar. 
 That an ambush was formed, and two clever fellows dared the 
 anger of the Lizard-god, in order to recover a stolen sacrifice (or 
 " fish," as it was invariably termed) is very probable. 
 
 THE DRUM OF PEACE. 
 
 Upon gaining a decisive victory the leading warrior was 
 proclaimed " temporal lord of Mangaia." The kingly authority 
 was hereditary and distmct from that of the warrior chief: the 
 former representing the spiritual, the other the temporal power. 
 I believe Mangaia to be the only island in the Pacific where this 
 distinction obtained. Kings were " te ara pia o Rongo," i.e. 
 " the mouth-pieces, or priests, of Rongo." As Rongo was the 
 tutelar divinity and the source of all authority, they were invested 
 with tremendous power — the temporal lord having to obey, like 
 the multitude, through fear of Rongo's anger. Peace could 
 not be proclaimed or blood spilt lawfully without the consent 
 of the king speaking in the name of the god Rongo. So sacred 
 were their royal persons that no part of their bodies might be 
 tattooed ; they could not take part in dances or in actual warfare. 
 
 It sometimes happened that the temporal chief was at enmity 
 with the king of his day. In this case the king would refuse 
 to complete the ceremonies for his formal investiture ; life would 
 remain unsafe ; the soil could not be cultivated, and famine soon 
 followed. This state of misery might endure for years, until 
 the obnoxious chief had in his turn been despatched, and a more 
 agreeable successor fixed upon. All the multitudinous idolatrous 
 
294 Myths and Songs. 
 
 ceremonies to secure peace would be now easily arranged by the 
 king. 
 
 Seven distinct journeys would be made round the island by 
 the victorious warriors, who with their women and children had 
 hitherto huddled together in one encampment. Fully equipped, 
 as if for battle, they would one day march round the island 
 defiantly, to assert the absolute supremacy of the winning party. 
 Man, woman, or child crossing their path that day was slain. 
 Subsequent processions were of a more peaceful character, in 
 order to perform idolatrous worship at each of the principal 
 maraes. One of the more interesting of these was the ceremony 
 of spear-breaking, in token of the cessation of war. After a 
 renewed circuit of the island, the warrior chiefs would, with 
 great formality, beat to pieces a number of second-rate spears 
 of various shapes against a great chestnut tree (cut down a year or 
 two since) growing opposite the principal interior marae. An- 
 other interesting symbol of peace was the setting up in each prin- 
 cipal marae a forked stick, well notched, and called ^^ supports,'' 
 intimating that the leading men who worshipped there should 
 prove " supports " to the reign of peace now inaugurated. 
 Miniature houses were erected on all these maraes ; each house 
 being a fathom long and well thatched, with a Httle open door 
 neatly screened with a strip of the best white cloth. These tiny 
 houses were designated " conservators of peace " (are ei au). The 
 idea was, that all the gods and all their worshippers should lay 
 aside their animosities and unite in keeping the peace. In the 
 language of those days, the entire assembly of gods form but " one 
 house ; " the great point being that no divinity should feel himself 
 neglected, and so take umbrage, and thus a hole be made through 
 which wind and rain (war and bloodshed) might enter. If all the 
 
Human Sacrifices. 
 
 295 
 
 gods be propitious and united, they form a well-thatched house 
 which no evil can invade. 
 
 The seventh and most important procession of all was to beat 
 the drum of peace all round the tslafid. But the indispensable 
 preliminary to this was the securing an acceptable offering to 
 Rongo, arbiter of war and peace. A man or woman must be 
 slain, but not needlessly battered, for the express purpose, and 
 laid upon the altar. 
 
 The victim was first exposed on a platform of pandanus- 
 wood in the sacred district of Keia, and opposite to the idol- 
 house ; hence the name often applied to such, " pange-ara," or 
 " laid-on-a-pandanus-tree," The entire body of victors now 
 assemble in their gayest trappings, and well armed, in front of the 
 victim, whilst "the praying-king" (te ariki karakia) slowly chanted 
 twice the following — 
 
 PRAYER OVER A HUMAN SACRIFICE TO RONGO. ^ 
 
 E kaura ! ura pia ! 
 Ura vananga, ura turou, 
 Turoua takala, takaia e mana, 
 Rimarima tangata, angaanga tangata, 
 Atia a mana airi a tapu : 
 Atia te 16, te io no Rongo. 
 
 Stately, noble priest ! 
 Sweet peace, pleasant offering ! 
 Securely fastened and well-tied. 
 These human hands and human form, 
 Devoted to this fate by the gods : 
 Doomed to sacrifice by the god 
 
 Rongo. 
 
 O Vatea te auranga moana, 
 
 le rua rau'i au, 
 E rua rua'i toro. 
 
 Great Vatea is the guardian of the 
 ocean. 
 By him it is ruffled : 
 By him it is calmed. 
 
 ^ This prayer, and the "Prayer for Peace" on p. 299, are of unknown 
 antiquity. 
 
296 
 
 Myths and Songs. 
 
 Ka tiipu o te toa, 
 Ka rito o te toa, 
 Ka rara o te toa, 
 Ka kokoti o te toa, 
 Ka era o te t5a, 
 Ka maikuku o te t5a, 
 Ka ngaa o te toa. 
 
 Tupu akera ia uki e toa 
 
 E maori no taua puruki j 
 No taua te arutoa 
 No tupuranga taua. 
 
 No taua kiea, no taua kiea ! 
 
 E ti o te maunga o te mateni ; 
 
 Teniteni te matakeinanga ; 
 Koakoa te matakeinanga ! 
 
 Taua ra i te makitea, 
 I te punanga o te ao. 
 
 Teniteni te matakeinanga ; 
 
 Koakda te matakeinanga ! 
 
 Here is iron-wood of noble growth — 
 A most graceful tree. 
 With numerous branches. 
 Fell this iron-wood tree ; 
 Divide its trunk ; 
 Split it with wedges. 
 For the making of spears. 
 
 In every age the iron- wood has yielded 
 Death-dealing spears 
 For the use of warriors only — 
 From time immemorial. 
 
 And bravely have we wielded them ! 
 
 The wild ^ ti root of the hills (was 
 our food). 
 
 But now we shall enjoy plenty. 
 
 This day we heartily rejoice. 
 
 Lately we hid in the rocks — 
 The refuge of the conquered. 
 But now we shall enjoy plenty, 
 This day we heartily rejoice. 
 
 The painfully interesting part of this incantation is lost ; the 
 stanzas relating to the division of the lands, when the nose and 
 ears of the victim were cut off and formally presented to the 
 expectant chiefs. The " prayer " only was chanted on this occa- 
 sion. 
 
 After a few days the warriors would again deck themselves in 
 their gayest trappings, and well armed stood in front of the wooden 
 altar. The "praying king," assisted by his friends, now came 
 forward with a large coarse scoop-net of cocoa-nut fibre, used 
 only on such occasions ; and carried off the decayed sacrifice to 
 the pebbly beach at some distance. It was laid this time on a 
 
 Dracaena terminalis. 
 
Human Sacrifices. 297 
 
 smooth block of sandstone in front of the great national stone idol, 
 Rongo. Hence the name frequently applied to human victims, 
 " ikakaa," or fish caught in the net of Rongo. The incantation 
 slowly chanted at the wooden altar in the interior near the marae of 
 Matoro, god of day, was repeated at the natural stone altar on 
 the shore at the marae of Rongo, god of night (atua po). 
 
 The " praying king," with a bamboo knife, now cut off the ears 
 of the victim ; the right ear representing the right, or southern, 
 half of the island ; the left ear representing the left, or northern 
 half Each ear was then subdivided into as many small portions 
 as might serve to represent the various minor districts (tapere) of 
 each half The king now demanded, in a loud voice, " Who shall 
 be lord, or warrior-chief, of Mangaia?" According to a private 
 agreement, the leading man amongst the winning tribes rose, and 
 with dignity said, " Ei iaku Mangaia " = " Let me be lord of 
 Mangaia." The entire assembly of warriors, by profound silence, 
 confirmed the appointment. This chief now resumed his seat on 
 the ground ; but to him, as supreme temporal lord, no part of the 
 victim was given. In a prescribed order, the names of all the 
 district-chiefs and landowners were proclaimed, each receiving from 
 the hand of the king a portion of the ears of the victim wrapped up 
 in a // leaf. The great temporal chief invariably received the first 
 portion, in the inferior capacity of district-chief These bits of 
 human ears were deposited in the different family maraes. They 
 constituted an investiture to all offices and right to the possession 
 of the soil. Without a human sacrifice there could be no formal 
 possession of dignity or estate. 
 
 The nose of the victim was the portion of the kings and their 
 recognized assistants. Thus the guardian of, and performer on, 
 the sacred drum of peace had a share. The man who had the 
 
298 Myths and Songs. 
 
 management of all great feasts, and was supposed to make the 
 food grow, came in for his share of the nose. The " praying 
 king," however, was the great spiritual dignity or pontiff, and as 
 such came in for the best lands, in addition to the daily offerings 
 of food of best quality. 
 
 And now the famous drum of peace, expressly made for this 
 solemn occasion, would be beaten ; or, strictly speaking, would be 
 heavily struck with the tips of the fingers. A feast occupied the 
 attention of the warriors and chiefs between the presentation of 
 the bits of human ears and the drumming. The performance first 
 ook place on the marae of Rongo ; a procession was now formed 
 of all the victorious tribes, headed by the king and the hereditary 
 drum-beater, who carried the big drum. This object of mysterious 
 reverence was simply part of a tree, dug out at one end with stone 
 adzes ; the aperture being covered with a piece of shark's skin. 
 Each relative of the hereditary drum-player carried a small drum, 
 to increase the volume of sound, thus assuring fugitives hiding in 
 the rocks and thickets that better days were dawning. The 
 " praying king," at the head of the procession, chanted in a pleasing 
 tone a prayer for peace to the gods. At a certain point all the 
 males of the kingly families united their voices, and all the drums 
 sent forth their agreeable, although monotonous, accompaniment. 
 
 I give the exact words from the lips of the aged king, who 
 minutely related to me the whole of the ceremonies connected 
 with the offering of human sacri^fices and the drum of peace. For 
 any but kingly voices to recite these " karakia," or " prayers," 
 would have been to invoke the anger of the gods. 
 
Human Sacrifices. 299 
 
 PRAYER FOR PEACE. 
 
 The single voice of the ^^ praying king." 
 
 Akiakia Maruata ikitia taku atarau. A bleeding victim has been chosen 
 
 for our altar, 
 laia ia vaerea te tarutaru enua By it are weeded out the evils of the 
 
 land 
 O Avaiki mai raro e ! Which spring up from nether- world. 
 
 All the drums and all the voices. 
 Teimaia rangi maia, rangi vaerea. Let peace begin. May the sky be 
 
 cloudless ! 
 Teimaia rangi maia, rangi vaerea. Let peace begin. May the sky be 
 
 cloudless ! 
 Vaerea tai taru ; vaerea. Weed out all evils. Weed them 
 
 out! 
 Vaerea ; vaerua i to makita, makita. Weed, weed them out ; utterly and 
 
 for ever ! 
 Makitaria kitaria, kua rangi riri e ! Aye, let each threatening cloud 
 
 entirely disappear ! 
 
 Upon entering each district the performance began anew. The 
 circuit of the island was made in one day ; — the prayer being 
 many times offered. At a certain spot, still marked by three 
 stones, a spear was thrust into the big drum of peace, in token 
 that the work was accomplished. Peace was secured. The great 
 drum was hidden away in a . certain cave, kept an inviolable secret 
 to this day. So that for each proclamation of peace a new drum 
 (pau) must be dug out. 
 
 No music was ever half so sweet to the ears of the vanquished 
 as the monotonous notes of the drum of peace. By it human life 
 became sacred. Wretches, nearly dead from starvation and terror, 
 hiding in the desolate " raei," now came forth boldly. Everywhere 
 the fertile valleys became again dotted over with the dwellings of 
 the victors and their vassals. These houses might be covered 
 
300 Myths and Songs. 
 
 with substantial thatch ; — for had not the gods in each district 
 been honoured with tiny ones of their own ? Thatched houses 
 were not lawful until the drum had been beaten. A miserable 
 shift was made with split cocoa-nut branches. 
 
 In the hope of winning the favour of the new lords of the 
 soil, the survivors of the beaten tribes brought out from their 
 hiding-places in the rocks fine braided hair ; white shells for the 
 arms, used at dances ; fish-nets of the best quality ; wooden 
 troughs and stone adzes. Some were fortunate in being pro- 
 tected by relatives, who usually allowed their unfortunate friends to 
 retain J)a7't of their treasures. Some were avowedly protected to 
 furnish human sacrifices at a future day. The birth of a child by 
 such serfs was regarded with satisfaction by the unfeeling masters. 
 As a rule, the wives of the conquered were the property of the 
 victors. The serfs were expected to fish daily for the benefit of 
 their lords, who generously permitted their dependants to eat the 
 small, inferior fish themselves. 
 
 A feast was given by the victors to these serfs — a public 
 recognition of their safety. This was called " taperu kai." 
 
 The coral-tree {erythrina coi'alodefidron), which attracts every eye 
 with its symbolical blood-red flowers, was now formally planted in 
 the valleys in token of peace. This plant is almost imperishable. 
 It was vainly hoped that the reign of peace might be equally 
 enduring. Cocoa-nut trees were also planted all over the island 
 to mark the duration of peace. The only warrior-chiefs under 
 whom peace prevailed long enough for a cocoa-nut tree to bear, 
 were Tuanui, Mautara, Ngara, Potiki, and Pangemiro. Two only 
 of these were long reigns — Mautara's, twenty-five years ; Potiki's, 
 about twenty years. The other three certainly did not exceed 
 seven years apiece. Sages praise these five great chieftains for 
 causing peace to prevail so long ! 
 
Htiman Sacrifices. 301 
 
 Tradition tells of a period when war and bloodshed were 
 unknown. That was in the days of Rangi, before Rarotongan 
 chiefs had taught them to be cruel. Thanks be to God, that for 
 more than forty years, under the benign influence of Christian 
 truth, human life has been sacred. 
 
 After the drum of peace had been beaten, it became unlawful 
 to carry weapons of any description. Aged men, however, were 
 permitted to carry about a staff, five or six feet in length, to 
 support their tottering limbs. Men daily carried about with them, 
 in symbol of peace, an outrageously large fan, now obsolete. This 
 fan was sufficiently large to protect the upper part of the body 
 from sun or rain. It was found necessary to forbid its use 
 in church, as the person of the owner was nearly hidden 
 behind it. During the season of peace it was considered a most 
 grave offence to cut down iron-wood on any pretence whatever; as 
 under pretence of obtaining strong rafters for their houses, or the 
 making of spades for husbandry, weapons of war might be manu- 
 factured. 
 
 When the martyr Williams touched at Mangaia in 1823, he learnt 
 that a decisive battle had been fought two years previously ; but 
 the drum of peace had not been beaten. Hence their favourite 
 saying, that the men of that generation were awaiting the arrival 
 of the Gospel of the Prince of Peace, whose word and reign con- 
 stitute the true drum of peace. Davida and Tiere first caused them 
 to hear the sweet melody; they emerged out of their hiding-places 
 into the peace, light, and freedom of Christianity. The Sacrifice 
 laid on the divine altar was no longer an unwilling victim selected 
 from the slave tribes, but the free-will offering of the Son of God. 
 
 The native words for "peace"' ("mangaia," "au"), also 
 
 ^ The Bible phrase, " the peace of God,'''' is rendered " te au o te Atua "= 
 *' the rule and consequent peace of God. " 
 
302 Myths and Songs. 
 
 denote "rule," or "reign;" the rule of the temporal lord lasting 
 only so long as no blood was spilt. Once the charm broken, 
 murders and reprisals might daily take place, provoking a pitched 
 battle, sometimes a war of extermination. When the victors felt 
 themselves secure, a human victim (sometimes more than one) 
 must be secured, and all this burdensome ceremonial gone through 
 again, ere peace and order 'could once more prevail. Hence the 
 difficulty of native chronology ; the " reigns," or " periods of 
 peace," are most carefully enumerated j the years of war and 
 anarchy are invariably omitted. The means for correcting their 
 chronology is supplied by the lifetimes of their priests, which are 
 well known. It is impossible that the errors should be serious, 
 seeing the names of the three contemporaneous orders of priests 
 (Motoro, Tane, and Tuaranga) are definitely ascertained. 
 
 The last time the peace-drum was played was about the year 
 1815. The victim selected was Teata. Of course the poor old 
 bald-headed fellow was kept in ignorance of the intentions of the 
 sacrificers. On a certain evening the victim-seekers assembled on 
 the level top of the central hill, to receive at the hands of the king 
 " the sacred girdle." Upon reaching, by an unfrequented moun- 
 tain path, the hut of Teata, they found it empty. They were not 
 a little perplexed; for should their presence in the village be known, 
 their intended victim would effectually hide himself in the rocks. 
 At last, under cover of darkness, some of them asked the assist- 
 ance of Rakoia. But Teata was maternal uncle to Rakoia, who well 
 knew that the old man was liable to sacrifice at any time, as his 
 ancestors had been before him. Rakoia resolved to secure to 
 himself the merit and profit of delivering Teata into the hands of 
 his foes. A few minutes previously he had left his uncle in a lone 
 
Human Sacrifices. 303 
 
 house built on poles in the middle of the taro patches. A short 
 ladder led up to the hut. With another relative (still living in 
 1875) ^^d Teata, Rokoia had been rehearsing songs. Then they 
 chatted pleasantly about the dire famine then prevailing. The old 
 fellow patted his head, and remarked, " Could they get this (as 
 an offering), the gods would send plenty again." At length Teata 
 Vainekavoro snored, and Rakoia quietly slipped down the ladder 
 and went home. As soon as the victim-seekers told him of their 
 perplexity, Rakoia said, "Follow me, and you shall have your 
 ''fish.'' " A race now took place between two warriors as to the 
 honour of giving the death-blow. Rakoia led the way ; on 
 arriving at the top of the ladder he carefully pointed out the 
 sleeping form of his uncle Teata. A single blow from the axe of 
 Arokapiti ended the career of the old man, who an hour or two 
 later in the same night was laid on the altar. And thus it was 
 that the drum of peace for Pangemiro's temporal sovereignty came 
 to be beaten. Hence the consideration ever paid amongst the 
 chiefs to the word of Rakoia, who in 1846 succeeded his brother as 
 chief, or governor, of Tamarua. Rakoia was one of the first to 
 embrace Christianity; and until his death, in 1865, I never saw 
 anything inconsistent with his profession as a disciple of Jesus. 
 He was a faithful friend to the missionaries, and his last intelligent 
 words were addressed to me expressive of his hope. 
 
 At the period of his death he was about eighty years of age. 
 He had fought in four pitched battles, besides several minor 
 engagements. He was accounted the best poet of his day. 
 
 After the death of Rakoia, a tract of taro-planting land in the 
 possession of his nephews became a subject of discussion. None 
 of the younger men had a clue to the title by which it was held. 
 
304 Myths and Songs. 
 
 Some proposed to give it to another tribe, to whom it anciently 
 belonged. The old men of the tribe then confessed that the land 
 in question was Pangemiro's formerly, but was formally given 
 to Rakoia as the price of Teata's blood ! Shame had till then 
 closed the lips of these old men ; a shame which would never 
 have been felt but for Christianity. According to the ancient 
 dictum, " blood only can purchase what blood formerly secured." 
 Of course Rakoia's family retain the land. 
 
 A month or two before the landing of Davida a sacrifice was 
 sought for the public acknowledgment of Pangemiro's second elec- 
 tion to the supreme temporal chieftainship. Reonatia was waylaid 
 and slain (as was supposed) one night, upon his return from bara- 
 coota-fishing. A companion of his was uselessly slain at the same 
 time. A long spear was driven through the body of the victim, 
 and the body borne on a litter across the island to the altar. The 
 coolness of the night revived Reonatia, after he had been laid on 
 the altar, and the warriors had retired. He even descended to the 
 ground, and despite the ghastly wound, unsteadily ran up the hill- 
 side a few yards. In a short time it was discovered, and this 
 time a stone adze was employed to give the fatal blow, and the 
 offering was replaced on the altar. But the dissensions which 
 arose on account of this occurrence (that the gods were angry) 
 prevented the completion of the ceremonies necessary to peace. 
 Reonatia was the last human sacrifice ever laid on the altar of 
 Rongo. 
 
 The betrayer of Reonatia was Rouvi, who took part afterwards 
 in the destruction of the maraes and the pantheon, and became 
 one of the brightest ornaments of our Church. At a very 
 advanced age — say eighty-five — he passed away from our midst. 
 
Htunan Sacrifices, 305 
 
 The heathen had prophesied that he would speedily die through 
 the anger of the gods ; but he outlived every vestige of the 
 heathen party, and was universally respected for his consistent 
 attachment to the Truth. 
 
 After the drum of peace had been sounded over the island, the 
 king again employed his great net to remove the putrid carcass of 
 the victim — now minus ears and nose — to a certain place in the 
 bush within the limits of the marae. It was now designated an 
 "ika aua na Papa," ox fish-refuse thrown to Papa, mother of Rongo. 
 She was supposed to come up at night to feed upon this ghastly 
 banquet. The net itself was wrapped round and round the stone 
 image of Great Rongo, and there allowed to decay. Inside this 
 coarse net was the ordinary tiputa, or loose covering; on the 
 head was a sort of hat made of folds of dark native cloth, giving to 
 a spectator the impression that he was gazing at a living person. 
 
 Near the image of Rongo the Great stood a small stone 
 figure bearing the name of " Rongo-i-te-arero-kute " = Rongo-of- 
 the-red-tongue. This little unclothed, unworshipped divinity 
 seems to have been placed at the back of his friend to give 
 emphasis to the tide Rongo Nui = Rongo-the-Great. 
 
 At Rimatara human sacrifices were continually being offered 
 to Rono ( = Rongo), but the " drum of peace " was unknown. 
 
 KIRIKOVrS SACRIFICE. 
 
 CIRCA A.D. 1772. 
 
 After the battle at Teopu, the temporal lordship of Mangaia 
 devolved upon Kirikovi. It was in his chieftainship, of some five 
 or six years' duration, that Captain Cook touched at Mangaia. 
 The first victim uselessly placed on the rude altar of Rongo, in 
 
 X 
 
3o6 Myths and Songs. 
 
 order that the drum of peace might be beaten, was Arauru, who, 
 with the rest of the Teipe clan, had been hiding with the ancient 
 tribe of Ngariki inside a grand and almost inaccessible cave 
 named Erne. For a consideration of some valuable lands, Toe, 
 cousin to the doomed man, engaged to lure Arauru out of his 
 secure hiding-place to his death. Nor was this a difficult task, 
 as this treacherous relative himself lived inside the cave. Ere it 
 was quite day, Toe proposed to his victim that they should go 
 fishing. Arauru objected, on the ground of danger; but Toe, 
 assured him that their foes had that day started off in a different 
 direction. Accordingly they left Erue, and with some difficulty 
 made their way through thickets towards the sea. When half- 
 way (opposite to the present church), Arauru was startled by the 
 loud chirp of a cricket in the air, and said to his deceitful com- 
 panion, " Ara ! tera rava te Atua karanga ! " = " List to yon warn- 
 ing voice !" Twice did the unseen insect mysteriously address the 
 infatuated Arauru, who kept on his way, and soon found himself 
 encircled with armed men. That same day the unoffending victim 
 was laid on the altar of Rongo. But Uanuku, the " wise man " 
 (koromedua ^) of his day, and the author of a well-remembered 
 dirge for Vera, wept and protested against the prayers for peace 
 being chanted over his relative. The body of Arauru was accord_ 
 ingly thrown down a neighbouring chasm. 
 
 A new and unobjectionable victim must be sought. Who 
 so suitable as Maruata, who had no family ties to the winning 
 tribes ? Despite all pledges of safety for himself and his children, 
 he was in the dusk of evening enticed out of the cave Erue to 
 a short distance and despatched. The prayers were duly offered, 
 
 ^ Hence the native name for "Missionary," Orometua, meaning literally, 
 " a ivise man, or histructor.^^ " Orometua " is Tahitian for " Koromatua." 
 
Human Sacrifices. 307 
 
 and all the other ceremonies performed. Thus Kirikovi was in- 
 stalled paramount chief. 
 
 As there were several Maruatas, this one is known as "Maruata 
 who fell at loapa," the place where the victim was clubbed being 
 so named. 
 
 The wife of Maruata, who at an earlier period so narrowly 
 escaped being eaten by Ngako, not only witnessed the cruel 
 sacrifice of her husband, but also of some of her children in after 
 years. 
 
 Toe was himself offered in sacrifice at the commencement 
 of the next reign. 
 
 Arauru, Maruata, and Toe all worshipped the lizard-god 
 Teipe. 
 
 A "CRYING" SONG FOR MARUATA 
 
 (pertaining to the " DEATH-TALK OF PUVAI "). 
 BY KOROA, CIRCA 1 795- 
 
 Used only by the Altar-tribe Teipe. 
 
 TUMU. INTRODUCTION. 
 
 Solo. 
 Ti5 ra, tinaoia Maruata e ! Sing we of Maruata, slain for the 
 
 altar, 
 E kitea mai nga erepua tei iaau, Though many were the promises 
 
 E Mai e ! To thee, O Mai ! 
 
 Chorus. 
 Atuia mai taua e ! All, alas ! soon broken by 
 
 Pae atiati Ngariki e ! Deceitful, lying Ngariki. 
 
;o8 
 
 Myths and Songs. 
 
 PAPA. 
 
 FOUNDATION. 
 
 Solo. 
 
 Akamoe ana era, e Mai e ! 
 
 The clans were united, yet Map-"- 
 fell ! 
 
 Chorus. 
 Akamoe koe i te ivi-roa : Solemnly united to the ancient chiefs ; 
 
 E tamaki kiato i Erue, ua tanimo e ! Yet brother sold brother to death at 
 
 Erue. 
 
 Solo. 
 Ua tanimo tai kopu. They cruelly sold thee. 
 
 Te raka nei tai aiai : ua e ia Mai e ! Thou was deceived to thy death, 
 
 O Mai! 
 
 Maruata ra, tei o loapa e ! 
 
 UNUUNU TAI. 
 
 Tinaoia Maruata ra e ! 
 
 Tinaoia Maruata nei : 
 Ua koa tei Ngariki. 
 Ua tapaia tai apaki, 
 Apapatai ua tapariri. 
 
 Pikao rauti ra 
 
 I te taringa kotikoti 
 
 O Maruata ia otoia ! 
 
 Chorus. 
 
 Yes, the Maruata who fell at loapa. 
 
 FIRST OFFSHOOT. 
 
 Solo. 
 
 Alas for Maruata, slain for the altar 
 
 Chorus. 
 
 Maruata was slain for the altar ; 
 (Ngariki only smiled thereat). 
 Like so many others of his tribe. 
 That but few now survive ! 
 
 Wrapped in green ti leaves. 
 Slices of Maruata's ears 
 Announce all new possessions. 
 
 Na Rongo te take i tingeti 
 Ua kakina e ! 
 
 Ua kakina Maruata nei. 
 E kitea mai nga erepua tei iaau, 
 E Mai e ! 
 
 Solo. 
 
 Thy head, sacred to Rongo, 
 Was hit and split in his name ! 
 
 Yes, INTaruata, thy skull was split ; 
 Though many were the promises 
 To thee, O Mai ! 
 
 ^ A second name for Maruata. 
 
Human Sacrifices. 
 
 309 
 
 Atuia mai taua e ! 
 Pae atiati Ngariki e ! 
 
 Chorus. 
 
 All, alas ! soon broken by- 
 Deceitful, lying Nagriki. 
 
 UNUUNU RUA. 
 Na Paeru te ivi i akamoea'i ! 
 
 Na Paeru te ivi i akamoea'i. 
 Ua \\. taua i te mate o Uarau, 
 
 Atuia mai e ua tapariri. 
 
 Pikao rauti ra 
 
 I te taringa kotikoti 
 
 O Maruata ia otoia. 
 
 Solo. 
 
 SECOND OFFSHOOT. 
 
 The chief Paeru made league with 
 thee. 
 
 Chorus. 
 
 Paei-u himself made league with thee. 
 We too faithfully followed their for- 
 tunes, 
 Who betrayed thee to thy death. 
 
 Wrapped in green ti leaves, 
 Slices of Maruata's ears 
 Announce all new possessions. 
 
 Na Kongo te take i tingeti 
 Ua kakina e ! 
 
 Ua kakina Maruata nei. 
 E kakina mai nga erepua tei iaau, 
 E Mai e ! 
 
 Atuia mai taua e ! 
 Pae atiati Ngariki e 
 
 Thy head, sacred to Kongo, 
 Was hit and split in his name. 
 
 Solo. 
 
 Yes, Maruata, thy skull was split ; 
 Though many were the promises 
 To thee, O Mai ! 
 
 Chorus. 
 
 All, alas ! soon broken by 
 Deceitful, lying Ngariki. 
 
 THE DEATH OF NGUTUKU (Circa 1810). 
 
 ARRANGED FOR THE NATIVE HARMONICON. 
 
 Voices only : as many as ten. 
 Ngutuku te tuku, e te matakeinanga ; Ngutuku is doomed to perish, 
 
 friends — 
 He who is as dangerous as the 
 deadly *' teve.^^ 
 
 O taua teve, mangeo ua ra ! 
 
lO 
 
 Myths and Songs. 
 
 Tena te tamaki, e tiki ia Ku tei roto i Let us attack the guardian of the 
 
 te rua. 
 Kua motu i te rauaika. 
 
 Nana ia ka ora. 
 E tiki e ta i te rua o Tongaiti. 
 
 Vaarire te iki i te kapua e tangi ra. 
 
 cave. 
 
 His hour has come. 
 
 He vainly dreams of safety. 
 Up, attack the stronghokl of the 
 
 Tongan clan. 
 Vaarire is the offering ^ for the altar 
 
 — the price of peace. 
 
 Music and Voices. 
 
 Tera ! Ngutuku, Ngutuku, Ngutuku Look yonder ! Ngutuku, Ngutuku 
 
 titiri ! Ngutuku has fallen. 
 
 Ngutuku oki ka apai na Ngutuku is destined for the altar, 
 
 I te kapua ei ika na Kongo. As a peace-offering to Kongo. 
 
 Anatia kia mou, kia ketaketa. Secure the victim v^^ell to the litter. 
 
 Kotia Vaarire, kotia Vaarire, kotia Vaarire is slain, Vaarire is slain, 
 
 Ngutuku. Ngutuku is slain ! 
 
 Ngutuku, Ngutuku titiri ! Yes, Ngutukii, Ngutuku is hurled 
 
 down. 
 
 l oices only. 
 
 Kua maranga o Vaarire i te kapua ! 
 E uru tupu ariki, e ika na Kongo ! 
 
 E apai e takitaki aere. 
 
 Ah, Vaarire is borne to the altar ! 
 Dance in triumph before this offering 
 
 to Kongo.2 
 Lift it on high ; bear it carefully 
 
 on. 
 
 Music and Voices. 
 
 Vaarire te ika i mua. 
 
 E Vaarire te ika i te kapua ! 
 Tei runga au, na Tamarua, 
 
 Na Piti, e Piti, Piti, 
 
 I na Veitatei ra : tukuroi ra i Vaipia 
 
 Bear in front the sacrifice (fish), 
 
 Vaarire. 
 Vaarire is destined for the altar. 
 We scaled the entrance to his cave at 
 
 Tamarua. 
 We now bear him along the road 
 Until reaching Veitatei we rest at 
 
 the stream. 
 
 ^ Vaarire was the original name of Ngutuku. Wherever I have translated 
 " offering," the original is fish. 
 
 2 The ancient song of the butterflies, on page 292, is incorporated into this 
 modem production. 
 
Himtan Sac7njices. 
 
 1 1 
 
 A na ! la ia ! ! tataki na ! 
 
 Kua naua. Oie puruki Rongo, 
 
 Oie puruki Rongo. 
 
 Romia mai, e te matakeinanga 
 Kia takitaki tatou : takaki na uriuri. 
 
 Ka apai ei kapua koe. 
 
 And now for the war dance. Up 
 
 with him. 
 We have succeeded. Such is the 
 fiat of Rongo ! 
 So wills the god of war ! 
 
 Onwards, onwards, brave friends. 
 Toss him aloft. Dance the war- 
 dance. 
 Thou ai't ojt thy way to the altar. 
 
 Music and Voices. 
 Kua roiroi ka acre, a tau te vaapoiro, Once thou didst despatch ^ thy hurried 
 
 meal ; 
 Anatia te peru a5 ; The well-secured basket of tackle 
 
 Akairi ra i te ua, Slung to thy shoulder — 
 
 Kia acre atu i te taatuatini, i te taatua- Thou madest thy way to the sea for 
 tini ! sport. 
 
 E vaka no Ngutuku, e vaka taki A canoe for Ngutuku. Put in some 
 
 koatu ; 
 E vaki taki acre. 
 Kua kakaro i te matangi, 
 Kua tu te rirei ; kua tu te rirei ! 
 
 stones. 
 Launch thy frail bark. 
 Note well the wind. 
 The tokens are favourable ; 'twill be 
 fair. 
 
 E maro tikoru e ! itikitiki rouru e ! 
 
 Itikitiki rouru e ! 
 Kotia ra e Kauare to metua, e Mua 
 
 Thy girdle is secured ; thy hair tied 
 up, 
 Ready for the altar. 
 O Muare ! thy father was slain by 
 Kauare. 
 Kotia ra Ngutuku. Tena oa te Yes, Ngutuku was cut down by his 
 tamaki ! hand. 
 
 Kotia ra Ngutuku ! Ia e ! Ngutuku fell ! (War-dance.) 
 
 I koia koe i te rakau. The spear entered thy body ! 
 
 A puta koe i te puruki a Rongo e ! Such is the resistless will of the god 
 
 Ron^ro ! 
 
 ^ Ngutuku was an expert fisherman ; hence the reference to his daily 
 avocations in this and the following stanza. 
 
12 
 
 Myths and Songs, 
 
 Oi tatamaki koe ; oi tatamaki koe. For thou art of a restless and doomed 
 
 race. 
 
 O Taura tei mua ; Atiati te teina ; Thy daughter ^ Taura leads the way : 
 
 Atiati follows. 
 O Paraakere, o Veruara. Then comes (the youngest) Paraakere 
 
 with her mother. 
 
 Ka apai na to metua i te kapua ! Yotir father is being borne to the 
 
 altar! 
 
 MAKITAKA'S LAMENT ON THE LOSS OF THE 
 TEMPORAL SOVEREIGNTY. 
 
 COMPOSED BY TUKA, CIRCA A.D. 1815. 
 
 Recited at a Reed-throwing Match. 
 
 Solo. 
 
 Taku pua i tanu reka e ! 
 Ua tanu ake koe i Tamarua — 
 E tupu te au e ! 
 
 Fair tree planted by my hand ! 
 Alas, for the tree of peace which 
 Once flourished at Tamarua ! 
 
 Teipoi arire riro akera Mangaia i te Alas, that Mangaia should be 
 rave ! snatched from my grasp! 
 
 1 By a refinement of cruelty only possible to heathenism, the bearers of 
 the sacrifice address the weeping children in the words, " Your father is being 
 borne to the altar." Muare, the only son of the victim, did not follow the 
 corpse, as he would have been put to death. He survived to Christian times, 
 and became a member of the Church. Years before the first teachers landed, 
 he induced Reinga to compose this song in commemoration of his father's 
 tragical fate. Muare found a melancholy pleasure in chanting this song to its 
 proper accompaniment of the harmonicon : indeed, he quite excelled at this 
 outrageous performance. A fev^ years ago he died the death of a Christian. 
 His sister Paraakere died recently. 
 
Human Sacrifices. 
 
 31 
 
 Choi'us. 
 
 la Makitaka te ua. 
 A motu te toa ia Ngaki te miro. 
 
 la Ngaki te miro ia Teata : 
 
 O te uri oki na Aemata : 
 Tei nunga e i te kapua. 
 Koi-e rai ooku taeake ! 
 
 Kore kore rai e taeake tan^i e ! 
 
 E tini na Tane i ka riro Mangaia. 
 
 Ua riro rai Mangaia rai, e Teau. 
 
 Ua e ia Maki, 
 O te ivi koia i akamoea 'i e ! 
 
 Solo. 
 
 Makitaka, once supreme chief; 
 Now dispossessed by the fiat of 
 Ngakiau. 
 
 Ah ! Ngaki ^ directed the sacrifice of 
 
 Teata ; 
 Like all the descendants of Aemata, 
 The victim was laid on the altar. 
 Unpitied — unsaved ! 
 
 Alas ! unpitied — unsaved ! 
 
 Chorus. 
 
 Mangaia is now transferred- 
 
 Solo. 
 
 Mangaia, friends, is lost. 
 The chiefs dealt treacherously- 
 After plighting their solemn troth. 
 
 UNUUNU TAI. 
 
 FIRST OFFSHOOT. 
 
 Solo. 
 
 Vaekura te pia i tara e 1 
 
 Vaia te Amama, Amama o 
 taka. 
 
 Vaekura te arataki. 
 
 Arataki aere atu 
 
 Eia tu eia toa ? 
 Ei Mangaia, ei Ngariki ; 
 Ngariki o Makitaka. 
 
 E oa i te upoko ; 
 
 R oa i to rae. 
 Ia tangi a pu ; 
 la tangi kekina ; 
 
 The priest of Tane planned it — 
 
 Chorus. 
 Maki- Split up the priestly tribe of Maki- 
 taka. 
 So willed Vaekura. 
 Do thy worst ! 
 Why this bloodshed ? 
 To win Mangaia for a new dynasty. 
 The fame of Makitaka is gone. 
 Strike the head (of the altar- 
 victim). 
 Strike the temples. 
 As if a conch-shell sounded 
 Is the falling of the axe. 
 
 1 Ngaki is a shortened form of Tane Ngakiau. 
 
H 
 
 Myths a7id So7igs. 
 
 la ara i te pa ; 
 
 la ara i te mate. 
 
 A tara nei e Tane. 
 Kare kaiti kau rere ! 
 
 Ua riro rai Mangaia rai, e Teau. 
 
 Ua e ia Maki, 
 O te ivi koia i akamoea 'i e ! 
 
 Teipoi arire riro akera Mangaia e 
 rave ! 
 
 Ia Makitaka te ua. 
 A motu te toa ia Ngaki te miro. 
 
 Ia Ngaki te miro ia Teata : 
 
 O te uri oki na Aemata. 
 Tei nunga e i te kapua. 
 Kore rai ooku taeake ! 
 
 Kore kore rai e taeake tangi e ! 
 
 E tini na Tane i ka riro Mangaia. 
 
 The wounded are shrieking : 
 Are awakened only to die ! 
 Tane has gained the victory. 
 Alas ! Alas ! ! Alas ! ! Alas ! ! 
 
 Solo. 
 
 Mangaia, friends, is lost. 
 The chiefs dealt treacherously. 
 After plighting their solemn troth. 
 
 i te Alas, that Mangaia should be 
 snatched from my grasp ! 
 
 Chorus. 
 
 Makitaka, once supreme chief; 
 N'ow dispossessed by the fiat of 
 Ngakiau. 
 
 Solo. 
 
 Ah ! Ngaki directed the sacrifice of 
 
 Teata; 
 Like all the descendants of Aemata, 
 The victim was laid on the altar. 
 Unpitied — unsaved ! 
 
 Alas ! unpitied — unsaved ! 
 
 Chorus. 
 
 Mangaia is now transferred. 
 
 UNUUNU RUA. 
 
 Tutukiria nga ivi e ! 
 
 Ka tu au ka aere, 
 Ka aere taua e ! 
 I nunga i te tuaronga. 
 Taukarokaro i reira. 
 Tena te vai maka. 
 
 Solo. 
 
 SECOND OFFSHOOT. 
 
 Let brother slay brother. 
 
 Chorus. 
 
 I will arise and fight. 
 Join our band. 
 Away to yon plain 
 To fight our foes. 
 Stones are flying about, 
 
Human Sacrifices. 
 
 315 
 
 E vai koatu e ! 
 
 E vai rakau e ! 
 
 Ka ui te vai. 
 
 A pa te vai. 
 A pa te toa ia Tauokura. 
 la katamutamu ia karearea. 
 
 Te vaa i konia 'i. 
 
 Te vaa i tara 'i. 
 
 Ka tara nei, e Tane. 
 Kare kaiti kau rere ! 
 
 Ua riro rai Mangaia rai, e Teau. 
 
 Ua e ia Maki, 
 O te ivi koia i akamoea 'i e ! 
 
 Teipoi arire riro akera Mangaia 
 rave ! 
 
 Ia Makitaka te ua. 
 A motu te toa ia Ngaki te miro. 
 
 Ia Ngaki te miro ia Teata 
 
 O te uri oki na Aemata : 
 Tei nunga e i te l-capua, 
 Kore rai ooku taeake ! 
 
 Out of the slings of the brave. 
 
 Spears are uplifted. 
 
 The chiefs pause a moment 
 
 To examine the omens. 
 Death-blows are being dealt. 
 Fearful are the shouts of the victors. 
 
 Alas, those lips that once spake ! 
 
 Alas, the mouth once shouted ! 
 
 Tane has gained the victory. 
 Alas ! Alas ! ! Alas ! ! Alas ! ! 
 
 Solo. 
 
 Mangaia, friends, is lost. 
 The chiefs dealt treacherously. 
 After plighting their solemn troth. 
 
 i te Alas, that Mangaia should be 
 snatched from my grasp ! 
 
 Chorus. 
 
 Makitaka, once supreme chief ; 
 Now dispossessed by the fiat of 
 Ngakiau. 
 
 Solo. 
 
 Ah ! Ngaki directed the sacrifice of 
 
 Teata ; 
 Like all the descendants of Aemata, 
 The victim was laid on the altar. 
 Unpitied — unsaved ! 
 
 Kore kore rai e taeake tangi e ! Alas ! unpitied — unsaved ! 
 
 Chorus. 
 E tini na Tane i ka riro Mangaia. Mangaia is now transferred. 
 
i6 
 
 Myths a7id Songs. 
 
 CHAPTER XIV. 
 
 THE SEASONS, PHASES OF THE 
 
 MOON, ETC., ETC. 
 
 THE SEASONS (NGA TINO MARAMA). 
 
 EREU, OR SUMMER. 
 
 (Rain, Heat, and Plenty.) 
 
 1. Akau. Breadfruit appears ; 
 chestnut and other trees in blossom. 
 This month is also known as "the 
 time of beautiful cocoa-nut leaves " 
 (marama o te kikau). Akaii extends 
 from the middle of December to the 
 middle of January. 
 
 2. Otunga. Breadfruit and chestnut 
 trees covered w\\h.fr7ut, but not ripe. 
 Sprats ^ arrive. Hills covered with 
 reeds in blossom. 
 
 PARORO, OR WINTER. 
 
 [Drought, Cold, and Scarcity.) 
 
 1. Paroro. Cold south winds, 
 withering up the wild vines every- 
 where. 
 
 2. Manu. Iticubation of birds. 
 The woodpecker bores the dead cocoa- 
 nut for a nest. The titi bores the 
 side of the mountain. . Coral-tree in 
 blossom. Warrior-spirits take their 
 departure from earth. 
 
 3. Pipiri. Alufded up inside the 
 house, on account of the cold. 
 
 ^ The two months preceding the arrival of sprats are called " te karaii koa," 
 or "time of exhausted crabs," they having made their way from the rocks to 
 the sea to spawn. In like manner the interior of man is supposed to be 
 empty and weak, until the arrival of sprats gives new life. During these hot 
 and enfeebling months children are fractious and troublesome, but should on no 
 account be beatejt ! 
 
The Seasons, Phases of the Moon, etc. 3 1 7 
 
 3. Kautzia, or " kautua a kere- 4. Kaummnu. Papaka, or land- 
 'kexe''^ =^ '^ trail-of-the-eel." The soil crab, comes out of its hiding-place 
 is everywhere furrowed with water, as to feed, and is easily caught, 
 though traversed by eels. Time of Also called "karaii," or "crab 
 floods. season." 
 
 4. Akamdkuru. Some breadfruit 5. Md'u} Spring up. All tube- 
 and chestnuts fall unripe^ worm eaten. rous roots in the soil spring into life. 
 So, too, some brave men are sure to Also said — "kua tupu the anau kai '' 
 die prematurely this moon. Hurri- ^'' all plants in leaf." 
 
 ra«^ Wi?wM (end of March). 6. Vaetd. Trees, stones, bush 
 
 5. Muriaa, or " ruruangakakao," everywhere covered with the vines of 
 i.e. the reed blossoms are shed upon the wild yam; the o'e, or ditter yam; 
 the hills by a late blow. mararau, or siveet yam, etc. , etc. Na- 
 
 6. Uringa, or ' ' dead. " The leaves, tive arrow-root and ' ' teve " roots are 
 etc., of the yam, arrow-root, etc., etc., luxuriant. The year ends about the 
 fall. middle of December. 
 
 7. Miringa, or ^^ finishing up" 
 (of the food of ereu, or summer sea- 
 son). 
 
 Thirteen moons in all. 
 
 The arrival of the new year was indicated by the appearance of 
 Matariki, or Pleiades, on the eastern horizon just after sunset, i.e. 
 about the middle of December. Hence the idolatrous worship 
 paid to this beautiful cluster of stars in many of the South 
 Sea Islands. The Pleiades were worshipped at Danger Island, and 
 at the Penrhyns, down to the introduction of Christianity in 1857. 
 In many islands extravagant joy is still manifested at the rising 
 of this constellation out of the ocean. 
 
 The knowledge of the calendar belonged to the kings, as they 
 alone fixed the feasts in honour of the gods, and all public 
 spectacles. For others to dare to keep the calendar was a sin 
 against the gods, to be punished with hydrocele. 
 
 ^ The same name for the Magellan clouds ; as if the rising up of vapour, or 
 curling up of columns of smoke in the heavens. 
 
3i8 
 
 Myths and SoJto^s. 
 
 CHANGES OF THE MOON (TE TAU AROPO). 
 
 IN THE WEST. 
 
 1 Iro. Sacred to Iro, patron of 
 
 thieves. Favourable for thiev- 
 ing. 
 
 2 Oata = shadow, i.e. moon seen 
 
 in shadow. 
 
 I Sprats arrive 
 during these 
 
 3 Amiama, three days in 
 
 4 Amiama-akaoti, i.e. I Feb. Failing 
 
 Last Amiama. 
 
 5 Tamatea. 
 
 that, expect 
 them the 
 same days in 
 March. 
 Last Tama- 
 
 6 Tamatea-akaoti, i.e. 
 
 tea. 
 
 7 Korekore. 
 
 8 ]) Korekore-akaoti, i.e. Last Kore- 
 
 kore. 
 
 9 O Vari [i.e. Vari-ma-te-takere = 
 
 the Originator-of-all-things. ) 
 
 10 Una. 
 
 11 Maaru. 
 
 12 Ua. 
 
 13 E atua = A god. 
 
 14 O Tu, i.e. Tu-metua, the last 
 
 made of the major gods. 
 
 15 Q Marangi, ^ or Full-Moon. 
 
 IN THE EAST. 
 
 16 Oturu. 
 
 17 Rakau. 
 
 18 Rakau-roto, i.e. Second Rakau. 
 
 19 Rakau-akaoti, i.e. Last Rakau. 
 
 20 Korekore. 
 
 21 Korekore-roto, i.e. Second Kore- 
 
 kore. 
 
 22 Korekore-akaoti, i.e. Last Kore- 
 
 kore. 
 
 23 ([ Tangaroa. Sacred to Tangaroa. 
 
 24 Tangaroa-roto. Second night sa- 
 
 cred to Tangaroa. 
 
 25 Tangaroa-akaoti. Last night sa- 
 
 cred to Tangaroa. 
 
 26 O Tane. Sacred to Tane. 
 
 27 Rongo-Nui, i.e. Rongo-the-Great. 
 
 The 26th and 27th were fete 
 nights — Rongo and Tane being 
 patrons of their dances in time 
 of peace. 
 
 28 Mauri = ghost. 
 
 29 Omutu ==^ ended. 
 
 30 ^ Otire o Avaiki (abbreviated 
 
 "Otireo") = Lost in the 
 depths of Avaiki. 
 
 At Rarotonga the 13th is " Maitu," instead of "Atua" (sense 
 similar). Otherwise this account of the changes of the moon 
 is equally good for Rarotonga. Allowing for the difference 
 of dialects, it is the same in the Tahitian islands. 
 
 ^ Cocoa-nuts were invariably planted at the full of the moon ; the size of 
 the moon symbolizing the full roundness of the future fruit. 
 
The Seasons, Phases of the Moon, etc. 319 
 
 From the 17th to the 28th the nights were considered favour- 
 able for fishing ; also favourable for catching the fish of the gods, i.e. 
 men. In other words, these were micrder nights. Tangaroa 
 (23rd) and O Tane (26th) and Rongo-Nui (27th) were the three 
 " most lucky " for this cruel purpose. 
 
 The eastern Polynesians, like the New Zealanders, invariably 
 reckon by nights — not, as we do, by days. For example, "jP^ ia 
 koe i te aerenga? " = " How many nights were you journeying?" 
 etc., etc. 
 
 THE MARINER'S COMPASS OF POLYNESIA. 
 
 To the Chinese belongs the honour of inventing the mariner's 
 compass, long anterior to the Christian era. It was known to the 
 Arabs in mediaeval times, and from them, through the Crusaders, 
 the knowledge spread over Europe. 
 
 There can be no reasonable doubt that Polynesia was peopled 
 from Asia. Did the original settlers take with them the mariner's 
 compass, or anything analogous thereto ? May not the ancestors 
 of the present South Sea Islanders have been far more civilized 
 than their descendants ? The absence of iron throughout Poly- 
 nesia would easily account for the loss of the magnet. Subjoined 
 is a plan of the winds for the Hervey Group from the lips of the 
 ancient priests. With slight variations it will do for many other 
 groups in the Pacific. The number of wind-holes in this plan 
 exactly corresponds with the points of the mariner's compass. In 
 the olden time, great stress was laid on this knowledge for the 
 purpose of fishing, and especially for their long sea voyages from 
 group to group. At the edge of the horizon are a series of holes, 
 some large and some small, through which Raka, the god of winds, 
 
320 
 
 Myths and Songs. 
 
 and his children, love to blow. Hence the phrase in daily use, 
 " rua matangi," or " wind-//^/^," where Europeans would simply 
 speak of ''wind." The "head" of the winds is supposed to be 
 in the east; by the time it has veered round to s.w. by w. it is 
 
 
 fti aUA^ 
 
 named the z'h^, or " tail ; " in fact, it is dying away until it becomes, 
 in the s.s.w., merely an tini, or "like the touch of a feather." 
 Cyclones, of course, begin in the n.e., and go on increasing in 
 violence until, on reaching the //(v/, or " tail," they moderate. 
 Passing on to the ?/;'//, or " feathery," there is a perfect calm, 
 mocking the desolations so lately wrought. 
 
The Seasons y Phases of the Moon, etc. 321 
 
 The whole of these names have, more or less, a figurative 
 signification. The reader will observe the word anau (give birth) 
 several times recurring. Taking, for example, akarua for n., the 
 wind, in veering towards the w., becomes akarua anau; i.e. the 
 north giving birth to a new wind (n. by w.). As the wind veers 
 to the N.N.w, it is o^o-d. akarua iu ; that is, the akarua strong 
 enough to stand. 
 
 Taking maoake for n.e., when the wind shifts a point it 
 becomes maoake anau ; that is, the n.e. giving birth (n.e. by n.). 
 Advancing still towards the n., it is called maoake ta, or the 
 killing or terrible maoake (n.n.e.), on account of the extreme 
 violence of this wind when a cyclone blows. 
 
 The vast concave above was symbolised by the interior of a 
 calabash, in the lower part of which a series of small apertures was 
 made to correspond with the various wind-holes at the edge of 
 the horizon. Each hole was stopped up with cloth. Should 
 the wind be unfavourable for a grand expedition, the chief 
 priest began his incantation by withdrawing the plug from the 
 aperture through which the unpropitious wind was supposed to 
 blow. Rebuking this wind, he stopped up the hole, and advanced 
 through all the intermediate apertures, moving plug by plug, until 
 the desired wind-hole was reached. This was left open, as a 
 gentle hint to the children of Raka that the priest wished the wind 
 to blow steadily from that quarter. 
 
 The operator having a good knowledge of the ordinary course 
 of the winds, and the various indications of change, the peril ot 
 the experiment was not great. 
 
 Providence has supplied these islanders with an unfailing 
 natural indication of an approaching cyclone. This is expressed 
 in the phrase, " Kua taviriviri te kao o te meika " — i.e. the core of 
 
 Y 
 
32 2 Myths and Songs. 
 
 the true native banana is strangely twisted and contorted some 
 weeks previous to a hurricane, as if to give warning of impending 
 danger. This is usually associated with an extraordinary growth 
 of food. Doubtless the excessive moisture and heat which occa- 
 sion this rapid growth, and give rise to the strange twists of the 
 wondrously delicate leaves of this banana, are the real causes of 
 cyclones. 
 
 POLYNESIAN PLURALS. 
 
 Nearly all the plurals in use in the Hervey Group have a 
 definite signification as nouns. 
 
 I. A common plural is " ^r<?," which literally means " a house : " 
 in its plural use it may be rendered " a-house-fuU-of," i.e. "many." 
 Thus — 
 
 " e are atua " = " a number of gods ; " literally, " a-house- 
 
 full-of gods ; " 
 " e are apinga " = " a nufnber of valuable things ; " literally, 
 " a-house-full-of valuable things." 
 
 2. A second plural is ^^vaka'^ = '^ canoe/' or, as it may be 
 rendered, " a-canoe-full-of." Thus — 
 
 " e vaka angela " = ^'a host of angels ; " literally, "a-canoe- 
 full-of angels ; " 
 
 " e vaka puruki " = " a host of warriors ; " literally, " a- 
 canoe-full-of warriors." 
 
 3. Another frequently used plural is "J^a " = " enclosure: door." 
 Thus — 
 
 " e pa puaka " = "a pig enclosure ; " = a pig-sty ; 
 " e pa maunga " = " a range of mountains," as enclosing a 
 valley ; 
 
The Seasons, Phases of the Moon, etc. 323 
 
 " e pa enua " = "a group of islands," as if a portion of 
 the ocean were thereby marked off or enclosed. 
 
 4. A commonly used plural is " ata " = " shelf to place all 
 sorts of food on." Thus — 
 
 " e ata pa " -- " a number of doors ; " 
 
 " e ata kete " = ''a number of food-baskets." 
 
 5. A still more interesting plural is ^^ rau'' = ^^kaf" Thus 
 we may speak of '' te rau tangata o te Atua," i.e. " a people 
 numei'oiis as the leaves of a tree, worshipping such and such a god." 
 The figure is of a vast tree, the growth of ages. The huge trunk 
 represents the god, the branches the lesser divinities, the leaves 
 the worshippers — ever dropping off by death, and ever being 
 renewed by fresh births. This is constantly applied to the 
 servants of the true God : Jehovah being the trunk and branches, 
 believers the leaves. 
 
 6. The last instance of plurals is " mariL " = " shadow,^'' or 
 " shade." Thus the natives daily speak of " te maru tangata o te 
 Atua," i.e. •' the people who sit under the shadow of God." The old 
 idea was still of an ancient tree overshadowing the marae filled 
 with worshippers. The noblest trees affording the best shade were 
 planted in their idol groves, not a twig of which might be plucked. 
 As applied to Christian worshippers gathering Sabbath after 
 Sabbath in the house of God to take refreshment under the 
 shadow of the Almighty (Psalm xc. i), the figure is extremely 
 beautiful. 
 
 In the Tahitian dialect the *V" is dropped, "maru"^ becoming 
 
 1 The Aitutakians speak of '*te taru ariki"=the chiefs, or kings 
 Mangaians speak of " te iau ariki. " " Taru " on Mangaia is a verb, " to heap 
 up," to " cover over with new soil." It is easy to trace the connecting link 
 of thought, i.e. the entire assembly of chiefs. 
 
324 Myths and So7tgs. 
 
 " maii,^^ the ordinary plural of that group. Doubtless our common 
 plural '''' au " is the same as the " mau " of the Eastern islands. 
 
 The full form, " maru/' is the dignified form to be used when- 
 ever the gods and chiefs are spoken of. 
 
 It is scarcely fair to regard " anau " =^ family, as a plural. 
 Thus the natives speak of — 
 
 " te anau ika " = " the Yfholo. family of fish ; " 
 " te anau kai" = " the v^holQ family of plants." 
 
 A very poHte mode of address in the Mangaian dialect is the 
 use of the third person singular, dual, and plural, where in other 
 languages the second person would be appropriate ; reminding one 
 of the use of the German Sie. 
 
 POLYNESIAN NUMERATION. 
 
 The mode of counting in use amongst the Papuan population 
 of the Loyalty Islands, New Caledonia, and the New Hebrides, is 
 worthy of notice. They enumerate by fingers up to five, which 
 makes " one hand ; " ten is " two hands ; " twenty is "an entire 
 man," i.e. ten fingers and ten toes. A hundred is " five men," 
 and so on. 
 
 This plan is ingenious, but clumsy, being applicable only 
 to small numbers. Missionaries labouring in those islands have 
 wisely discarded it. I was much surprised when first I heard 
 the school children at Aneiteum, Mare, and Lifu, repeating the 
 English multiplication table with great facility and correctness, 
 
The Seasons, Phases of the Moon, etc. 325 
 
 and on the Sabbath to hear the chapter and hymns announced in 
 English figures — the natives turning to the right chapter or hymn 
 in their own books. This innovation, however, has brought down 
 upon the missionaries the ire of the French. 
 
 Throughout the Eastern Islands there has been no need 
 for changing the original system of numeration. In the Hervey 
 Group we have two distinct bases — four and ten. The former 
 base is used in counting cocoa-nuts, which were from time 
 immemorial tied up m fours (kaviri) : — 
 
 5 bunches (kaviri) of cocoa-nuts make one takau, i.e. 
 10 takau „ 
 
 10 rau „ 
 
 10 mano „ 
 
 10 kiu „ 
 
 All beyond this is uncertain. To express more the natives 
 simply heap up the highest figures, without any attempt at a 
 definite signification ; thus, " mano, mano ; tini, tini," literally, 
 "2,000 on 2,000; 200,000 on 200,000;" much as we say 
 " myriads on myriads," or " millions on millions," i.e. innumer- 
 able. 
 
 In measures of length they were from time out of mind 
 accustomed to the fathom (the outstretched arms of a tall man), 
 half-fathom, span, and finger's length. 
 
 Ten fathoms (paru) make one "kume." In this way 100 
 would be called 10 "kume;" 200 would be 20 "kume," and so 
 on. 
 
 Through the Eastern dialects there is a very close resem- 
 blance of the primary numerals. In the expression for Jive, i.e. 
 
 lake ( 
 
 Dne takau, i.e. 
 
 20 
 
 » 
 
 rau, i.e. 
 
 200 
 
 » 
 
 mano, i.e. 
 
 2,000 
 
 >j 
 
 kiu, i.e. 
 
 20,000 
 
 » 
 
 tini, i.e. 
 
 200,000 
 
326 Myths and Songs. 
 
 " e rima," or " a hand," we may trace a point of resemblance 
 between the Papuan and Malay systems of numeration. 
 Throughout the Ellice's Group ten is expressed by " katoa " = all 
 {i.e. the fingers). 
 
 The " rau " ^ is a favourite number, continually occurring 
 in their stories of the past. In a decisive battle fought circa 
 eighty-nine years ago, Potai boasted a "rau" = 200 warriors; 
 whilst the winner, Potiki, had only 120 (6 takau). 
 
 "Eternity" is often expressed by the phrase " e rau te tautau," 
 i.e. "200 ages.'^ This is less poetical than the common "e ri?nua 
 ua atu " = " until covered with the jnoss of unknown ages," as of a 
 lofty cocoa-nut or other tree entirely moss-grown. Another mode 
 of expressing the same idea is, " e tuatau ua atu," i.e. " time on on, 
 still on." 
 
 1 "Rau" also means "leaf," or " pandanus thatch." A native house 
 requires about 200 reeds of thatch to complete one side: "rau," therefore, 
 may mean indifferently a leaf, 200, or a "tua-rau," i.e. thatched side of a 
 dwelling. 
 
INDEX. 
 
 Adventures in spirit-world, 221 
 Adventures of Ngaru, 225 
 Arokapiti's dirge, 276 
 Astronomical myths, 40 
 Avatea, or Vatea, 3 
 
 Bachelor god in search of a wife, 107 
 " Blackened face " dirge for Atiroa, 281 
 
 Celestial fish-hook, 48 
 Chase that never ends, 40 
 Cocoa-nut tree, myth of, 77 
 Creation, myths of, i 
 
 Dancing, origin of, 100 
 
 Death-talks and dirges, 269 
 
 Dedication of infants, 36 
 
 Deified men, 23 
 
 Derivation of the Polynesian word for 
 
 God, 33 
 Drum of peace, 293 
 
 Echo, 114 
 
 Eclipses, 47 
 
 Escape from spirit-land, 221 
 
 Eva, or d'rge-proper, 271 
 
 Exploits of Maui, 51 
 
 Fairy men and women, 256 
 Fairy of the fountain, 265 
 Fire-god's secret, 51 
 First murder and first battle, 282 
 
 Ghost-killing, 268 
 
 Hades, 152 
 
 Heaven, Aitutakian, 175 
 
 Hell, Aitutakian, 172 
 
 Human arts and inventions, 130 
 
 Human priesthood needed, 35 
 
 Human sacrifices, 289 
 
 Ina, the fairy voyager, 88 
 Iron-wood tree, myth of, 81 
 
 Journey to the invisible world, 250 
 
 Kereteki, 26 
 
 Kirikovi's sacrifice, 305 
 
 Kite-flying, 123 
 
 Kourapapa, laments for, 202, 206 
 
 Makitaka's laments, 312 
 Mariner's compass, 319 
 Maruata, "crying" song for, 307 
 Matariki, or Pleiades, 43 
 Maui, 51, 63 
 
 Miscellaneous myths, 107 
 Moon, phases of, 318 
 Mosquitoes, 126 
 Motoro, 25 
 Mourua, lament for, 210 
 
 Naming of children, 38 
 Ngaru, adventures of, 225 
 Ngutuku, death of, 309 
 Numeration, 100, 324 
 
328 
 
 htdex. 
 
 Papa, 8 
 
 Perils of beauty, 131 
 
 Pigs, origin of, 135 
 
 Pleiades, 43 
 
 Plurals, remarks on, 322 
 
 Potiki, dramatic fete of, 259 
 
 Prayer for a thief or murderer, 150 
 
 Prince of reed throwers, 118 
 
 Pumice stone, origin of, 58 
 
 Puvai, lament for, 199 
 
 Raka, god of winds, 5 
 
 Rangi, 16 
 
 Rata's canoe, 142 
 
 Riuvaka, introduction to the fete of, 217 
 
 Rongo, 10, 15 
 
 Seasons, 316 
 Seeking for light, 139 
 Sky raised, 58, 71 
 Sneezing, 175 
 Spirit-journey, 215 
 Sun and moon, 44 
 Sun made captive, 61, 70 
 
 Taairangi, or porpoise, 98 
 
 Tane-ngakiau, 30 
 Tane-papa-kai, 11 
 Tangaroa, 10 
 Tangiia, 11 
 Tango, 5 
 Tekuraaki, 31 
 The-long-lived, 128 
 Thiet's prayer, 150 
 Tiaio, king and god, 29 
 Tinirau, 4 
 Tonga-iti, 11 
 Tree myths, 77 
 Tu-metua, or Tu, 6 
 Tumuteanaoa, or Echo, 5 
 Tutapu, 23 
 
 Utakea, 26 
 Uti's torch, 124 
 
 Varenga, lament for, 208 
 
 Vari, the Great Mother, 3 
 
 Veetini ; or, the immortality of the soul, 181 
 
 Vera, dirges for, 189, 194 
 
 Wisdom of Manihiki, 63 
 Woman in the moon, 45 
 
 Caxton Printing Works^ Beccles. 
 
A LIST OF 
 
 C. KEGAN PAUL AND CO.'S 
 PUBLICATIONS. 
 
 8.80. 
 
I, Paternoster Square^ London, 
 
 A LIST OF 
 
 C. KEGAN PAUL AND CO.'S 
 PUBLICATIONS. 
 
 ADAMS (F. O.), F.R.G.S. 
 The History of Japan. From 
 
 the Earliest Period to the Present 
 Time. New Edition, revised. 2 
 volumes. With Maps and Plans. 
 Demy 8vo. Cloth, price 21s. each. 
 
 ADAMS (W.D.). 
 Lyrics of Love, from Shake- 
 speare to Tennyson. Selected and 
 arranged by. Fcap. 8vo. Cloth extra, 
 gilt edges, price 3^. 6d. 
 
 Also, a Cheap Edition. Fcap. 8vo. 
 Cloth, price 2s. 6d. 
 
 ADAMSON H. T.), B.D. 
 The Truth as it is in Jesus. 
 
 Crown 8vo. Cloth, price 8j. 6d. 
 A. K. H. B. 
 
 From a Quiet Place. A New 
 
 Volume of Sermons. Crown 8vo. 
 Cloth, price 5^. 
 
 ALBERT (Mary). 
 Holland and her Heroes to 
 
 the year 1585. An Adaptation from 
 Motley's " Rise of the Dutch Re- 
 public." Small crown 8vo. Cloth, 
 price, 45. 6d. 
 
 ALLEN (Rev. R.), M.A. 
 Abraham ; his Life, Times, 
 
 and Travels, 3,800 years ago. Se- 
 cond Edition. _ With Map. Post 
 Bvo. Cloth, price 6s, 
 
 ALLEN (Grant), B.A. 
 Physiological iflEsthetics. 
 Large post 8vo. 95. 
 
 ALLIES (T. W.), M.A. 
 Per Crucem ad Lucem. The 
 
 Result of a Life. 2 vols. Demy 8vo. 
 Cloth, price 255-. 
 
 A Life's Decision. Crown 
 8vo. Cloth, price 7^. 6d. 
 
 AMATEUR. 
 A Few Lyrics. Small crown 
 
 8vo. Cloth, price 2j. 
 AMOS (Prof. Sheldon). 
 
 Science of Law. Fourth 
 Edition. Crown 8vo. Cloth, price 5J. 
 
 Volume X. of The International 
 
 Scientific Series. 
 
 ANDERSON (Col. R. P.). 
 Victories and Defeats. An 
 
 Attempt to explain the Causes which 
 have led to them. An Officer's 
 Manual. Demy8vo. Cloth, price 14J. 
 
 ANDERSON (R. C), C.E. 
 Tables for Facilitating the 
 Calculation of every Detail in 
 connection with Earthen and 
 Masonry Dams. Royal 8vo. Cloth, 
 price £2. 2S. 
 
 Antiope. A Tragedy. Large 
 crown 8vo. Cloth, price 6s. 
 
 ARCHER (Thomas). 
 About my Father's 
 
 Business. Work amidst the Sick, 
 the Sad, and the Sorrowing. Crown 
 8vo. Cloth, price 2s. 6d. 
 
 Army of the North German 
 
 Confederation. 
 
 A Brief Description of its Organi- 
 zation, of the Different Branches 
 of the Service and their role in War, 
 of its Mode of Fighting, &c. &c. 
 Translated from the Corrected Edi- 
 tion, by permission of the Author, by 
 Colonel Edward Newdigate. Demy 
 8vo. Cloth, price 5^. 
 
 ARNOLD (Arthur). 
 
 Social Politics. Demy 8vo. 
 Cloth, price 14^. 
 
 Free Land. Crown 8vo. 
 Cloth, price 6s. 
 
A List of C. Kegan Paul 6^ Coh Publicatiofts. 
 
 AUBERTINQ.J.). 
 Camoens' Lusiads. Portu- 
 guese Text, with Translation by. 
 With Map and Portraits. 2 vols. 
 Demy 8vo. Price 30J. 
 
 Aunt Mary's Bran Pie. 
 
 By the author of " St. Olave's." 
 Illustrated. Cloth, price 3J. 6ci^. 
 
 AVIA. 
 The Odyssey of Homer 
 
 Done into English Verse. Fcap. 
 4to. Cloth, price 15^. 
 
 BAGEHOT (Walter), 
 Physics and Politics; or, 
 
 Thoughts on the Application of the 
 Principles of " Natural Selection " 
 and "Inheritance" to Political So- 
 ciety. Fifth Edition. Crown 8vo. 
 Cloth, price 4^. 
 
 Volume II. of The International 
 Scientific Series. 
 
 Some Articles on the De- 
 preciation of Silver, and Topics 
 connected with it. Demy 8vo. Price 
 
 The English Constitution. 
 
 A New Edition, Revised and 
 Corrected, with an Introductory 
 Dissertation on Recent Changes and 
 Events. Crown 8vo. Cloth, price 
 ■js. 6d. 
 
 Lombard Street. A 
 
 Description of the Money Market. 
 Seventh Edition. Crown 8vo. Cloth, 
 price TS. 6d. 
 
 BAGOT (Alan). 
 
 Accidents in Mines : their 
 Causes and Prevention. Crown 8vo. 
 Cloth, price 6s. 
 
 BAIN (Alexander), LL.D. 
 
 MindandBody: the Theories 
 
 of their relation. Seventh Edition. 
 Crown 8vo. Cloth, price 4^. 
 
 Volume ly. of The International 
 Scientific Series. 
 
 Education as a Science. 
 
 Crown 8vo. Third Edition. Cloth, 
 price 5^. 
 
 Volume XXV. of The International 
 Scientific Series. 
 
 BAKER (Sir Sherston, Bart.). 
 Halleck's International 
 
 Law ; or Rules Regulating the 
 Intercourse of States in Peace and 
 War. A New Edition, Revised, with 
 Notes and Cases. 2 vols. Demy 
 8vo. Cloth, price 38^. 
 
 The Laws relating to Qua- 
 rantine. Crown Bvo. Cloth, price 
 
 1 25'. 6d. 
 
 BALDWIN (Capt. J. H.), F.Z.S, 
 The Large and Small Game 
 of Bengal and the North-West- 
 ern Provinces of India. 4to. With 
 numerous Illustrations. Second Edi- 
 tion. Cloth, price 21s. 
 
 BANKS (Mrs. G. L.). 
 God's Providence House. 
 
 New Edition. Crown Svo. Cloth, 
 price 3J. 6d. 
 
 Ripples and Breakers. 
 
 Poems. Square Svo. Cloth, price 5^. 
 BARLEE (Ellen). 
 Locked Out : a Tale of the 
 
 Strike. Vv^ith a Frontispiece. Royal 
 i6mo. Cloth, price \s. 6d. 
 
 BARNES (William). 
 An Outline of English 
 
 Speechcraft. Crown Svo. Cloth, 
 price 45. 
 
 Poems of Rural Life, in the 
 Dorset Dialect. New Edition, 
 complete in I vol. Crown Svo. Cloth, 
 price Sj-. 6d. 
 
 Outlines of Redecraft 
 
 (Logic). With English Wording. 
 Crown Svo. Cloth, price 35. 
 
 BARTLEY (George C. T,). 
 Domestic Economy : Thrift 
 
 in Every Day Life. Taught in 
 Dialogues suitable for Children of 
 all ages. Small crown Svo. Cloth, 
 limp, 2j. 
 
 BASTIAN (H. Charlton), M.D. 
 The Brain as an Organ of 
 
 Mind. With numerous Illustrations. 
 Second Edition. Crown Svo. Cloth, 
 price ^s. 
 
 _ Volume XXIX. of the Interna- 
 tional Scientific Series. 
 
A List of 
 
 BAUR (Ferdinand), Dr. Ph. 
 A Philological Introduction 
 to Greek and Latin for Students. 
 Translated and adapted from the 
 German of. By C. Kegan Paul, 
 M.A. Oxen., and the Rev. E. D. 
 Stone, M.A., late Fellow of King's 
 College, Cambridge, and Assistant 
 Master at Eton. Second and re- 
 vised edition. Crown 8vo. Cloth, 
 price 6s. 
 
 BAYNES (Rev. Canon R. H.) 
 At the Communion Time. 
 A Manual for Holy Communion. 
 With a preface by the Right Rev. 
 the Lord Bishop of Derry and 
 Raphoe. Cloth, price is. 6d. 
 
 %* Can also be had bound in 
 Fiench morocco, price 2S. 6d. ; Per- 
 sian morocco, price 35-. ; Calf, or 
 Turkey morocco, price 3^. 6d. ' 
 
 Home Songs for Quiet 
 
 Hours. Fourth and cheaper Edi- 
 tion. Fcap. 8vo. Cloth, price 2s. 6d. 
 This may also be had ha7idsomely 
 hound in mo7-occo with gilt edges. 
 
 BELLINGHAM (Henry), Barris- 
 ter-at-Law. 
 
 Social Aspects of Catholi- 
 cism and Protestantism in their 
 Civil Bearing upon Nations. 
 Translated and adapted from the 
 French of M. le Baron de HauUe- 
 ville. With a Preface by His Emi- 
 nence Cardinal Manning. Crown 8vo. 
 Cloth, price 6s. 
 
 BENNETT (Dr. W. C). 
 Narrative Poem s& Ballads. 
 
 Fcap. 8vo. Sewed in Coloured Wrap- 
 per, price IS. 
 
 Songs for Sailors. Dedicated 
 
 by Special Request to H. R. H. the 
 Duke of Edinburgh. With Steel 
 Portrait and Illustrations. Crown 
 8vo. Cloth, price 3s. 6d. 
 
 An Edition in Illustrated Paper 
 Covers, price is. 
 
 Songs of a Song Writer. 
 
 Crown 8vo. Cloth, price 65. 
 BERNSTEIN (Prof.). 
 The Five Senses of Man. 
 
 With 91 Illustrations. Second 
 Edition. Crown 8vo. Cloth, 
 price <,s. 
 
 Volume XXI. ofThe International 
 Scientific Series. 
 
 BETHAM - EDWARDS (Miss 
 M.). 
 
 Kitty. With a Frontispiece. 
 Crown 8vo. Cloth, price 6s. 
 
 BEVINGTON (L. S.). 
 Key Notes. Small crown 
 8vo. Cloth, price 5J. 
 
 BLASERNA (Prof. Pietro). 
 The Theory of Sound in its 
 Relation to Music. With nume- 
 rous Illustrations. Second Edition. 
 Crown 8vo. Cloth, price c^s. 
 
 Volume XXI I. of The International 
 Scientific Series. 
 
 Blue Roses ; or, Helen Mali- 
 nofska's Marriage. By the Author 
 of " Vera." 2 vols. Fifth Edition. 
 Cloth, gilt tops, 12s. 
 
 *jf* Also a Cheaper Edition in 1 
 vol. With Frontispiece. Crown 8vo. 
 Cloth, price 6s. 
 
 BLUME (Major V/.). 
 
 The Operations of the 
 German Armies in France, from 
 
 Sedan to the end of the war of 1870- 
 71. With Map. From the Journals 
 of the Head-quarters Staff. Trans- 
 lated by the late E. M. Jones, Maj. 
 20th Foot, Prof, of Mil. Hist., Sand- 
 hurst. Demy 8vo. Cloth, price gs. 
 
 BOGUSLAWSKI (Capt. A. von). 
 
 Tactical Deductions from 
 the War of 1870-71. Translated 
 by Colonel Sir Lumley Graham, 
 Bart., late i8th (Royal Irish) Regi- 
 ment. Third Edition, Revised and 
 Corrected. Demy 8vo. Cloth, price 
 IS. 
 
 BONWICK(J.), F.R.G.S. 
 Egyptian Belief and Mo- 
 dern Thought. Large post 8vo. 
 Cloth, price 10s. 6d. 
 
 Pyramid Facts and Fan- 
 cies. Crown 8vo. Cloth, price 5^. 
 
 The Tasmanian Lily. With 
 Frontispiece. Crown 8vo. Cloth, 
 price 55. 
 
 Mike Howe, the Bushranger 
 of Van Diemen's Land. With 
 Frontispiece. Crown 8vo. Cloth, 
 price 5*. 
 
C. Kegan Paul 6^ Co^s Publications. 
 
 BOWEN (H.C.), M.A. 
 English Grammar for Be- 
 ginners. Fcap.Svo. Cloth, price ij. 
 
 Studies in English, for the 
 
 use of Modern Schools. Small crowia 
 8vo. Cloth, price u. 6d. 
 
 Simple English Poems. 
 
 English Literature for Junior Classes. 
 In Four Parts. Parts I. and II., price 
 6d, each, now ready. 
 
 BOWRING (Sir John). 
 Autobiographical Recollections. 
 With Memoir by Lewin B. Bowring. 
 Demy 8vo. Price \\s. 
 
 Brave Men's Footsteps. 
 
 By the Editor of " Men who have 
 Risen." A Book of Example and 
 Anecdote for Young People. With 
 Four Illustrations by C. Doyle. 
 Sixth Edition. Crown 8vo. Cloth, 
 price 3J. 6d, 
 
 BRIALMONT (Col. A.). 
 Hasty Intrenchments. 
 
 Translated by Lieut. Charles A. 
 Empson, R. A. With Nine Plates. 
 Demy 8vo. Cloth, price 6i-. 
 
 BRODRICK(The Hon. G. C). 
 Political Studies. Demy 
 
 SvOo Cloth, price 145. 
 
 BROOKE (Rev. S. A.), M. A. 
 The Late Rev. F. W. Ro- 
 bertson, M.A., Life and Letters 
 of. Edited by. 
 
 I. Uniform with the Sermons. 
 2 vols. With Steel Portrait. Price 
 7^. td. 
 
 II. Library Edition. 8vo. With 
 Two Steel Portraits. Price -lis, 
 
 III. A Popular Edition, in i vol. 
 8vo. Price ts. 
 
 Theology in the English 
 Poets. — CowpER, Coleridge, 
 Wordsworth, and Burns. New 
 and Cheaper Edition. Post 8vo. 
 Cloth, price SJ. 
 
 Christ in Modern Life. 
 
 Fourteenth and Cheaper Edition. 
 Crown 8vo. Cloth, price 55. 
 
 Sermons. First Series. 
 Eleventh Edition. Crown8vo. Cloth, 
 price ts. 
 
 BROOKE (Rev. S. A.), M.A.— 
 
 conthuced. 
 
 Sermons. Second Series. 
 Third Edition. Crown 8vo. Cloth, 
 price 7J. 
 
 The Fight of Faith. Ser- 
 mons preached on various occasions. 
 Third Edition. Crown 8vo. Cloth, 
 price 7J. 6d. 
 
 Frederick DenisonMaurice: 
 
 The Life and Work of. A Memorial 
 Sermon. Crown 8vo. Sewed, price xs. 
 
 BROOKE (W. G.), M.A. 
 The Public Worship 
 Regulation Act. With a Classified 
 Statement of its Provisions, Notes, 
 and Index. Third Edition, Revised 
 and Corrected. Crown 8vo. Cloth, 
 price 35. 6d. 
 
 Six Privy Council Judg- 
 ments — 1850- 1872. Annotated by. 
 Third Edition. Crown 8vo. Cloth, 
 price qs. 
 
 BROUN (J. A.), 
 Magnetic Observations at 
 Trevandrum and Augustia 
 Malley. Vol. I. 4to. Cloth, 
 price 63J. 
 
 The Report from above, separately 
 sewed, price 21J. 
 
 BROWN (Rev. J. Baldwin). 
 The Higher Life. ItsReality, 
 
 Experience, and Destiny. Fifth and 
 Cheaper Edition. Crown 8vo. Cloth, 
 
 price 5^. 
 
 Doctrine of Annihilation 
 in the Light of the Gospel 
 of Love. Five Discourses. Third 
 Edition. Crown 8vo. Cloth, price 
 2S. 6d. 
 
 The Christian Policy of 
 
 Life. A Book for Young Men of 
 Business. New and Cheaper Edition. 
 Crown 8vo. Cloth, price 3.y. 6d. 
 
 BROWN (J. Croumbie), LL.D. 
 Reboisement in France; or, 
 
 Records of the Replanting of the 
 Alps, the Cevennes, and the Pyre- 
 nees with Trees, Herbage, and Bush. 
 Demy 8vo. Cloth, price i2.y. 6d. 
 
 The Hydrology of Southern 
 
 Africa. Demy 8vo. Cloth, price 
 10s. 6d. 
 
A List of 
 
 BRYANT (W. C.) 
 
 Poems. Red-line Edition. 
 With 24 Illustrations and Portrait of 
 the Author. Crown 8vo. Cloth extra, 
 price ']s. 6d. 
 
 A Cheaper Edition, with Frontis- 
 piece. Small crown 8vo. Cloth, price 
 3^. 6d. 
 
 BURCKHARDT (Jacob). 
 The Civilization of the Pe- 
 riod of the Renaissance in Italy. 
 Authorized translation, by S. G. C. 
 Middlemore. 2 vols. Demy 8vo. 
 Cloth, price 24J. 
 
 BURTON (Mrs. Richard). 
 The Inner Life of Syria, 
 Palestine, and the Holy Land. 
 
 With Maps, Photographs, and 
 Coloured Plates. 2 vols. Second 
 Edition. DemySvo. Cloth, price 24J. 
 %* Also a Cheaper Edition in 
 one volume. Large post 8vo. Cloth, 
 price 10s. 6d. 
 
 BURTON (Capt. Richard F.). 
 The Gold Mines of Midiam 
 and the Ruined Midianite 
 Cities. A Fortnight's Tour in 
 North Western Arabia. With nu- 
 merous Illustrations. Second Edi- 
 tion. Demy 8vo. Cloth, price i8j. 
 
 The Land of Midian Re- 
 visited. With numerous illustra- 
 tions on wood and by Chromo- 
 lithography. 2 vols. Demy 8vo. 
 Cloth, price 32^. 
 
 CALDERON. 
 Calderon's Dramas : The 
 
 Wonder- Working Magician — Life is 
 a Dream — The Purgatory of St. 
 Patrick. Translated by Denis 
 Florence MacCarthy. Post 8vo. 
 Cloth, price loj. 
 
 CANDLER (H.). 
 The Groundwork of Belief. 
 Crown 8vo. Cloth, price -js. 
 
 CARPENTER (W. B.), M.D. 
 
 The Principles of Mental 
 Physiology. With their Applica- 
 tions to the Training and Discipline 
 of the Mind, and the Study of its 
 Morbid Conditions. Illustrated. 
 Fifth Edition. 8vo. Cloth, price 12s. 
 
 CAVALRY OFFICER. 
 Notes on Cavalry Tactics, 
 Organization, &c. With Dia- 
 grams. DemySvo. Cloth, price 12 j. 
 
 CHAPMAN (Hon. Mrs. E. W.). 
 A Constant Heart. A Story. 
 2 vols. Cloth, gilt tops, price 12s. 
 
 CHEYNE (Rev. T. K.). 
 The Prophecies of Isaiah. 
 
 Translated, with Critical Notes and 
 Dissertations by. Two vols., demy 
 8vo. Cloth. Vol. I., price 12J. 6d. 
 
 Children's Toys, and some 
 
 Elementary Lessons in General 
 Knowledge which they teach. Illus- 
 trated. Crown 8vo. Cloth, price 55. 
 
 CHRISTOPHERSON (The late 
 Rev. Henry), M.A. 
 Sermons. With an Intro- 
 duction by John Rae, LL.D., F.S.A. 
 Second Series. Crown 8vo. Cloth, 
 price 6s. 
 
 CLAYDEN (P. W.). 
 England under Lord Bea- 
 
 consfield. The Political History of 
 the Last Six Years, from the end of 
 1873 to the beginning of 1880. Se- 
 cond Edition. With Index, and 
 Continuation to March, 1880. Demy 
 8vo. Cloth, price 16.?. 
 
 CLERY(C.), Major. 
 Minor Tactics. With 26 
 
 Maps and Plans. Fourth and Revised 
 Edition. DemySvo. Cloth, price i6j. 
 
 CLODD (Edward), F.R.A.S. 
 The Childhood of the 
 
 World : a Simple Account of Man 
 in Early Times. Sixth Edition. 
 Crown 8vo. Cloth, price 35. 
 
 A Special Edition for Schools. 
 Price IS. 
 
 The Childhood of Reli- 
 gions. Including a Simple Account 
 of the Birth and Growth of Myths 
 and Legends. Third Thousand. 
 Crown 8vo. Cloth, price 5^. 
 
 A Special Edition for Schools. 
 Price IS. 6d. 
 
 Jesus of Nazareth. With a 
 
 brief Sketch of Jewish History to 
 the Time of His IJirth. Small 
 crown 8vo. Cloth, price 6s, 
 
C. Kegan Paul &* Co.^s Publications. 
 
 COLERIDGE (Sara). 
 Pretty Lessons in Verse 
 for Good Children, with some 
 Lessons in Latin, in Easy Rhyme. 
 A New Edition. Illustrated. Fcap. 
 8vo. Cloth, price is. 6d. 
 
 Phantasmion. A Fairy Tale. 
 
 With an Introductory Preface by the 
 Right Hon. Lord Coleridge, of 
 Ot'tery St. Mary. A New Edition. 
 Illustrated. Crown 8vo. Cloth, 
 price js. 6d. 
 
 Memoir and Letters of Sara 
 
 Coleridge. Edited by her Daughter. 
 Cheap Edition. With one Portrait. 
 Cloth, price 7^. 6d. 
 
 COLLINS (Mortimer). 
 The Secret of Long Life. 
 
 Small crown 8vo. Cloth, price ^s- 6^. 
 
 Inn of Strange Meetings, 
 and other Poems. Crown Svo. 
 Cloth, price 5^. 
 
 CONWAY (Hugh). 
 A Life's Idylls. Small crown 
 8vo. Cloth, price 36'. 6d. 
 
 COOKE (M. C), M.A., LL.D. 
 Fungi ; their Nature, Influ- 
 ences, Uses, &c. Edited by the Rev. 
 M. J. Berkeley, M.A., F. L. S. 
 With Illustrations. Second Edition. 
 Crown Svo. Cloth, price sj. 
 
 Volume XIV. of The International 
 Scientific Series. 
 
 COOKE (Prof. J. P.) 
 The New Chemistry. With 
 31 Illustrations. Fifth Edition. 
 Crown Svo. Cloth, price $3. 
 
 Volume IX. of The International 
 Scientific Series. 
 
 Scientific Culture. Crown 
 8vo. Cloth, price is. 
 
 COOPER (H. J.). 
 The Art of Furnishing on 
 Rational and .Esthetic Prin- 
 ciples. New and Cheaper Edition. 
 Fcap. Svo. Cloth, price \s. 6d. 
 
 COPPEE (Frangois). 
 L'Exilee. Done into English 
 
 Verse with the sanction of the Author 
 by I. O. L. Crown Svo. Vellum, 
 price 5^. 
 
 CORFIELD (Prof), M.D. 
 
 Health. Crown Svo. Cloth, 
 price 6s. 
 
 CORY (William). 
 A Guide to Modern Eng- 
 lish History. Part I. MDCCCXV. 
 — MDCCCXXX. Demy Svo. Cloth, 
 price qs. 
 
 COURTNEY (W. L.). 
 The Metaphysics of John 
 Stuart Mill. Crown Svo. Cloth, 
 price ss. 6d. 
 
 COWAN (Rev. William). 
 Poems : Chiefly Sacred, in- 
 cluding Translations from some 
 Ancient Latin Hymns. Fcap. Svo. 
 Cloth, price ss. 
 
 COX (Rev. Sir G. W.), Bart. 
 A History of Greece from 
 the Earliest Period to the end of the 
 Persian War. New Edition. 2 vols. 
 Demy Svo. Cloth, price 36J. 
 
 The Mythology of the 
 Aryan Nations. New Edition. 2 
 vols. Demy Svo. Cloth, price 28^. 
 
 A General History of Greece 
 
 from the Earliest Period to the Death 
 of Alexander the Great, with a sketch 
 of the subsequent History to the 
 present time. New Edition. Crown 
 Svo. Cloth, price "js. 6d. 
 
 Tales of Ancient Greece. 
 
 New Edition. Small crown Svo. 
 Cloth, price 6s. 
 
 School History of Greece. 
 
 With Maps. New Edition. Fcap. 
 Svo. Cloth, price 3J. 6d. 
 
 The Great Persian War 
 
 from the Histories of Herodotus. 
 New Edition. Fcap. Svo. Cloth, 
 price 35. 6d, 
 
 A Manual of Mythology 
 
 in the form of Question and Answer. 
 New Edition. Fcap. Svo. Cloth, 
 price ss. 
 
 COX (Rev. Sir G. W.), Bart., 
 M.A., and EUSTACE HIN- 
 TON JONES. 
 Popular Romances of the 
 
 Middle Ages. Second Edition in 
 one volume. Crown Svo. Cloth, 
 price 6s. 
 
A List of 
 
 cox (Rev. Samuel). 
 Salvator Mundi ; or, Is 
 
 Christ the Saviourof all Men? Sixth 
 Edition. Crown 8vo. Cloth, price 55. 
 
 The Genesis of Evil, and 
 
 other Sermons, mainly Expository. 
 Second Edition. Crown 8vo. Cloth, 
 price 6s. 
 
 CRAUFURD(A. H.). 
 Seeking for Light : Sermons. 
 Crown 8vo. Cloth, price 5J. 
 
 CRAWFORD (Oswald). 
 Portugal, Old and New. 
 
 With Illustrations and Maps. Demy 
 8vQ. Cloth, price 16s. 
 
 CRESSWELL (Mrs. G.). 
 The King's Banner. Drama 
 in Four Acts. Five Illustrations. 
 4to. Cloth, price xos. 6d. 
 
 CROMPTON (Henry). 
 Industrial Conciliation. 
 Fcap. 8vo. Cloth, price 2s. 6d. 
 
 CROZIER(John Beattie), M.B. 
 The Religion of the Future. 
 Crown 8vo. Cloth, price 6s. 
 
 D'ANVERS(N. R.). 
 
 Parted. A Tale of Clouds 
 and Sunshine. With 4 Illustrations. 
 Extra Fcap. 8vo. Cloth, price 3J. 6d. 
 
 Little Minnie's Troubles. 
 
 An Every-day Chronicle. With Four 
 Illustrations by W. H. Hughes. 
 Fcap. Cloth, price t,s. 6d. 
 
 Pixie's Adventures ; or, the 
 
 Tale of a Terrier. With 21 Illustra- 
 tions. i6mo. Cloth, price 4^. 6d, 
 
 Nanny's Adventures; or, 
 
 the Tale of a Goat. With 12 Illus- 
 trations. i6mo. Cloth, price 4^. 6d. 
 
 DAVIDSON(Rev. Samuel), D.D., 
 LL.D. 
 
 The NewTestament, trans- 
 lated from the Latest Greek 
 Text of Tischendorf. A New and 
 thoroughly Revised Edition. Post 
 8vo. Cloth, price \os. 6d. 
 
 DAVIDSON (Rev.Samuel),D.D., 
 LL.D. — continued. 
 
 Canon of the Bible : Its 
 
 Formation, History, and Fluctua- 
 tions. Third Edition, revised and 
 enlarged. Small crown 8vo. Cloth, 
 price 5J. 
 
 DAVIES (G. Christopher). 
 Rambles and Adventures 
 of Our School Field Club. With 
 Four Illustrations. Crown 8vo. 
 Cloth, price 5.9. 
 
 DAVIES (Rev. J. L.), M.A. 
 Theology and Morality. 
 
 Essays on Questions of Belief and 
 Practice. Crown 8vo. Cloth, price 
 ^s. 6d. 
 
 DAVIES (T. Hart.). 
 Catullus. Translated into 
 English Verse. Crown 8vo. Cleth, 
 price 6s. 
 
 DAWSON (George), M.A. 
 Prayers, with a Discourse 
 on Prayer. Edited by his Wife. 
 Fifth Edition, Crown 8vo. Price 6s. 
 
 Sermons on Disputed 
 Points and Special Occasions. 
 
 Edited by his Wife. Third Edition. 
 Crown 8vo. Cloth, price 6s. 
 
 Sermons on Daily Life and 
 Duty. Edited by his Wife. Second 
 Edition. Crown 8vo. Cloth, price 6j, 
 
 DE L'HOSTE (Col. E. P.). 
 The Desert Pastor, Jean 
 
 Jarousseau. Translated from the 
 French of Eugene Pelletan. With a 
 Frontispiece. New Edition. Fcap. 
 8vo. Cloth, price 35. 6d. 
 
 DENNIS (J.). 
 English Sonnets. Collected 
 
 and Arranged. Elegantly bound. 
 Fcap. 8vo. Cloth, price 3J. 6d. 
 
 DE REDCLIFFE (Viscount 
 Stratford), P.C, K.G., G.C.B. 
 Why am I a Christian ? 
 
 Fifth Edition. Crown 8vo. Cloth, 
 price 35. 
 
 DESPREZ (Philip S.). 
 Daniel and John ; or, the 
 
 Apocalypse of the Old and that of 
 the New Testament. Demy 8vo. 
 Cloth, price i2f. 
 
C Kemn'Paul ^ Co! s'' Publications. 
 
 DE TOCQUEVILLE (A.). 
 Correspondence and Con- 
 versations of, with Nassau Wil- 
 liam Senior, from 1834 to 1859. 
 Edited by M. C. M. Simpson. 2 
 vols. Post Svo. Cloth, price 21J. 
 
 DE VERE (Aubrey). 
 
 Legends of the Saxon 
 
 Saints. Small crown Svo. Cloth, 
 price ^s. 
 
 Alexander the Great. A 
 
 Dramatic Poem. Small crown Svo. 
 Cloth, price 55. 
 
 The Infant Bridal, and 
 other Poems. A New and En- 
 larged Edition. Fcap. Svo. Cloth, 
 price 7J. bd. 
 
 The Legends of St. Patrick, 
 
 and other Poems. Small crown 
 Svo. Cloth, price 5^. 
 
 St. Thomas of Canterbury. 
 
 A Dramatic Poem. Large fcap. Svo. 
 Cloth, price 5^. 
 
 Antar and Zara : an Eastern 
 Romance. In is fail, and other 
 Poems, Meditative and Lyrical. 
 Fcap. Svo. Price bs. 
 
 The Fall of Rora, the 
 
 Search after Proserpine, and 
 other Poems, Meditative and Lj^rical. 
 Fcap. Svo. Price 6s. 
 
 DOBSON (Austin). 
 Vignettes in Rhyme and 
 Vers de Societe. Third Edition. 
 Fcap. Svo. Cloth, price $s. 
 
 Proverbs in Porcelain. By 
 
 the Author of" Vignettes in Rhyme." 
 Second Edition. Crown Svo. 6j. 
 
 DOWDEN (Edward), LL.D. 
 Shakspere : a Critical Study 
 
 of his Mind and Art. Fifth Edition. 
 Large post Svo. Cloth, price \2S. 
 
 Studies in Literature, 1789- 
 1877. Large post Svo. Cloth, price i2j. 
 
 Poems. Second Edition. 
 Fcap. Svo. Cloth, price 5^. 
 
 DOWNTON (Rev. H.), M.A. 
 Hymns and Verses. Ori- 
 ginal and Translated. Small crown 
 Svo. Cloth, price 35. 6^. 
 
 DRAPER (J. W.), M.D., LL.D. 
 
 History of the Conflict be- 
 tween Religion and Science. 
 
 Fourteenth Edition. Crown Svo. 
 Cloth, price 5J. 
 
 Volume XI n. of The International 
 
 Scientific Series. 
 
 DREW (Rev. G. S.), M.A. 
 Scripture Lands in con- 
 nection with their History. 
 Second Edition. Svo. Cloth, price 
 10s. td. 
 
 Nazareth : Its Life and 
 
 Lessons. Third Edition. Crown 
 Svo. Cloth, price 55. 
 
 The Divine Kingdom on 
 
 Earth as it is in Heaven. Svo. 
 Cloth, price \os. 6d. 
 
 The Son of Man : His Life 
 
 and Ministry. Crown Svo. Cloth 
 price js. 6d. 
 
 DREWRY(G. O.), M.D. 
 
 The Common-Sense 
 Management of the Stomach. 
 Fifth Edition. Fcap. Svo. Cloth, 
 price 2j. 6d. 
 
 DREWRY (G. O.), M.D., and 
 BARTLETT (H. C), Ph.D., 
 F.C.S. 
 
 Cup and Platter : or, Notes 
 
 on Food and its Effects. New and 
 cheaper Edition. Small Svo. Cloth, 
 price i^. 6d. 
 
 DRUMMOND (Miss). 
 Tripps Buildings. A Study 
 from Life, with Frontispiece. Small 
 crown Svo. Cloth, price 3J. 6d. 
 
 DU MONCEL (Count). 
 The Telephone, the Micro- 
 phene, and the Phonograph. 
 With 74 Ilkistrations. Small crown 
 Svo. Cloth, price 5J. 
 
 DU VERNOIS (Col. von Verdy). 
 Studies in leading Troops. 
 
 An authorized and accurate Trans- 
 lation by Lieutenant H. J. T. 
 Hildyard, yxst Foot. Parts I. and 
 II. Demy Svo. Cloth, price ts. 
 
 EDEN (Frederick). 
 The Nile without a 
 
 Dragoman. Second Edition. 
 Crown Svo. Cloth, price "js. 6d. 
 A2 
 
10 
 
 A List of 
 
 EDMONDS (Herbert). 
 Well Spent Lives : a Series 
 
 of Modern Biographies. Crown 8vo. 
 Price 5^-. 
 
 Educational Code of the 
 Prussian Nation, in its Present 
 Form. In accordance with the 
 Decisions of the Common Provincial 
 Law, and with those of Recent 
 Legislation. Crown 8vo. Cloth, 
 price 2j. 6d. 
 
 EDWARDS (Rev. Basil). 
 Minor Chords; or, Songs 
 for the Suffering : a Volume of 
 Verse. Fcap. 8vo. Cloth, price 
 3?. 6d. ; paper, price zs. td. 
 
 ELLIOT (Lady Charlotte). 
 Medusa and other Poems. 
 
 Crown Svo. Cloth, price 6j. 
 
 ELLIOTT (Ebenezer), The Corn- 
 Law Rhymer. 
 
 Poems. Edited by his Son, 
 the Rev. Edwin Elliott, of St. John's, 
 Antigua. 2 vols. Crown Svo. Cloth, 
 price \%s. 
 
 ELSDALE (Henry). 
 Studies in Tennyson's 
 Idylls. Crown Svo. Cloth, price 5^. 
 
 Epic of Hades (The). 
 
 r.y the author of " Songs of Two 
 Worlds." Tentlyind finally revised 
 Edition. Fcap.Svo. Cloth, priceyj.e^. 
 *:* Also an lUustratedEdition with 
 seventeen full-page designs in photo- 
 mezzotint by George R. Chavman. 
 4to. Cloth, e.xtra gilt leaves, price 25.y. 
 
 EVANS (Mark). 
 The Gospel of Home Life. 
 
 Crown Svo. Cloth, price 45. Gd. 
 
 The Story of our Father's 
 
 Love, told to Children. Fourth 
 and Cheaper Edition. With Four 
 Illustrations. Fcap. Svo. Cloth, 
 price \s, 6d. 
 
 A Book of Common Prayer 
 and Worship for Household 
 Use, comi>ilc(l exclusively from the 
 Holy Scriptures. New and Cheaper 
 Edition. Fcap. Svo. Cloth, price is. 
 
 EVANS {U3,r\i)—contiH2ced. 
 The King's Story Book. 
 
 In three parts. Fcap. Svo. Cloth, 
 price IS. 6d. each. 
 
 ^y^* Part I., with four illustrations 
 and Picture Map, how ready. 
 
 EX-CIVILIAN. 
 Life in the Mofussil; or, 
 
 Civilian Life in Lower Bengal. 2 
 vols. Large post Svo. Price 14J. 
 
 FARQUHARSON (M.). 
 L Elsie Dinsmore. Crown 
 
 Svo. Cloth, price 3^. 6d. 
 
 n. Elsie's Girlhood. Crown 
 
 Svo. Cloth, price 3.?. 6d. 
 
 in. Elsie's Holidays at 
 Roselands. Crown Svo, 
 
 Cloth, price 35. 6d. 
 
 FIELD (Horace), B.A. Lond. 
 The Ultimate Triumph of 
 
 Christianity. Small crown Svo. 
 Cloth, price 3J. 6d. 
 
 FINN (the late James), M.R.A.S. 
 Stirring Times ; or, Records 
 from Jerusalem Consular Chronicles 
 of 1853 to 1856. Edited and Com- 
 piled by his Widow. With a Preface 
 by the Viscountess Strangfokd. 
 2 vols. Demy Svo. Price 30J. 
 
 Folkestone Ritual Case 
 
 (The). The Argument, Proceedings, 
 Judgment, and Report, revised by 
 the several Counsel engaged. Demy 
 Svo. Cloth, price 255. 
 
 FORMBY (Rev. Henry). 
 Ancient Rome and its Con- 
 nection with the Christian Re- 
 ligion : an Outline of the History of 
 the City from its First Foundation 
 down to the Erection of the Chair 
 of St. Peter, a.d. 42-47. ^Vith 
 numerous Illustrations of Ancient 
 Monuments, Sculpture, and Coinage, 
 and of the Antiquities of the Chris- 
 tian Catacombs. Royal 4to. Cloth 
 extra, price 50.?. Ro-xburgh, half- 
 morocco, price 52.y. 6d. 
 
 FOWLE (Rev. Edmund). 
 Latin Primer Rules made 
 Easy. Crown Svo. (Sloth, price 35. 
 
C. Kegan Paul 6^ Co.^s Publications, 
 
 II 
 
 FOWLE (Rev. T. W.), M.A. 
 The Reconciliation of Re- 
 ligion and Science. Being Essays 
 on Immortality, Inspiration, Mira- 
 cles, and the Being of Christ. Demy 
 8vo. Cloth, price lo^. 6d. 
 
 The Divine Legation of 
 Christ. Crown 8vo. Cloth, price -js. 
 
 FRASER (Donald). 
 
 Exchange Tables of Ster- 
 ling and Indian Rupee Cur- 
 rency, upon a new and extended sys- 
 tem, embracing Values from One 
 Farthing to One Hundred Thousand 
 Pounds, and at Rates progressing, in 
 Sixteenths of a Penny, from is. gd. to 
 2J. 3^. per Rupee. Royal 8vo. 
 Cloth, price los. 6d. 
 
 FRISWELL (J. Hain). 
 The Better Self. Essays for 
 Home Life. Crown Svo. Cloth, 
 price 6s. 
 
 One of Two ; or, A Left- 
 
 Handed Bride. With a Frontis- 
 piece. Crown Svo. Cloth, price 3J. 6d. 
 
 GARDNER (J.), M.D. 
 Longevity: The Means of 
 Prolonging Life after Middle 
 Age. Fourth Edition, Revised and 
 Enlarged. Small crown Svo. Cloth, 
 price 4J. 
 
 GARRETT (E.). 
 By Still Waters. A Story 
 for Quiet Hours. With Seven Illus- 
 trations. Crown Svo. Cloth, price 6s. 
 
 GEBLER (Karl Von). 
 
 Galileo Galilei and the 
 Roman Curia, from Authentic 
 Sources. Translated with the sanc- 
 tion of the Author, by Mrs. George 
 Sturge. Demy Svo. Cloth, price 12^-. 
 
 GEDDES (James). 
 History of the Administra- 
 tion of Johii de Witt, Grand Pen- 
 sionary of Holland. Vol. I. 1623 — 
 1654. Demy Svo., with Portrait. 
 Cloth, price 15^. 
 
 G. H. T. 
 
 Verses, mostly written in 
 India. Crown Svo. Cloth, price 6s, 
 
 GILBERT (Mrs.). 
 Autobiography and other 
 
 Memorials. Edited by Josiah 
 Gilbert. Third Edition. With Por- 
 trait and several Wood Engravings. 
 Crown Svo. Cloth, price ts, td. 
 
 GILL (Rev. W. W.), B.A. 
 Myths and Songs from the 
 
 South Pacific. With a Preface by 
 F. Max Muller, M.A., Professor of 
 Comparative Philology at Oxford. 
 Post Svo. Cloth, price gs. 
 
 Ginevra and The Duke of 
 Guise. Two Tragedies. Crown 
 Svo. Cloth, price 6s. 
 
 GLOVER (P.), M.A. 
 Exempla Latina. A First 
 
 Construing Book with Short Notes, 
 Lexicon, and an Introduction to the 
 Analysis of Sentences. Fcap. Svo. 
 Cloth, price ^s. 
 
 GODWIN (William). 
 William Godwin: His 
 Friends and Contemporaries. 
 
 With Portraits and Facsimiles of the 
 handwriting of Godwin and his Wife. 
 By C. Kegan Paul. 2 vols. Demy 
 Svo. Cloth, price 28^. 
 
 The Genius of Christianity 
 
 Unveiled. Being Essays never 
 before published. Edited, with a 
 Preface, by C. Kegan Paul. Crown 
 Svo. Cloth, price 7^. 6d. 
 
 GOETZE (Capt. A. von). 
 Operations of the German 
 Engineers during the War of 
 1870-1871. Published by Authority, 
 and in accordance with Official Docu- 
 ments. Translated from the German 
 by Colonel G. Graham, V.C., C.B., 
 R.E. With 6 large Maps. Demy 
 Svo. Cloth, price 21s. 
 
 GOLDSMID (Sir Francis Henry). 
 Memoir of. With Portrait. 
 Crown Svo. Cloth, price 5^. 
 
 GOODENOUGH (Commodore J. 
 G.), R.N., C.B., C.M.G. 
 
 Memoir of, with Extracts from 
 
 his Letters and Journals. Edited by 
 his Widow. With Steel Engraved 
 Portrait. Square Svo. Cloth, 5^. 
 
 %* Also a Library Edition with 
 Maps, Woodcuts, and Steel En- 
 graved Portrait. Square post Svo. 
 Cloth, price 14J. 
 
12 
 
 A Lisi of 
 
 GOSSE (Edmund W.). 
 Studies in the Literature of 
 Northern Europe. With a Frontis- 
 piece designed and etched by Alma 
 Tadema. Large post 8vo. Cloth, 
 price 12^. 
 
 New Poems. Crown 8vo. 
 Cloth, price 7^. (id. 
 
 GOULD (Rev. S. Baring), M.A. 
 Germany, Present and Past. 
 
 2 Vols. Demy 8vo. Cloth, price ixs. 
 
 The Vicar of Morwenstow: 
 
 a Memoir of the Rev. R. S. Hawker. 
 With Portrait. Third Edition, re- 
 vised. Square post Svo. Cloth, loj. 6rf. 
 
 GREY (John), of Dilston. 
 John Grey (of Dilston) : 
 Memoirs. By Josephine E. Butler. 
 New and Revised Edition. Crown 
 Svo. Cloth, price 3.?. 6^. 
 
 GRIMLEY (Rev. H. N.), M.A. 
 Tremadoc Sermons, chiefly 
 on the Spiritual Body, the Unseen 
 World, and the Divine Humanity. 
 Second Edition. Crown Svo. Cloth, 
 price 6j. 
 
 GRUNER(M. L.). 
 Studies of Blast Furnace 
 
 Phenomena. Translated by L. D. 
 B. Gordon, F.R.S.E., F.G.S. Demy 
 Svo. Cloth, price 75. 6^. 
 
 GURNEY(Rev. Archer). 
 Words of Faith and Cheer. 
 
 A Mission of Instruction and Sugges- 
 tion. Crown Svo. Cloth, price 6s. 
 
 Gwen : A Drama in Mono- 
 logue. By the Author of the " Epic 
 of Hades." Second Edition. Fcap. 
 Svo. Cloth, price 5J. 
 
 HAECKEL (Prof. Ernst). 
 The History of Creation. 
 
 Translation revised by Professor E. 
 Ray Lankester, M.A., F.R.S. With 
 Coloured Plates and Genealogical 
 Trees of the various groups of both 
 plants and animals. 2 vols. Second 
 Edition. Post Svo. Cloth, price 32J. 
 
 The History of the Evolu- 
 tion of Man. With numerous Il- 
 lustrations. 2 vols. Large post Svo. 
 Cloth, price 325. 
 
 HAECKEL (Prof. Ernst.)— tr^w- 
 timied. 
 
 Freedom in Science and 
 Teaching. From the German of 
 Ernst Haeckel, with a Prefatory 
 Note by T. H. Huxley, F.R.S. 
 Crown Svo. Cloth, price 5J. 
 
 HAKE (A. Egmont). 
 Paris Originals, with twenty 
 
 etchings, by Leon Richeton. Large 
 post Svo. Cloth, price 14J. 
 
 Halleck's International 
 
 Law ; or. Rules Regulating the 
 Intercourse of States in Peace and 
 War. A New Edition, revised, with 
 Notes and Cases. By Sir Sherston 
 Baker, Bart. 2 vols. Demy Svo. 
 Cloth, price 3S^. 
 
 HARDY (Thomas). 
 A Pair of Blue Eyes. New 
 
 Edition. With Frontispiece. Crown 
 Svo. Cloth, price 6j. 
 
 The Return of the Native. 
 
 New Edition. With Frontispiece. 
 Crown Svo. Cloth, price 6^. 
 
 HARRISON (Lieut.-Col. R.). 
 The Officer's Memoran- 
 dum Book for Peace and War. 
 
 Second Edition. Oblong 32mo. 
 roan, elastic band and pencil, price 
 3J. bd. ; russia, 55. 
 
 HARTINGTON (The Right Hon. 
 the Marquis of), M.P. 
 Election Speeches in 1879 
 and 1880. With Address to the 
 Electors of North-East Lancashire. 
 Crown Svo. Cloth, price 3.?. (id. 
 
 HAWEIS (Rev. H. R.), M.A. 
 Arrows in the Air. Crown 
 
 Svo. Second Edition. Cloth, price 6j. 
 Current Coin. Materialism — 
 The Devil — Crime— Drunkenness — 
 Pauperism — Emotion — Recreation — 
 The Sabbath. Third Edition. Crown 
 Svo. Cloth, price ts. 
 
 Speech in Season. Fourth 
 Edition. Crown Svo. Cloth, price (^s. 
 Thoughts for the Times. 
 Eleventh Edition. Crown Svo. Cloth, 
 price 7*. (id, 
 
 Unsectarian Family 
 
 Prayers. New and Cheaper Edition. 
 Fcap. Svo. Cloth, price is. 6d, 
 
C. Kemn Paul 6^ Go's Puhlicatmu. 
 
 13 
 
 HAWKER (Robert Stephen). 
 The Poetical Works of. 
 
 Now first collected and arranged 
 with a prefatory notice by J. G. 
 Godwin. With Portrait. Crown 8vo. 
 Cloth, price 12J. 
 
 HAWTREY (Edward M.). 
 Corydalis. A Story of the 
 Sicilian Expedition. Small crown 
 8vo. Cloth, price 3^'. dd. 
 
 HEIDENHAIN (Rudolf), M.D. 
 Animal Magnetism. Physi- 
 ological Observations. Translated 
 from the Fourth German Edition, 
 by L. C. Wooldridge. With a Pre- 
 face by G: R. Romanes, F.R.S. 
 Crown 8vo. Cloth, price ■zs. 6d. 
 
 HELLWALD (Baron F. von). 
 The Russians in Central 
 
 Asia. A Critical Examination, 
 down to the present time, of the 
 Geography and History of Central 
 Asia. Translated by Lieut. -Col. 
 Theodore Wirgman, LL. B. Large 
 post 8vo. With Map. Cloth, 
 price i2.r. 
 
 HELVIG (Major H.). 
 The operations of the Ba- 
 varian Army Corps. Translated 
 by Captain G. S. Schwabe. With 
 Five large Maps. In 2 vols. Demy 
 8vo. Cloth, price 24J. 
 
 Tactical Examples : Vol. I. 
 The Battalion, price 15^. Vol.IL The 
 Regiment and Brigade, price xos. 6d. 
 Translated from the German by Col. 
 Sir Lumley Graham. With numerous 
 Diagrams. Demy 8vo. Cloth. 
 
 HERFORD (Brooke). 
 The Story of Religion in 
 England. A Book for Young Folk. 
 Crown 8vo. Cloth, price 55-. 
 
 HINTON (James). 
 Life and Letters of. Edited 
 
 by Ellice Hopkins, with an Introduc- 
 tion by Sir W. W. Gull, Bart., and 
 Portrait engraved on Steel by C. H. 
 Jeens. Second Edition. Crown 8vo. 
 Cloth, 8j. 6d. 
 
 Chapters on the Art of 
 Thinking, and other Essays. 
 With an Introduction by Shadworth 
 Hodgson. Edited by C. H. Hinton. 
 Crown 8vo. Cloth, price Zs, 6d. 
 
 HINTON (James)- com; inued. 
 
 The Place of the Physician. 
 
 To which is added Essays on the 
 Law of Human Life, and on thk 
 Relation between Organic and 
 Inorganic Worlds. Second Edi- 
 tion. Crown 8vo. Cloth, price 35. 6d. 
 
 Physiology for Practical 
 
 Use. By various Writers. With 50 
 Illustrations. 2 vols. Second Edition. 
 Crown 8vo. Cloth, price i2.y. 6d. 
 
 An Atlas of Diseases of the 
 
 Membrana Tympani. With De- 
 scriptive Text. Post8vo. Price ;^66j. 
 
 The Questions of Aural 
 
 Surgery. With Illustrations, a vols. 
 Post 8vo. Cloth, price i2.f. 6d. 
 
 The Mystery of Pain. 
 
 New Edition. Fcap. 8vo. Cloth 
 limp, IS. 
 
 HOCKLEY (W. B.). 
 Tales of the Zenana. ; or, 
 
 A Nuwab's Leisure Hours. By the 
 Author of ' ' Pandurang Hari. " With 
 a Preface by Lord Stanley of Alder- 
 ley. 2 vols. Crown 8vo. Cloth, 
 price 21S. 
 
 Pandurang Hari; or, Me- 
 moirs of a Hindoo. A Tale of 
 Mahratta Life sixty years ago. With 
 a Preface by Sir H. Bartle E. 
 Frere, G. C. S. I., &c. New and 
 Cheaper Edition. Crown Bvo. Cloth, 
 price 6s. 
 
 HOFFBAUER (Capt.). 
 The German Artillery in 
 
 the Battles near Metz. Based 
 on the official reports of the German 
 Artillery. Translated by Capt. E. 
 O. Hollist. With Map and Plai>s. 
 Demy 8vo. Cloth, price zis, 
 
 HOLMES (E. G. A.). 
 Poems. First and Second Se- 
 ries. Fcap. 8vo. Cloth, prices J. each. 
 
 HOLROYD (Major VV\ R. M.). 
 Tas-hil ul Kalam ; or, 
 
 Hindustani made Easy. Crown Bvo. 
 Cloth, price 5^. 
 
 HOOPER (Mary). 
 Little Dinners: How to 
 Serve them with Elegance and 
 Economy. Thirteenth Edition. 
 Crown 8vo. Cloth, price 5^. 
 
14 
 
 A List of 
 
 HOOPER (Mary) — continued. 
 Cookery for Invalids, Per- 
 sons of Delicate Digestion, and 
 Children. Crown 8vo. Cloth, price 
 ■3,s. 6d. 
 
 Every -Day Meals. Being 
 
 Economical and Wholesome Recipes 
 for Breakfast, Luncheon, and Sup- 
 per. Second Edition. Crown 8vo. 
 Cloth, price ^s. 
 
 HOOPER (Mrs. G.). 
 The House of Raby. With 
 a Frontispiece. Crown 8vo. Cloth, 
 price 3^. 6d. 
 
 HOPKINS (EUice). 
 Life and Letters of James 
 
 Hinton, with an Introduction by Sir 
 W. W. Gull, Bart., and Portrait en- 
 graved on Steel by C. H. Jeens. 
 Second Edition. Crown 8vo. Cloth 
 price 8^. 6d. 
 
 HOPKINS (M.). 
 
 The Port of Refuge; or, 
 
 Counsel and Aid to Shipmasters in 
 Difficulty, Doubt, or Distress. Crown 
 8vo. Second and Revised Edition. 
 Cloth, price 6s. 
 
 HORNER (The Misses). 
 Walks in Florence. A New 
 
 and thoroughly Revised Edition. 2 
 vols. Crown 8vo. Cloth limp. With 
 Illustrations. 
 
 Vol. I. — Churches, Streets, and 
 Palaces. lo^. 6d. Vol. II. — Public 
 Galleries and Museums. 5J. 
 
 HULL (Edmund C. P.). 
 The European in India. 
 
 With a Medical Guide for Anglo- 
 Indians. By R. R. S. Mair. M.D., 
 F.R.C.S.E. Third Edition, Revised 
 and Corrected. Post 8vo. Cloth, 
 price 6s. 
 
 HUTCHISON (Lieut. -Col. F. J.), 
 and Capt.G. H. MACGREGOR. 
 
 Military Sketching and Re- 
 connaissance. With Fifteen Plates. 
 Small 8vo. Cloth, price 6^. 
 
 The first Volume of Military Hand- 
 books forRegimental Officers. Edited 
 by Lieut. -Col. C. B. Brackenbury, 
 R.A., A.A.G. 
 
 HUTTON (Arthur), M.A. 
 The Anglican Ministry. Its 
 
 Nature and Value in relation to the 
 Catholic Priesthood. With a Pre- 
 face by his Eminence Cardinal New- 
 man. Demy 8vo. Cloth, price 145. 
 
 HUXLEY (Prof.) 
 The Crayfish : An Intro- 
 duction to the Study of Zoology. 
 With Eighty-two Illustrations. 
 Crown 8vo. Cloth, price 55. 
 
 Volume XXVIII. of the Interna- 
 tional Scientific Scientific Series. 
 
 INCHBOLD(J.W.). 
 Annus Amoris. Sonnets. 
 Fcap. 8vo. Cloth, price 45. 6d. 
 
 INGELOW (Jean). 
 Off the Skelligs. A Novel. 
 
 With Frontispiece. Second Edition. 
 Crown 8vo. Cloth, price 6s. 
 
 The Little Wonder-horn. 
 
 A Second Series of " Stories Told to 
 a Child." With Fifteen Illustrations. 
 Small 8vo. Cloth, price 25. 6d. 
 
 Indian Bishoprics. By an 
 Indian Churchman. Demy 8vo. 6d, 
 
 International Scientific 
 Series (The). 
 
 I. Forms of Water : A Fami- 
 liar Exposition of the Origin and 
 Phenomena of Glaciers. By J. 
 Tyndall, LL.D., F.R.S. _ With 25 
 Illustrations. Seventh Edition. Crown 
 8vo. Cloth, price 55. 
 
 II. Physics and Politics ; or, 
 Thoughts on the Application of the 
 Principles of " Natural Selection " 
 and "Inheritance" to Political So 
 ciety. By Walter Bagehot. Fifth 
 Edition. Crown 8vo. Cloth, price 4J. 
 
 III. Foods. By Edward Smith, 
 M.D., &c. With numerous Illus- 
 trations. Sixth Edition. Crown 8vo. 
 Cloth, price 5^. 
 
 IV. Mind and Body: The Theo- 
 ries of their Relation. By Alexander 
 Bain, LL.D. With Four Illustra- 
 tions. Seventh Edition. Crown 8vo. 
 Cloth, price 4^. 
 
 V. The Study of Sociology. 
 ByHerbert Spencer. Eighth Edition. 
 Crown 8vo. Cloth, price $s. 
 
C. Kegan Paul 6^ 
 
 Co.''s Publications. 
 
 15 
 
 International Scientific 
 Series (The) — continued. 
 
 VI. On the Conservation of 
 Energy. By Balfour Stewart, 
 LL.D., &:c. With 14 Illustrations. 
 Fifth Edition. Crown 8vo. Cloth, 
 price 5J. 
 
 VII. Animal Locomotion ; or, 
 
 Walking, Swimming, and Flying. 
 By J. B. Pettigrew, M.D., &c. With 
 130 Illustrations. Second Edition. 
 Crown 8vo. Cloth, price '■^s. 
 
 VIII. Responsibility in Mental 
 Disease. By Henry Maudsley, 
 M. D. Third Edition. Crown 8vo. 
 Cloth, price 5^. 
 
 IX. The New Chemistry. By 
 Professor J. P. Cooke. With 31 Illus- 
 trations. Fifth Edition. Crown Bvo. 
 Cloth, price 5^. 
 
 X. The Science of Law. By 
 Prof. Sheldon Amos. Fourth Edition. 
 Crown Bvo. Cloth, price 55. 
 
 XI. Animal Mechanism. A 
 Treatise on Terrestrial and Aerial 
 Locomotion. By Prof. E. J. Marey. 
 With 117 Illustrations. Second 
 Edition. Crown 8vo. Cloth, price 55. 
 
 XII. The Doctrine of Descent 
 and Darwinism. By Prof. Osca 
 Schmidt. With 26 Illustrations. 
 Third Edition. Crown 8vo. Cloth, 
 price 55. 
 
 XIII. The History of the Con- 
 flict between Religion and Sci- 
 ence. By J. W. Draper, M.D., 
 LL.D. Fourteenth Edition. Crown 
 8vo. Cloth, price ^s. 
 
 XIV. Fungi ; their Nature, In- 
 fluences, Uses, &c. By M. C. 
 Cooke, LL.D. Edited by the Rev. 
 M. J. Berkeley, F.L.S. With nume- 
 rous Illustrations. Second Edition. 
 Crown 8vo. Cloth, price 5^. 
 
 XV. The Chemical Effects of 
 Light and Photography. By Dr. 
 Hermann Vogel. With 100 Illustra- 
 tions. Third and Revised Edition. 
 Crown 8vo. Cloth, price 5^. 
 
 XVI. The Life and Growth of 
 Language. By Prof. William 
 Dwight Whitney. Second Edition. 
 Crown 8vo. Cloth, price 5.?. 
 
 XVII. Money and the Mecha- 
 nism of Exchange. By W. Stan- 
 ley Jevons, F.R.S. Fourth Edition. 
 Crown Bvo. Cloth, price 55. 
 
 International Scientific 
 Series {^h.^)— continued. 
 Xyill. The Nature of Light: 
 With a General Account of Physical 
 Optics. By Dr. Eugene Lommel. 
 With 188 Illustrations and a table of 
 Spectra in Chromo- lithography. 
 Third Edition. Crown 8vo. Cloth, 
 price 5^. 
 
 XIX. Animal Parasites and 
 Messmates. By M. Van Beneden. 
 With 83 Illustrations. Second Edi- 
 tion. Crown 8vo. Cloth, price 5J. 
 
 XX. Fermentation. By Prof. 
 Schutzenberger. With 28 Illustra- 
 tions. Second Edition. Crown Bvo. 
 Cloth, price $s. 
 
 XXI. The Five Senses of Man. 
 By Prof. Bernstein. With 91 Illus- 
 trations. Second Edition. Crown 
 8vo. Cloth, price <^s. 
 
 XXII. The Theory of Sound in 
 its Relation to Music. By Prof. 
 Pietro Blaserna. With numerous 
 Illustrations. Second Edition. Crown 
 Bvo. Cloth, price 5^. 
 
 XXIII. Studies in Spectrum 
 Analysis. By J. Norman Lockyer. 
 F.R..S. With six photographic Il- 
 lustrations of Spectra, and numerous 
 engravings on wood. Crown Bvo. 
 Second Edition. Cloth, price 6s, 6d. 
 
 XXIV. A History of the Growth 
 of the Steam Engine. By Prof. 
 R. H. Thurston. With numerous 
 Illustrations. Second Edition. Crown 
 Bvo. Cloth, price 6s. 6d. 
 
 XXV. Education as a Science. 
 By Alexander Bain, LL.D. Third 
 Edition. Crown Bvo. Cloth, price 5^, 
 
 XXVI. The Human Species. 
 By Prof. A. de Quatrefages. Second 
 Edition. Crown Bvo. Cloth, price 55. 
 
 XXVII. Modern Chromatics. 
 With Applications to Art and Indus- 
 try, by Ogden N. Rood. With 130 
 original Illustrations. Crown 8vo. 
 Cloth, price 5.?. 
 
 XXyill. The Crayfish : an Intro- 
 duction to the Study of Zoology. By 
 Prof. T, H. Huxley. With eighty- 
 two Illustrations. Crown Bvo. Cloth, 
 price 5^. 
 
 XXIX. The Brain as an Organ 
 of Mind. By H. Charlton Bastian, 
 M.D. With numerous Illustrations. 
 Second Edition. Crown Bvo. Cloth, 
 price 5^. 
 
i6 
 
 A List of 
 
 International Scientific 
 Series (The) — continued. 
 
 Forthcoming Volumes. 
 
 Prof. W. KiNGDON Clifford, M.A. 
 The First Principles of the Exact 
 Sciences explained to the Non-ma- 
 thematical. 
 
 W. B. Carpenter, LL.D., F.R.S. 
 The Physical Geography of the Sea. 
 
 Sir John Lubbocic, Bart., F.R.S. 
 On Ants and Bees. 
 
 Prof. W. T. Thiselton Dyer, B. A., 
 B.Sc. Form and Habit in Flowering 
 Plants. 
 
 Prof. Michael Foster, M.D. Pro- 
 toplasm and the Cell Theory. 
 
 Prof. A. C. Ramsay, LL.D., F.R.S. 
 Earth Sculpture : Hills, Valleys, 
 Mountains, Plains, Rivers, Lakes ; 
 how they were Produced, and how 
 they have been Destroyed. 
 
 P. Bert (Professor of Physiology, 
 Paris). Forms of Life and other 
 Cosmical Conditions. 
 
 The Rev, A Secchi, D.J., late 
 Director of the Observatory at Rome. 
 The Stars. 
 
 Prof. J. Rosenthal, of the Univer- 
 sity of Erlangen. General Physiology 
 of Muscles and Nerves. 
 
 Francis Galton, F.R.S. Psj'cho- 
 metry. 
 
 J. W. JuDD, F.R.S. The Laws of 
 Volcanic Action. 
 
 Prof. F. N. Balfour. The Em- 
 bryonic Phases of Animal Life. 
 
 J. LuYS, Physician to the Hospice 
 de la Salpetriere. The Brain and its 
 Functions. With Illustrations. 
 
 Dr. Carl Semper. Animals and 
 their Conditions of Existence. 
 
 Prof. WuRTZ. Atoms and the 
 Atomic Theory. 
 
 George J. Romanes, F.L.S. Ani- 
 mal Intelligence. 
 
 Alfred W. Bennett. A Hand- 
 book of Cryptogamic Botany. 
 
 JENKINS (Rev. Canon). 
 The Girdle LegendofPrato. 
 
 Small crown Svo. Cloth, price zs. 
 
 JENKINS (E.) and RAYMOND 
 (J.), Esqs. 
 
 A Legal Handbook for 
 
 Architects, Builders, and Build- 
 ing- Owners. Second Edition Re- 
 vised. Crown Svo. Cloth, price 6.?. 
 
 JENKINS (Rev. R. C), M.A. 
 The Privilege of Peter and 
 
 the Claims of the Roman Church 
 confronted with the Scriptures, the 
 Councils, and the Testimon}'- of the 
 Popes themselves. Fcap. Svo. Cloth, 
 price 3.y. td. 
 
 JENNINGS (Mrs. Vaughan). 
 Rahel : Ker Life and Let- 
 ters. With a Portrait from the 
 Painting by Daffinger. Square post 
 Svo. Cloth, price -js. 6(i. 
 
 Jercveam's Wife and other 
 
 Poems. Fcap. Svo. Cloth, price 
 3.y. 6d. 
 
 JEVONS (W. Stanley), M.A., 
 F.R.S. 
 
 Money and the Mechanism 
 of Exchange. Fourth Edition. 
 Crown Svo. Cloth, price s^-. 
 
 VolumeXVII. of The International 
 Scientific Series. 
 
 JOEL(L.). 
 A Consul's Manual and 
 
 Shipowner's and Shipmaster's Prac- 
 tical Guide in their Transactions 
 Abroad. With Definitions of Nauti- 
 cal, Mercantile, and Legal Terms ; 
 a Glossary of Mercantile Terms in 
 English, French, German, Italian, 
 and Spanish. Tables of the Money, 
 Weights, and Measures of the Prin- 
 cipal Commercial Nations and their 
 Equivalents in British Standards ; 
 and Forms of Consular and Notarial 
 Acts. Demy Svo. Cloth, price T2.y. 
 
 JOHNSTONE (C. F,), M.A. 
 Historicrl Abstracts. Being 
 Outlines of the History of some of 
 the less-known States of Europe. 
 Crown Svo. Cloth, price js, 6d. 
 
 JONES (Lucy). 
 Puddings and Sweets. Being 
 
 Three Hundred and Sixty-Five 
 Receipts approved by Experience. 
 Crown Svo., price 2S. 6d. 
 
C. Kegan Paul 6^ Co.'s Publications. 
 
 17 
 
 JOYCE (P. W.), LL.D., &.C. 
 Old Celtic Romances. 
 
 Translated from the Gaelic by. 
 Crown 8vo. Cloth, price 7^. 6d. 
 
 KAUFMANN (Rev. M.), B.A. 
 Utopias; or, Schemes of 
 Social Improvement, from Sir 
 Thomas More to Karl Marx. Crown 
 8vo. Cloth, price c^s. 
 
 Socialism : Its Nature, its 
 Dangers, and its Remedies con- 
 sidered. Crown 8vo. Cloth, price 7s. 6d. 
 
 KAY (Joseph), M.A., Q.C. 
 Free Trade in Land. 
 
 Edited bj' his Widow. With Preface 
 by the Right Hon. John Bright, 
 M. P. Third Edition. Crown 8vo. 
 Cloth, price 5^. 
 
 KENT(Carolo). 
 Carona Catholica ad Petri 
 successoris Pedes Oblata. De 
 
 Summi Pontificis Leonis XIII. As- 
 sumptione Epiggramma. In Quin- 
 quaginta Linguis. Fcap. 4to. Cloth, 
 price 15s. 
 
 KER (David). 
 The Boy Slave in Bokhara. 
 
 A Tale of Central Asia. With Illustra- 
 tions. Crown 8vo. Cloth, price 35. 6d. 
 
 The Wild Horseman of 
 the Pampas. Illustrated. Crown 
 8vo. Cloth, price 3jr. 6d. 
 
 KERNER (Dr. A.), Professor of 
 Botany in the University of 
 Innsbruck. 
 Flowers andtheirUnbidden 
 
 Guests. Translation edited by W. 
 Ogle. M.A., M.D., and a prefatory 
 letter by C. Darwin, F. R. S. With Il- 
 lustrations. Sq. Bvo. Cloth, price qs. 
 
 KIDD (Joseph), M.D. 
 The Lav>^s of Therapeutics, 
 
 or, the Science and Art of Medicine. 
 Crown Bvo. Cloth, price 6s. 
 
 KINAHAN(G. Henry),M.R.I.A., 
 &c., of her Majesty's Geological 
 Survey. 
 
 Manual of the Geology of 
 Ireland. With 8 Plates, 26 Wood- 
 cuts, and a Map of Ireland, geologi- 
 cally coloured. Square Bvo. Cloth, 
 price 15^. 
 
 KING (Mrs. Hamilton). 
 The Disciples. A Poem. 
 
 Third Edition, with some Notes. 
 Crown Svo. Cloth, price 7s. 6d. 
 
 Aspromonte, and other 
 
 Poems. Second Edition. Fcap. 
 Bvo. Cloth, price 4s. 6d. 
 
 KING (Edvi'ard). 
 Echoes from the Orient. 
 
 With Miscellaneous Poems. Small 
 crown Svo. Cloth, price 35-. 6d. 
 
 KINGSLEY (Charles), M.A. 
 Letters and Memories of 
 
 his Life. Edited by his Wife. 
 With 2 Steel engraved Portraits and 
 num.erous Illustrations on Wood, and 
 a Facsimile of his Handwriting. 
 Thirteenth Edition. 2 vols. Demy 
 Svo. Cloth, price 365-. 
 
 %* Also a Cabinet Edition in 2 
 vols. Crown Bvo. Cloth, price 12s. 
 
 All Saints' Day and other 
 
 Sermons. Second Edition. Crown 
 Svo. Cloth, ys. 6d. 
 
 True Words for Brave 
 
 Men: a Book for Soldiers' and 
 Sailors' Libraries. Fifth Edition. 
 Crown Svo. Cloth, price 2s. 6d. 
 
 KNIGHT (Professor W.). 
 Studies in Philosophy and 
 Literature. Large post Bvo. Cloth, 
 price 75-. 6d. 
 
 LACORDAIRE (Rev. Pere). 
 Life : Conferences delivered 
 at Toulouse. A New and Cheaper 
 Edition. Crown Bvo. Cloth, price 3^.60?. 
 
 LAIRD-CLOWES (W.). 
 Love's Rebellion : a Poem. 
 
 Fcap. Svo. Cloth, price 3J. 6d. 
 
 LAMONT (Martha MacDonald). 
 The Gladiator : A Life under 
 the Roman Empire in the begiiming 
 of the Third Century. With four 
 Illustrations by H. M. Paget. Extra 
 fcap. Bvo. Cloth, price 3^. 6d. 
 
 LANG (A.). 
 
 XXII Ballades in Blue 
 China. Elzevir. Svo. Parchment, 
 price 35. 6d. 
 
 LAYMANN (Capt.). 
 
 The Frontal Attack of 
 
 Infantry. Translated by Colonel 
 Edward Newdigate. Crown Bvo. 
 Cloth, price 2s. 6d. 
 
i8 
 
 A List of 
 
 LEANDER (Richard). 
 
 Fantastic Stories. Trans- 
 lated from the German by Paulina 
 B. Granville. With Eight full-page 
 Illustrations by M. E. Fraser-Tytler. 
 Crown 8vo. Cloth, price $s. 
 
 LEE (Rev. F. G.), D.C.L. 
 The Other World ; or, 
 
 Glimpses of the Supernatural. 2 vols. 
 A New Edition. Crown Svo. Cloth, 
 price 15J. 
 
 LEE (Holme). 
 Her Title of Honour. A 
 
 Book for Girls. New Edition. With 
 a Frontispiece. Crown Svo. Cloth, 
 price 55. 
 
 LEWIS (Edward Dillon). 
 A Draft Code of Criminal 
 Law and Procedure. Demy Svo. 
 Cloth, price 21J. 
 
 LEWIS (Mary A.). 
 A Rat with Three Tales. 
 
 With Four Illustrations by Catherine 
 F.Frere. Crown Svo. Cloth, price 5J. 
 
 LINDSAY(W. Lauder), M.D.,&c. 
 Mind in the Lower Animals 
 in Health and Disease. 2 vols. 
 Demy Svo. Cloth, price 32^. 
 
 LLOYD (Francis) and Charles 
 Tebbitt. 
 
 Extension of EmpireWeak- 
 ness ? Deficits Ruin ? With a 
 Practical Scheme for the Reconstruc- 
 tion of Asiatic Turkey. Small crown 
 Svo. Cloth, price 3^. 6d. 
 
 LOCKER (F.). 
 London Lyrics. A New and 
 
 Revised Edition, with Additions and 
 a Portrait of the Author. Crown Svo, 
 Cloth, elegant, price 6s. 
 
 Also, a Cheaper Edition. Fcap 
 Svo. Cloth, price 2s. 6d. 
 
 LOCKYER (J. Norman), F.R.S. 
 Studies in Spectrum Ana- 
 lysis ; with six photographic illus- 
 trations of Spectra, and numerous 
 engravings on wood. Second Edi- 
 tion. Crown Svo. Cloth, price 6s. 6d. 
 yol._ XXIII. of The International 
 Scientific Series, 
 
 LOMMEL (Dr. E.). 
 The Nature of Light : With 
 a General Account of Physical Optics. 
 Second Edition. With iSS Illustra- 
 tions and a Table of Spectra in 
 Chromo-lithography. Third Edi- 
 tion. Crown Svo. Cloth, price 5J. 
 _ Volume XVIII. of The Interna- 
 tional Scientific Series. 
 
 LONSDALE (Margaret). 
 Sister Dora. A Biography, 
 with Portrait engraved on steel by 
 C. H. Jeens, and one illustration. 
 Twelfth edition. Crown Svo. Cloth, 
 price 6s. 
 
 LORIMER (Peter), D.D. 
 John Knox and the Church 
 of England: HisWork in her Pulpit, 
 and his Influence upon her Liturgy, 
 Articles, and Parties. Demy Svo. 
 Cloth, price i2j. 
 
 John Wiclif and his 
 English Precursors, by Gerhard 
 Victor Lechler. Translated from 
 the German, with additional Notes. 
 2 vols. Demy Svo. Cloth, price -zxs. 
 
 Love's Gamut and other 
 Poems. Small crown Svo. Cloth, 
 price 3^. 6d. 
 
 LOWNDES (Henry). 
 Poems and Translations. 
 
 Crown Svo. Cloth, price 6s. 
 MAC CLINTOCK (L.). 
 Sir Spangle and the Dingy 
 
 Hen. Illustrated. Square crown 
 Svo., price is. 6d, 
 MACDONALD (G.). 
 Malcolm. With Portrait of 
 the Author engraved on Steel. Fourth 
 Edition. Crown Svo. Price 6s. 
 
 The Marquis of Lossie. 
 
 Second Edition. Crown Svo. Cloth, 
 price 6s. 
 
 St. George and St. Michael. 
 
 Second Edition. Crown Svo. Cloth,6j. 
 MACKENNA (S. J.). 
 Plucky Fellows. A Book 
 for Boys. With Six Illustrations. 
 Fourth Edition. Crown Svo. Cloth, 
 price 35. 6d. 
 
 At School with an Old 
 
 Dragoon. With Six Illustrations. 
 Second Edition. Crown Svo. Cloth, 
 price 5J. 
 
C. Kegan Paul 6^ Co^s Publications. 
 
 T9 
 
 MACLACHLAN (Mrs.). 
 Notes and Extracts on 
 Everlasting Punishment and 
 Eternal Life, according to 
 Literal Interpretation. Small 
 crown 8vo. Cloth, price 35. 6d. 
 
 MACNAUGHT (Rev. John). 
 Ccena Domini: An Essay 
 
 on the Lord's Supper, its Primi- 
 tive Institution, Apostolic Uses, 
 and Subsequent History. Demy 
 8vo. Cloth, price 14s. 
 
 MAGNUSSON (Eirikr), M.A., 
 and PALMER (E.H.), M.A. 
 Johan Ludvig Runeberg's 
 Lyrical Songs, Idylls and Epi- 
 grams. Fcap. 8vo. Cloth, price 5^. 
 
 MAIR (R. S.), M.D,, F.R.C.S.E. 
 The Medical Guide for 
 Anglo-Indians. Being a Compen- 
 dium of Advice to Europeans in 
 India, relating to the Preservation 
 and Regulation of Health. With a 
 Supplement on the Management of 
 Children in India. Second Edition. 
 Crown Svo. Limp cloth, price 3^. 6d. 
 
 MALDEN (H. E. and E. E.) 
 Princes and Princesses. 
 
 Illustrated. Small crown Svo. Cloth, 
 price 2S. 6d. 
 
 MANNING (His Eminence Car- 
 dinal). 
 
 Essays on Religion and 
 Literature. By various Writers. 
 Third Series. Demy Svo. Cloth, 
 price 10s. 6d. 
 
 The Independence of the 
 
 Holy See, with an Appendix con- 
 taining the Papal Allocution and a 
 translation. Cr. Svo. Cloth, price 5^. 
 
 The True Story of the 
 Vatican Council. Crown Svo. 
 Cloth, price 55. 
 
 MAREY (E. J.). 
 
 Animal Mechanics. A 
 
 Treatise on Terrestrial and Aerial 
 Locomotion. With 117 Illustrations. 
 Second Edition. Crown Svo. Cloth, 
 price $s. 
 
 Volume XI. of The International 
 Scientific Series. 
 
 MARKHAM (Capt. Albert Hast- 
 ings), R.N. 
 The Great Frozen Sea. A 
 
 Personal Narrative of the Voyage of 
 the "Alert" during the Arctic Ex- 
 pedition of 1875-6. With six full- 
 page Illustrations, two Maps, and 
 twenty-seven Woodcuts. Fourth 
 and cheaper edition. Crown Svo. 
 Cloth, price 6s. 
 
 Master Bobby : a Tale. By 
 
 the Author of "Christina North." 
 With Illustrations by E. H. Bell. 
 Extra fcap. Svo. Cloth, price 3^.6^. 
 
 MASTERMAN (J.). 
 Half-a-dozen Daughters. 
 
 With a Frontispiece. Crown Svo. 
 Cloth, price 35. 6d. 
 
 MAUDSLEY (Dr. H.). 
 Responsibility in Mental 
 Disease. Third Edition. Crown 
 Svo. Cloth, price s^. 
 
 Volume VIII. of The International 
 Scientific Series. 
 
 MEREDITH (George). 
 
 The Egoist. A Comedy inNar- 
 rative. 3 vols. Crown Svo. Cloth, 
 
 %* Also a Cheaper Edition, with 
 Frontispiece. Crown Svo. Cloth, 
 price 6s. 
 
 The Ordeal of Richard Fe- 
 
 verel . A History of Father and Son. 
 In one vol. with Frontispiece. Crown 
 Svo. Cloth, price 6s. 
 
 MERRITT (Henry). 
 Art - Criticism and Ro- 
 mance. With Recollections, and 
 Twenty-three Illustrations in ean- 
 forte, by Anna Lea Merritt. Two 
 vols. Large post Svo. Cloth, 25^. 
 
 MIDDLETON (The Lady). 
 Ballads. Square i6mo. Cloth, 
 price 3^. 6d. ' 
 
 MILLER (Edward). 
 The History and Doctrines 
 
 of Irvingism ; or, the so-called Ca- 
 tholic and Apostolic Church. 2 vols. 
 Large post Svo. Cloth, price 25J. 
 
 The Church in Relation to 
 the State. Crown Svo, Cloth, price 
 7.?. 6d, 
 
20 
 
 A List of 
 
 MILNE (James). 
 Tables of Exchange for the 
 
 Conversion of Sterling Money into 
 Indian and Ceylon Currency, at 
 Rates from is. Sd. to 2S. 3d. per 
 Rupee. Second Edition. Demy 
 8vo. Cloth, price £2 2s. 
 
 MINCHIN (J. G.). 
 Bulgaria since the War. 
 Notes of a Tour in the Autumn of 
 1879. Small crown 8vo. Cloth, 
 price 35'. 6d. 
 
 MIVART (St. George), F.R.S. 
 Contemporary Evolution : 
 
 An Essay on some recent Social 
 Changes. Post 8vo. Cloth, price 
 7s. dd. 
 
 MOCKLER (E.). 
 A Grammar of the Baloo- 
 
 chee Language, as it is spoken in 
 Makran (Ancient Gedrosia), in the 
 Persia-Arabic and Rornan characters. 
 Fcap. 8vo. Cloth, price 55. 
 
 MOFFAT (Robert Scott). 
 The Economy of Consump- 
 tion ; an Omitted Chapter in Political 
 Economy, with special reference to 
 the Questions of Commercial Crises 
 and the Policy of Trades Unions ; and 
 with Reviews of the Theories of Adam 
 Smith, Ricardo, J. S. Mill, Fawcett, 
 &c. Demy Svo. Cloth, price \Zs. 
 
 The Principles of a Time 
 
 Policy : being an Exposition of a 
 Method of Settling Disputes between 
 Employers and Employed in regard 
 to Time and Wages, by a simple Pro- 
 cess of Mercantile Barter, without 
 recourse to Strikes or Locks-out. 
 Reprinted from ''The Economy of 
 Consumption," with a Preface and 
 Appendix containing Observations on 
 some Reviews of that book, and a Re- 
 criticism of the Theories of Ricardo 
 and J. S. Mill on Rent, Value, and 
 Cost of Production. Demy Svo. 
 Cloth, price 35. dd. 
 
 MOLTKE (Field-Marshal Von). 
 Letters from Russia. 
 
 Translated by Robina Napier. 
 Crown Svo. Cloth, price 65. 
 
 Notes of Travel. Being Ex- 
 tracts from the Journals of. Crown 
 Svo. Cloth, price 6^. 
 
 Monmouth: A Drama, of which 
 the Outline is Historical. Dedicated 
 by permission to Mr. Henry Irving. 
 Small crown Svo. Cloth, price 55. 
 
 MORELL (J. R.). 
 Euclid Simplified in Me- 
 thod and Language. Being a 
 Manual of Geometry. Compiled from 
 the most important French Works, 
 approved by the University of Paris 
 and the Minister of Public Instruc- 
 tion. Fcap. Svo. Cloth, price 2s. 6d. 
 
 MORICE (Rev. F. D.), M.A. 
 The Olympian and Pythian 
 Odes of Pindar. A New Transla- 
 tion in English Verse. Crown Svo. 
 Cloth, price 7^. 6d. 
 
 MORSE (E. S.), Ph.D. 
 First Book of Zoology. 
 
 With numerous Illustrations. Crown 
 Svo. Cloth, price $s. 
 
 MORSHEAD (E. D. A.) 
 The Agamemnon of 2E,s- 
 
 chylus. Translated into English 
 verse. With an Introductory Essay. 
 Crown Svo. Cloth, price $s. 
 
 MORTERRA (Felix). 
 The Legend of AUandale, 
 
 and other Poems. Small crown Svo. 
 Cloth, price 6^-. 
 
 NAAKE (J. T.). 
 Slavonic Fairy Tales. 
 
 From Russian, Servian, Polish, and 
 Bohemian Sources. With Fourlllus- 
 trations. Crown Svo. Cloth, price 5^. 
 NEV/MAN (J. H.), D.D. 
 Characteristics from the 
 
 Writings of. Being Selections 
 from his various Works. Arranged 
 v/ith the Author's personal approval. 
 Third Edition. With Portrait. 
 Crown Svo. Cloth, price 6$. 
 %* A Portrait of the Rev. Dr. J. H. 
 Newman, mounted for framing, can 
 be had. price 2s. 6d. 
 NICHOLAS (Thomas), Ph.D., 
 F.G.S. 
 The Pedigree of the English 
 
 People: an Argument, Historical 
 and Scientific, on the Formation and 
 Growth of the Nation, tracmg Race- 
 admixture in Britain from the earliest 
 times, with especial reference to the 
 incorporation of the Celtic Abori- 
 gines. Fifth Edition. Demy Svo. 
 Cloth, price t6s. 
 
C. Kcmii Paul 6^ Go's Publications. 
 
 21 
 
 NICHOLSON (Edward Byron). 
 The Christ Child, and other 
 Poems. Crown 8vo. Cloth, price 
 
 The Rights of an Animal. 
 
 Crown 8vo. Cloth, price -^s. 6d. 
 
 The Gospel according to 
 
 the Hebrews. Its Fragments trans- 
 lated and annotated, with a critical 
 Analysis of the External and Internal 
 Evidence relating to it. Demy 8vo. 
 Cloth, price gs. 6d. 
 
 NICOLS (Arthur), F.G.S., 
 F.R.G.S. 
 
 Chapters from the Physical 
 
 History of the Earth. An Introduc- 
 tion to Geology and Palaeontology, 
 with numerous illustrations. Crown 
 8vo. Cloth, price ^s. 
 
 NOAKE (Major R. Compton). 
 
 The Bivouac ; or, Martial 
 Lyrist, with an Appendix — Advice to 
 the Soldier. Fcap. 8vo. Price 5J. 6d. 
 
 NORMAN PEOPLE (The). 
 The Norman People, and 
 
 their Existing Descendants in the 
 British Dominions and the United 
 States of America. Demy 8vo. 
 Cloth, price 21J. 
 
 NORRIS (Rev. Alfred). 
 The Inner and Outer Life 
 Poems. Fcap. 8vo. Cloth, price 6s, 
 
 Notes on Cavalry Tactics, 
 Organization, &c. By a Cavalry 
 Ofiicer. With Diagrams. Demy8vo. 
 Cloth, price 12s. 
 
 Nuces : Exercises on the 
 Syntax of the Public School 
 Latin Primer. New Edition in 
 Three Parts. Crown 8vo. Each u. 
 *^* The Three Parts can also be 
 had bound together in cloth, price 3^. 
 
 O'BRIEN (Charlotte G.). 
 Light and Shade. 2 vols. 
 Crown 8vo. Cloth, gilt tops, price 
 
 I2J. 
 
 Ode of Life (The). 
 
 Third Edition, Fcap. 8vo, Cloth, 
 price 5J. 
 
 O'HAGAN (John). 
 
 The Song of Roland. Trans- 
 lated into English Verse. Large 
 post 8vo. Parchment antique, price 
 los. 6d. 
 
 O'MEARA (Kathleen). 
 Frederic Ozanam, Professor 
 of the Sorbonne ; His Life and 
 Works. Second Edition. Crown 
 Svo. Cloth, price 75. 6d. 
 
 Oriental Sporting Magazine 
 (The). 
 
 A Reprint of the first 5 Volumes, 
 in 2 Volumes. Demy Svo. Cloth, 
 price 28J. 
 
 OWEN (F. M.). 
 
 John Keats. A Sttidy. 
 
 Crown 8vo. Cloth, price 6s. 
 OWEN (Rev. Robert), B.D. 
 Sanctorale Catholicum ; or 
 
 Book of Saints. With Notes, Criti- 
 cal, Exegetical, and Historical. 
 Demy Svo. Cloth, price i8j. 
 
 Palace and Prison and Fair 
 
 Geraldine. Two Tragedies, by the 
 Author of " Ginevra " and the " Duke 
 of Guise." Crown Svo. Cloth, 6s. 
 
 PALGRAVE (W. Gilford). 
 
 Hermann Agha ; An Eastern 
 
 Narrative. Third and Cheaper Edi- 
 tion. Crown Svo. Cloth, price 6s. 
 
 PALMER (Charles Walter). 
 The V/eed : a Poem. Small 
 crown Svo. Cloth, price 3.^. 
 
 PANDURANG HARI ; 
 Or, Memoirs of a Hindoo. 
 
 With an Intreductory Preface by Sir 
 H. Bartle E. Frere, G.C.S.I., C.B. 
 Crown Svo. Price 6s. 
 
 PARKER (Joseph), D.D. 
 
 The Paraclete : An Essay 
 
 on the Personality and Ministry of 
 the Holy Ghost, with some reference 
 to current discussions. Second Edi- 
 tion. Demy Svo. Cloth, price i2j. 
 
 PARR (Capt. H. Hallam). 
 A Sketch of the Kafir and 
 Zulu Wars : Guadana to Is.ind- 
 hlwana, with IMaps. Small crown 
 Svo. Cloth, price 5*. 
 
22 
 
 A List of 
 
 PARSLOE (Joseph). 
 Our Railways : Sketches, 
 
 Historical and Descriptive. With 
 Practical Information as to Fares, 
 Rates, &c., and a Chapter on Rail- 
 way Reform. Crown 8vo. Cloth, 
 price 6s. 
 
 PATTISON (Mrs. Mark). 
 The Renaissance of Art in 
 
 France. With Nineteen Steel 
 Engravings. 2 vols. Demy 8vo. 
 Cloth, price 32J. 
 
 PAUL (C. Kegan). 
 Mary Wollst onecraft. 
 
 Letters to Imlay. With Prefatory 
 Memoir by, and Two Portraits in 
 eau forte, by Anna Lea Rlerritt. 
 Crown 8vo. Cloth, price 6s. 
 
 Goethe's Faust. A New 
 Translation in Rime. Crown Svo. 
 Cloth, price 6s. 
 
 William Godwin : His 
 Friends and Contemporaries. 
 With Portraits and Facsimiles of the 
 Handwriting of Godwin and his 
 Wife. 2 vols. Square post Svo. 
 Cloth, price 28^'. 
 
 The Genius of Christianity 
 
 Unveiled. Being Essays by William 
 Godwin never before published. 
 Edited, with a Preface, by C. 
 Kegan Paul. Crown Svo. Cloth, 
 price 75. 6d. 
 
 PAUL (Margaret Agnes). 
 Gentle and Simple : A Story. 
 2 vols. Crown Svo. Cloth, gilt tops, 
 price 1 2 J. 
 
 *^* Also a Cheaper Edition in one 
 vol. with Frontispiece. Crown Svo. 
 Cloth, price 6s. 
 
 PAYNE (John). 
 Songs of Life and Death. 
 
 Crown Svo. Cloth, price 5*. 
 
 PAYNE (Prof. J. F.). 
 Lectures on Education. 
 
 Price 6d. 
 
 n. Frcibel and the Kindergarten 
 system. Second Edition. 
 
 PAYNE (Prof, J. Y .)-contmued. 
 
 A Visit to German Schools : 
 Elementary Schools in Ger- 
 many. Notes of a Professional Tour 
 to inspect some of the Kindergartens, 
 Primary Schools, Public Girls' 
 Schools,^ and Schools for Technical 
 Instruction in Hamburgh, Berlin, 
 Dresden, Weimar, Gotha, Eisenach, 
 in the autumn of 1874. With Critical 
 Discussions of the General Principles 
 and Practice of Kindergartens and 
 other Schemes of Elementary Edu- 
 cation. Crown Svo. Cloth, price 
 4J. 6d. 
 
 PELLETAN (E.). 
 
 The Desert Pastor, Jean 
 
 Jarousseau. Translated from the 
 French. By Colonel E. P. De 
 L'Hoste. With a Frontispiece. New 
 Edition. Fcap. Svo. Cloth, price 
 ZS. 6d. 
 
 PENNELL (H. Cholmondelcy). 
 
 Pegasus Resaddled. By 
 
 the Author of " Puck on P_gasus," 
 &c._&c. With Ten Full-page Illus- 
 trations by George Du Slaurier. 
 Second Edition. Fcap. 4to. Cloth 
 elegant, price \2S. 6d. 
 
 PENRICE (Maj. J.), B.A. 
 A Dictionary and Glossary 
 of the Ko-ran. With copious Gram- 
 matical References and Explanations 
 of the Text. 4to. Cloth, price 21 j. 
 
 PESCHEL (Dr. Oscar). 
 
 The Races of Man and 
 
 theirGeographical Distribution. 
 
 Large crown Svo. Cloth, price qs. 
 
 PETTIGREW (J. Bell), M.D., 
 F.R.S. 
 
 Animal Locomotion ; or, 
 
 Walking, Swimming, and Flying. 
 With 130 Illustrations. Second Edi- 
 tion. Crown Svo. Cloth, price 55. 
 
 Volume VII. of The International 
 Scientific Series. 
 
 PFEIFFER (Emily). 
 Quarterman's Grace, and 
 other Poems. Crown Svo. Cloth, 
 price 5^. 
 
 Glan Alarch : His Silence 
 and Song. A Poem. Second 
 Edition. CrowH Svo. price 6s. 
 
C. Kegan Paul 6r* Co.^s Piihlicatiojis. 
 
 23 
 
 PFEIFFER {^m\\.y)—contmued. 
 Gerard's Monument, and 
 other Poems. Second Edition. 
 Crown 8vo. Cloth, price 6s. 
 
 Poems. Second Edition. 
 Crown 8vo. Cloth, price ds. 
 
 Sonnets and Songs. New 
 
 Edition. lomo, handsomely printed 
 and bound in cloth, gilt edges, price 
 
 PINCHES (Thomas), M.A. 
 Samuel Wilberforce: Faith 
 — Service — Recompense. Three 
 Sermons. With a Portrait of Bishop 
 Wilberforce (after a Photograph by 
 Charles Watkins). Crown 8vo. Cloth, 
 price i,s. 6d. 
 
 PLAYFAIR (Lieut. - Col.), Her 
 
 Britannic Majesty's Consul-General 
 in Algiers. 
 
 Travels in the Footsteps of 
 Bruce in Algeria and Tunis. 
 Illustrated by facsimiles of Bruce's 
 original Drawings, Photographs, 
 Maps, &c. Royal 4to. Cloth, 
 bevelled boards, gilt leaves, price 
 
 POLLOCK (W. H.). 
 Lectures on French Poets. 
 
 Delivered at the Royal Institution. 
 Small crown Bvo. Cloth, price ^s. 
 
 POUSHKIN (A. S.). 
 Russian Romance. 
 
 Translated from the Tales of Belkin, 
 &c. By Mrs. J. Buchan Telfer {nee 
 Mouravieff). Crown Bvo. Cloth, 
 price 3J. 6d. 
 
 PRESBYTER. 
 Unfoldings of Christian 
 
 Hope. An Essay showing that the 
 Doctrine contained in the Danina- 
 tory Clauses of the Creed commonly 
 called Athanasian is unscriptural. 
 Small crown Bvo. Cloth, price 45. 6d. 
 
 PRICE (Prof. Bonamy). 
 Currency and Banking. 
 
 Crown Bvo. Cloth, price 6s. 
 
 Chapters on Practical Poli- 
 tical Economy. Being the Sub- 
 stance of Lectures delivered before 
 the University of Oxford. Large 
 post Bvo. Cloth, price 12^^. 
 
 Proteus and Amadeus. A 
 
 Correspondence. Edited by Aubrey 
 DeVere. Crown Bvo. Cloth, price 5 j. 
 
 PUBLIC SCHOOLBOY. 
 The Volunteer, the Militia- 
 man, and the Regular Soldier. 
 
 Crown Bvo. Cloth, price 55. 
 
 PULPIT COMMENTARY (The). 
 
 Edited by the Rev. J. S. Exell and 
 the Rev. Canon H. D. M. Spence. 
 
 Ezra, Nehemiah, and 
 Esther. By Rev. Canon G. Rawlin- 
 son, M.A. ; with Homilies by Rev. 
 Prof. J. R. Thomson, M.A., Rev. 
 Prof. R. A. Redford, LL.B., M.A., 
 Rev. W. S. Lewis, M.A., Rev. J. A. 
 Macdonald, Rev. A. Mackennal, 
 B.A., Rev. W. Clarkson, B.A., Rev. 
 F. Hastings, Rev. W. Dinwiddle, 
 LL.B., Rev. Prof. Rowlands, B.A., 
 Rev. G. Wood, B.A., Rev. Prof. P. 
 C. Barker, LL.B., M.A., and Rev. 
 J. S. Exell. Second Edition. One 
 Vol., price 12s. 6d. 
 
 Punjaub (The) and North 
 
 Western Frontier of India. By an 
 old Punjaubee. Crown Bvo. Cloth, 
 price $s. 
 
 QUATREFAGES (Prof. A. de). 
 The Human Species. 
 
 Second Edition. Crown Bvo. Cloth, 
 price 5^. 
 
 Vol. XXVI. of The International 
 Scientific Series. 
 
 RAVENSHAW (John Henry), 
 B.C.S. 
 
 Gaur: Its Ruins and In- 
 scriptions. Edited with consider- 
 able additions and alterations by his 
 Widow. With forty-four photo- 
 graphic illustrations and twenty-five 
 fac-similes of Inscriptions. Super 
 royal 4to. Cloth, 3/. i3.y. 6d. 
 
 READ (Carveth). 
 On the Theory of Logic : 
 
 An Essay. Crown Bvo. Cloth, 
 price 6s. 
 
 Realities of the Future Life. 
 
 Small crown Bvo. Cloth, price 
 IS. 6dt 
 
24 
 
 A List of 
 
 REANEY (Mrs. G. S.). 
 Blessing and Blessed ; a 
 
 Sketch of Girl Life. With a frontis- 
 piece. Crown 8vo. Cloth, price 55-. 
 
 Waking and Working ; or, 
 from Girlhood to Womanhood. 
 With a Frontispiece. Crown 8vo. 
 Cloth, price 5J. 
 
 English Girls : their Place 
 and Power. With a Preface by 
 R. W. Dale, M.A., of Birmingham. 
 Second Edition. Fcap. 8vo. Cloth, 
 price 2.S. 6d. 
 
 Just Anyone, and other 
 Stories. Three Illustrations. Royal 
 i6mo. Cloth, pi-ice is. 6d. 
 
 Sunshine Jenny and other 
 Stories. Three Illustrations. Royal 
 i6mo. Cloth, price 1^. 6d, 
 
 Sunbeam Willie, and other 
 
 Stories. Three Illustrations. Royal 
 i6mo. Cloth, price is. 6d. 
 
 REYNOLDS (Rev. J. W.). 
 The Supernatural in Na- 
 ture. A Verification by Free Use of 
 Science. Second Edition, revised 
 and enlarged. Demy 8vo. Cloth, 
 price 14^. 
 
 Mystery of Miracles, The. 
 
 By the Author of " The Supernatural 
 in Nature." Crown Bvo. Cloth, 
 price 6s. 
 
 RIBOT (Prof. Th.). 
 English Psychology. Se- 
 cond Edition. A Revised and Cor- 
 rected Translation from the latest 
 French Edition. Large post 8vo. 
 Cloth, price gs. 
 
 Heredity : A Psychological 
 Study on its Phenomena, its Laws, 
 its Causes, and its Consequences. 
 Large crown 8vo. Cloth, price gs. 
 
 RINK (Chevalier Dr. Henry). 
 Greenland : Its People and 
 
 its Products. By the Chevalier 
 Dr. Henky Rink, President of the 
 Greenland Board of Trade. With 
 sixteen Illustrations, drawn by the 
 Eskimo, and a Map. Edited by Dr. 
 Robert Brown. Crown 8vo. Price 
 los. 6d. 
 
 ROBERTSON (The Late Rev. 
 
 F. W.), M.A., of Brighton. 
 
 Notes on Genesis. New 
 
 and cheaper Edition. Crown 8vo., 
 price 3^. 6d. 
 
 Sermons. Four Series. Small 
 crown 8vo. Cloth, price 3J. dd. each. 
 
 Expository Lectures on 
 St. Paul's Epistles to the Co- 
 rinthians. A New Edition. Small 
 crown 8vo. Cloth, price ^s. 
 
 Lectures and Addresses, 
 
 with other literary remains. A New 
 Edition. Crown 8vo. Cloth, price 5^. 
 
 An Analysis of Mr. Tenny- 
 son's " In Memoriam." (Dedi- 
 cated by Permission to the Poet- 
 Laureate.) Fcap. 8vo. Cloth, price 2 J. 
 
 The Education of the 
 Human Race. Translated from 
 the German of Gotthold Ephraim 
 Lessing. Fcap. Bvo. Cloth, price 
 25. 6d. 
 
 Life and Letters. Edited by 
 
 the Rev. Stopford Brooke, RI.A., 
 Chaplain in Ordinary to the Queen. 
 
 I. 2 vols., uniform with the Ser- 
 mons. With Steel Portrait. Crown 
 Bvo. Cloth, price 7J. 6d. 
 
 II. Library Edition, in Demy Bvo., 
 with Two Steel Portraits. Cloth, 
 price 1 2 J. 
 
 III. A Popular Edition, in one vol. 
 Crown Bvo. Cloth, price 6s. 
 
 The above Works can also be had 
 half-bound in morocco. 
 
 *** A Portrait of the late Rev. F. W. 
 Robertson, mounted for framing, can 
 be had, price is. 6d. 
 
 ROBINSON (A. Mary F.). 
 A Handful of Honey- 
 suckle. Fcap. Bvo. Cloth, price 
 3^. 6d. 
 
 RODWELL (G. F.), F.R.A.S., 
 F.C.S. 
 Etna : a History of the 
 
 Mountain and its Eruptions. 
 With Maps and Illustrations. Square 
 Bvo. Cloth, price gs. 
 
C. Kegan Paul &* Co.^s Publications. 
 
 25 
 
 ROOD (Ogden N.). 
 Modern Chromatics, with 
 Applications to Art and In- 
 dustry. With 130 Original Illus- 
 trations. Crown 8vo. Cloth, price 5^. 
 yd. XXVII. of The International 
 Scientific Series. 
 
 ROSS (Mrs. E.), ("Nelsie Brook"). 
 Daddy's Pet. A Sketch 
 
 from Humble Life. With Six Illus- 
 trations. Royal i6mo. Cloth, price \s. 
 ROSS (Alexander), D.D. 
 Memoir of Alexander 
 
 Ewing, Bishop of Argyll and the 
 Isles. Second and Cheaper Edition. 
 Demy 8vo. Cloth, price \os. dd. 
 
 SADLER (S. V/.), R.N. 
 The African Cruiser. A 
 
 Midshipman's Adventures on the 
 West Coast. With Tliree Illustra- 
 tions. Second Edition. Crown 8vo. 
 Cloth, price lyS. 6d. 
 
 SALTS (Rev. Alfred), LL.D. 
 Godparents at Confirma- 
 tion. With a Preface by the Bishop 
 of Manchester. Small crown 8vo. 
 Cloth, limp, price zs. 
 
 SAUNDERS (Katharine). 
 Gideon's Rock, and other 
 Stories. Crown 8vo. Cloth, price 6s. 
 
 Joan Merryweather,and other 
 
 Stories. Crown 8vo. Cloth, price 6s. 
 
 Margaret and Elizabeth. 
 
 A Story of the Sea. Crown 8vo. 
 Cloth, price 6s. 
 
 SAUNDERS (John). 
 Israel Mort, Overman : A 
 
 Story of the Mine. Cr. 8vo. Price 6s. 
 
 Hirell. With Frontispiece. 
 Crown 8vo. Cloth, price 35. 6d. 
 
 Abel Drake's Wife. With 
 
 Frontispiece. Crown 8vo. Cloth, 
 price 3^. 6d. 
 
 SAYCE (Rev. Archibald Henry). 
 Introduction to the Science 
 
 of Language. Two vols. , large post 
 8vo. Cloth, price 255. 
 
 SCHELL (Maj. von). 
 The Operations of the 
 First Army under Gen. von 
 Goeben. Translated by Col. C. H. 
 von Wright. Four Maps. Demy 
 8vo. Cloth, poice gf. 
 
 SCHELL (Maj. von)— continued. 
 The Operations of the 
 First Army under Gen. von 
 
 Steinmetz. Translated by Captain 
 E. O. Hollist. Demy 8vo. Cloth, 
 price T.OS. 6d. 
 
 SCHELLENDORF (Maj.-Gen. 
 B. von). 
 The Duties of the General 
 
 Staff. Translated from the German 
 by Lieutenant Hare. Vol. I. Demy 
 8vo. Cloth, 10s. 6d. 
 
 SCHERFF (Maj. W. von). 
 Studies in the New In- 
 fantry Tactics. Parts I. and II. 
 Translated from the German by 
 Colonel Lumley Graham. Demy 
 Bvo. Cloth, price -js. 6d. 
 
 SCHMIDT (Prof. Oscar). 
 The Doctrine of Descent 
 
 and Darvi'inism. With 26 Illus- 
 trations. Third Edition. Crown 
 8vo. Cloth, price ss. 
 
 Volume XII. of The International 
 Scientific Series. 
 
 SCHUTZENBERGER(Prof.F.). 
 Fermentation. With Nu- 
 merous Illustrations. Second Edition. 
 Crown 8vo. Cloth, price 55. 
 
 Volume XX. of The International 
 Scientific Series. 
 
 SCOONES (W. Baptiste). 
 Four Centuries of English 
 
 Letters. A Selection of 350 Letters 
 by 150 Writers from the period of the 
 Paston Letters to the Present Time. 
 Edited and arranged by. Large 
 crown Bvo. Cloth, price gs. 
 
 SCOTT (Leader). 
 A Nook in the Apennines: 
 
 A Summer beneath the Chestnuts. 
 With Frontispiece, and 27 Illustra- 
 tions in the Text, chiefly from 
 Original Sketches. Crown Bvo. 
 Cloth, price -js. 6d. 
 
 SCOTT (Robert H.). 
 Weather Charts and Storm 
 Warnings. Illustrated. SecondEdi- 
 tion. Crown Bvo. Cloth, price 3^. 6d. 
 
 Seeking his Fortune, and 
 
 other Stories. With Four Illustra- 
 tions. Crown Bvo. Cloth, price 3^.6^. 
 
26 
 
 A List of 
 
 SENIOR (N. W.). 
 Alexis De Tocqueville. 
 
 Correspondence and Conversations 
 with Nassau W. Senior, from 1833 to 
 1859. Edited by M. C. M. Simpson. 
 2 vols. Large post 8vo. CIoth,price2i5. 
 
 Sermons to Naval Cadets. 
 
 Preached on board H.M.S. 
 " Britannia." Small crown Svo. 
 Cloth, price 3^. 6d. 
 
 Seven Autumn Leaves from 
 
 Fairyland. Illustrated with Nine 
 Etchings. Square crown Svo. Cloth, 
 price 35. 6d. 
 
 SHADWELL (Maj.-Gen.), C.B. 
 Mountain Warfare. Illus- 
 trated by the Campaign of 1799^ in 
 Switzerland. Being a Translation 
 of the Swiss Narrative compiled from 
 the Works of the Archduke Charles, 
 Jomini, and others. Also of Notes 
 by General H. Dufour on the Cam- 
 paign of the Valtelline in 1635. With 
 Appendix, Maps, and Introductory 
 Remarks. Demy Svo. Cloth, price i6j. 
 
 SHAKSPEARE (Charles). 
 Saint Paul at Athens : 
 
 Spiritual Christianity in Relation to 
 some Aspects of Modern Thought. 
 Nine Sermons preached at St. Ste- 
 phen's Church, Westbourne Park. 
 With Preface by the Rev. Canon 
 Farrar. Crown Svo. Cloth, price 55. 
 
 SHAW (Major Wilkii^son). 
 The Elements of Modern 
 
 Tactics. Practically applied to 
 English Formations. With Twenty- 
 live Plates and Maps. Small crown 
 Svo. Cloth, price 12s. 
 
 *^* The Second Volume of "Mili- 
 tary Handbooks for Officers and 
 Non-commissioned Officers." Edited 
 by Lieut. -Col. C. B. Brackeubury, 
 R.A., A.A.G. 
 
 SHAW (Flora L.). 
 Castle Blair : a Story of 
 
 Youthful Lives. 2 vols. Crown Svo. 
 Cloth, gilt tops, price 12J. Also, an 
 edition in one vol. Crown Svo. 6s. 
 
 SHELLEY (Lady). 
 Shelley Memorials from 
 
 Authentic Sources. With (now 
 first printed) an Essay on Christian- 
 ity by Percy Bysshe Shelley. With 
 Portrait. Third Edition. Crown 
 Svo. Cloth, price 55. 
 
 SHELLEY (Percy Bysshe). 
 Poems selectedfrom. Dedi- 
 cated to Lady Shelley. With Pre- 
 face by Richard Garnett. Printed 
 on hand-made paper. With miniature 
 frontispiece. Elzevir. Svo., limp parch- 
 ment antique. Price 6j., vellum ■]s.6d. 
 
 SHERMAN (Gen. W. T.). 
 
 Memoirs of General W* 
 
 T. Sherman, Commander of the 
 Federal Forces in the American Civil 
 War. By Himself. 2 vols. With 
 Map. Demy Svo Cloth, price 24J. 
 Copyright Eiiglish Edition. 
 
 SHILLITO (Rev. Joseph). 
 Womanhood : its Duties, 
 
 Temptations, and Privileges. A Book 
 for Young Women. Second Edition. 
 Crown Svo. Price 3^. dd. 
 
 SHIPLEY (Rev. Orby), M.A. 
 
 Principles of the Faith in 
 Relation to Sin. Topics for 
 Thought in Times of Retreat. 
 Eleven Addresses. With an Intro- 
 duction on the neglect of Dogmatic 
 Theologj' in the Church of England, 
 and a Postscript on his leaving the 
 Church of England. Demy Svo. 
 Cloth, price i2j. 
 
 Church Tracts, or Studies 
 
 in Modern Problems. By various 
 Writers. 2 vols. Crown Svo. Cloth, 
 price 5^. each. 
 
 SMITH (Edward), M.D., LL.B., 
 F.R.S. 
 
 Health and Disease, as In- 
 fluenced by the Daily, Seasonal, and 
 other Cyclical Changes in the Human 
 System. A New Edition. Post Svo. 
 Cloth, price "js. 6d. 
 
 Foods. Profusely Illustrated. 
 . Sixth Edition. Crown Svo. Cloth, 
 price $s. 
 
 Volume III. of The International 
 Scientific Series. 
 
C. Kemn Paul 6^ C<?.V Ptihlicatioiis. 
 
 27 
 
 SMITH (Edward), M.D., LL.B., 
 F . R . S . — con tin ued. 
 
 Practical Dietary for 
 Families, Schools, and the La- 
 bouring Classes. A New Edition. 
 Post 8vo. Cloth, price 3^. dd. 
 
 Tubercular Consumption 
 in its Early and Remediable 
 Stages. Second Edition. Crown 
 8vo. Cloth, price 6j. 
 
 Songs of Two Worlds. By 
 
 the Author of " The Epic of Hades." 
 Fifth Edition. Complete in one 
 Volume, with Portrait. Fcap. 8vo. 
 Cloth, price 75. td. 
 
 Songs for Music. 
 
 By Four Friends. Square crown 
 8vo. Cloth, price ^s. 
 Containing songs by Reginald A. 
 Gatty, Stephen H. Gatty, Greville 
 J. Chester, and Juliana Ewing. 
 
 SPEDDING (James). 
 Reviews and Discussions, 
 Literary, Political, and His- 
 torical, not relating to Bacon. 
 Demy 8vo. Cloth, price x-zs. 6d. 
 
 SPENCER (Herbert). 
 The Study of Sociology. 
 
 Eighth Edition. Crown 8vo. Cloth, 
 price 5J. 
 
 Volume V. of The International 
 Scientific Series. 
 
 STEDMAN (Edmund Clarence). 
 Lyrics and Idylls. With 
 other Poems. Crown 8vo. Cloth, 
 price 7^. 6d. 
 
 STEPHENS (Archibald John), 
 LL.D. 
 The Folkestone Ritual 
 
 Case. The Substance of the Argu- 
 ment delivered before the Judicial 
 Committee of the Privy Council. On 
 behalf of the Respondents. Demy 
 8vo. Cloth, price 6s. 
 
 STEVENS (William). 
 The Truce of God, and other 
 Poems. Small crown 8vo. Cloth, 
 price 3^. 6d. 
 
 STEVENSON (Robert Louis). 
 An Inland Voyage. With 
 
 Frontispiece by Walter Crane. 
 Crown 8vo. Cloth, price 7*. 6d. 
 
 STEVENSON (Robert Louis)— 
 
 continued. 
 
 Travels with a Donkey in 
 
 the Cevennes. With Frontispiece 
 by Walter Crane. Crown 8vo. Cloth, 
 price 75. 6d. 
 STEVENSON (Rev. W. P.). 
 Hymns for the Church and 
 
 Home. Selected and Edited by the 
 Rev. W. Fleming Stevenson. 
 
 The most complete Hymn Book 
 published. 
 
 The Hymn Book consists of Three 
 Parts :— I. For Public Worship.— 
 II. For Family and Private Worship. 
 —III. For Children. 
 *^* Published in various forms and 
 prices, the latter ranging from Sd, 
 to 6s. Lists and full particulars 
 ivill be furnished on application to 
 the Publishers. 
 STEWART(Prof. Balfour), M. A., 
 LL.D., F.R.S. 
 
 On the Conservation of 
 Energy. Fifth Edition. With 
 Fourteen Engravings. Crown 8vo. 
 Cloth, price r,s. 
 
 Volume VI. of The International 
 Scientific Series. 
 STORR (Francis), and TURNER 
 Hawes). 
 Canterbury Chimes ; or, 
 
 Chaucer Tales retold to Children. 
 With Illustrations from the Elles- 
 mere MS. Extra Fcap. 8vo. Cloth, 
 price 3J. 6d. 
 STRETTON (Hesba). 
 David Lloyd's Last Will. 
 With Four Illustrations. Royal 
 i6mo., price -zs. 6d, 
 
 The Wonderful Life. 
 
 Thirteenth Thousand. Fcap. 8vo. 
 Cloth, price 2s. 6d. 
 
 Through a Needle's Eye : 
 
 a Story. 2 vols. Crown 8vo. Cloth, 
 gilt top, price iis. 
 
 *^* Also a Cheaper Edition in 
 one volume, with Frontispiece. Crown 
 8vo. Cloth, price 6s. 
 STUBBS (Lieut.-Colonel F. W.) 
 The Regiment of Bengal 
 Artillery. The History of its 
 Organization, Equipment, and War 
 Services. Compiled from Published 
 Works, Official Records, and various 
 Private Sources. With numerous 
 Maps and Illustrations. 2 vols. 
 Demy 8vo. Cloth, price 32J. 
 
28 
 
 A List of 
 
 STUMM (Lieut. Hugo), German 
 Military Attache to the Khivan Ex- 
 pedition. 
 
 Russia's advance East- 
 ward. Based on the Official Reports 
 of. Translated by Capt. C. E. H. 
 Vincent. With Map. Crown 8vo. 
 Cloth, price 6s. 
 
 SULLY (James), M.A. 
 Sensation and Intuition. 
 
 Demy 8vo. Cloth, price loj. 6d. 
 
 Pessimism : a History and 
 a Criticism. Demy 8vo. Price 14J. 
 
 Sunnyland Stories. 
 
 By the Author of "Aunt Mary's Bran 
 Pie." Illustrated. Small Svo. Cloth, 
 price IS. 6d. 
 
 Sweet Silvery Sayings of 
 
 Shakespeare. Crown Svo. Cloth 
 gilt, price js. 6d. 
 
 SYME (David). 
 Outlines of an Industrial 
 Science. Second Edition. Crown 
 Svo. Cloth, price 6s. 
 
 Tales from Ariosto. Retold for 
 Children, by a Lady. With three 
 illustrations. Crown Svo. Cloth, 
 price 45. 6d. 
 
 TAYLOR (Algernon). 
 Guienne. Notes of an Autumn 
 Tour. Crown Svo. Cloth, price 45-. 6d. 
 
 TAYLOR (Sir H.). 
 Works Complete. Author's 
 
 Edition, in 5 vols. Crown Svo. 
 Cloth, price 6^. each. 
 
 Vols. L to in. containing the 
 Poetical Works, Vols. IV. and V. 
 the Prose Works. 
 
 TAYLOR (Col. Meadows), C.S;I., 
 M.R.I. A. 
 
 A Noble Queen : a Romance 
 of Indian History. Crown Svo. 
 Cloth. Price 6s. 
 
 Seeta. 3 vols. Crown Svo. 
 Cloth. 
 
 Tippoo Sultaun : a Tale of 
 
 the Mysore War. New Edition with 
 Frontispiece. Crown Svo. Cloth, 
 price 6s. 
 
 TAYLOR (Col. Meadows), C.S.I. , 
 M . R . I . A . — coittinncd. 
 
 Ralph Darnell. New and 
 
 Cheaper Edition. With Frontis- 
 piece. Crown Svo. Cloth, price 6s. 
 
 The Confessions of a Thug. 
 
 New Edition. Crown Svo. Cloth, 
 price 6s. 
 
 Tara : a Mahratta Tale. 
 New Edition. Crown Svo. Cloth, 
 price 6s. 
 
 TEBBITT (Charles) and Francis 
 Lloyd. 
 
 Extension of Empire Weak- 
 ness ? Deficits Ruin ? With a 
 Practical Scheme for the Recon- 
 struction of Asiatic Turkey. Small 
 crown Svo. Cloth, price 3^. 6d. 
 
 TENNYSON (Alfred). 
 The Imperial Library Edi- 
 tion. Complete in 7 vols. Demy Svo. 
 Cloth, price ^3 13J. 6d. ; in Rox- 
 burgh binding, £i, ys. 6d. 
 
 Author's Edition. Complete 
 in 6 Volumes. Post Svo. Cloth gilt ; 
 or half-morocco, Roxburgh style : — 
 
 Vol. I. Early Poems, and 
 English Idylls. Price 6s. ; Rox- 
 burgh, js. 6d. 
 
 Vol. II. Locksley Hall, 
 Lucretius, and other Poems. 
 Price 6s. ; Roxburgh, -js. 6d. 
 
 Vol. III. The Idylls of 
 
 the King {Complete). Price 75. 6d. ; 
 
 Roxburgh, qs. 
 
 Vol. IV. The Princess, and 
 
 Maud. Price 6j.; Roxburgh, 7^. 6^. 
 
 Vol. V. Enoch Arden, 
 
 and In Memoriam. Price 6s. ; 
 
 Roxburgh, -js. 6d. 
 
 Vol. VI. Dramas. Price 7^. ; 
 
 Roxburgh, Sj. 6d. 
 
 Cabinet Edition. 12 vols. 
 
 Each with Frontispiece. Fcap. Svo. 
 Cloth, price is. 6d. each. 
 
 Cabinet Edition. 12 vols. Com- 
 plete in handsome Ornamental Case. 
 325. 
 
 Pocket Volume Edition. 
 
 13 vols. In neat case, 36J. Ditto, 
 ditto. Extra cloth gilt, in case, 42*. 
 
C. Kegan Paul 6^ Co.^s Fubh'mtions. 
 
 29 
 
 TENNYSON {K\iv&d)—coHtmued. 
 The Royal Edition. Com- 
 plete in one vol. Cloth, \6s. Cloth 
 extra, i8^. Roxburgh, half morocco, 
 price 20J. 
 
 The Guinea Edition. Com- 
 plete in 12 vols., neatly bound and 
 enclosed in box. Cloth, price 21s. 
 French morocco, price 31^. 6d. 
 
 The Shilling Edition of the 
 
 Poetical and Dramatic Works, in 12 
 vols., pocket size. Price is. each. 
 
 The Crown Edition. Com- 
 plete in one vol., strongly bound in 
 cloth, price 6s. Cloth, extra gilt 
 leaves, price 75. 6d. Roxburgh, 
 half morocco, price 2>s. 6d. 
 
 *4i* Can also be had in a variety 
 of other bindings. 
 
 Original Editions : 
 
 The Lover's Tale. (Now 
 
 for the first time published.) Fcap. 
 8vo. Cloth, 3^, 6d. 
 
 Poems. Small 8vo. Cloth, 
 price 6s. 
 
 Maud, and other Poems. 
 Small 8vo. Cloth, price 3^. 6d. 
 
 The Princess. Small 8vo. 
 
 Cloth, price 3^. 6d. 
 
 Idylls of the King. Small 
 
 Bvo. Cloth, price 5^. 
 
 Idylls of the King. Com- 
 plete. Small Bvo. Cloth, price 6s. 
 
 The Holy Grail, and other 
 
 Poems. Small 8vo. Cloth, price 
 
 4^. 6d. 
 
 Gareth and Lynette. Small 
 
 8vo. Cloth, price 3^. 
 
 Enoch Arden, &c. Small 
 
 8vo. Cloth, price 3.?. 6d. 
 
 In Memoriam. Small 8vo. 
 
 Cloth, price 4^. 
 
 Queen Mary. A Drama. 
 
 New Edition. Crown 8vo. Cloth, 
 price 6s. 
 
 Harold. A Drama. Crown 
 
 8vo. Cloth, price 6s. 
 
 Selections from Tenny- 
 son's w rks. Super royal i6mo. 
 Cloth,] -iQ^s.Sd. Cloth gilt extra, 
 price 4^. 
 
 TENNYSON ih\iT&d.)—coHti7ined. 
 Songs from Tennyson's 
 
 Works. _ Super royal i6mo. Cloth 
 extra, price 3^. 6d. 
 
 Also a cheap edition. i6mo. 
 Cloth, price 2s. 6d. 
 
 Idylls of the King, and 
 
 other Poems. Illustrated by Julia 
 Margaret Cameron. 2 vols. Folio. 
 Half-bound morocco, cloth sides, 
 price £6 6s. each. 
 
 Tennyson for the Young and 
 for Recitation. Specially arranged. 
 Fcap. Bvo. Price i.y. 6d. 
 
 Tennyson Birthday Book. 
 
 Edited by Emily Shakespear. 32mo. 
 Cloth limp, 2s. ; cloth extra, 3^. 
 
 *^* A superior edition, printed in 
 red and black, on antique paper, 
 specially prepared. Small crov/n 8vo. 
 Cloth extra, gilt leaves, price 5^. ; 
 and in various calf and morocco 
 bindings. 
 
 In Memoriam. A new Edi- 
 tion, choicely printed on hand- 
 made paper, with a Miniature Por- 
 trait in ca7i forte by Le Rat, 
 after a photograph by the late Mrs. 
 Cameron. Bound in limp parchment, 
 antique, price 6s., vellum 7^. 6d. 
 
 The Princess. A Medley. 
 
 Choicely printed on hand-made 
 paper, with a miniature frontispiece 
 by H. M. Paget and a tail-piece in 
 outline by Gordon Browne. Limp 
 parchment, antique, price 6.y., 
 vellum, price 7^. 
 
 Songs Set to Music, by 
 
 various Composers. Edited by W. 
 G. Cusins. Dedicated by express 
 permission to Her Majesty the 
 Queen. Royal 4to. Cloth extra, 
 gilt leaves, price 2i.y., or in half- 
 morocco, price 25J. 
 
 THOMAS (Mo'y). 
 A Fight for Life. With 
 
 Frontispiece. Crown 8vo. Cloth, 
 price 35. 6d. 
 
 THOMPSON (Alice C). 
 Preludes. A Volume of 
 
 Poems. Illustrated by Elizabeth 
 Thompson (Painter of "The Roll 
 Call ")■ 8vo. Cloth, price ^s. 6d. 
 
30 
 
 A List of 
 
 THOMSON (J. Turnbull). 
 Social Problems ; or, an In- 
 quiry into the Law of Influences. 
 With Diagrams. Demy 8vo. Cloth, 
 price los. 6d. 
 
 THRING (Rev. Godfrey), B.A. 
 Hymns and Sacred Lyrics. 
 Fcap. 8vo. Cloth, price 3^. 6d. 
 
 THURSTON (Prof. R. H.). 
 A History of the Growth 
 of the Steam Engine. With 
 numerous Illustrations. Second 
 Edition. Crown 8vo. Cloth, price 
 6s. 6d. 
 
 TODHUNTER (Dr. J.) 
 
 A Study of Shelley. Crown 
 
 8vo. Cloth, price -js. 
 
 Alcestis : A Dramatic Poem. 
 Extra fcap. 8vo. Cloth, price 5^. 
 
 Laurella; and other Poems. 
 
 Crown 8vo. Cloth, price 6s. 6d. 
 TOLINGSBY (Frere). 
 Elnora. An Indian Mytho- 
 logical Poem. Fcap. 8vo. Cloth, 
 price 6s. 
 
 Translations from Dante, 
 Petrarch, Michael Angelo, and 
 Vittoria Colonna. Fcap. 8vo. 
 Cloth, price 7^. 6d. 
 
 TURNER (Rev. C. Tennyson). 
 Sonnets, Lyrics, andTrans- 
 lations. Crown 8vo. Cloth, price 
 4^. 6d. 
 
 TWINING (Louisa). 
 Recollections of Work- 
 house Visiting and Manage- 
 ment during twenty-five years. 
 Small crown 8vo. Cloth, price 35. 6d. 
 
 TYNDALL (John), LL.D., F.R.S 
 Forms of Water. A Fami- 
 liar Exposition of the Origin and 
 Phenomena of Glaciers. With 
 Twenty-five Illustrations. Seventh 
 Edition. Crown 8vo. Cloth, price 5J. 
 Volume I. of The International 
 Scientific Series. 
 
 VAN BENEDEN (Mons.). 
 Animal Parasites and 
 Messmates. With 83 Illustrations. 
 Second Edition. Cloth, price 5J. 
 
 Volume XIX. of The International 
 Scientific Series. 
 
 VAUGHAN (H. Halford), some- 
 time Regius Professor of Modern 
 History in Oxford University. 
 
 New Readings and Ren- 
 derings of Shakespeare's Tra- 
 gedies. Vol. I. Demy 8vo. Cloth, 
 price i^s. 
 
 VILLA RI (Prof.). 
 Niccolo Machiavelli and 
 His Times. Translated by Linda 
 Villari, 2 vols. Large post 8vo. 
 Cloth, price 24J. 
 
 VINCENT (Capt. C. E, H.). 
 Elementary Military 
 Geography, Reconnoitring, and 
 Sketching. Compiled for Non- 
 commissioned Officers and Soldiers 
 of all Arms. Square crown 8vo. 
 Cloth, price 2s. 6d. 
 
 VOGEL (Dr. Hermann). 
 The Chemical Effects of 
 
 Light and Photography, in their 
 application to Art, Science, and 
 Industry. The translation thoroughly 
 revised. With 100 Illustrations, in- 
 cluding some beautiful specimens of 
 Photography. Third Edition. Crown 
 8vo. Cloth, price $5. 
 
 Volume XV. of The International 
 Scientific Series. 
 
 VYNER (Lady Mary). 
 Every . day a Portion. 
 
 Adapted from the Bible and the 
 Prayer Book, for the Private Devo- 
 tions of those living in Widowhood. 
 Collected and edited by Lady Mary 
 Vyner. Square crown 8vo. Cloth 
 extra, price ^s. 
 
 WALDSTEIN (Charles), Ph. D. 
 The Balance of Emotion 
 
 and Intellect: An Essay Intro- 
 ductory to the Study of Philosophy. 
 Crown 8vo. Cloth, price 6s. 
 
 WALLER (Rev. C. B.) 
 The Apocalypse, Reviewed 
 under the Light of the Doctrine of 
 the Unfolding Ages and the Resti- 
 tution of all Things. Demy 8vo. 
 Cloth, price 125. 
 
 WALTERS (Sophia Lydia). 
 The Brook: A Poem. Small 
 crown 8vo. Cloth, price 35. 6d. 
 
C. Kegan Paul &* Co.^s Puhlicatmis. 
 
 31 
 
 WALTERS (Sophia Lydia)— <:<?«- 
 
 timied. 
 
 A Dreamer's Sketch Book. 
 
 With Twenty-one Illustrations by 
 Percival Skelton, R. P. Leitch, 
 W. H. J. Boot, and T. R. Pritchett. 
 Engraved by J. D. Cooper. Fcap. 
 4to. Cloth, price lis. td. 
 
 WARTENSLEBEN (Count H. 
 von). 
 The Operations of the 
 
 South Army in January and 
 February, 1871. Compiled from 
 the Official War Documents of the 
 Head-quarters of the Southern Army. 
 Translated by Colonel C. H. von 
 Wright. With Maps. Demy 8vo. 
 Cloth, price 6s. 
 
 The Operations of the 
 First Army under Gen. von 
 Manteuffel. Translated by Colonel 
 C. H. von Wright. Uniform with 
 the above. Demy 8vo. Cloth, price gj. 
 
 WATERFIELD, W. 
 Hymns for Holy Days and 
 
 Seasons. 32mo. Cloth, price u. 6rf". 
 
 WATSON (William). 
 ^ The Prince's Quest and 
 t other Poems. Crown 8vo. Cloth, 
 price ^s. 
 
 WATSON (Sir Thomas), Bart., 
 'M.D. 
 |The Abolition of Zymotic 
 
 Diseases, and of other similar ene- 
 mies of Mankind. Small crown 8vo. 
 Cloth, price 35'. 6d. 
 
 WAY (A.), M.A. 
 The Odes of Horace Lite- 
 
 ■ ^ally Translated in Metre. Fcap. 
 fSvo. Cloth, price is. 
 
 ^A^EBSTER (Augusta). 
 Disguises. A Drama. Small 
 crown Svo. Cloth, price 5^. 
 
 WEDMORE (Frederick). 
 The Masters of Genre 
 
 Painting. With sixteen illustrations. 
 Crown 8vo. Cloth, price 7^. dd 
 
 WELLS (Capt. John C), R.N. 
 (Spitzbergen — The Gate- 
 way to the Polynia ; or, A Voyage 
 to Spitzbergen. With numerous Il- 
 lustrations by Whymper and others, 
 and Map. New and Cheaper Edi- 
 tion. Demy 8vo. Cloth, price ds. 
 
 Wet Days, by a Farmer. 
 
 Small crown Syo. Cloth, price 6j. 
 WETMORE (W. S.). 
 
 Commercial Telegraphic 
 
 Code. Second Edition. Post 4to. 
 Boards, price 42.?. 
 
 WHITAKER (Florence). 
 Christy's Inheritance. A 
 
 London Story. Illustrated. Royal 
 i6mo. Cloth, price \s. 6d. 
 
 WHITE (A. D.), LL.D. 
 Warfare of Science. With 
 Prefatory Note by Professor Tyndall. 
 Second Edition. Crown 8vo. Cloth, 
 price 3.y. 6d. 
 
 WHITNEY (Prof. W. D.) 
 The Life and Growth of 
 
 Language. Second Edition. Crown 
 Svo. Cloth, price 5J. Copyright 
 Edition. 
 
 Volume XVI. of The International 
 Scientific Series. 
 
 Essentials of English 
 Grammarforthe Useof Schools. 
 Crown 8vo. Cloth, price 3^. 6a. 
 
 WICKHAM (Capt. E. H., R.A.) 
 Influence of Firearms upon 
 
 Tactics : Historical and Critical 
 Investigations. By an Officer of 
 Superior Rank (in the German 
 Army). Translated by Captain E. 
 H. Wickham, R.A. Demy Svo. 
 Cloth, price -js. 6d. 
 
 WICKSTEED (P. H.). 
 Dante : Six Sermons. Crown 
 8vo. Cloth, price $s. 
 
 WILLIAMS (Rowland), D.D. 
 Life and Letters of, with Ex- 
 tracts from his Note-Books. Edited 
 by Mrs. Rowland Williams. With 
 a Photographic Portrait. 2 vols. 
 Large post Svo. Cloth, price 245. 
 
 Stray Thoughts from the 
 Note-Books of the Late Row- 
 land Williams, D.D. Edited by 
 his Widow. Crown Svo. Cloth, 
 price 35. 6d. 
 
 Psalms, Litanies, Coun- 
 sels and Collects for Devout 
 Persons. Edited by his Widow. 
 New and Popular Edition. Crowij 
 Svo. Cloth, price 3^. 6d. 
 
32 A List of C. Kegan Paul 6^ Co^s Publications. 
 
 WILLIS (R.), M.D. 
 Servetus and Calvin : a 
 
 Study of an Important Epoch in the 
 Early History of the Reformation. 
 8vo. Cloth, price i6s. 
 William Harvey. A History 
 of the Discovery of the Circula- 
 tion of the Blood. With a Portrait 
 of Harvey, after Faithorne. Demy 
 8vo. Cloth, price 145. 
 
 WILLOUGHBY(The Hon. Mrs.). 
 On the North Wind — 
 
 Thistledown. A Volume of Poems. 
 Elegantly bound. Small crown 8vo. 
 Cloth, price ts. 6d. 
 
 WILSON (H. Schutz). 
 The Tower and Scaffold. 
 
 A Miniature Monograph. Large 
 fcap. 8vo. Price is. 
 
 Within Sound of the Sea. 
 By the Author of " Blue Roses," 
 " Vera," &c. Third Edition. 2 vols. 
 Crown 8vo. Cloth,gilt tops, price 12.?. 
 %* Also a cheaper edition in one 
 Vol. with frontispiece. Crown 8vo. 
 Cloth, price 6s. 
 
 WOINOVITS (Capt. I.). 
 Austrian Cavalry Exercise. 
 
 Translated by Captain W. S. Cooke. 
 Crown 8vo. Cloth, price 7J. 
 
 WOLLSTONECRAFT (Mary). 
 Letters to Imlay. With a 
 
 Preparatory Memoir by_ C. Kegan 
 Paul, and two Portraits in eaii forte 
 by Anna Lea Merritt. Crown Svo. 
 Cloth, price ds. 
 
 WOOD (Major-GeneralJ. Creigh- 
 ton). 
 Doubling the Consonant. 
 
 Small crown Svo. Cloth, price \s, 6d, 
 WOODS (James Chapman). 
 A Child of the People, 
 
 and other poems. Small crown 8vo. 
 Cloth, price 55. 
 
 WRIGHT (Rev. David), M.A. 
 Waiting for the Light, and 
 other Sermons. Crown Svo. Cloth, 
 price 6s. 
 
 YOUMANS (Eliza A.). 
 An Essay on the Culture 
 of the Observing Powers of 
 Children, especially in connection 
 with the Study of Botany. Edited, 
 with Notes and a Supplement, by 
 Joseph Payne, F. C. P., Author of 
 " Lectures on the Science and Art of 
 Education," &c. Crown Svo. Cloth, 
 price 2^. 6d. 
 
 First Book of Botany. 
 
 Designed to Cultivate the Observing 
 Powers of Children. With 300 En- 
 gravings. New and Cheaper Edi- 
 tion. Crown Svo. Cloth, price 2s. 6d. 
 
 YOUMANS (Edward L.), M.D. 
 A Class Book of Chemistry, 
 
 on the Basis of the New System. 
 
 With 200 Illustrations. Crown Svo. 
 
 Cloth, price ss. 
 YOUNG (William). 
 
 Gottlob, etcetera. Small 
 
 crown Svo. Cloth, price 35. 6d. 
 ZIMMERN (H.). 
 
 Stories in Precious Stones. 
 
 With Six Illustrations. Third Edi- 
 tion. Crown Svo. Cloth, price 5^ . 
 
 London: — C. Kegan Paul & Co., i, Paternoster Square. 
 
 f^ 
 

 DATE DUE 
 
 
 m 1 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 GAYLORD 
 
 
 PRINTED IN U.S.A. 
 
BL2600 ,G47 
 
 Myths and songs from the South Pacific. 
 
 Princeton Theological Semlnary-Speer Library 
 
 1 1012 00109 5720 
 
 
 ''i^pM^'.'^^d 
 
 1^