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MYTHS  ANoSONGS 


FROM  THE 


i.N:rjian  uoyjoN    K 


MAX    MULLER 


//  .  ii.  0  .  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  ! 

0  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, 

0  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  ! 

0  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 

0  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. 

0  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. 

0  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 ! 

0  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  ! 

0  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. 

0  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. 

0  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  0  ! 


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  0  !  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 


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BURCKHARDT  (Jacob). 
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Seeking  for  Light :  Sermons. 
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Portugal,    Old    and    New. 

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CRESSWELL  (Mrs.  G.). 
The  King's  Banner.   Drama 
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CROMPTON  (Henry). 
Industrial         Conciliation. 
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C.  Kegan  Paul  6^  Co.^s  Publications, 


II 


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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 
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ley.  2  vols.  Crown  8vo.  Cloth, 
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Frere,  G.  C.  S.  I.,  &c.  New  and 
Cheaper  Edition.  Crown  Bvo.  Cloth, 
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HOFFBAUER  (Capt.). 
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the  Battles  near  Metz.  Based 
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O.  Hollist.  With  Map  and  Plai>s. 
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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 


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HOOPER  (Mrs.  G.). 
The  House  of  Raby.     With 
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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. 
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HORNER  (The  Misses). 
Walks  in  Florence.    A  New 

and  thoroughly  Revised  Edition.  2 
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Palaces.  lo^.  6d.  Vol.  II. — Public 
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HULL  (Edmund  C.  P.). 
The    European    in    India. 

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F.R.C.S.E.  Third  Edition,  Revised 
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HUTTON  (Arthur),  M.A. 
The  Anglican  Ministry.  Its 

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Catholic  Priesthood.  With  a  Pre- 
face by  his  Eminence  Cardinal  New- 
man.    Demy  8vo.     Cloth,  price  145. 

HUXLEY  (Prof.) 
The    Crayfish :    An    Intro- 
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Volume  XXVIII.  of  the  Interna- 
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INCHBOLD(J.W.). 
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INGELOW  (Jean). 
Off  the  Skelligs.     A  Novel. 

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Indian    Bishoprics.       By  an 
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liar Exposition  of  the  Origin  and 
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ciety.  By  Walter  Bagehot.  Fifth 
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C.  Kegan  Paul  6^ 


Co.''s  Publications. 


15 


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i6 


A  List  of 


International    Scientific 
Series  (The) — continued. 

Forthcoming   Volumes. 

Prof.  W.  KiNGDON  Clifford,  M.A. 
The  First  Principles  of  the  Exact 
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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 
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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- 
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J.  LuYS,  Physician  to  the  Hospice 
de  la  Salpetriere.  The  Brain  and  its 
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Dr.  Carl  Semper.  Animals  and 
their  Conditions  of  Existence. 

Prof.  WuRTZ.  Atoms  and  the 
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George  J.  Romanes,  F.L.S.  Ani- 
mal Intelligence. 

Alfred  W.  Bennett.  A  Hand- 
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JENKINS  (Rev.  R.  C),  M.A. 
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JOEL(L.). 
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17 


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i8 


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yol._  XXIII.  of  The  International 
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LOMMEL  (Dr.  E.). 
The  Nature  of  Light :  With 
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_  Volume  XVIII.  of  The  Interna- 
tional Scientific  Series. 

LONSDALE  (Margaret). 
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T9 


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20 


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MORELL  (J.  R.). 
Euclid  Simplified  in  Me- 
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21 


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I2J. 

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Songs  of  Life  and  Death. 

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Lectures     on     Education. 

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PELLETAN  (E.). 

The   Desert   Pastor,    Jean 

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PESCHEL  (Dr.  Oscar). 

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tion.    Crown  Svo.     Cloth,  price  55. 

Volume  VII.  of  The  International 
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23 


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Russian         Romance. 

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Vol.  XXVI.  of  The  International 
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RAVENSHAW    (John     Henry), 
B.C.S. 

Gaur:  Its  Ruins  and  In- 
scriptions. Edited  with  consider- 
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24 


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26 


A  List  of 


SENIOR  (N.  W.). 
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phen's Church,  Westbourne  Park. 
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SHIPLEY  (Rev.  Orby),  M.A. 

Principles  of  the  Faith  in 
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SMITH  (Edward),  M.D.,  LL.B., 
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C.  Kemn  Paul  6^  C<?.V  Ptihlicatioiis. 


27 


SMITH  (Edward),  M.D.,  LL.B., 
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continued. 

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Hawes). 
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28 


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SULLY  (James),  M.A. 
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TAYLOR  (Algernon). 
Guienne.  Notes  of  an  Autumn 
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TENNYSON  (Alfred). 
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29 


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Original  Editions  : 

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THOMPSON  (Alice  C). 
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30 


A  List  of 


THOMSON  (J.  Turnbull). 
Social  Problems  ;  or,  an  In- 
quiry into  the   Law  of  Influences. 
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price  los.  6d. 

THRING  (Rev.  Godfrey),  B.A. 
Hymns  and  Sacred  Lyrics. 
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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. 
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Laurella;  and  other  Poems. 

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TOLINGSBY  (Frere). 
Elnora.     An  Indian  Mytho- 
logical Poem.     Fcap.  8vo.      Cloth, 
price  6s. 

Translations  from  Dante, 
Petrarch,  Michael  Angelo,  and 
Vittoria  Colonna.  Fcap.  8vo. 
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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. 
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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 
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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 
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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. 

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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. 
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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 

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Myths  and  songs  from  the  South  Pacific. 

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