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New E dition .

Crown 8vo . 3s.

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Its sty le is simply exquisite, and it is fil led with most curious information .

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THE CHILDHOOD OF RELIGIONS : Including a Simple Account ofthe Birth and Growth of Myths and Leg ends . By EDWARD

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MYTHS AND S O NGS

FROM

THE SO UTH PAC IFIC .

BY THE

REV . WILLIAM WYAT T . G ILL, B.A. ,

O F THE LO NDO N MISSIO NARY SO CIETY.

W ITH A PREFACE BY

F. MAX M U L L E R,M.A. ,

PRO FESSO R O F CO MPARAT IVE PH ILO LO GY AT O XFO RD ; FO RE IGN MEMBERO F T HE FRENCH INST ITUTE .

HENRY S . KING Co . , LO NDO N .

1 876.

PRE FACE .

HAVING expressed a strong desire that the collection of Myths

and Songs from the South Pacific, which the Rev . W. Wyatt Gil l

brought home with him from Mangaia,should not b e al lowed to

lie forgotten, or, l ike other valuable material s collected by hardworking missionaries , perish altogether, I could not well decline

to state, in a few words, what I consider the real importance of

this Collection to b e.

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 s toneweapons are dredg ed up , or works of art disinterred, even if a

hitherto unknown lang uage i s rendered accessible for the first time,

no one, I think, who is acquainted with the scientific problems ofour ag e, would ask What their importance consists in, or What they

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 b e for thousands O f years, showing us, far better

than any stone weapons or stone idols , the gr owth of the human

mind during a period which,as yet, is full of the most perplexing

problems to the psychologi st, the historian, and the theologian ?

T he only hope O f 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 O f 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 b e sweet to the nostrils of their gods, is as if

the zoologist could spend a few days among the megatheria ,

Preface.

or the botanist among the waving ferns of the forests,buried

beneath our feet. So much is wr itten 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 O f socia l 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 b e expected from

anywhere. But the very contrary is the case. There are many

regions still to b e explored, there are many facts, now put forward

as certain, which require the‘most careful inspection, and as we

read again and again the minute descriptions of the j ourney which

man is supposed to have made from station to station,from his

childhood to his manhood, or, i t may b e, his O ld ag e, i t is diffi cult

to resist a feeling O f amazement, and to suppress at a lmost every

page the exclamation, Wa it wait !

There are the two antagonistic schools , each holding its tenets

with a kind of relig ious fervour— the one believing in a descending

,

the other in an ascending, development of the human race ; the

one asserting that the his tory of the human mind begins of

necessi ty with a state O f purity and simplicity which gradually

gives way to corruption, perversity, and savagery the other main

taining with equal confidence, that the firs t human beings could

not have been more than one step above the animals,and that their

whole history is one of prog ress towards higher perfection . With

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 thisjfizilcfi‘ of life, with eyes fixed on high, as a more perfect

realisation of primitive religion than singing O f Vedic hymns, offer

O f Jewish sacrifices, or the most elaborate creeds and articles . T he

other begins with the purely animal and passive nature of man,

So , on the 1 2th o f August, we made the steep ascent to the v illage of

Namg ea , and from there to a very unpleasant j/zu’

la which crosses the foamingtorrent of the Sut lej . In this part of the Himalaya , and, indeed , on to

Kashmir, these bridges are constructed O f twigs, chiefly from birch trees or

bushes, twisted 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 o ther, and a similar rope runs between them,

three or four feet lower, being connected with the upper ropes by more slenderropes, also usually of birch twigs twisted together, but sometimes of grass, andoccurring at an interval of about five feet from each o ther. T he unpleasantnessof a f/iu

’

la is that the passenger has no proper hold of the upper ropes, whichare too thick and rough to b e grasped by the hand ; and that, at the extrem ities,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 jfizz’

la, which

is much lower in the m iddle than at its ends. H e has also to stoop painfullyin order to move a long 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 transverseones. T O fall into the raging torrent underneath would b e a lmost certain

destruction . The high wind which usually prevails in the H imalaya duringthe day, makes the whole structure swing about frightfully. In the middle of

the bridge there is a cross-b ar of wood (to keep the two upper ropes separate)which has to b e stepped over and it is no t customary to repair a j/zu

’

la untilsome one falls through it, and so gives practical demonstration that it is in

rather a rotten condition.

”— ANDREWW ILSO N ,

“ TheAbode of Snow ,

” p. 1 97.

ace. IX

and tries to show how the repeated impressions of the world in

which he lived, drove him to fetichism,whatever that may mean ,

to ancestor-worship,to a worship of nature

,of trees and serpents

,

O fmountains and rivers , of clouds and meteors, O f sun and moon

and stars,and the vault O f heaven, and at last

,by what is called

a natural mistake,O f O ne who dwells in heaven above.

There i s some truth in every one of these views ; but they

become untrue by being generalized . T he time has not come yet,

i t probably never will come, when we shall b e able to assert any

thing about the rea l beginnings O f 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 imag ine that fetichism,at all events

,presupposes

nothing : they would probably not hesitate to ascribe to some O f

the higher animals the faculty of fetich-worship . But few words

are so devoid O f scientific precision as fetie/zism,a term first

rendered popular by the writings O f De Brosses . Let us suppose

that it means a kind of temporary worship of any materia l Obj ect

which the fancy may happen to select, as a tree,a stone

,3. post,

an animal -can that b e called a primitive form O f religion ? First

O fall, 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 O f a

b

x Preferee.

pre-existent belief that this stone is more than a stone

,something

supernatural,it may b e something divine, so that the ideas of the

supernatural and the divine, instead of g rowing out of fetichism,

are generally,if not always , presupposed by it ? T he same applies

to ancestor-worship,which not only presupposes the conceptions

of immorta lity and O f 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 .

T O 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 , O f sun and moon and stars,and

the vault of heaven there i s all this, and there is much more than

all this,wherever we can watch the early growth O f religious ideas

but,what we have to learn is, first of all, to disting uish, to study

each religion, each mythology, each form of worship by itself, to

watch them during successive periods O f their g rowth and decay,

to follow them through different strata of society, and before all,

to have each of them,as much as possible, s tudied in their own

language.

If language is the realization 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

Prefaee.

thought and feeling, requires no proof. I have often insisted on

this,and I have tried to show— whether successfully or not, let

others j udge— that much of what seems at first irrational and

inexplicable in mythology, and in religion also,can b e explained

by the influence which language exercises on thought. I have

never said that the whole of mytholog y can b e explained in tha t

way, that all that seems irrational is due to a misunderstanding,

or that all mythology is a disease of lang uage. Some parts of

mythology I have proved to b e soluble by means of linguistic

tests , but mythology as a whole I have a lways 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 . T he Nemesis O f disproportion seems to haunt all new

discoveries . Parts of mythology are religious,parts of mythology

are historical, parts O f mytholog y are metaphysical,parts of

mythology are poetical ; but mythology as a whole i s neither

relig ion, 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 O f religion, but none of these by

itself can explain the origin or growth of relig ion , which compre

Preferee.

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 O f a scholarlike treatment,

i t is a book like that of Mr. Gill,

— ah 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 ag o , 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 O ld 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 tha t the religion and mythology of the Polynesian race

have O ften been treated before, but one O f the ir 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 b e old, there is at the same time much local and indi

vidual variety. Again,the great advantage O fMr. Gill’s collection

is that Mangaia has kept itself freer from foreign influences than

almost any other O f 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

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Preface.

mythology. I hold no longer to the rule that when two myth

O logies 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 b e 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 imag ined to have

happened in another. At first,no doubt, we feel startled by

such coincidences 5 and that they O ften O ffer a pr ima facie pre

sumption in favour of a common origin cannot b e 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 b e more startling than to see the

interior of the world, the invisible or nether world, the Hades of

the Mang aians, called Az’aiéi, Aviei being the name of one O f 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 H awai’i, in New Zealand H awaiéi

, and more

O riginally, I suppose, Sawazléi; so that the similarity between the

Sanskrit and Polynesian words vanishes very quickly.

That the name of the Sun-god in Mangaia is [for has been

pointed out as a strange coincidence with Egypt 5 but more really

Preface. xv

important i s the story of Ra being made captive, as reminding usof similar solar legends in Greece

,Germany

,Peru

,and elsewhere.

*

Who can read the Mang aian story of Ina (the moon) and her

mortal lover, who, as he g rew O ld and infirm,had to b e sent back

to the earth to e nd his days there, without thinking of Selene and

Endymion, of Eos and T ithonos ?

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 fai l 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 rll arzc i s 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 b e

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 b e either purely accidental, or may b e 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

3“ Chips from a German Workshop. zud Edition , vol . ii. p . 1 1 6.

Rig-Veda-Sanhita, The Sacred Hymns O f the Brahmans. T ranslated by

F . Max Miiller. Vol. i. Hymns to the Maruts, or the Storm—Gods. London,T riibner and CO . 1 869.

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 b e quoted as another undesig ned 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 . Why, we may ask,on the

seventh day ? But others,without even insisting on the peculiar

character of the seventh number, may simply ask,Why not ?

There is much similarity between the Hindu account of the

Deluge and the Jewish 3 but no one who has read the numerous

accounts of a deluge in other parts O f 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

bet ween them would b e extremely difficult. T he 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 assim ilate the two accounts, or to remove features of

which,at that time, the Hindus might well b e supposed to have

been ashamed ? I mention all this for the sole purpose O f

Bancroft, Native Races, vol. v . p . 20 .

xv ii

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 Mang aian legends there is evidence

that many of them owe their origin to language,whether we adopt

the theory that the Mang aians 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 Mang aian mythology and theolog y

owed its orig in to the oxydizing process to which language i s

exposed in every country,would b e to mistake the rust for the

iron.

With all these uncertainties before us , with the g round 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 O f 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 a scending 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 , i t wouldhave proved one of the most useful works at the present moment.

xv iii

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.

O XFO RD, 7am ! a ry 26, 1876.

INT RO DUCT O RY REMARKS .

T HE writer of the following pages has been for twenty-two

years a missionary in the Hervey Group , a smal l cluster of islands

in the South Pacific,lying between the 1 9

°and 22

° parallels of

S . latitude and 1 57°and 1 60

° 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 a spirations of many pas t

generations were founded . We correctly cal l the entire system a

mythology ; to them it was a theology,”— the true doctrine of

the Visible and the invisible world . T he actua l working of these

false ethics was unceasing and pitiless war, unbridled and unblush

ing proflig acy. Correct knowledge of these mysteries was

possessed only by the priests and “ wise men of the different

tribes . By them the teachings of the pas t were embodied in

songs , to b e chanted at their national festivals . These songs

possessed great fascination for the native intellect, and tended to

the preservation of the ancient faith. T he writer’s object is simply

to aid the student of ethnology in his researches .

While there i s much that is puerile and absurd in this heathen

philosophy,there are evident glimmerings of primeval light. The

xx Introductory Pema rés .

Polynesian name for God expresses a great truth . T he continued

existence of the human spirit after death i s implied in their“ laments ” and in the beautiful allegory of Veétini. T he

cruel system of human sacrifice i s but a perversion of ancient

truth . T he common origin of mankind is taught in the contrast

between “the fair-haired and fair-skinned children of T an

garoa,

”and “

the dark-haired and dark-skinned children of

Rongo both the offspring of Great Vatea . There i s an

undercurrent of yearning after the True God in some of their

songs ; eg . as when Koroa sings (p . 2 1 5)

O h, for some other Helper !Some new div inity, to listenT o the sad story of thy wasting disease

As the result of many years’ inquiry into the ancient faith of Poly

nesia,the wri ter most heartily endorses the remark of Professor

Max Muller “ Wherever there are traces of human life, there are

traces also of religion .

” it

A large portion of what i s contained in this volume was

derived from T ereavai,the last priest of the shark-god T iaio .

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 T ereavai to yield up

to the stranger the esoteric teachings of the priestly clan . T he

writer throughout has been greatly indebted to the sagacity and

unwearied patience of Sadaraka (grandson of the poet Koroa), whois allowed by his own countrymen to b e the best living critic of his

own language. Each island in the group had a dialect, a history,and a worship of its own . T he language of ancient Polynesian

3“ Science ofReligion, p . 1 1 8.

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C O N T E N T S .

I .

—MYTHS O F CREAT IO N .

The Beginning of all things. Dramatic song of creation

II.— DEIFIED MEN.

Derivation of the Polynesian word for God. T iaio , king and g od.

T ane-Ng akiau. T ekuraaki. Song of the shore-king, high priest ofRongo . Derivation of Po lynesian word atua ,

”or g od. A human

priesthood needed. Dedication of infants. Naming of children

III.— ASTRO NOMICAL MYTHS .

A chase that never ends. Song of the twins . Matan’

ki, or Pleiades.

T he sun and moon. The woman in the moon. Eclipses. A

celestial fish-hook . A‘

day-song for Maaki

’

s fete

IV.— THE EXPLO IT S O F MAUI.

The fire-god ’s secret. The fire-god’s song . T he sky-raised ; or, the

origin of pumice stone. The sun made captive. T he w isdom of

Manihiki. Maui enslaving the sun. T he sky raised . Maui’s lastand greatest achievement

V.— TREE MYTHS .

The myth of the cocoa-nut tree. T ahitian myth of the cocoa-nut tree.

T he iron-wood tree. O no fells a famous tree. Wanderings of O no

VI.—INA, THE FAIRY VO YAGER.

Ina’

s voyage to the Sacred Isle. Song of Ina . Final stanza of the

day-song for T enio ’

s fete. T he voyage of Ina . The taairang i, or

porpoise. T he finny subjects of T inirau. Numeration and the art of

fishing invented. The origin of dancing. A song for T enio’

s féte

VII.— MISCELLANEO US MYTH S .

A bachelor g od in search of a w ife. E cho ; or, the cave fairy. The

prince of reed-throwers. T he origin of kite-flying . A kitesong for T enio’

s féte. U ti’

s torch ; or, will-a -wisp . Mosquitoes .

Contents .

PAGET he-long-lived. Human arts and inventions. Perils of beauty .

O rigin of pigs at Raro tonga . Seeking for light. Rata’s canoe.

Prayer or charm for a thief or a murderer

VIII.—~HADES ; O R ,

THE DO CTRINE O F SPIRIT -WO RLD .

Aitutakian hell . Aitutakian heaven . Dramatic song of Miru.

Sneezing. A farewell chanted at a reed-throwing match for women.

IX.— VEET INI ; O R, THE IMMO RTALITY O F THE SO UL.

Vaipo’

s dirge for Veétini. The closing or day-song for T enio ’s fete.

Veétini meeting his father. D irge for Vera. The ghosts led byVera preparing for their final departure. Puvai leading a band ofghosts to the shades. Koroa’

s lament for his son Kourapapa .

Another lament for Kourapapa . Death lament for Vareng a. Lament

for Monrua. A spirit-journey. Introduction to the féte of Riuvaka

X.— ADVENT URE S IN SPIRIT -WO RLD.

An escape from spirit -land. The adventures of Ngaru. T he drama of

Ngaru. The ball-thrower ’s song. A journey to the invisible world 22 1

XI.— FAIRY MEN AND WOMEN .

T apairu ; or, fairy women and men. A song in honour of Manapa.

Pro logue to the dramatic fete of Po tiki. The fai ry of the fountain

XII.— DEATH -TALKS AND DIRGES .

’

Ghost-killing. Death-talks . Eva , or dirge-proper. Karapong a’s dirge

proper in honour of Rum . Arokapiti’s dirge—proper in honour of

Rum . Blackened face dirge-proper for Atiroa. T he first murderand the first battle

XIII.

— HUMAN SACRIFICES .

Why human sacrifices were offered . The drum of peace. Prayerover a human sacrifice to Rongo . Prayer fo r peace. Kirikov i

’s

sacrifice . A “crying ” song for Maruata . T he dea th of Ng utuku.

Makitaka’s lament

XIV.— THE SEASO NS , PHASE S O F THE MO O N, ET C . ,

m e.

The seasons. Changes of the moon. The mariner’

s compass of Po lynesia . Po lynesian plurals. Po lynesian numeration

MYTHS AND S O NGS

FRO M T HE S O UTH PAC IFIC .

CHAPTER I .

M YTHS O F CPEA

THE BEGINNING OF ALL THINGS .

T HE universe of these i slanders is to b e conceived of as the

hollow of a vast cocoa-nut shell, as in the accompanying diagram .

(See next page. )T he interior of this imaginary shell i s named Avaiki. At the

top is a single aperture communicating with the upper world,where

mortals (i. e. Mang aians) live. At various depths are different floor

ings,or lands

,commun icating with each other. But at the very

bottom of this supposed cocoa-nut shell is a thick stem, gr adually

tapering to a point,which represents the very beginning of all

things. This point is a spirit or demon, without human form, and

i s named T e-aka-ia-Roe,

I or Tne-root-of-all-el vtence. The entire

1 RO 6 thread-worm . The idea is of a quivering, slender, worm -likepoint , at which existence begins, i. e. the extremity of the thread-worm .

2 Mytns ana’ Song s .

fabric of the universe i s constantly sustained by this primarybeing.

Above this extreme point is T e-tang aeng ae, or T e-vaerua

that is to say, B rea t/zing , or L ife. This demon is stouter and

o f fl’

n h m e/

This diagram will suit the mytho logy ofmany other islands substituting, forinstance,

“T ahiti

” for Mangaia,” as the land where egress and ingress toAvaiki exist.

My tns of Cr ea tion . 3

stronger than the former one. But the thickest part of the

stem is T e-manava-roa,or Tne-long

-Ziucci,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 un iverse.

We advance now to the inter ior 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,I or Tfie-cery -oeg znnzng .

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. O ne day she plucked off a bit of her

r ig/ct side, and i t 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 Yatea,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 taairang i ( 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 Yatea 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 noon in all the dialects of

Eastern Polynesia .

2 Vatea is a man possessed of two mag nifi

cent eyes , rarely visible at the same time . In general,whilst one

,

1 Litera lly, Tno-oeg z'

nn ing~anct-t/ze-bottom of the hollow cocoa -nut shell.

2 Vatea is the Wanea of the Hawaiians, with a Similar meaning and

history.

4 My tns ana’ Song s .

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 being s . )

IMAG INARY REPRESENTAT IO N O F VAT EA .

Compare with this a remarkable picture of a fish-

g od, from Layard , in Smith’s

Dictionary of the Bible, p . 38 1 (central picture) .

The land assigned by the Great Mother to Yatea was T e

papa-rairai,or T/ze—t/zin-lana’. Another designation for his home

was T e enua marama o Vatea, or Tue—orzgnt-tand-of Vatea , im

plying the perfect contrast between the brightness of noon-day ,

or Avatea, and the utter gloom of P0 , or nzg/zt which is

equivalent to Avaiki.

On another occasion Vari—ma—te-takere tore off a second bit

from that same right Side,

and i t became T inirau, or [n

nurneraote,who

,like his brother

,had a second and fishy form.

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6 Mytns and Song s .

that narrow strip of territory constituting the very bottom of

Avaiki,and which is designated T e-enua—te-ki

,or Tne-runto-Zanu’.

DO what you may to the attached mother and daughter,you

cannot provoke an angry reply ; for the only lang uage known

in T he-mute-land is that of Signs— such as nods, elevated eye

brows,grimaces

,and smiles .

It is to T he-mute-land that Potiki,temporal lord of Mangaia,

circa 1 79 0 , referred in a fete song

E enua parere i Avaiki In Avaiki is a land of strange utterance,E enua mu matangi é Like the sighs of the passing breezeKua ie T autiti nei Where the dance is performed in

silence,Aore e kite i te tara é And the gift of Speech is unknown.

Tu-metua is usually shortened into Tu,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 b e Otoo

,ancestor of the present Pomare.

Otoo Should b e written Tu,the 0 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 mortal s . Tu was the tutelar goddess of

Moorea. On Mangaia Tu was invariably linked with her nephew

Tangaroa but was little regarded . T he second islet of Hervey’s

Island is known as“the kingdom of Tu ” (au-o—Tu).

At Raiatea Tu-papa fi c-of t/ze—lozoest-a’eptns ( the same as

Tu-metua) becomes the wife of Ra, the Sun-god, whose too fre

quent visits to her home required to b e checked by Maui.

It was deemed by Vari very unseemly that Vatea’

s land, which

originally was immediately above her own, should b e underneath ,

Mytns of Crea tion . 7

and so to speak invaded by, his younger brothers’. T he-very

beginning, therefore, altered the relative position of The-thin

land,I placing it directly under the opening from this upper

world ; so that the law of primogen iture was established, the

lands of all the younger brothers thus lying underneat/i the territoryof 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

T e-papa—rairai . Another account asserts that on Vatea’s waking

from Sleep he could discover no trace of the fair one. H e

searched in all directions for her— but in vain. At length i t

occurred to him that her home might b e in some dark caverncommunicating with a land lower than his own

,from which the

fair one was in the habit of ascending to The-thin-land to payhim 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 T aeva

rangi, or Tue-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 unlikehis own, was slowly extended towards the coveted morsels. Yatea

at once concluded that this must belong to the woman he had

1 It was from The-thin-land that Potai sagely conjectured that CaptainCook had come. Era , e te matakeinang a , no raro i T e-papa-rairai i Yatea

“ Surely , fr iends , he Izas clz'

rnoed up from Tne-tnin -Zand, t/ze Iierne ofVatea .

”H ow ? By breaking through the solid sides of the vast cocoa-nut

shell.

8 My tns and Song s .

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 tha t she had again

and again ascended to his house above in T he-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 Founda tion, the daughter of

T imatekore,orNothing

-more,and his wife T amaiti-ngava-ring avari,

or Soft-bodied. T he famed Papa thus became the cherished

wife of Vatea both ascended by another eddy of wind through

the chasm to T he-bright- land-of-Yatea

DRAMATIC SONG OF CREATION.

FO R TH E FETE O F PO T IKI, C IRCA 1 790 .

Callfor tne dance to oeg in w itnmusic.

NO O mai Vari i te aiti, T he home of Vari is the narrowest of

all,

I te tuturi i te memeng e Knees and chin ever meetingE Rongo é , a kake It was reserved for Rongo to ascend. 1

T aipo é Go on !

O Vatea kite i tena vaine ;’Twas in the Shades Vatea first saw

his w ife,

I moe ana paa i reira e And fond ly pressed her to his bosom .

1 Rongo often came up from the Shades to this upper world Vari never.

Mytns of Cr ea tion . 9

C/zorus.

T e ui a temetua i anau ai When asked who was her (Papa ’

s)father,

Ia T imatekoré She said T imatekore ! (Nothing more) .

Ia T imatekoré Most truly, T imatekore.

Aore o ta tou metua , ua tu e, But WE have NO 1 father WhateverI Vari na mai é Vari alone made US .

NO O mai Vari é That home of Vari isI te aiti aé The very narrowest of all

Cnorus .

NO O mai Vari i te e’

titi Vari’s home is in the narrowest of

Spaces,

E tuarang i kai taro mata A goddess feeding 2 on raw taro

I na turang a pure 6 At appointed periods ofworshipO Vatea metua e pua na ake. T hy mo ther, Vatea , is self-existent.

Pua ua o Vatea , Yatea sprung into existence.

O Papa i te itinga , Papa is bright as the mom .

O Vari-ma -te-takere Vari-the-originator-of-all-thingsI tapakan ana é Sheltered her (Papa) under her

w ing .

FINALE .

Call to oeg in .

Ie taia ia Maukurautaroa Let the storm b e restrainedT e rua i te matangi

,e Yatea é In favour of Vatea , O thou g od

of w inds !

1 Papa could boast of father and mother ; but the children of Vari weresimply 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 illeg itima te

sons of T evaki.2 As a matter of fact , however, Vari and Vatea had no al tars and no

separate worship but the grandchildren ofVari had.

3 Arum esculentum .

t o My t/cs and S ong s .

T aipo é Go on !

T aotao matangi na Ina Awake the gentle breeze of Ina

T e kumutong a. T hat bare her to her lover.

O nai matangi riki 6 O for a soft zephyr to bear me (Vatea)Ka arara

’

i oki toku tere Prosperously on my way

Ki raro é T o the shades

A taia e te matangi. Be lulled , ye w inds .

Cfiorus.

T aia e tematangi Aye, they are lulled . No storm

0 Tukaiaa te taimakoako . Now sweeps o ’er the treacherous sea.

Koakoa é o tei po Ye inconstant w inds of nether-landKai matangi rueke é' Bearme down to her gloomy abode.

Tangaroa and Rongo were the twin children of Yatea 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 g et rid of it by pressing it. T he core accordingly flew

out : i t was Tangaroa Another account, equally veracious, says

that Tangaroa came right up through Papa’s head . T he precise

spot is indicated by t/ze 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 O f Mata-ran,

Myt/i s of Cr ea tion . 1 1

or Tne-tzoo-nundred-

eyed, i.e. Tue-snurp-szgnted, Tonga-iti was an

obj ect of worship in the Hervey Group. T he fourth son of

Vatea was T ang iia the fifth and last son was Tane-papa-kai,

or Tane-piler up-of-food. Both T ang iia and Tane were principal

gods of Mangaia.

T he 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 spir it

,the secret

name of which is Akatautika, i.e. Tne a red-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 spir it,of T he-well-poised .

Now,Tangaroa was altogether the cleverest son of Yatea he

instructed his brother Rongo in the arts of agriculture. Their

father wished to make Tangaroa lord of all they possessed but themother Papa objected

,because as parents they dared not taste

the food or touch the property of Tang aroa, the eldest oy rzgnt.

The mother had her own way. Hence,when a human sacrifice

was offered to Rong o,I 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

O n Rarotonga only the reeking nead of the victim was offered to T angaroa,their tutelar divinity the body might b e devoured by the captors. O n

Mangaia the w/zole body was laid upon the altar.

1 2 My tns and Song s .

twin-god. T he 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 Rongo’s . Thus of the numerous varieties of taro ,

only one— a reddish sort (kaka kura) was Tang aroa’

s the rest

being sacred to Rongo . Amongst the multitudinous varieties of

meikas,

” I only the plantain was the property of Tangaroa’s,on account of the redness and uprzg/ztness of its fruit. The very

name,

“the upright-frui t ” (uatu), testifying to the dignity of

the eldest of the gods . Bananas of all sorts belonged to Rongo .

T he 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, i s sacred

to Tangaroa. Of the two sorts O f 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

Tang aroa. T he silvery,s triped, spotted , and black were all

Rongo’s .

Thus Rongo became very rich ; Tangaroa comparatively

poor. T he twin gods made a grand feast,each collecting only

his own food,to which Yatea 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 g reater. T he treasures of earth

and ocean were there. T he parents declared that Tangaroa

carried the palm for beauty ; whils t Rongo excel led in aoundance.

1 The term meika includes bananas and plantains.

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4 My tns and Song s .

collected a vast quan tity 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 j ourney, 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 Tlie

Resounder .

In winter tree-fruits disappear ; whereas taro, bananas , etc .

,

are in season all the year round. T he reason for this is, that the

former belong to Tangaroa, who merely permits his gifts to b e

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 R6 was the chief obj ect of worship at Tahiti and

most of the Leeward Islands . His seat was the nzarae,

I 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 . 2

T hese nzaraes were planted w ith ca llop/zy lla inopnylla , etc . , etc. , which,

untouched by the hand of man from generation to genera tion, threw a sacredgloom over the mysteries of ido l -wo rship. T he trees were accounted sacred ,no t for their own sake, but on account of the place where they grew .

2 At Atiu T e-rongo , tne Rongo , the Rongo ofMangaia, was representedas a son of T angaroa . At Raiata O ro was in like manner regarded as a

son of the great T angaroa . At Samoa Longo is represented as the son of

T angaroa by Sina .

Mytns of Crea tion . 1 5

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 b e in these southern islands , and at whose shrine those fifty

reeking heads had been offered during a Single generation .

On Mangaia i t was Tangaroa that was expatriated,without hope

O f return Rongo was regarded as being in possession, I althoughresident in the shades . His marae is called O -Rongo

,and was

firs t set up on the eastern side of the i sland,but was ultimately

removed to the west, where the great navigator held communica

tion with these islanders . It i s singular that the “ Voyages ” donot 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 g uardian of the great national idol .

T he principal god of Rimatara was Rono or Rongo, to whom

human sacrifices were offered .

T he wife of Rongo was Taka, who bare a daughter named

T avake. In the course of time T avake grew up and gave birth

1 The word is often used as equivalent to deadly no te Kua noo Rongoi roto Rongo (i.e. deadly hate) fills his heart in allusion to his being theauthor of b loodshed and war.

1 6 Myt/i s and Song s.

successively to Rangi, to Mokoiro , and to Akatauira— all illeg iti

mate. Rongo wished his three grandsons,who were also his

sons,I 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 b e but the outward

expression 2 He directed Rangi to offer bleeding sacrifices on

1 That these children of T avake were Rongo ’

s is attested by the wellknown couplet

T ai anau kakaoa T he three royal bastards ,Na Rongo paa

‘

ia tama e O ffspring of the g od RongoNg ur ia

’sfe

’

te,circa I 790 .

2 The Hervey Group consists of seven inhabited islets. Each is supposed tob e the body , or outward form ,

to which a spir it, bearing a distinct name,

located in Avaiki, belongs.

BO DY . SPIRIT.I . Rarotonga Western Tong a , 1 . Tumutevarovaro

i. e. in lov ing memory of

Western T onga , or T ongatapu.

2 . Auau terraced (The later 2 . Akatautika well-poised.

name,Mangaia , means peace.

Mangaia-Nui-Neneva Man

g a ia-monstrously-bzg ).

My t/is of Cr eation . 1 7

his marae in the upper world,from time to time— the decayed

corpse to b e 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 hil l

was accordingly designated Rang imotia I be centre of tb e

b ea t/ens. T he inhabitants of Mangaia were veritable men and

women, _

as contrasted with the natives of other outlying islands,

who were only tuarang i, or evil-spirits in the guise of

humanity.

Vatea, or Avatea noon-day), was thus“the father of the

gods and men,

” I the three original tribes being regarded as the

direct offspring of Rongo ; all subsequent settlers and visitors

were regarded as interlopers,to b e, if possible, Slain and offered

in sacrifice.

Aitutaki God-led. Araura frag rant wreatb s fordancing .

Atiu eldest-born (name of Enua -manu 2 land of birds .

settler) .Manki land of Ub i ( the Akatoka stony . Some say,

inhabitant). T e-rae o-te-

pau zb e lip oftb e drum.

Mitiaro face of tb c ocean . Nukuroa z'

ast b ost.

Mannae b orne of birds . Enua -Kura land-of-red-par rot

It is said that the “spirit ” name of T ahiti is “

Iti, i. e. iti ng a”

sun -r ising . T ahiti Simply means east,”or sun-rising, ” from b iti (our iti) to

rise ta being causative. T hat island was known in the Hervey Groupby the name Iti or east it is only of late years the full name T ahiti hasbecome fam iliar.

1 Yet the great Vi tea possessed no marae, had no wooden or stone

representation, nor was any worship ever paid to him.

I 8 Mytbs and Song s.

In song, the gods are cal led “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.

T he ocean was known as Rauaika Nui , or Tb e—oast-out—spreadplantain-leaf ;

I — that leaf being the largest in the world . T he

at otherocean was sometimes desig nated“the sea of Varea ;

’

times “the sea of Tane.

”

Above was the b lue vault of solid stone, sustained originallyby the frail props of Ru on the central hill of Mangaia, but

afterwards permanently raised to its present height by the tremeu

dous exertions of Maui . In all,there were said to b e ten separate

b eaz'ens, ris ing 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,i t i s asserted that there once

existed a deep,gloomy chasm ( long since closed up), known

as Tiki’s hole ( T e rua ia Tiki) . This constituted the regular

road to Avaiki, libe tbe sing le aper ture a t tbc top of a cocoa -nut.

Through it the three brothers descended to Avaiki, or ascended to

the light of day, at pleasure.

T he three brothers are always described as j oint “ kings, or

Ng a ariki .” T he entire body of their descendants were there

1 A plantain leaf lying before me is eleven feet long and three broad .

Mytns of Crea tion . 1 9

fore called by the shorter form Ng ariki. 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 firs t settlers on Mangaia. Their wives were

respectively named T epotatang o,I Angarua, and Ruang e. 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 Papaan

nuku . His grandfather Rongo lived only in the Shades Rangi

wished for a god who would live with him in this upper world .

H e therefore sent to Rarotonga to ask T ang iia, 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 b e 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 g od of T ong aiti, represented a much earlier

and more widely-diffused system of idolatry than prevailed

1 Bottom of Hades.

20 My tns and Song s .

here in historical times, when the children of T ang iia were

deified.

The heathen intellect has no conception of a Supreme Being

creating a un iverse 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,

i s presupposed .

The primary conception of these islanders as to spiritual

existence is a point. Then of something pulsating . Next of

something greater,everlasting .

Now comes the Great Mother and Originator of all things .

For the first time we meet with the ideas of volition and crea tion.

Vari is represented as a female,on accoun t of fecundity, she

being the original of all the gods,and, remotely, of mankind . T he

arrangement of various lands in Avaiki,and the apportionment of

the different functions of air,earth

,and sea

,are hers . T he ninth

night of every moon was sacred to her. Yet Vari i s incapableof speech, and l ives in darkness

,her solace being the constant

society of an affectionate daughter.

In the description of her first-made (not born) son, B r ig/it

Noon (Avatea, or Yatea) , one of whose eyes is the sun, we gain

the first idea of majesty as associated with divinity. T he ocean is

his ; 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 O fmankind .

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 inspiredpriests, were

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Mytns and Song s .

In seeking for an equivalent for ma, the first missionaries

chose the word “anga ”

made. UndOub tedly this is the bestword ; i ts original narrow sense being enlarged by the constant

perusal of the Bible, etc. T he magnificent conception of real

creation is as unattainable to a heathen sage as the sublime con

ception of a Supreme Deity.

CHAPTER II.

DE IFIED MEN .

DERIVATION OF THE POLYNESIAN WORDFOR GOD .

SOME five hundred years ag o there lived on Tahiti two powerfulchiefs the younger named T ang i ia, the elder T utapu. Now the

lands of the younger adj oined 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 T ang iia. 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 heavilyladen with fruit. T ang iia claimed the fruit as his , as i t grew on

his side of the boundary line : naturally enough the Sister felt

herself to b e harshly dealt with.

T he elder brother Tutapu hearing of the quarrel interfered on

behalf of their Sister. Thenceforth the brothers became deadlyfoes ; and after many angry words

,T utapu resolved to collect his

dependants, and upon a certain night to make a final end of his

24 Myt/i s and Song s .

brother and his family. T ang i ia, O btaining timely notice of

his intention, fled with wife, children, and friends to the neigh

b ouring island of Huahine but was pursued by the irate T utapu.

T ang iia was chased by his brother throughout the LeewardIslands

,un til finally finding that there was no rest for him in that

gr oup , he committed himself to the trackless ocean . Fortunatelyfor him

,he reached Atiu, where he stayed awhile. But the insatiate

T utapu followed him even to Atiu, many hundreds of miles from

Tahiti . T ang iia again took flig ht— thi s time to Rarotonga,which

was destined to become the home of this renowned chief.

T utapu 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 T ang iia was prospering on Rarotonga, T utapu

again manned his large double canoe, which is said to have had

three masts, and to have carried 2 0 0 warriors , and started off once

more in quest of his brother. Upon entering the harbour at

Rarotonga , which bears the name of Ng a-T ang iia,I the brothers

prepared for a final encounter. In the conflict which ensued,

T ang iia, assisted by Karika’

s party,defeated the invaders , and

Slew T utapu-aru-roa Tutapu-tbe—relentless—pursuer

,whose body

was eaten by the victors .

T ang iia 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 T ang iia, who is unquestionably

an historical character, from the mythical T ang iia descended from

Yatea, and one of the gods of Mangaia, whose iron-wood form is

deposited in the museum of the London Missionary Society.

1 I Ngati-T ang iia, i.e. the tribe of T ang iia .

Dei/ied M en . 25

T he sages of Rarotonga erroneously assert that Mangaia was

first discovered and inhabited by the famous brother of T utapu.

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 tb c eartb,from the original home

of men and gods,a land in some places much like thi s, in others

filled with horrors . It was, in their O pinion, self-evident that

all drift canoes were mere wa ifs predestined to destruction in the

presence of a race who grew,as i t were, out of the soil .

T he Kariba family at Rarotonga expressly state that their

ancestor came from Manu’a, the easternmost i sland of the Samoan

Group . T he family marae of the Makea tribe i s therefore named

Pang i—Manuba

,or Manu’a Manuka) in the skies as we say

New Britain,New Caledonia, IVew England, etc .

,etc. They even

state that Karika’

s great canoe, in which he performed his wonder

ful voyage, had“two masts ,

”and carried 1 70 people okoitu

It has been already stated that Rang iI requested the in

vincible warrior T ang iia to send him one of his sons as a god .

Accordingly Motoro was sent, with two of his brothers , Ruanuku

1 The Ruanuku ofMang aian mytholog y is the Uanuku ofRarotonga .

Uanuku is represented by their w ise men”as the eldest son of T ang iia.

Mo toro signifies “to approach to (a woman) so that it is

equivalent to “Epws , in the sense of libido. H e was so called by his father

T ang iia , in allusion to his own passionate love for his w ife Moetuma. T ang iia

in his wanderings married two Mauke girls, Moetuma , and her younger sister

Puatara.

26 Myt/is and Song s .

and Kereteki. U takea , the third son of Tangna,started for

Mangaia 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 . T he fratricides safely landed O pposite

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 i s 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 adm i t of

two large men bathing tog ether, the point was hotly contested,who should g et in first. It was finally settled that the first-born

should enj oy the firs t bath. T he 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 i sland afterwards

landed U takea, 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 U takea, 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 spir it of Motoro was supposed to reside ; and down

to the destruction of idolatry, in 1 824, this spot was regarded as

being the most sacred in tb c interior ; as the marae of Rongo was

the most sacred on t/ze sea-snore. A flourishing plantation ofplantains now occupies the place of the idol grove.

Pei/fed Men . 27

It was well-known that Motoro’

s body was devoured by sharks ;but then it was asserted that his spir it floated on a piece of

hib iscus I over the crest of the ocean billows until it reachedMangaia, 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 j ust the sort

of divinity that Rangi, the first king of Mangaia,wanted . Motoro

was at once recognized as the great chief s 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 . T he three original tribes— and the kings,invariably

worshipped Rongo and Motoro ; but many are said to havedisapproved of the new worship, correctly regarding Rongo as

the great origina l heathen divinity of Mangaia. Until 1 824 both

were conj ointly worshipped as the supreme deities of this islandRongo taking the first place.

T he family of the first priest of Motoro was named the

Amama, or tbe open-moutbed,to intimate that they were the

mouth-pieces of that divinity. To this day this appellation iskept up , although but few know the reason for it.

Makitaka,the last priest of Motoro , embraced Christianity,

and died in 1 830 . The idol itself has long reposed in the

museum of the London Missionary SocietyT he worshippers of U takea and Kereteki were, in later times,

O ffered in sacrifice to Rongo and Motoro.

Motoro was proudly called T e io ora, or Tbe—lioing-

g od,

1 The sacred men assert that this is the reason why an (hibiscus) comesalso to mean

“reign , ” or

“rule.

”

28 My t/i s and Song s .

because he alone of “the gods of day would not perm it his

worshippers to b e offered in sacrifice. T he other divin ities were

styled io mate,

” or dead-gods,

”as their worshippers were ever

elig ible for the altar of dread Rongo, who lived in the shades .

T he 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 b e to the man. In other words,the gods were

t/ze 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 Tb e-lioing -

g od to Jehovah, as If is wors/zippers

NEVER die !

Motoro, Kereteki,and U takea were represented by iron-wood

idols in the god-house of the king. On entering that rude reed

hut, the dwe lling-place O f 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

U takea .

T he iron-wood idol called Tane merely, was asserted to

represent the fifth son of Vatea and yet was only third in order

O f dignity. T ang iia, the fourth son of Yatea , was the last in

regard to dignity and order. Of the innumerable obj ects of fear

and worship,only thirteen were admitted to the honour of a place

in this rude Pantheon as national gods .

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30 My t/i s and Song s .

T he Mautara, or priestly tribe, gave up their ancient divin ity,Tane, i n favour of this new god . T he greatness of T iaio

marks the political supremacy of that warlike clan, which is of

recent origin . T iaio was a food-eating god,generally associated

with Motoro. His oracles invariably ended with demands for

a feasting. This j olly- tempered divinity’s last priest was T ereavai,

who died a valuable deacon of the church in 1 865. 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

carve the rough iron-wood representation of T iaio, 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 ” ofArokapiti, circa 1 8 1 7.

Kua tae paa i te tiang fimama

Ia T eakatauira e kotiaKotia O Ata O T ukua raua

O Turon O Mouna O T ane-kai-aro ,

Kai-aro ra ia Mi rna .

E taing a taito ia ne’e,ia kora atu,

I tai pau o T iaio i te toru, ua tutua é

TANE-NGAKIAU .

That i s Tane-str ioingfor-power . 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

Cruel misfortune has again o’ertaken

This roya l tribe.

Ata and his father Tukua have fallen !E

’

en as once T arou and Mouna , in~

SpiredBy T ane-the-man-eater, struck downT iaio the king in the o lden time.

Long, long ag o was that great man

slain.

Dei/ied M en . 3 1

erected in hi s honour the famous marae Maputu,which stands

a lasting memoria l of cruelty. T he 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 uphis abode in any individual, i t 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 .

T EKURAAKI.

This god was introduced by Tui from Rarotonga . So long as

the royal Tama- tapu,

”the chief of tbe-red-nzarbed-tr ibe

,

” main

tained their supremacy, this divinity was popular. For somegenerations prior to the introduction of Christianity, this tribe was

almost extinct,and the separate worship of T ekuraaki almost

unknown. Yet the carved iron-wood idol remained in the

Pantheon until 1 824 , when it was surrendered to Messrs . Williams

and Platt.

SONG OF THE SHORE KING,HIGH PRIEST OF

RONGO .

COMPO SED BY VAIPO FO R RAOA’S FETE, C IRCA 1 8 1 5.

Mariu te tapu o Mo toro, I lay aside the sanctity ofMotoro

T e taka ra i Vairorong o E re bathing in this sacred stream.

I te koukou anga vai é ’Twas here his spirit landed ,

O turuki o Rongo i kake ci. O n this pebbly beach devoted to Rongo .

32 My tb s and Song s .

Kua kake atu au ra i te pa , It landed on this narrow Shore,

E a tua noo ata i te kea , A g od whose Shade ever rests

E tau ariki nei. O n the sandstone sacred to kings.

Ariki T amatapu i noo i Marua T amatapu once spent a night at Marua ,

T aea’i Aupi i te va i When the entire valley was flooded .

O ng a ariki e puipui aere, Such was the might of that king

Mariua Rongo te tapu i tai e l I lay aside the sanctity of the shore

dwelling Rongo .

Thus it i s evident that many of their gods were originally men,

whose Spirits were supposed to enter into various birds, fish,

reptiles,and insects ; and into inan imate objects

,such as the triton

shell,particular trees

,cinet

,sandstone, bits of basal t, etc .

,etc .

T he greater gods alone had carved images for the convenience

of worshippers ; the lesser were countless , each individual pos

sessing several . T he 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

“n ight

,or to Avaiki

,

the true home of the maj or divinities. In l ike 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 .”

T he“ dwellers in day

” were believed to hover about in the

air, hide themselves in unfrequented caves, besides taking frenzied

possession ofmen and women . These were the divinities of recent

human origin .

T he lowest depth of heathen degradation is unconsciously

Deified M en . 33

reached in the worship of phallic stones, such as still exist in

Tinian,one of the Ladrone Islands . T he scene was one of great

interest— a natural grotto converted into a heathen temple, outside

of which these degrading rites were performed . T he 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 i s

Atua ”

(Akua) . Archdeacon Maunsell derives this from “ata

”

s/zadow ,which agrees with the idea of spirits being s/iadows

,but

I apprehend is absolutely un supported by the analogy of dialects .

Mr. Ellis 1 regards the first a as euphonic,considering “

tua

back, as the essential part of the word, misled by a desire to

assimilate i t 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 t/ze back-bone, or vertebral column net/er by the

mere “tua

”= bacb .

That the a is an essential part of the word is indicated by

the closely a llied 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

“core

” or“

pitli” of a tree.

Analogically, God is the pith, core, or life of man.

1 Polynesian Researches, vol. ii. p . 20 1 .

34 Myins and Song s .

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 As

applied to a master ” or “ lord,

”the term suggests that his

favour and protection are essential to the l ife and prosperity of

the serf. By an obvious analogy,the welfare of mankind is

derived from the divine “ Atu” or “ Lord,

” who is tbe Core and

Kernel of b umanity . In the nearly related word “ Atua ” God,

the final a i s passiveI in form but intensive in signification

,as

if to indicate that H e is “the VERY Core or Life of man . A

person who at a critical moment has lost courage i s said to b e

topa i te io, i.e. forsaken by leis g od,-that divine something

which imparts courage to fight or to endure. At Rarotonga the

1 3th phase of each moon is called Maitu at Mangaia,“ Atua ”

(see calendar).

T he word rimu means moss rimna moss-g rown,

the final a as in the word “ Atua,

” being intensive. Thus it

comes to pass that “eternity or “

for -ever” i s expressed by the

phrase e r imua ua atu -the essential part of which is “ rimna.

”

T he idea is of a lofty tree covered all over with moss,the growth

of untold ages . So that the phrase might b e rendered “until

covered witli the moss of ag es ,”i.e. for ever and ever.

“ Tupu ” means g row,b appen. In the phrase mei tupua

roa mai”

(the essential part of which is tupua ”

) the sense i s“

from tne very beg inning ,”i.e. from the time when things first

began to tupu g row or b appen.

A very comprehensive designation for divinities of all kinds is

te anau tuarang i or tbe-beaoenly-family (“ tu-a-rangi libe

All nouns may b e converted into verbs by means of suffixes.

B ee/fed M en . 35

tb e-beaven-or-sby) . 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 g irdle, 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 . Pries ts were s ignificantly named “

g od

boxes (pia—atua),— generally abbreviated to “

g ods,”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. T he 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 ag e. If a priest cherished a spite against somebody, he had

only to declare i t to b e the will of the divinity that the victim

should b e put to death or b e 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

guardian

My t/i s and Song s .

Of their many priests the leading place ever belonged to the

mouthe

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

(arum costatum) was cut off, its s ides carefully gathered up, and

filled with pure water. Into this extempore baptismal font the

child would b e placed. First securing with a bit of tapu the

part of the navel string nearest the infant, the right hand

of the O perator long itudina lly divided the cord itself with a

bamboo knife. T he dark coagulated blood was then carefully

washed out with water, and the name of the child’s god declared,

i t having been previously settled by the parents whether their li ttle

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 U takea, Teipe, or T ang iia, which

would almost certainly insure i ts destruction in after years . It

was done as a point of honour ; besides, the child might not b e

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My tb s and Song s .

T he name of a devil I was pronounced over l/zy severed navel

string,

”— the phrase havmg outlived the custom.

NAMING OF CHILDREN .

At conven ient interval s the principa l king of Mangaia, as high

priest of all the gods, assisted by the priest of Motoro , summoned

the young people to their various fam ily maraes to b e publicly“ named . Some might b e verging on manhood or womanhood

,

whilst others were scarcely able to walk . Standing in a half C ircle,two or three deep, the operator dipped a few leaves of a beautiful

species of myrtle (mo ire) 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 b e 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.

T he idea evidently was to secure a public recogn ition of the

god and clanship of each of the rising g enerationm for t/zeir own

guidance in the ceremonial of heathen life, and for the g uidance

of pr iests and c/i iefs afterwards. T he greatest possible Sin in

heathenism was“ta atua,

”i.e. to kill a fellow worshipper by

stea lt/i . In general it might b e done in battle. O therwise such

a blow was regarded as falling upon the god himself ; the literal

sense of “ta atua being g od

-striking , or g od-b illing . Such

1 Whilst their gods were nearly all malicious, some being more m ischievous

than o thers, the Hervey Islanders had not the idea of one supreme evil spiritcorresponding to our Satan .

Deified Men.

crimes were generally the consequence of ignorance : to prevent

the priests and chiefs from such blundering, these occasional“ nam ings ” were appointed . In the event of war, and a con

sequent redistribution of lands, the favour of all the principa l

gods must b e secured by favours Shown to their worshippers at

lea st to a selection of a few to keep up the worship of each idol .

A great feasting invariably succeeded this ceremony of naming.

40 Myins and Song s .

CHAPTER III.

A STR O N OM I CAL M YTHS

A CHASE THAT NEVER ENDS .

T HE on ly children of Potiki were twins : the elder, a girl,was

named Piri—ere-ua,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,T arakorekore, was a scold, and gave them no peace. O ne

night the mother went torch-fishing on the reef. T he 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 weremade ; the parents eating their portions at once. T he 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 t/ieir portions into their b askets.

I

1 Throughout the islands each member of the fam ily has a separate foodbasket , so that if hungry at night he should only take his own share, and not

encroach upon his neighbour’s.

Astronomical IlIy t/is . 4 1

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 . Pot iki and T arakorekore enj oyed a thorough good

supper, but their children were not to g et a taste until morning.

T he twins wept in secret. As soon as their,parents were soundly

asleep, Inseparable proposed to. her brother that they shouldflee away for ever. At first the boy hesitated

,but eventually

agreed to comply with his Si ster’s wishes . Cautiously O pening the

Sliding door of their house,they started on their j ourney. 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 b ed of fragrant dried grass was

cold,though moist with tears . Hastily summoning her husband

,

a strict search was made. T he 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 b e 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 b e thought of

so then father and mother leaped right up into the heavens in hot

pursuit of the Twins .” But the children had g ot the start of

42 Myins and Song s .

their parents, and made the best of their way through the azure

vault. This strange Chase i s still going on for the parents have

never yet succeeded in overtaking their truan t children. All four

shine brightly the parents Potiki and T arakorekore,being larger,

exceed their children in brilliancy. Brother and dearly-loved

sister, still linked tog ether, pursue their never-ceasing flight,resolved never again to meet their j ustly enraged parents .

SONG OF THE TWINS .

Eaa te ara i ooro ai ng a tamariki a Wherefore fled the children of T ara

T arakorekore korekoreNoa riri paa 1 te ai kr‘ ika na Potiki ; Anger a t the cooked fish of Po tiki.

I tu ai i ooro ai i tu ai i ooro ai T hey stealthily rose, and ran and fled

for ever.

Ua vaia an i teia e, ei ta ua taana e ! Alas ! that a mo ther should thus illtreat her children .

E kore an e ta o te ui maie ua atu, Such was not my (father’s) wish ; andwhen I intercede,

Ua kore ake o i é She w il l not relent.

Ka akakutu ta ua’i ; ka akakutu ta She thrashes them ,

—is always at it .

ua’

i.

I moe ana an i Karanga ; i moe ana If one sleeps at Karanga or elseau i Karanga . where,

I tau metua vaine : kore ua ka rerua S till there is no peace — only threatskoe ikona é and blows .

These lines were composed by Reing a for a fete held C irca

1 8 1 5. A play is intended on the mother’s name T arakorekore,”

which means never—speak-at-all.”

Inseparable and her brother are the double star,u1 and a

?

S corpii. T he irate parents are the two bright stars v and A Scorpi i .

T he Rev . W. Ellis , in his Researches, erroneously calls them

Gemini, or“ T he Twins,

” vol. iii. p . 1 72 , second edition .

Astronomica l Mytns . 43

I once heard a native preacher say, that Chris t and the

Christian should b e like these twin stars , ever linked together

come life,come death. T he a llusion was happy, and was per

fectly understood by all present, the story being a favourite one

throughout the is lands.

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 O ffender. T he 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

T au-ono,or tbe—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.

Reing a thus Sings of the wars of the star-gods

Ua riri paaVena ra ia Aumea ,

N0 a kite ake i te kakenga.

N 0 a ui atu i te ara i pao ai Matarikima

E Mere ma 6

T uarang i maiti Tuarang i maiti

1 Vena was a goddess, represented by the star Procyon (Canis M inor).

Vena 1 was enraged against Aumea ,(Aldebaran ),

O n account of the brilliance of his

rising .She demanded if he reco llected thefate of the Pleiades,

Shivered by Sirius and his friends .

Alas ye bright -shining gods ! Brightshining gods

44 Myt/is and Song s .

This beautiful constellation was of extreme importance in

heathenism,as i ts appearance at sunset on the eastern horizon

determ ined the commencement of the new year, which is about

the middle of De cember. T he 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.

T he 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 rej oicing.

We have already seen that the sun was known as“the eye of

Avatea,of Yatea (noon-day), i.e. the r ig/i t eye : the left eye of

Yatea being the moon

Venus, as the morning star, was called T amatanui,i.e. tb c

eye of Tune. T he evening star was regarded as a different p lanet.being known as T akurua-rau. Jupiter was O ften mistaken for

the morning star.

T he rainbowwas designated “the-girdle-of—Tangaroa, by which

the eldest of the gods was accustomed to descend to earth .

T he Magellan clouds are known as“ng a mafi,

’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 . Yatea and Tonga- iti

quarrelled respecting the parentage of the first-born of Papa, each

C laiming the child as his own . At last the infant was cut in two .

Yatea, the husband of Papa, took the upper part as his share, and

forthwith squeezed i t into a ball and tossed it into the heavens ,where i t became the sun.

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Myt/zs and Song s .

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 mortal s call t/zunder .

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. T he concussion

produced by these ponderous stones falling together is termed by

mankind a terrific tb underclap.

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 ln tning

T he 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

Ina—motca t/ze-br igb tness-of I na ; no moon,

’7 by Ina-poiri

Ina-invisible. In the Samoan “ Ina” becomes Sina ;

”the

word ma-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

Astr onomica l Myt/es . 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

b e defiled with a corpse. We will therefore embrace and part.7Return 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 T uanui-about—to-fly , a demon from the east,

i s at times subject to excessive fits of rage,in which he thinks

nothing of swallowing up the moon whole. Affrighted mortals

exclaim,

“ Alas ! a divinity has devoured the moon ! ” and very

anxiously wait to see whether the useful luminary will b e res tored

or not .

T ang iia-ka-rere, or Tang iia-about-tofly 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 tbere believed to have done what at Mangaia was attributed

to T ang iia and T uanui.

T he upshot, however,was a very serious matter for the anger

of these demons having been va inly 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.

A CELESTIAL FISH -HOOK.

T he tail of the constellation “ Scorpio,consisting of eight stars

,

two of which are. double,is here known by the curious designation

of t/ze g rea t fisb -lioek of Tong areva . T he mon s trous myth

associated with i t i s as follows

Vatea, the father of gods and men,whose home was in a part

of Avaiki,or nether-world

,called T he-thin-land

,one day went

fishing in the deep blue ocean . H e 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. Yatea now resolved to imitate the

conduct of his mother,Vari-ma-te-takere

,i.e. T/ze—very

-beg inning ;

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, b ut i t 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 . Yatea pulled

away lustily at thi s line, and was rej oiced at seeing a large dark

round mass slowly rising to the surface. This proved to b e the

i sland of Tongareva, which had till then lain at the bottom of the

deep blue sea . Vastly pleased with this achievement,Yatea 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 sim ilar myth to account for it.

It i s not a l ittle remarkable that this group of stars was so

called on Mangaia long before any European had discovered theisland in question. When found, i t was designated in the charts

as Penrhyns, without its native name, Tongareva , being known

until a schooner, in 1 853, had the misfortune to go ashore there.

A stronomica l Myt/i s . 49

When discovered, the inhabitants of Penrhyns knew of the exist

ence of Auau (or Mangaia), and asserted tha t Tavai, the erring

wife of their great ancestor Mahuta , was a native of that i sland .

A DAY SONG FO R MAAKI’S FETE .

BY TANGATAROA, 1 82 0 .

Cb orus.

E aparang i

O te kaua peau nui ka rere.

E noa mai na e taae,

E mataku paa taua éE roroa na na ngutu é

E roroa na na ngutu e, e kaué,

E manu no tai enua éO i au ikitia te manu

E tei taraka aé

O i au ikitia te manu

I taraka , e tai rau, e T ané

Paoa i te kaki aro , e pauru kaua.

Euea te mata o te mar'

ang i nui

T amatakutaku éO mai tai turama ia Mangaia

marama éE tamatanui aeng ata ua ao é A bright morning star

, harbinger of

day.

Ie tutu ake ki runga e Pray stand erect,Ng a manu taae, noea koe ? Ye divine birds. Whence came ye ?

No nunga au, no ua reia e te From the sunrising, driven aboutmatangi,

Ua viriv iri i te arorangi, Through the expanse of heaven,

Ra rOi mai ! We come to you.

T ena oa te anana kaua Hail flock ofwarning birds

Ua ana mai nei koutou Ha ye have arrived.

Like the outstretched heavensAre the spread w ings of the warningbird .

’T is the incarnation of a g od.

O ne Shakes w ith terrorAt the long curved bill.

Ah , that long curved bill !’T is a bird from some o ther land.I am the chosen bird

That comes to warn thee.

Cb orus.

We are all chosen b id ,‘

Messengers of T ane, to save you,

O ur bills are long and dangerous.

Reveal thy face, lovely full-moon,

Whom all adore.

O for a torch to illumine Mangaia ,

50 My tns and Song s .

C/zorus.

Nako nei maira !

Koki, koka T angaroa,Akarong o koumu i te tua 0 Yatea

Kokiia te rangi.Tapai ‘

1'

a te rangi.E rere i te itinga .

E rere i te opunga .

E kapakapa te manu e tau ra.

FINALE .

BY T IK I IN FULL CHO RUS.

Na verovero o te ra See yon rays of lightI patia i Avaiki

,Darting up from spirit-world

O Rongo Nui Maruata (Where Great Rongo reig ns),E puta i te rangi. Piercing the heavens.

K0 verovero o te ra The rays of light are lengtheningIa iti pakakina te etu

,The stars still shine

E mfiu te marama T he moon is full-orbed .O Rongo te atua tupu a taae, Rongo , thou fiercest of gods,

E tupiti i te moe Arouse all sleepers, e’en those0 T avare-moe-roa . AS profound as T avare of old.

E ara ! E ara Awake Awake !E ara, e T ane, i to mata katau, O pen , T ane, thy brilliant right eye.

Aue é kua kata te anau Atea Ha all the divine offspring ofVéteaI te rara varu Laugh at our brave diversion .

Kua itirere i te pOpong i. Day is at hand.Kua ao é ’

T is dawn .

Ruru i te tere ia T iki, The fete of T iki is over.

Ka aere ci 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 leng endary sound sleeper (the mother of

Moke), who passed each winter in unconsciousness .

Welcome to our midst !In the heavens T angaroa

Listens to the whispers ofYatea.

Awake, ye windsSweep o ’

er the skies .

Fly east (ye warning birds) ,Fly west .

What a flapping of w ings when

resting

CHAPTER IV .

EXPL O I TS OF MA UI .

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 Manike, god

of fire ; the Sun-god Ra Ru,supporter of the heavens ; and

lastly, his wife Buatarang a, guardian of the road to the invisible

world .

To Ru and Buatarang a was born a famous son Maui . At

an early ag e Maur was appointed one of the g uardians of this

upper world where mortals live. Like the rest of the inhabitantsof the world

,he subsisted on uncooked food . T he mother,

Buatarang a, occasionally Visited her son ; but always ate her food

apart,out of a basket brought with her from nether-land . O ne

day, when she was asleep , Mani peeped into her basket and

discovered cooked food . Upon tasting it, he‘

was decidedly of

O pinion 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 Myt/i s and Song s .

the home of his parents , he would descend to gain this knowledge,so that ever after he might enj oy the luxury of cooked food .

On the following day Buatarang a 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

Buatarang a i tona rua , e rarang atu Buatarang a , descend thou bodilykoe. through this chasm .

E anuenue i akarong oia a tu ei. T he rainbow-like must b e obeyed .O pipiri

1 O eretue-i-te-a ta e As two dark clouds parting at dawn,Vaia , vai akera i te rua i Avaiki, ng a O pen ,

open up my road to nether

taae world , ye fierce ones.

At these words the rock divided,and Buatarang a 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 rej ected . Nothing would content Maui but the posses

sion of Akaotu, or Fearless, a red pigeon, specially prized by

Tane. It was so tame that i t knew its name ; and,wander

wherever it might, i t was sure to return to its master. Tane, who

was loth to part from his pet, extracted a prom ise from Maui that

the pigeon should b e restored to him un injured . 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

1 Names for the two clouds which are parted by the rising sun.

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54 Mytb s and Song s .

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 b e busy cooking an oven of food,stopped

his work and demanded what the stranger wanted . Maui replied,

A fire-brand.

”T he fire-brand w as given. Maui carried it to

a stream running past the bread-fruit tree and there extinguished

it. He now returned to Manike and O btained a second fire-brand,

which he also extinguished in the stream. T he 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 b e of little use

unless he could obtain the secret of fire. The brand would

eventually go out ; but b ow to reproduce tbe fire ? His O bjecttherefore was to pick a quarrel with the fire—god, and compel him

by sheer violence to yield up the invaluable secret, as yet knownto 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 . Manike ordered him away,under

pain of being tossed into the air ; for Maui was small of stature.

But the Visitor said he should enj oy 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,Manike 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. Manike, maddened that his adversary should yet breathe,

Tb e Exploits of Maui. 55

exerted his full strength, and next time hurled him far higher than

the highes t cocoa-nut tree that ever grew. Yet Maui was un

inj ured 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 a llowing Manike 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 sea l

his fate,the panting and thoroughly exhausted Manike entreated

Maui to stop and to Spare his life. Whatever he desired should

b e his .

T he fire-god,now in a miserable plight, was allowed to

breathe awhile. Maui said,“ Only on one condition will I spare

you — tell me tb e secret offire. Wb ere is it b idden ? H ow is itpro

duced 2 Manike gladly promised to tell him all he knew, and ledhim inside his wonderful dwelling. In one corner there was

a quantity of fine cocoa-nut fibre ; in another, bundles of fire

yielding sticks— the “au

,

” I the “ oronga,

” 2 the “tauinu

,

”and

particularly the aoa ,”3 or banyan tree. These s ticks were all dry

and ready for use. In the middle of the room were two smaller

sticks by themselves . O ne 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 é Grant, oh grant me thy hidden fire,T e aoaoaoa . Thou ban yan tree

1 The lemon hibiscus.

2 Urtica argentea .

3 Ficus Indicus.

Mytbs and Song s .

T utuki i te pupu Perform an incantation

Ka ai i te karakia. U tter a prayer to (the spirit of)T e aoaoaoa . The banyan tree

Kia ka te ai a Manike Kindle a fire for ManikeI nunga i te papanga aoa e O f the dust of the banyan tree

By the time this song was completed, Maui to his great j oy

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 slight flame arose

,when the fine cocoa-nut fibre was

called into requisition to catch and increase the flame. Mauike

now cal led to 11 1 8 aid the differen t bundles of sticks, and speedily

got up a blazing fire, to the astonishment of Maui .

T he grand secret of fire was secured. But the victor resolved

to b e 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, T he rocks at O rovaru I

(in the shades )are burning.

”

Ere leaving the land of ghosts, Maui carefully picked up the

two fire- sticks,once the property of Manike, and hastened to the

bread-fruit tree, where the red pigeon “ Fearless ” quietly awai tedhis return . His first care was to restore the tai l of the bird

,so as

to avoid the anger of Tane. There was no time to b e lost,for the

flames were rapidly spreading. H e re-entered the pigeon,which

carried his fire-sticks one in each claw, and flew to the lower

entrance O f the chasm. Once more pronouncing the words he

learnt from Buatarang a, the rocks parted, and he safely got back

1 Equivalent to saying, The foundations of the earth are on fire.

Tbe Exploits of Maui. 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 light the red pigeon

took a long sweep,alighting eventually in a lovely secluded valley,

which was thenceforth named Rupe-tau,or tb c p igeons—resting

place. Maui now resumed his original human form,and hastened

to carry back the pet b ird of Tane.

Passing through the main valley of Keia, he found that the

flames had preceded him ,and had found an aperture at T eaoa,

s ince closed up . T he kings Rangi and Mokoiro trembled for

their land for it seemed as if everything would b e destroyed by

the devouring flames . To save Mangaia from utter destruction ,

they exerted themselves to the utmost, and final ly 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 Anai , or Smobe.

The inhabitants of Mangaia availed themselves of the con

flag ration to g et fire and to cook food . But after a time the fire

went out,and as ibey were not in possession of the secret, they

could not g et new fire.

But Maui was never without fire in b is 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 ofthe 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 b e elici ted by the use of fires ticks

,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 enj oyed the luxuries of light and

cooked food.

Mytb s and Song s .

To the present time this primitive method of obtaining fire

i s 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 yieldfire.

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 T e-aoa, or the tb c-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 taught your

ancestors the art of kindling fire ? ”

At Rarotonga Buatarang a becomes Atarang a ; at Samoa

Talanga. In the Samoan dialect Manike becomes Mafuie.

THE SKY RAISED ; OR,THE ORIGIN OF PUMICE

STONE.

The sky is built of solid blue stone. At one time i t 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,i s the result of having to

s ustain 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

Tbe 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 anumber of strong stakes of different kinds of trees, and firmly

planted them in the ground at Rang imotia, the centre of the

island and of the world . This was a considerable improvement,as mortal s were thereby enabled to stand erect and to walk about

without inconvenience. Hence Ru was named “ T he Sky-sup

porter.” Wherefore Teka sings ( 1 794)

Tuperetuki i te rangi, Force up the sky, O Ru,

E Ru 6 , na mareva . And let the space b e Clear

O ne 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 Mani

, 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 natura l form,but exaggerated to gigantic proportions,

and ran to his father saying

Ru tokotoko i te rangi tuatini, Ru, who supports the many heavensTuatoru, 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 g et

back again . Unluckily, however, for the-sky-supporting-Ru,” his

head and shoulders got entangled among the stars . H e struggled

hard,but fruitlessly, to extricate himself. Maui walked off well

60 My tb s and Song s .

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 O f 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 i s universally known in these islands as

ibe bones of Ru (te ivi o Ru), is found all over the i sland in

smal l quantities . Upon repeated careful examinations these“ bones proved to b e commonpumice stone. T he largest “ bone ”

I have ever seen on the island is about the size of a man’s fist.

T he peculiar lightness and bonelike appearance O f pumice stone

doubtless suggested the idea that it was the veritable remains of a

famous hero of antiquity. T he younger natives now know pretty

well the volcanic origin of these mythical “ bones .”

In 1 862, when at Pukapuka

,or Danger Island, where two

years afterwards the first jobn 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 b e a large lump of coal with evident ease. Upon

carefully looking at i t,tb is g od proved to be merely 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. tbc-lig b t-stone, and was regarded as the god

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6 2 Ildytbs and Song s .

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 clamberedup from Avaiki to perform his usual j ourney 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

bnees. T he third caught him round the b ips the fourth,round the

waist ; the fifth,under tb e 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 “ roya l nooses

caught the Sun round tbc nec/e / 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 b e

vanquished and fearing for his life, gladly agreed to the demand

of Maui,that in future he should b e a little more reasonable and

deliberate in his movements through the heavens,so as to enable

the inhabitants of this world to g et through their employments

with ease.

T he Sun-god Rawas now allowed to proceed on his way but

Maui wisely declined to take O ff these ropes,wishing to keep

Ra in constant fear. These ropes may still b e seen hanging

from the Sun at dawn, and when he descends into the ocean at

night. By the assistance of these ropes he i s gently let down

into Avaiki, and in the morning is raised up out O f the shades .

Tbe Exploits of Maui.

Of course this extravagant myth refers to what English childrencall “

the sun drawing up water ; or, as these islanders still say,Tena te taura a Maui Behold the ropes of Maui

It i s 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 . T he rule of

each great temporal sovereign was indifferently called a man

g aia” I peaceful reign, or a koina-ta”

br igb t sb ining of tbc

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 hewas driven away

by Rangi for setting the rocks on fire.

A husband is lovingly called by his wife her rua-1 a = sun

bole, in allusion to the preceding myth,as from b im comes tbe ln t

of ber li e. T he husband gallantly calls the wife his are-rau,

”

well-tbatcbed b ouse,

wbere b is aj’

ections repose. These are

standard expressions in hourly use.

THE WISDOM OF MANIH IKI I (KORERO MANIHIKI).

On the island of Rarotonga once lived Manuahifare and his

wife Tong oifare, offspring of the god Tangaroa. Their eldest son

was named Maui the First,the next Maui the Second. Then fol

1 Manihiki, Rakaang a, and T ongareva are situated about 60 0 miles north

of Rarotonga.

My tb s and Song s .

lowed their Sister Inaika Ina -tbe-Idsb . The youngest was a boy,

Maui the Third. Like all other young Polynesians, these children

delighted in the game of hide-and-seek. O ne 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 b e seen. What had become

of him ? But after a few m inutes 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. H e

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 . O ne

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 i t under himself, without attracting his father’s

notice. Early next morning, this precocious son was roused fromhis 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. T he unsuspecting parent went, as he

was wont, to the main pillar of his dwelling, and said

O pillar open, open up,

T hat Manuahifare may enter and descend to nether-world (Avaiki).

T he pillar immediately opened, and Manuahifare descended .

Tbe Exploits of Maui.

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 j oy 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 m idrib,split open) . Every now and then she carefully

took up a live coal, and placed it on one Side,supposing it to

b e 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-ib e-Blind,his own g randmother. T he clever

grandson heartily pitied the condition of the poor old creature, but

would not reveal his own name. C lose to where he stood watching

the futile cooking of Ina-the-Blind grew four nono trees (morindo

citrifolia). Taking up a stick,he gently struck the nearest of the

four trees. Ina-the-Blind angrily said,

“ Who is that meddling

with the nono belonging to Maui the E lder ? T he 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 nono of Maui the

Second ? ” The audacious b oy s truck a third tree, and found itF

66 My tb s and Song s .

belonged to his S ister Inaika . H e now exultingly tapped the

fourth and last nono tree, and heard his old g randmother ask,“ Who is this meddling with the nono of Maui the Third ? ”

I am Mdui tbe Tb ird,

” said the Visitor. “ Then,

” said she,

you are my grandson, and this is your own tree.

Now when Maui first looked at his own nono tree, i t was

entirely destitute of leaves and fruit but after Ina-the-Blind had

spoken to him,he again looked and was surprised to see i t

covered with glossy leaves and fine apples , though not ripe.

Mau1 climbed 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 i t also . Ina—the-Blind was delighted to see again,and

,in gratitude, said to her grandson, All above, and all

all on earth and all in spirit-land)“are subject to thee,

and to thee only.

”

Ina,once called the-Blind

,now instructed Mani 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 Tang arou-ojitbe-ta ttooed-face) .

“ Where is he ? ” inquired Maui. Yonder,” rej oined his g rand

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. O ne of

these is the patb of deatb ; whoever unwittingly approaches the

Tbe Exploits of Maui.

Great Tangaroa by this path, dies . T he 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 Mau1 advancing

,raised

his right b and to kill him— that hand which as yet had never failed

to destroy its victim . But Maui,nothing daunted

,lifted b is 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 b is right foot. Astounded at this piece of audacity,

Tangaroa demanded his name. T he Visitor replied,“ I am Maui

the Younger.” T he god now knew it to b e his own grandson.

“ What did you come for ? ” “ To g et fire, was the response of

Maui. Tangaroa-of-the-tattooed-face gave him a lighted stick,

and sent him away. Maur 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 . T he fourth time all the fireb rands were gone,and

Tang aroa had to fetch two dry sticks to rub together, in order to

produce fire. Maui held the under one for his grandfather ; but

j ust as the fine dust in the groove was igniting, the impuden t

Maui blew it all away. Tangaroa, j ustly 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 j oy 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 with her Claws

the under fire-stick,when Maui purposely burnt either side of the

68 Mytb s and Song s .

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 g randson with having thus

wantonly deprived him of the valuable services of his favourite

bird. Maui deceitfully said, Your bird will come back .

Mani next proposed to Tangaroa that they should both fly up

to day-light through the hole by which the bird had escaped .

T he god inquired how this could b e 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, i s easier

than to fly.

”At his grandson’s suggestion, Tangaroa put on

his glorious g irdle, by mortal s called tbe ra inbow,and

,to his

immense delight,succeeded in rising above the loftiest cocoa-nut

tree. T he 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 Tang aroa 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. H is parents expressed their

j oy at his success , and intimated their wish to go and pay their

respects to the Supreme Tangaroa. Maui obj ected to their going

at once. Go,

” said he,“on the tb ird day. I wish to go myself

to morr ow. T he parents of Maui acquiesced in this arrangement.

Accordingly, on the next dayMaui went to the abode of Tangaroa,

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70 My tbs and Song s .

Where is it situated ? ” inquired they. Down tbere, said

Maui the Younger. “ Down wbere ? ” they demanded .

“ Down

tbere,

”again shouted Main . T he fact was, they were not aware of

the secret O pening in their house leading to Avaiki. At the

earnest solicitation of Maui, they all consented to follow him.

Accordingly,he went to the old post of their dwelling, and said

as before

O pillar O pen , 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 coobed 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 b e 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 Cl imbed up from Avaiki (nether-world). But

i t 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. T he 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

Tne E xpieiis of Mani. 7 1

knot. T he 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 b e released . The

promise was readily given by the trembling captive, and hence i t

is that ever since the inhabitants of this upper world have enj oyed

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 obtainingthe 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 w iMMeir backs the solid blue mass . Now pausing

awhile on Meir knees, they gave it a second lift. Maui and Ru

were now able to stand upright ; wiM Meir Mould’ers they raised

the sky higher still. T he palms of Meir Minds, and then the 27255

of Meir fing ers, 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 off the roughest parts of the sky, thus giving it

a perfectly ova l 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 i t now 1

72 MyMs and Song s .

MAUI’S LAST ANDi

GREAT EST 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 g et 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 60 0 miles) in quest of the sunken island . Many

days passed in weary search,ere they were rewardedwith a sight

of the great block of coral a t the bottom of the sea .

Maui the Elder now baited his large hook with a piece of raw

fish,and let it down . T he bait took ; and Maui the Elder pulled

hard at the line. As the fish drew near the surface, he asked his

bro ther whether it was a shark or a kakai. They pronounced it to

b e a kakai.

Maui the Second next baited lzir hook, and like his brother

caught only a kakai.

It was now Maui the Younger’s turn to try ii i; luck. He

selected as bait the young bud I of the cocoa-nut, which he had

brought with him for the purpose. This he wrapped up in a leaf1 The size of a filbert.

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74 MyMs and Song s .

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 Rakaang a . 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 Rakaang a visitors are shown a hollow in

a rock near the sea, closely resembling a h‘uman foot-print of the

ordinary size. This is called Mefooz-pr inz‘

of Mdni,”

-where his

right foot rested when the canoe parted,and he had almost sunk

in the ocean . C lose by is a hole in the coral,said to b e 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 tai l of the constellation “ Scorpio is to this daycalled by the natives of Manihiki and Rakaang a

“ Mefish /look ofMdni.

Iku lived alone on Manihiki for a time. O ne day he saw

a cocoa-nut floating on the surface of the ocean . He brought it

ashore, and then plan ted it. Thus g rew the first cocoa-nut tree on

Manihiki.

Iku returned to Rarotonga to fetch his sister T apairu and her

husband T oa . All three safely reached Manihiki and settled

down in their new- found home. Five daughters were born toToa but no son was given to him until he married his younges t

daughter. From T oa and Tapairu, a single fam ily, all the present

inhabitants of Manihiki and Rakaang a are descended. In after

T/i e Exploit s of M in i. 75

times Mahuta and his clan migrated to Penrhyns thus the

Penrhyn Islanders, the natives of Manihiki and Rakaang a , are all

descended from the Rarotongan T oa and his wife T apairu.

Such is “the wisdom of Manihiki. Few myths are so com

plete, and few islanders have been so free from foreig n admixture

as the natives of Manihiki and Rakaang a. 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.

”

Mang aian tradition represents Maul 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 tai l of “ Scorpio is on Mangaia known as Me g reen/i sn

noo/e of Tong oreoez,”i.e. Penrhyns. The myth respecting it is

similar to the preceding, but refers to Tongareva, or Penrhyns,

not to Manihiki. Yatea takes the place of Maui .

T he story of T oa and T apairu is simple history, well known at

Rarotonga. That Mahuta,accompanied by his wife Tavai,

emigrated to the hitherto uninhabited island of Penrhyns i sundoubted 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,Tong areva.

In July, 1 87 1 , I visited Rakaang a. We rowed in a flat

76 MyMs and Song s .

bottomed boat without a keel,built of cocoa-nut timber neatly

sewn tog eMer with cinet. Yet these adventurous islanders think

nothing of traversing the twenty-five miles of ocean between

Rakaang a and Manihiki in such frail barks .

T he king pointed out to us the foot-print of Maul,and the

rock . in which his fish-hook caught. H e 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

o’ng deep enongn, we should b e sure to find it.

Maui once,s tanding 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 5 only earth

has been piled upon the aperture. These spirits are said to b e

like soldier crabs, boring down and hiding in the bowels of the

earth.

”

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78 MyMs and Song s .

lovely Ina . We must part, said Tuna“ but, as a memorial of

our attachment,I will bestow on you a g reat boon. To-morrow

there will b e 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 b e sure da ily to Visi t

the spot to see wha t 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

i ts 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 sen t 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 MyMs . 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 .

T he white kernel of the cocoa-nut is commonly called “te

roro 0 Tuna, or Me bra ins of Tnno . In heathen ism it was

unlawful for women to eat eels ; and to this day they mostly turn

away from this fish with the utmost disgust.

T he extremity of a great cocoa-nut leaf,termed the “ iku

kikau,

”and comprising ten or twelve lesser leaves

,when cut off

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

desig nated the“ iku kikau

,

”as its possession indicated chieftain

ship .

All “raui

,or taboo restrictions , were and are still made by

mean s 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 worshippers of

T iaio under the double form of shark and eel. In the year

1 855, 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 vis it

of T iaio,and the dainty morsel allowed to return under the

80 MyMs and Song s .

rocks unmolested. As it was, it furnished several families with a

good supper.

In a figurative sense, Rongo’s cocoa-nuts are nunzon neoo

’s.

Hence the common phrase respecting the beginning of war,

Kua va’i i te akari a Rongo Me ooooo -nui

‘

s of Rong o nave

oeen split open ; in other words, men have been clubbed .

T he 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 T ai (sea) had a wife named U ta ( shore) who

was anxious to visit her relatives . But T ai did not like her to go

without a present. He therefore inquired of the oracle what

would b e most suitable. T he 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. T he eel was then to b e 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. T he wife j oyfully said yes, and laid the

well-plugged calabash at his feet . T ai now advised her to start on

her intended j ourney,and present the precious calabash to her

parents and brothers,“ for there is a wondrous virtue in it. H e

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8 2 MyMs and S ong s .

the island. O arang i 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 res t of their countrymen . In a

secret conference about the matter, some advised O arang i to have

nothing to do with the tree, as i t was an impersonation of an evil

spirit named Vaotere. O arang i, 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 i ll-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 i ts 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.

T he four woodmen zealously set to work upon the four great roots ,whilst O arang i sat at a little distance to watch their prog ress .

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.

T he astonished men desis ted awhile to consult with O arang i, who,resolved to attain his obj ect, advised that each should keep to his

own root until entirely severed . Again they plied their axes,and carrying out the advice of O arang i, 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 .

Tr ee MyMs .

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 rel ief in its waters, but kept on vom iting until

two of their number died, and their unburied bodies were left in

the tall fern .

O arang i 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 s tately 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 . T he 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 , i t bled at every pore.

They slowly wended their way homewards , but ere long the

two surviving woodmen fell dead in the road. O arang i, greatly

annoyed at his failure, resolved that his next attempt should b e

made by daylight, in the hope of better success . With a number

of friends he returned one day to the va lley in quest of this tree.

Upon arriving at the summit of the hill, where the tree could first

b e seen, their eyes became totally b linded . With difficulty they

descended to the bottom of the va lley, and wearied them selves in

searching for the tree. But after wandering about all day in i ts

immediate neighbourhood, they groped their way homewards at

nightfall without having found it at all.

O arang i had done his utmost, but had been foiled by the

MyMs and Song s .

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 Me-no/e

w/iere-zZ-nznsz‘

faii, 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 Ang aruaau, he carefully surveyed the coveted tree, and

began his operations by digging up the earth about the roots,

being careful, however, to avoid inj uring any of the main ones .

Day after day, entirely unassis ted, the brave O no 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,a lthough exceedingly numerous, he fearlessly chopped

them with his famous spade. T he chip s 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 extrem ities,

so that the tree began to totter. T he 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 aga in 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 Vao tere.

T he 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

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86 MyMs and Song s .

PAPA.

U riuri ana rai

Kua kotia '

l'

a rakauU riuria o te vao

T u e tauri te rakau e

WANDERINGS OF ONO .

TUMU .

Rupitia ra O no e te matangiT au akera i tai mo tu.

O te rorongo i kauvare a Iva e

PAPA.

Kua nui ua rai

Kua tokarekare rire.

Ka ara O no 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 ka i ana i O no e,

O te ua o te pitaiKura ra i mo tu e

Kauvare a Iva e

PAPA RUA.

E ua te matangiE te ma tangi tere arikiKauvare a Iva e

UNUUNU RUA.

T ei te matangi tere ariki e,Nai ariki no O no e,

Ka araara i Iva nui

E taia e Murake.

INTRO DUCTIO N.

O no tossed about by a tempest,Eventually reached this isle.

Alas for the haunts of loved Iva

FO UNDATIO N .

How terrific the ocean

The waves covered with foamA punishment for the sins

‘

of O no .

Ne’er more w ill Iva b e seen

SECO ND FO UNDATIO N .

Through rain and fierce winds,O n a peaceful errand we sail .Ne’er more will Iva b e seen

SECO ND O FFSHO O T.O n a peaceful errand we come,

O no , denied his regal honours,Still longs for Iva the Great.Alas for those slain by Murake

FOUNDATIO N .

T urn the log over and over,

T he tree thus laid low .

Formerly it was the glory of the

va lley,O nce it stood erect ; now it is pros

trate.

FIRST O FFSHO O T .How great must b e thy sins

Against the godsT his isle is but the home of birds .

O no is driven to satisfy hunger .

W ith w ild fruits and berriesGrow ing, ruddy, over this isle.

Ne’

er more will Iva b e seen

Ka eva ra O no-kura

I te puka maru.

Kauvare a Iva e

This song is complete in itself, and is an introduction to the

narrative of his exploits and sorrows . The style is very unlike

that O f later times, when the art of song-making became a national

passion. There is no reference to the known history of Mangara.

T he “ Iva referred to is believed to b e Nukuhioo .

It was under the rule O f the Mautara tribe that the poetical

faculty of these i slanders was most highly cultivated ; i.e. during

the past 1 50 years of their history.

MyMs . 87

O no the Handsome chants mournfulsongs

Under the shade O f the laurel trees.

Ne’er more will Iva b e seen

88 [My/Ms and Song s .

CHAPTER VI.

INA,THE FA IR Y VO YAGER .

INA’S VOYAGE TO THE SACRED ISLE.

T HE only daughter O f Vaitooring a and Ng aetua was Ina, whose

brothers were T ang ikfiku and Rupe. T he parents O f Ina were the

wealthiest people in the land O f Nukutere,boasting as they did O f

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 O f Ina the mother charging her to put these treasures

out to air ; but should the sun b e clouded,b e sure to take them

back into the house. For Ng aetua knew well that in the brightbeams 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 fai l to try his luck.

In a short time the sun shone brightly ; not a cloud could any

where b e seen . T he obedient Ina carefully spread out these

treasures on a piece of purest white native cloth. But the arch-foe

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9 0 MyMs and Song s .

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 .

T he enraged mother now broke O ff a green cocoa-nut tree branch

and broke i t to pieces on the back of the unfortunate girl. Again

and again Ng aetua fetched new cocoa-nut branches and cruelly

beat Ina. The father now took his turn in belabouring the g irl ,

until a divine Spirit manu entered and took possession of Ina,

and in a strange voice ominously said

E kiri taputapu taua kiri Most sacred is my personE kiri akaereere taua kiri Untouched has been my personE kave au i Mo tu-tapu I will g o to the Sa cred Isle,Na T inirau e ta ta i taua kiri. That T inirau alone may strike it.

T he 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

O f 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 T ang ikfikfi, who naturally asked her where she was going.

She gave an evasive answer ; but fearing lest he should inform

her parents of her fl ight,she snatched his bamboo fishing

-rod,

broke it in pieces with her foot, and selected one O f the fragments

as a knife.

I She now said to her brother, Put out your tongue.

”

In an instant she cut off its tip. T ang ikfikfi 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 . Lookingabout for some means of transit, she noticed at her feet a small

The only knife known in these islands formerly,save red flint.

Ina ,Me Fa iry Voyag er . 9 1

fish named the avini . Knowing that all fishes are subjects to

the royal Tinirau, she thus addressed the little avini I that gazed

at the disconsolate girl

Manini tere uta koe i teia manini ?

Manini tere tai koe i teia manini ?

O ro mai takitakina atu au

Ki taku tane ariki kiaT inirau,Matoto atu au i reira.

T he 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 unaccustomeda burden

,i t turned over, and Ina fell into the shallow water.

Angr y at this wetting,she repeatedly s truck the avini hence

the beautiful stripes on the sides O f that fish to this day, called

Ina’s tattooing.

”

The disappointed girl returned to the sandy beach to seekfor some other means O f transit to the Sacred Isle. A fish

named the paoro , larger than the avmr,approached Ina . The

intended bride of the god T inirau addressed this fish j ust as

she had the little avini and then,mounted on its back

,started a

second time on her voyage. But like i ts predecessor, the paoro

was unable long to endure the burden, and drOppmg Ina in

shallow water sped on its way. Ina struck the paoro in her

anger, producing for the first time those beautiful blue marks

which have ever since been the glory O f this fish.

Ina next tried the api, which was originally white, but forupsetting Ina at the outer edge of the reef was rendered intensely

Mack, to mark her disg ust at her third wetting.

1 Manini is an old form O f Avini.

Ah, little fish art thou a snore-lovingavini

Ah , little fish ! art thou an ocean - lovingav ini

Come bear me on thy backT o my roya l husband T inirau,With him to live and die.

9 2 MyMs ana’ Song s .

She now tried the sole, and was successfully borne to the edge

O f the breakers , where Ina experienced a fourth mishap . Wild

with rage,the girl stamped on the head of the unfortunate fish

with such energ y that the underneath eye was removed to the

upper side. Hence it i s that,‘

unlike other fish,it is constrained

now to swim flatwise, one side O f 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 g reat

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

fel t very thirsty,and told the shark so . T he obedient fish imme

diately erected its (rara tua) dorsal fin, on which Ina pierced theeye 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 .

T he shark, smarting from the blow,dived into the depths of

the ocean,leaving the girl to float as best she could. Fromthat

day there has been a marked protuberance on the forehead of all

sharks,called Ina’s bump .

T he 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 b e eight canoes in a line rapidly

approaching her. When near they proved to b e eight sharks

resolved to devour Ina. Ina in an agony cried to her guardian

shark,

“ O Tekea ! O Tekea “ What i s it ? inquired the

shark.

“ See the eanoes said the girl. How many are they ? ”

Eight,replied Ina . Said her guardian shark

,Say to them,

Mang amang aia, mang amang aia aea koe e Tekea Nui ’ ‘ Get

away,or you will b e torn to shreds by Tekea the Great. ’

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94 MyMs ana’ Song s .

In the course O f time Ina gave birth to the famous Koromau

ariki, commonly called Koro . Besides this boy she had a girl ,named Ature.

H er younger brother Rupe wished much to see his sister Ina ,who had long since disappeared . Rupe a sked 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, j ust such a one as she used to see in her

O ld 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 rej oiced 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 O bliging linnets, and laden with

all these good things , flew off 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. T he visitors returned to their home over the sea,

and Ina was left happy with T inirau the king O f all fish.

Sacred Isle is an islet in the harbour at Ng atang na, Raro

tonga . No-land—at-all ” i s the residence of the chieftainess Pa,on the mainland .

This very popular legend seems designed to support shark

Ina,Me Fa iry Voyag er . 9 5

worship . It i s expressly said to b e an account of the origin of

ta ttoo,although another myth refers Ma i to Rongo’s ill-treatment

of his brother Tangaroa. It i s,however, true that the tattooing

of this i sland was simply an imitation of the stripes on the

avin i and the paoro .

“ T inirau literally means “ forty millions . Doubtless i tstands for Innnni eraoie

,referring to the impossibility of count

ing the small fish—spawn supposed to b e under his special care

at the Sacred Isle. T inirau was second son of Vari, The—very

beginning.

This heroine is known as Ina,daughter of Ng aetua, to dis

ting uish her from the four Inas born of Kui-the-Blind .

SONG OF INA.

TUKA’

s CO NTR IBUTIO N T o AKAT ONU’S PETE

, C IRCA 1 8 1 4 .

Cailfor Memusic and dance to aeg in .

E manini au na Ina é Here are we, Ina’s little fish, 1

A ta te reu o T autiti O n whom the tattoo was first performed

E paoro ina i te apaing a é As we bare her on her voyage.

T a ipo é Go on

Riunga atu na ia T inirau O n her way to T inirau

Na Ina T ekea i ta 6 ! Ina invented tattooing .

1 Literally, Here are we, Ina’s av ini andf aoro, from which mortals— i.e.

Mang aians— derive their ta ttooing .

”

T e tatau a Rongo , ” —i. e.

“the tattooing O f Rong o, as O pposed to that

of Ina ,— means the bloody marks inflicted by spears in war.

MyMs ana’ S ong s .

Manini tere uta ! Ah, thou shore-loving lit tle fish

( Morns.

E ia Ina tata Ia i te reu 6, When did Ina imprint so distinctlyMotu te tatau ra é Those lines on thy body ?

T akitaki atura na te manini aé As I, a little fish , bare her on my

back .

C/iorns .

T akitaki a tu na te manini Brave fish that bare her to her husband

,

Anau tama it te akatapung a SO that she became the happy mo ther

T autiti e Koro é O f the dance-loving Koro

FINAL STANZA O F THE DAY-SONG FO R T ENIO’

S

PETE .

BY KO RO A, C IRCA 1 8 1 4 .

Ua pururu na te etu T he stars have all set

I maunga O poa Behind the western hills .

Purui tataka i te ara

E ra vaine taia e te matangi.T arotaro Ina i te pa ika ,

O ro mai ana tatakina’

tu au,

E T ekea , i tau tane arikiIa T inirau i te moana.

vaia te upoko , tipitake te akari

I te pane o mango,

I te mimi O Ina ia takav iriv iri,

Ia tae au i Mo tutapu.

T iti kaara na Ina.

Like a tall solitary tree is the fairyWho committed herself to the w inds .

Ina invoked the aid ofmany fishT o bear her gaily on their backsThe lordly shark to convey her safelyT o the royal T inirau o

’

er the sea .

Alas, the bruised head of the angrymonster,

Who hitherto had obeyed the tremblingmaid ,

Who opened a cocoa -nut

O n her voyage to the Sacred Isle.

Softly she beats the drum.

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MyMs ana’ Song s .

THE TAAIRANGI, O R PORPOISE.

Vatea, the elder brother of T inirau, lived in T he-thin—land ,and was lord of the ocean whilst T inirau

,whose home was the

Sacred Isle,was king of all fish— from the shark to the tiniest

m innow. T he taairang i, or porpoise, was not counted with

other fish,as i t is covered with pure fat or blubber. How came

this to b e so ? Why,Vatea him self, half fish and half man

,

imitating the conduct of their great mother Vari-ma-te-takere, i .e.

Tne-oery-beg inning , 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 O ften seen but never tasted on Man

gaia In heathenism . H ad 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 Yatea, i t soon

became alive with taairang i sporting about in it. T inirau

became j ealous 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 perm ission to let some of his small fish go

into the great sea . Yatea would consent only on one condition— that T inirau would add a portion of nis own territory of the

Sacred Isle to the land of Yatea . With immense difficulty

this was accomplished— the two brother gods had to g et under

the Sacred Isle, in order to break O ff a part o f it. This done,T inirau liberated a portion of his finny population, and thus the

ocean became swarming, not only with the great half-divine

taairang i, but with fish O f all sorts and sizes .

Ina,Me Fa iry Voyag er . 99

THE FINNY SUBJECTS OF TINIRAU .

BY T EREAVAI,FO R HIS EET E

,1 8 23.

Ca llfor dancing and music to Zeao’ of :

Vaia mai i te akeke i Aitutaki T hrow O pen the fish-ponds of Aitu

taki 1O te pa ika na T inirau e Koro é Where sport the fish of T inirau and

Koro .

T aipo é Go on

Cborns .

Vaia mai te tino ika nei, e Yatea, T ear off part of the half-fish body ofYatea,

Ei taairang i, e T ané ! That it may become a porpoise, OT ane.

C/zor ns.

E utu oki i te kava rauriki, Pour out a libation of kai/a,

E roaka mai ai. T O win the favour of the gods.

Vaia mai e i te akeke aé Yes, throw O pen the fish-preserves.

Vaia mai i te akeke Throw them all O pen, O T ane,T ei te moana te ikatauira a T ane. That the little fish may sport in the

ocean .

’T is done.

T akave mai i te uru kare See, they are borne on the crest of

the b illoizvs,

Na T ane-ere-tue, Driven by T ane-the-Fierce,Ka aere e tauri atu i te akau. And are lying in shoals on the reef.

1 The Sacred Isle is here confounded with Aitutaki, both lands apparently lying in the vast unknown.

IO O MyMs anaI Song s .

NUMERATION AND THE ART OF FISHINGINVENTED .

Yatea prepared an enormous net which b e entrusted to Six

fishermen, the first of their order. But the subj ects of his brother

T inirau were too crafty to b e 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 O f Yatea from the sight of the fish

below. Their younger brother, Raka, willingly lent his aid, and

the net was completely filled but i t was not in the power of the

six fishermen to hold the net. Tane, son of the grea t Yatea ,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. Yatea 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, al so, originating the useful art of counting.

At last, utterly wearied with reckoning, he gave up the remainder

as being in truth innumerable. T he 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.

T inirau and his son Koro, whose proper home was at the

Sacred Isle, occasionally lived on the northern part of Mangaia .

T he son had repeatedly noticed that his father disappeared by

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1 0 2 MyMs ana’ Song s .

now liberally scattered the scraped cocoa-nut over the waters

whilst chanting a long incantation to his finny subj ects . 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 their

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 subj ects 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 “ T autiti,

” in which hands and feet all move at the

same time. T he subjects,like their sovereign

,were all arrayed in

necklaces of“ sweet-scented pandanus seeds , which grow plentifully

over the native home of T inirau. T he Sacred Islet, king, finnysubjects and all

,started O ff

,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 pasttimes .

A day or two afterwards T inirau 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 O ff 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 , Me Fa iry Voyag er . 1 0 3

Again with a single hand the O ld 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 O f finely scraped cocoa-nut. At the projecting piece of

rock overlooking the ocean he scattered food for his marinechildren. T he invocation over, fish, islet, and all came again to

the feet of the mighty T inirau, who exultingly j oined his merry

subjects in their favourite employment of dancing by moonlight.

Koro gained his O bject : he had learned the magic words,and

therefore went home well satisfied with himself. On the following

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 T inirau 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 del ight, 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 j oy O f recognizing his own father, Tinirau, in the merry throngof moonlight dancers . Koro at once j oined this novel assembly

,

when his father greeted him thus : “ Son, this, then, is why you

hid away my girdle.

”

Arrayed like the rest in b eautiful necklaces of fragrant pan

danus berries, father and son that night, and ever after when so

inclined, enj oyed 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

(Akatang i) where he was accustomed to summon his scaly friends .

He instructed the inhabitants in the mysteries of dancing. His

1 0 4 MyMs and Song s .

time was spent half at the Sacred Isle and half on the northern

shore O f Mangaia, which is thence named Atua-Koro,

I i.e. Me

Zana’of Me a

’ioineKora.

”

A SONG FO R T ENIO’

S FETE.

BY VAARUA, C IRCA 1 8 1 4.

Call for Me dance to beg in .

T autiti au 6 ! 1 I am T autiti.

O te ara ra i T aipau, e T ané O T ane, the fragrant pandanus on thebeach is mine.

T aipo é GO on !

C/zorns.

T anumia te ara i te Atuakoro é That fragrant tree was first plantedby the divine Koro .

C/zorns.

T autiti rava ki tonga makatea T autiti’

s favourite wrea ths grow in

oopu. yon gullies.

Nai makatea O Opu é Yes, in those gullies growO te ara kura O T autiti ei mai é Red pandanus berries to adorn the

dance.

1 Every return of March shoals of bream (ature) find their way to Atua

Koro . T he name of T inirau’s daughter is A tnre. O f course there is a play

upon the name of the beautiful silvery fish which every year v isits tha t part,

and Ma t only, of the island , as if the sister and her attendants were paying av isit to the chosen home of her brother Koro .

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1 0 6 MyMs and Song s .

UNUUNU RUA. SECOND O FFSH O O T.

E te opu, e te Opu Entwine sweet-scented fern-leaves.

Cborns.

Baa ra ? Eaa ra What is going on yonder

T ei tai T ei tai At the margin of the sea ?

Ae ! Ae ! Aye ! Aye !

A kitea A kitea The g od reveals himself

Cb orns.

T autiti kake mai. T autiti himself has come up (outof nether-world)

Kitea mai, e T ane é O T ane, he stands revealed

Maniania , O maau tara mea. Pleasure thrills through my body.

Maaraara’i au 6 I would I were

O te iva taumara a te ra é A dragon -fly exulting in the sun

beam.

CHAPTER VII.

M ISCELLANE O US M YTHS .

A BACHELOR GOD IN SEARCH OF A WIFE.

AMO NGST the thirteen principal gods of Mangaia which at the

establishment of Christianity were surrendered to the missionaries

were four bearing the name of T ane.

I 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 Ng akiau, Tane-i-te-ata,and Tane

Kio— were considered to b e inferior to the first,who was usually

called Tane, sometimes, however, Tane Papa-kai,i .e. Tane-

joi/er

np—of-fooa’. In order of rank Tane came after Rongo and Motoro

,

the chief deities of Mangaia. T ane was said to b e the fifth son

of Vatea, born in Avaiki, or nether-world. T he following is the

extravagant myth of Tane’s exploits when in search of a wife.

At Ukupolu there lived a woman named T ekura-i-Tanoa,

i.e. Tbe-rada’

y-one of Tanoa , possessed of uncommon attractions .

1 T ane husband , or the generative principle in nature. T ane is equiva

lent to (7133 . Innumerable modifications of this dance-loving g od were wor

shipped throughout eastern Po lynesia.

1 0 8 MyMs and Song s .

But she had one sad defect,

— her right foot was afflicted with

elephantiasis. T he chiefAko 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 consen ted to accompany

him. T he 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 T he-ruddy-one of

Tanoa. Tane good-humouredly prom ised 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 proj ected visit to the inexorable beauty.

T he 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 b e 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 b e 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 O f T he-ruddy-one O f Tanoa. Tane first

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1 1 0 My'

Ms ana’ Song s .

The O ld woman had no sooner finished her first yarn 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 m issing. She angrily exclaimed,“ What thief has come

here ? Had I my sight I would-

devour him .

Having thus vented her indignation, she ate another yarn and

drank another calabash of water Tane helping himself in silence

as before. Again the O ld woman counted the remaining yarns

and calabashes with her fingers, and found that on ly 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 yarns 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

g eance. Accordingly, she rose and entering her house felt in the

accustomed place for her g reat-fis/z-noob , which she had never yet

used in vain. Whilst adjusting the long line she slowly chanted

this ominous couplet

O i 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.T he oldwoman must have herfisn (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 b e retained

for a second , deluding Kui into the belief that she had caught the

struggling thief. T he malicious O ld creature pulled vigorously at

the line, hoping to g et a victim to eat, when she grasped a mise

M iseeiianeons MyMs . I 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 O ld 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 b ook,using the old formula .

This time Tane allowed himself to b e caught. Kui was delighted

that she had at last secured the thief. She grabbed him tightly

whilst demanding his name. He calm ly 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 b e slain by my children, the

guardians O f the tree, viz. the lizard, the centipede, the beetle,7

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

7tree.

’ This solitary cocoa-nut tree, the property of the blind

grandmother, was remarkable for the wonderful profusion O f 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 Zizara’advanced boldly from i ts hiding-place to

drive him away. Tane caught the lizard, tore it in two, and threw

I 1 2 MyMs and Song s .

the pieces down. Tane now began to clear off the dry branches

and cloth-like coverings, when a great eentipea’e came out wrathfully

intending to sting Tane to death. But the brave grandson O f Kui

deliberately killed this foe also . T he '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 g ay red wings but Tane served the

mantis as he had already served the others. Thus he had con

quered all foe s . With grea t adm iration 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,

I 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 O ff 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,T he-land—O f-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. T he old woman

1 It is an interesting fact , O f which thieves do not fail to avail them selves inseasons O f scarcity, that it is quite practicable to husk the hardest cocoa-nut

and pierce the eyelet upon the point of the closed shea th referred to , w ithoutdescending to the ground. O rdinarily a sharp stake is fixed in the earth near

the foot of the tree for the purpose of husking the nuts that are thrown downbut nature has provided a sharp -pointed stake at the top of the tree, where the

nuts grow, and the climber finds a sure foothold fo r cases of emergency .

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1 1 4 IllyMs and Song s .

wove into a basket of the sort known as the “ clam-shaped,i.e.

without an opening. H e now procured a second frond,and

therewith wove a second basket of a similar shape. Fasteningone 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 .

T he 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 O f a god is merepower,

without any reference to goodness. Their gods had all the faults

of heathen men and women in an exaggerated degree.

T he centipede, lizard, etc . ,were sacred ; hence their appear

ance in the myth as minor divinities .

ECHO ; OR,THE CAVE FAIRY.

Rangi was the first man; for Yatea was half man and half fish,

and lived in the invisible world. When Rangi complacently sur

veyed the land which he had succeeded in dragg ing up from the

shades, he resolved to explore every nook and corner, 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 O f any living

creature, he approached a romantic pile of rocks overhanging a

tremendous gorge, by which the waters of the neighbouring valleys

M iseellaneons MyMs . 1 1 5

discharge themselves into the ocean . A number of caves con

verge at this point, the pathway to which is obstructed by vastboulders .

Here Rangi shouted, as was his wont, O O” Hallo , there

To his surprise a voice from the rocks distinctly replied, OO .

Rangi asked,“ What is your name ? ” Instead of a satisfactory

reply, came the defiant query,“ What i s 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 O f Rangi were assailed

wi th the irritating words, Whence do yon come ?” Unable to

endure this any longer, b e cursed the hidden inhabitant O f the

cave, nicknaming her Aitu-mamaoa,i.e. Me-ener -a

’istant

,or

Me—b ikie-and-seeb -spir it , ° but forthwith heard himself cursed in

exactly the same tone and words . Evidently this satirical, unseenbeing was no respecter O f 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 illegitimateorigin.

T he first sovereign of Mangaia now resolved, at any cost, to

g et 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 sem i-circular roof was everywhere covered with transpa

rent glittering pendants (stalactites), white, like a row of formid

ab le teeth, almost touching his person, drops of cold water

meanwhile falling like rain upon the stone flooring. Underneath

I 1 6 MyMs and Song s .

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 ofa female fairy, heartily laughing at his terror.

As soon as Rangi recovered his equan imity, he inquired the

proper name of this formidable apparition . Her reply was,

“ I

am Tamnteanaoa , 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 O ffspring,named T nnzn-te-er ae nza

,or Earth-diggers .” “ Where are they ? ”

demanded the inquisitive king.

“ They are on the mountains,

roam ing about in the fern, replied the complaisant spirit of the

cave.

Rangi now left Echo , and went in search of her Children . H e

had not advanced far up the side of the nearest mountain, tramp

l ing down the fern and tall reeds, when he came upon a troop of

these earth-diggers ,” or rats ! Rangi wondered that the progeny

were so unlike their mother, who could on no account b e per

suaded to leave her favourite haunts in the rocks .

T he cave where Rangi firs t made the acquaintance of Tumu

teanaoa, or Echo, was thenceforth named Aitu-mamaoa, I or thehome of the ever-distant, or hide-and- seek spirit.

1 T he writer, in company with the Rev . J. Chalmers, once exploredAitu-mamaoa for half a m ile, 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 perfect echo

a s if an unseen choir were singing in perfect unison with our torch-lit

company.

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1 1 8 MyMs and Song s .

THE PRINCE OF REED-THROWERS .

Upon one occasion Tangaroa chanced to see the lovely Ina

ani-vai, i.e. Ina-solieitea’o t—Mefonnta in, bathing at a stream named

Kapune-rangi, and at once became enamoured of her charms .

T he god unfastened his girdle, which mortals call the rainbow,and by this dazzling pathway descended to earth. T he fair but

frail Ina could not resis t the advances of the gr eat Tangaroa ;and in the course of time she gave birth to T arauri and Turi-the

Bald . She chose to live apart from her friends,so that the divine

O rigin of her O ffspring 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 .

I The clever dwarf sons

O f 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 O f his own

ag e, and for catching a small fresh-water fish, called kokopu,abounding in the tiny streams which thread the valleys . T he

mode of angling said to have been invented by T arauri, and stil lin use amongst enterprising lads, was curious . The leaves of the

pandanus, or thatch, tree are furnished with somewhat formidablethorns . T he serrated edges O f a stout leaf are pared O ff; the

1 O n Mangaia this popular game was practised by men, the women beingspectators or by women , the men being spectators never by men and women

together, as in some islands.

M iseellaneons MyMs . 1 1 9

narrow pieces are then carefully tied together with a bit O f hibiscus

bark, care being taken that there b e at least two thorns or tiny

fish-hooks on either side, and that these little hooks point upwards .

T he slit midrib of a long cocoa-nut frond furnishes the fishing

rod— the thorny hooks being secured to the tapering end.

T he 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. T he 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.

T he “ seven dwarf sons of Pinga were delighted with the

adroitness of T arauri, 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.

T he 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. O ne 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 T arauri himself. They started off to the deepest recesses of

the valleys, where the longest reeds grow. T arauri,with affected

modesty, declined to accompany his seven dwarf uncles, saying

to them,

“ Your broken reeds will b e good enough for a clumsy

fellow like me.

” After a while they returned, each with a bundle

O f fine reeds , and sat down to g et them ready. First of all it wasnecessary to secure with a piece of strong bark the MiM end of

1 20 MyMs and Song s .

the reed, which might strike against a stone and b e 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 T arauri was without a single

reed (tao). The seven dwarf sons O f Pinga,

” having each thrown

his reed, called upon T arauri to come forward and try b is luck.

They were all on the tiptoe of expectation to see what he would

do in this emergency. T arauri rose from the ground , and ad

vancing towards the appointed place fo r throwing, thus invoked

the aid of his father Tang aroa

KauO iake, kauO iake, O h, b e propitious , Oh , b e propitious,U6 iake te marama , te marama , Grant me light and success.

Ia Ruanuku e, Ruanukuma T angaroa, Great Ruanuku, associated w ith T angaroa ,

O mai taku tao , ei teka naku, Send me a reed for this game,

Ei teka ki te taua é T hat the v ictory may b e m ine

At these last wo rds there fell from the skies at the feet of

T arauri a noble reed,perfectly straight, and gaily adorned with

red-parrot feathers, the first ever seen on the island . Thus the

divine parentage of T arauri was discovered . Confidently ad

vancing to the place for throwing the reeds , T arauri swung his

arms jauntily in preparation, and again invoked divine aid

Apai na , apai na rava 1a , e T arauri, i te tai karong ata,

T aki na uri e kai ai, e rere ai é, tu arang arang a,

Apai na, e T angaroa , to manga

Bear it away, oh, bear it far away, for T arauri’s sake, to the treacherous ocean.

Guide the flight O fmy reed , that it may rise to a dizzy height .Great T angaroa , here goes thine own

At this,“the seven dwarf sons of Pinga, dreading a disgrace

to themselves, rushed to encircle T arauri,so as to render it

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ix-moa =Egg~shaped . Perne =A winged kite Club-shaped.(or Bird-shaped).

leaves.

aves.

M iscellaneous MyMs . 1 23

THE ORIGIN OF KITE-FLYING.

Tane in the shades once challenged Rongo to a game O f 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 b e sacred to, and should bear the name of, Rongo, the

great patron of the art. T he names of all subsequent kites wereindifferent. T0 this contest reference i s made in

A KITE SONG FO R T ENIO’

S FETE.

BY KO ROA, C IRCA 1 8 1 4.

Callfor Me dance to leaa’

mi :Ua kapi te puku i Atiu T he hill-top 1 Atiu is covered with

kites,Na tere manu a Raka é Pets O f Raka who rules O

’er the

winds.

Ka aka 6 Dance away

T aipo e GO on !

Ua kapi te puku i Atiu ! See, yon hill-top Atiu covered withkites

Na tere manu a Raka 6 ! Pets of Raka, g od of winds.

C/zorus.

E manu peru au 6 I am a bird 2 (i.e. kite) O f beautifulplumage.

1 A hill on the east O f Mangaia is so named, in memory of Aké’s visit tothe island .

2 Kites were either eg g-shaped , club-shaped, or bird-shaped. As the

latter were more difficult to make, they were scarce, and greatly admired bythe childish O ld men who delighted to fly them on the hill-tops ofMangaia.

1 24 MyMs and Song s .

T omo i te rangi koukou é ! Cleave, then, the dark clouds .

Cb orus.

Moaia ea koe e T autiti, T ake care lest T autiti gain the day.

T aumoamoa e T ane e na Rongo oki, O nce T ane and Rongo tried theirskill .

T ere manu aitu ki Iva 6 ! With divine kites in spirit-land.

Naa i te ao i poto e Who was beaten

C/zorus.

Na T ane, tei raro iO na kumu é T ane for his string fell short .

E mano O te ao Two thousand fathoms of stringCborus .

Na Rongo Yes’twas Rongo ’

s,

T e vai t a i te aka i te rangi e ! Whose kite touched the edge of the

sky.

UTI’S TORCH; O R,WILL-A-WISP .

Riding across the island alone one dark rainy night, I was

delighted to see j ust ahead what seemed to b e a man carrying a

lighted torch . I shouted to my supposed companion to wait alittle until I could g et up to him. Receiving no reply, I spurred

my horse but as the creature made its way with difficulty throughthe deep mire, I was not a little annoyed to see the light dancing

on and on. But as i t 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

fatuus/ Upon reaching home that night, and relating my adven

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1 26 MyMs ana’ Song s .

T he first night of the native calendar was sacred to 1 1 0 (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 i s hoped

that the great divinities, i.e.

“the children O fYatea,

” 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 b e robbed : for the boldest thief would b e terrified by the

sight,and would precipitately retire.

Vaang aru, lamenting 1 8 1 5) for his dead mother-in-law,

Anau, sings

T aumata ra i te tai She glances at the sea

Kua eke i Kopuaterea. And plies her torch -fishing .

Tunu mai i te ai ramarama. Then resting awhile at Araoa ,

Tunu maira i te rama Cooks part of the spoil .I nunga i Araoa i te takang a E re leav ing that pleasant Spo tI tangi e moimoi aroa

, She carefully relights her torchTungia rava te rama na U ti AS taught by the fairy U ti.

MOSQUITOES .

These most annoying insects are said to have been unknown

in Mangaia,until a woman named Vévé 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

constan t pressure, until at last a small cocoa-nut I ( vao) could

b e inserted. Fragrant leaves and even flowers were put inside,

and the opening carefully plugged up .

Now Vévé, on leaving her native island, filled up the hollow of

1 This is a literal truth.

M iscellaneous MyMs. 1 27

her enormous ear-ornaments w it/i mosquitoes, so as to nave Me

pleasure of bear ing Meir continual b um I But shortly after'

landing

on the eastern part O f the island, she went to a pleasant retired

little stream ,to enj oy 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, wnic/i b aa’by Meir loua

7nummzng

contrioecl to burst Meir prison-bouse/ 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.Vévé set fire to her dwelling, hoping to exterminate the

noxious insects she had thoughtlessly introduced to her future

home. T he maj ority, indeed, perished ; but a few escaped to the

neighbouring rocks . From that remnant the present disagreeablerace O fmosquitoes are descended. T O 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 b oth children to death .

It is the custom of the na tives 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 i s consumed. Of course the

smoke readily penetrates the reed sides O f a native hut, and drivesaway the mosquitoes . But as the smoke does not invariablysuffice 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

1 28 MyMs and Song s .

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 backinside the house and closes the sliding door.

THE-LONG-LIVED .

T he formation of Mangaia is remarkably hilly. In the middle

o f the island is a hill, half a mile long and 250 feet wide, named

Rang imotia, or Centre-of-Me—keaoens,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 . T he condition of wearing this girdle was, succeed or

die.

” About a century ag o a rash chief,named Uarau

,resolved

to celebrate his accession to supreme temporal power by holding a

grand feast on this sacred spot. T he 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 O f his chieftain

ship. T he reason alleged for the sacredness O f the hill is this

A god,T e-manava-roa,

I or Tno—long —lioea’

,lies buried , face

downwards, at Rang imotia. His proportions are wonderful : the

length of the level hill— half a mile— being the measurement of his

back His keaa’ is at Butoa, towards the sun-rising. T he markeddepression between, is the neck O f T he-long-lived . His rigkt

arm i s the line O f hills stretching away to the S.E .,a distance of

two miles, and touching the mission premises at Tamarua. His

1 O ne of the three primary stationary spir its bears this name, but must b edistinguished from this buried giant .

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1 30 MyMs and Song s .

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 rea l convenience— jealousy

being thus prevented . Few of the younger people understand

the ancient reason for the practice.

HUMAN ARTS AND INVENTIONS .

The employments of mortal s are mere transcripts of what was

supposed to b e going on in Avaiki,their knowledge and skill being

derived from the invisible world . T he first axe ever seen on earth

(i.e. Mangaia) was, handle and all,O f stone from the shades . The

grand secret O ffire was introduced by Maui from nether-world .

The female employment of eloM-beating was derived from the she

demon Muen, who in the shades is ever beating the flail of death.

T he art of torck-lzgktfiskzng was gained from the goddess Uti, who

on damp nights loves to come up from Avaiki with a lighted

torch (ignis-fatuus) to wander over the island. The art of stealingwould infallibly come to grief, did not 1 1 0 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 (a’

racoenae ter

minalis) roots , are derived from Miru’s awful oven ever blazing in

Hades . The a rt of wa r was learnt from Tukaitaua and Tutavake,

denizens o f nether-land . T he intox icating a’raug kt was copied

from that which the hateful mistress O f the invisibleworld presents

to her victims . The pleasant and harmless g ame of ball-Mrowing

was first taught to Ngaru by fairy-women and introduced by him

to this world . Veétini came from the dead to instruct mankind

how to mournfor Meir a’eceasea

’relatives .

M iscellaneous MyMs . 1 3 I

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 sug g estion

'

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 O f these islanders. In the eastern islands they

speak of having come from Hawai i Savai’i), or the Po, i.e.

M gkt. By “ Night ” i s intended the far-west, where the sun

sets, leaving these eastern islands in darkness . Po,Hawai’i ,

Avaiki, and Savai’i are convertible terms .

T he heathen of these islands were everywhere Realists in

philosophy,without knowing it. This is the fundamental error of

unenlightened nations .

PERILS OF BEAUTY.

Ng aroariki,I 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 g et 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 O roio 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. T he pathway led over a bua (beslar ia laur ifolia) which overspread a rock.

Tangaroa whispered to her to tread only the g reen branches, as

1 Ng aroariki Me lost queen. Ngata clijicult.

1 32 MyMs and Song s.

whoever treads upon the dead branches i s necessarily bound toSpirit- 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,T angaroa again interposed on

her behalf, and tore the net to pieces and delivered the fair

captive. On a third occasion, Ng aroariki told her husband that

she was going to bathe in a retired spot. He attempted to

dissuade her from her purpose, saying that she m ight b e attacked

by the cruel hag Moto Me striker), who was known to b e

j ealous of her charms . Ng aroariki loved to have her own way,and went O ff gaily to the fountain

,and there greatly diverted her

self by beating the water with 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 Ng aroariki, 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 Ng aroariki. Wish

ing to save the ill-fated beauty, he despatched his bird-messenger,

the kuriri, who chirped thus

T euteuae,1ruerueae, e tu ra, e 0 1 0 ra, Haste, haste, arise, flee for thy life

aere ra .

T he warning was repeated two or three times ; but Ng aroariki

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 O ff the whole O f her hair, which was so

profuse that i t made eight large handfuls. Her face was next so

1 The alliteration is beautiful the sense O f both words is the same.

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1 34 MyMs ana’ Song s .

returned and looked attentively at her face, but could see no like

ness to his beloved Ng aroariki. Yet there could b e 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 los t 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 Ng aroariki 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. T he ornaments and clothing were produced. The

sorceress then collected the viscid fluid O f the hibiscus and the

oronga (urtica arg entea), and prepared a sort of gum which she

plastered all over the bald head O f Ng aroariki. T he hair was

thus made by the sorceress to adhere as formerly. T he 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 b e 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 Ng aroariki, he was proceeding home, when, to

his utter astonishment, he heard Moto again at her O ld employ

ment,beating out native cloth . He returned to the hag , who

appeared to b e uninj ured 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 ; i t was to stone her until, as

previously, life seemed extinct, and then to sever the limbs and

M iscellaneous MyMs . 1 35

bury them in different parts O f the island. Thus,at length, an

end was put to the malicious tricks of the envious Moto, and the

lovely Ng aroariki 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 .

T he first were landed in 1 823 by the martyr Williams. On occa

sion of the annual Mayfestivities in 1 852 , a thousand pigs were

killed and eaten ! O f late years the number of these useful

animals has greatly fallen off, owing to the desolation occasioned

by success ive hurricanes .

T he only quadruped previously known on Mangaia was the rat,which was considered to b e 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 RarotongaSome two miles from the settlement O f Avarua is a place

named Kupolu, where there once lived the aged blind Maarn,

and his son Kationg ia , 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 O f 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 O ld man and himself. Kationg ia could find

nothing better to eat than the stump of the banana, which

1 36 MyMs and Song s .

ordinarily no one would condescend to taste. Very diligently didhe grate these stumps on a lump O f 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. Kationg ia would now go on the reef to fish,in

order to g et something to render this wretched diet palatable.

T he fish, when obtained, was grilled over a fire, on an extemporegridiron of green cocoa-nut branches .

The dutiful son invariably gave to his aged parent the bananaroot 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 Kationg ia of playing him a trick. Pos

sib ly 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 s tone 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 j ust the opportunity the O ld 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 Kationg ia 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 .

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I 38 MyMs ana’ S ong s .

w ill follow you. Peace w ill be restorecl to Mis islana’,ana

’

you will

be king !”

That same night the old man died . Kationg ia faithfully

carried out the last wish of his parent. The bruised corpse was

deposited in the dense ironwood forest, no t far from the beautiful

white sandy beach of Nikao . At the end of four days the lad

revisited the sequestered grave,and saw worm s crawling about.

According to the instructions of Maaru, he gathered abundance of

fresh leaves and grass, and piled them over the corpse to a gr eat

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 Me novel g runts of Mefirst

broocl of pigs on Ra rotong a . In that first brood were all the

varieties ofwhite, black, and speckled, which have since prevailed.

These young pigs , of their own accord,followed Kationg ia 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,Kationg ia married to

advantage. Peace prevailed,and eventually, on account of his

own ing 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,cal led “

e iro no Maaru worms of M aaru.

Kationg ia bite and smell,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.

M iscellaneous IlIyMs . 1 39

S E E K I N G F O R L I G H T.

AN AITUTAK IAN MYTH .

Te—erui, son of T e-tareva Me expanse, lived long in utterdarkness 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.”

T e-erui divulged his secret purpose to his brother Matareka

smiling face. Being of one mind, they at once set O ff in search

O f suitable wood for their purpose. As they felled the trees ,

they chanted these words

Ng a T e-erui, ng a Matareka e amo i te toki i te tumu o te rakau.

E aumapu ma taku toki, e aumapu.

T e-erui and Matareka have brought their axes to the root O f this tree.

Merrily rings the axe merrily O

The trees fell. The top and branches were speedily loppedO ff, the outer bark was peeled off, and the trunks hollowed out

into two fine canoes . T he outriggers were secured. T he firs t

canoe was named,“ Weary of Darkness the second

,

“ SleeplessNights .” These enterprising brothers dragged their canoes tothe 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 j oy, 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

I40 MyMs ana’ Song s .

result of this, their first experiment, the brothers cut down two

trees, chanting as before

T e-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.

O ne 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 T e-erui and Matareka did not despair.

Again they felled timber for two new canoes in the place of those

they had los t,singing as before

T e-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 O ff 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 . T e-erui and Matareka, however, got back

to shore a third time.

T he 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

,

“ T e-erui and

Matareka,”etc. When these canoes were completed, they held

a consultation as to the probable cause of their previous failures.

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1 42 MyMs and Song s .

first settlers from Avaiki Savar 1,the sun-setting, to

“the land of

l ight,

”i.e. the sun-rising. Said the heathen priests to Papehia,

one of their first teachers “ T e-erui was the first man ; we know

nothing about yourAdam .

RATA’S CANOE.

A LEGEND FROM A ITUTAK I .

In the fairy land of Kupolu lived the renowned chief Rata, who

resolved to build a great double canoe,with a view O f exploring

other lands. Shouldering his axe, he started off to a distant valley

where the finest timber grew. C lose to the mountain stream stood

a fragrant pandanus tree, where a deadly combat was going on

between a beautiful white heron (rum), and a spotted sea-serpent

(aa) . T he origin O f the quarrel was as follows

T he heron was accustomed, when wearied with its search after

fish,to rest itself on a stone rising j ust above the waters of the

coral reef, and chanced to defile the eyes of a monstrous sea

serpent, whose hole was j ust beneath. T he serpent, greatly

enraged at this insult, resolved to b e revenged . Raising its head

as far as possible out of the water, it carefully observed the flight

O f 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. T he sea-serpent easily climbed the pandanus

by means of one O f i ts 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 dawn, 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

M iscellaneous MyMs . 1 43

fully,

“ Nay, Rata leave us alone. It is but a trial of strengthbetween 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 g reat

hurry to fell timber for his canoe. But as he walked heedlessly

along, he heard the bird say reproachfully, Ah your canoe

will not b e 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 b e seen No stump could

b e discovered, so that i t 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 b e deterred from his purpose,so

having again fixed upon suitab le trees, a second time he levelledthem to the ground .

On the third morning, as he went back to the forest to hiswork

,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 unders tood the meaning

of what the suffering white heron had said to him on the first day,Your canoe will not b e finished without my aid.

”

1 44 MyMs and Song s .

Rata now left the forest and went to see whether the white

heron was alive. 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 lifeof the white heron. H e 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 whiteheron 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 j oin

ing together the separate pieces . T he holes were bored with the

long bills O f 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

fl ight. As they bore the canoe through the air they sang, each

with a different note, as follows

E ara rakau é E ara rakau é

E ara inano éE kopukopu te tini o Kupolu

E matakitaki, ka re koe O O

A pathway for the canoe ! A pathwayfor the canoe

A path O f sweet -scented flowersThe en tire family of birds ofKupoluHonour thee (Rata) above all mortals !

O O !

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MyMs and Song s .

I take you in ? ” T he imprisoned Ng anaoa 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, Ng anaoa, 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 Ng anaoa,“ warned by an oracle, to the land of Moonlight,

to seek my parents T airitokerau and Vaiaroa .

” Rata again asked“ What now will you do for me if I take you in ? ” T he 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 sim ilar terms

,Ng anaoa 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 Ng anaoa

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 Ng anaoa, who was now permitted

to emerge from his calabash, and to take his place armed at

head of the canoe to b e on the look-out for monsters .Swiftly and pleasantly, with a fair wind

,they sped over the

ocean in quest of new lands . O ne dayNg anaoa shouted,“ O Rata

,

here is a terrible foe starting up from the main .

”It was an open

clam O f fearful proportions. O ne 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 Ng anaoa was ready for the emergency. H e

M iscellaneous MyMs . 1 47

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 Ng anaoa was heard

O Rata,yonder is a terrible enemy starting up from ocean

depths .” It proved to b e an octopus of extraordinary dimensions .

Its huge tentacula encircled the vessel in their embrace, threaten

ing to destroy them. At this critical j uncture Ng anaoa seized his

spear and fearlessly drove i t 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 . O ne day the brave Ng anaoa shouted, O

Rata, here is a great wkale Its enormous mouth was wide O pen

one jaw beneath the canoe, and the other above i t ! The whale

was evidently bent on swallowing them up alive. Ng anaoa, 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. Ng anaoa

nimbly j umped inside the mouth of this great whale and looked

down into the stomach, and 10 ! there sat his long lost father

T airitokerau 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 .

T he parents of Ng anaoa were busily engaged in platting cinet.

Great was their j oy at seeing their son, being assured that

deliverance was at hand. Ng anaoa resolved, whilst extricating

his parents, to b e fully revenged upon the whale. He therefore

MyMs and Song s .

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 fire-sticks. He desired his father to hold firmly

the lower one, whilst he worked assiduously with the upper s tick,

until at length the fire smouldered. Blowing it to a flame,

Ng anaoa set fire to the fatty portion of the stomach. T he

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.

T he island proved to b e 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. T he 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 Ng anaoa, and the entire party, started once

more. After many days, but without further peril, they even t

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 . which

relates how T ang iia 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. T he

myth says “a whale ”

(toora) swallowed the parents of Ng anaoa ;

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1 50 MyMs and Song s .

o ctopus climbs the same tree for the sake of the sweet-scentedflowers and fruit. Like the octopus, this sea-serpent is an expert

rat-catcher— feig ning death until the unwary rat comes within

its reach . T he 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 CH IEF RAOA AND H IS CLAN.

T ena rava te tira

Ka tu i nung a ,

Ka tu i mua i te are

E tira O mataianuku

E tira O utuuturoroa

O avaavaroroa.

T ei iti au era tangata kekeia ,‘

O ua rere i maui ia kiritiaI tav iria ia turua .

Ia turua a nu koe e te atua i te are

Ka mate koe i te atua i te are.

T amoe i te au mea katoa

T ena rava te moenga, maora atu na .

F moe, e te tangata noou te are.

E moe, e te tirang o noou te are.

E moe,e te portipoti no

'

ou te are.

E moe, e te uene noou te are.

1 Keia , applies equally to Mic-v ing and murdering .

Here is our sure helper.Arise on our behalfS tand at the door O f this house,

0 thou divine O mataianuku

O thou div ine O utuutu-the-T all ,And Avaava -the-T all '!

We are on a Miev ing1expedition

Be close to our left side to give aid.

Let all b e wrapped in sleep.Be as a lofty cocoa-nut tree to support

us .

0 house, thou art doomed by our

g od !

Cause all things to sleep .

Let profound sleep overspread thisdwelling.

O wner O f the house, sleep onThresho ld of this house, Sleep on !Ye tiny insects inhabiting this house

sleep onYe beetles inhabiting this house, sleep

on !

M iscellaneous _M'

yMs . I 5 I

E moe, e te kakaraung a noou te

moe, e te ro noou te are.

E moe, e te mata noou te are.

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 'fi

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 mua O te tangata

E ara mai nei, —vareaio

Mea po te atua O i te iO tangata.

Aere katoa, tukua i te rangi, e Rongo .

This prayer was uttered as near as possible to the dwelling to

b e robbed. T he users of it were famous for their success .

Ye earwigs inhabiting this house,

sleep onYe ants inhabiting this house, sleep

on

Dry grass spread over the house, sleepon

Thou central post of the house, sleepon

Thou ridge-pole - of the house, sleepon

Ye main rafters of the house, sleepon !

Ye cross beams O f the house, sleepon

Ye little rafters of the house, sleepon

Ye minor posts of the house, Sleepon !

Thou covering of the ridge-pole,sleep on

Ye reed-sides of the house, sleep onThatch of the house, sleep on

The first of its inmates un luckilyawaking

Put soundly to sleep again.

If the divinity so please, man’

s Spiritmust yield .

0 Rongo , grant thou complete suc~

cess

1 52 MyMs and Song s .

CHAPTER VIII.

HADE S ; OR,THE DO C TRINE OF

SPIRI T WO RLD.

T HE 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 b e regarded as designa

tions for places or territories in Avaiki, the vast hollow over whichthe island is supposed to b e placed . AS the dead were usually

thrown down the deepest chasms, it was not unnatural for their

friends to imagine the earth to b e hollow,and the entrance to this

vast nether-world to b e down one of these pits . NO one can

wonder at this who knows that the outer portion of Mangaia i s

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

O f the surf can b e distinctly heard, whilst the water, purified from

its saline particles, continually drips from the stony roof. The

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I 54 MyMs and Song s .

Auraka=don’t. Doubtless this is the true origin of their idea

of the whereabouts of spirit-world.

T he proper denizens of Avaiki are the maj or and lesser

divinities, with their dependants. These marry, multiply, and

quarrel like mortals . They wear clothing, plant, cook, fish, build ,and inhabit dwellings O f exactly the same sort as exist on earth .

T he 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 cann ibals, whose

delight is to entrap unwary mortal s to their destruction— it i s to

b e 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 mor indo citrifolia , and the yarn ,

— all abound in Hades , either for the support or adornment of

immortals . Murder,adultery, drunkenness, theft, and lying are

practised by them. T he arts of this world are fac-similes of what

primarily belonged to nether-land, and were taught to mankindby the gods . T he 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 fairyof the axe is invisibly presen t. If the iron

wood club kills its victim,i t 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, i t 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 O f Manike, 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 , Tbe Doctr ine of Spir it Wor ld. 1 55

the opening made for his convenience at the edge of the horizon,and thus lights up the inhabitants of the nether-world. O ne 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,“ D ay kere; nzgkt in Avaiki

,and

vice versa . As the priest Teka sang ( 1 794)

Ua po Avaiki’T is 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 mankind— continually afflicting them with disease and death. They

occasioned great dearth by stealing all kinds of food, and even

ravished the women O f this world . The brave and beautiful Tiki,

the Sister of Veétini,determined to put an end to these annoy

ances. For this purpose she rolled herself a live 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 Tiki’s kole.

T he Spirits of the dead were often spoken of as wandering

along the margin O f the sea most disconsolately ; not a little

MyMs and Song s .

annoyed at the extreme sharpness of the rocks,!

and the entangle

ment O f 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 renang a 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 i t to assist in the manufacture

of such garments that females were invariably buried with one or

more cloth mallets used in life ?

The great delight of these weeping, melancholy spirits, was to

follow the sun.

I At the summer solstice, January, he apparently

rises out of the ocean opposite to Ana—kura (the“red-cave,

” so

called as receiving the red rays of the morning) ; at the winter

solstice,June, rising at Karang a

-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 g reater 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 settingsun, on account of this ancient solar worship .

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MyMs and Song s .

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 b e : Ize in the heavens above, Mey at first on the ocean

beneath, but afterwards over the rocks and stones (always avoid

ing the interior of the island),1

'

until late in the afternoon of the

appoin ted day they are all assembled at Vairorong o, facing the

setting sun .

Vairorong o means Rongo’s sacred stream. It i s a little

rivulet rushing out of the stones at the marae of Rongo, where in

the O lden 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. T he 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 Veétini.After the crowd of spirits had taken their departure, a

solitary laggard might sometimes b e 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 O f the

vanquisked in battle, too often hunted or starved to death also the temporaryhome O f these ex ile spirits.

Hades ; or , Tli e Doctr ine of Spir it Wor ld 1 59

till a new troop b e formed for the following winter,its only amuse

ment being “ to dance the dance of the tiztii,or starved or to

“ toss pebbles in the air ” through the weary months tha t inter

vene.

T he point O f departure for spirit-land is called a“reing a

3)vaerua. There are three on Mangaia

,all facing the setting sun .

T he 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 thatgrand repository of the dead Auraka

,

”at the proper season left

its gloomy,winding subterranean passages and divided themselves

into two bands : the maj ority starting from Araia and lodging

on the fatal bua tree ; some— those issuing from“ Kanava ”

going in mournful procession to the projecting rock alluded to,

thence leapt one by one to a second and much smaller block ofstone 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 b e an arrangement for the convenience of

ghosts on that part of the island . Like the former these stones

are known as Reing a vaerua,”i.e. Leaping -place—of souls

These are but trifling modifications of the highly poetical

representation of disembodied spirits, NO T Me sla in, being impelled

to follow in the train of the setting sun to spirit-land.

At Rarotonga the great reing a or rereang a vaerua was at

Tuoro on the west of the island, as at Mangaia. SO , too, in all

1 60 MyMs and Song s .

the other islands of the group . At Samoa,a spirit leaving the dead

body at the most easterly island O f that group would b e compelledto 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 1 teaching O f 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 ( =kindered, 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 j ourney from the place where the seem

ing ly dead body lies, and should say, Go back and live,”the

now j oyful ghost at once returns to its old home and re- inhabits

the once forsaken body. This is the native theory offainting .

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 I O O yards distant)approaches to the base, and at the same moment a gigantic bua

tree (beslar ia laurifolia ), covered with fragrant blossom spring ss,

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 . T he worshippersi

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 buatree. In eiMer caseMe END of all who die a natura l death is to be cooked andeaten by Miru

, her children and followers .

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1 6 2 MyMs and Song s .

Avaiki. Miru’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 O ff

to the oven and cooked . Miru,with her son and peerless

daughters,subsist on these human spirits . T he refuse i s thrown

to her servants,Akaang a and others . Such is the inevitable fate

of those who die a natural death, i.e. of women,cowards

,and

children . They are anni/zilated.

I

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 b e

lieved to b e the voice O f these warrior spirits sorrowfully calling to

their friends . Hence the proverb ,“ T he 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 O f those slain in battle assembled for their last

j ourney. With bits O f ripe banana Rongo tempts them to his

side,and then treacherously swallows them whole ! But these

g hosts have the consolation of escaping thefire of Miru : besides ,

they are eventually disengaged a live from the intestines of the

1 Some w ise men w il l have it that these spirits live again after passingthrough the intestines of Miru and her followers.

Hades ; or,Tb c Doctr ine of Spir it Wor ld. 1 63

g rim war-god . They at last rise to the upper sky and j oin 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. T he 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 O f the winter (or dry) season . These clouds are

to b e distinguished from the ordinary rain clouds .

T he 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 a scend 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 i t the spirits of the brave dead preparing for theirfl ight. The heavens soon become cloudless ; the weather bright

and warm . It i s because they have taken their departure. T he

l iving now resume their ordinary avocations in comfort.

T he 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 Me expanse (kua

rere ki te neneva). This cheerful home of the brave i s some

MyMs and Song s .

times called T iairi, 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 O f the upper sky these warrior spirits

appear as the veriest specks .The spirits O f the slain are immortal . They are clothed with

garlands O f all sorts of sweet-scented flowers used in mundane

dances . T he white gardenia, the yellow bua,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 i s to laugh and

dance over and over again their O ld war-dances in remembrance of

their achievements in life. In every possible way they enj oy

themselves ; but look down with ineffable disgust upon those

wretches in Avaiki who are compel led 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 Akaang a’

s net.

T he natural result of this beliefwas 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. O ne 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 Maung aroa

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I66 MyMs and Song s .

the restless waters, with a ladder to ascend to it. T he 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 adm ire 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 b e 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 b e sucked down by the three m iniature

Whirlpools existing here.

Since the introduction of Christian ity the belief has Sprung

up that “ Avaiki,

” from which the first inhabitants of this island

came,is the largest island in the Samoan Group . In the

Hervey dialec t the S is dropped, and the break between the two

i’

s filled up with k. At the Penrhyns the natives speak of“ going

to Sava iki,” when referring to death. Dropping the S , we have

the usual form “ Avaiki.”

In the Tahitian islands the H takes

the place of S ,and the word becomes there being no

If in the Tahitian dialect. Thus Avaiki,Hawai’i

,and Sava i’i

are slightly varying forms of the same word . Savai’i lying west,or

as these islanders say,“ down it would b e strictly correct to assert

that their ancestors “came up from Savai’i .

Hades ; or ,Tb e Doctr ine of Spir it Wor ld. 1 6 7

This view of the origin O f 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 Manuka

,

”i.e. Manu

’

a,Tutuila

,

Ukupolu,” for Upolu

,

” of the Samoan Group .

“ T he distant

land of Vavau is referred to in song also Rewa. Tonga contin

ually recurs . A double canoe of “ Tongans-sai ling-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 . T he 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 Sava i’i,the original

Avaiki,is the true centre from which this race emigrated

,willingly

or unwillingly, some five or six centuries ag o . How their ancestors

got to Samoa remains to b e 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 .

T he son of the elder of three brothers from Avaiki was named

Papa-rangi — literally,Me sky

-beater . 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 g et to Mangaia.

1 68 MyMs and Song s .

Mokiro’s son was named Vaerua-rangi Spir it-of-Me-sky .

“T e-akataaira

,

”the name of the third brother from Avaiki,

signifies arr ived. Thus'

the very names of the three royal

brothers from Avaiki sign ify voyagers from the sun-setting. It

suited the purpose of the priests of the dominan t 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 i t came to b e 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 Me komes of Meir ancestors.

That “ Avaiki”and PO ”

are interchangeable is clear from

the name O f a gloomy rent in the rocks at Ivirua,known as

Avaiki-te-

po ,” that is

,Ava iki, or nzgkt .

The old proverb Na Avaiki e ranga =Avaiki w ill reveng e

it,means “

the gods whose home is in Avaiki, particularly Rongo ,

will revenge it. Sometimes i t 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

unknown dcpM is implied . Araara i Avaiki Mink of Avaiki,

as being about to die.

T he Samoan I heaven was designated Fulotu or Furotu, and

was supposed to b e under the sea . In these eastern islands

the same word means “the perfection of beauty. May not this

b e an adaptation from the former ?

At Samoa only pigs die, men by a euphemism finish.

”T he

spirits of the dead are said “ to go on a j ourney.

’ Of great men

i t i s asserted that “ they have gone to a meeting of chiefs,

”i.e.

1 Compare Dr. T urner’s Nineteen Years in Polynesia , pp. 235-7.

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70 MyMs and S ong s .

of ghosts was appointed a large iron-wood tree, some of whose

branches were green, some dead . T he spirits that trod on the

g reen 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 Akaang a ;

Warrior spirits were more fortunate, and were said to aere kia

Tiki,

” that is to j oin Tiki,the first who so died. At Mangaia Tiki

is a woman,sister to Veétini, 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 i s ever patiently awaiting new arrival s 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” (piper myMisticum), to enable the spirit-traveller tomake 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 O f past

ages, ready to welcome the new comer,and to relate over again

the story O f their sanguinary achievements performed in life.

T he luckless ghost who had no present for Tiki was compelled

to stay outside in rain and darkness for ever, shivering of cold and

hungen

At Titikaveka, near the sea, is a mass of blood-red stone. It

was believed that there is in Me 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 ; or ,Tb e Doctr ine of Spir it Wor ld. 1 7 1

purpose, as a charm or safe-conduct on entering the invisible

world .

T he sacred men of Pukapuka, or Danger Island, gave me in

1 862 two ere vaerua,i.e. snaresfor catc/ung souls

,made of stout

cinet. O ne snare is 28 feet long, the other about half that length.

T he 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 O ffence 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

fl ight 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. T he

demon Vaerua,or “ Spirit presiding over Spirit-world

,hurried

off the unlucky ghost to the shades to feast upon, for ceremon ial

offences .

T he spirits O f those who escape the anger of Vaerua follow the

track of the setting sun, and find them selves in a spacious house

owned by Reva. Inside are a number O f mats, on each of

which a divinity keeps watch over the souls belonging to him.

These disembodied spirits amuse themselves with 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 O ld earthly tenement.

At Uea,one of the Loyal ty Islands, it was the custom formerly

when a person was very ill to send for a man whose employment

1 72 lidt and Song s .

i t 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 O ff to the place where the

fam ily 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 b e 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 Me truant spir it To

prevent its possible escape, with their palms open, they seemingly

drove it along with gen tle violence and coaxing. On approaching

the village they danced and shouted,We have brought back the

spirit of so and so I” 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 vag rant spirit was

ordered in loud tones at once to enter the body of the sick man,

who, as might b e supposed, would not b e a little moved by the

entire procedure. A good feasting would b e provided by the

relatives of the invalid. Sometimes the poor fellow died : the

cause assigned by the soul-doctor would b e that the spirit had

refused to re-inhabit its former dwelling on account of the small

ness of the feast.

AITUTAKIAN HELL.

T he priests asserted that at death human Spirits descend to the

domains O f the goddess Miru, whose body is frightfully deformed

and her countenance terrible. For unknown ages she had feasted

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1 74 MyMs and Song s .

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 al ive

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 T ekauae manifested

no sign O f 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 O f treating my visitors . Should you

b e 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.

”

T ekauae 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 inhab i

tants of this upper world what they m ight expect should they

unfortunately fall into the clutches of this foe to mankind .

Hades ; or ,TIce Doctr ine of Spir it Wor ld. 1 75

AITUTAKIAN HEAVEN .

There is, also,a good land

,Iva

,under the guardianship of

T uka itaua,

Ia being of pleasing and benevolent aspect

,as well

as O f a gentle disposition . In Iva there is abundance of good

food : the fines t sugar-cane grows there. T he fortunate Spirits

who g et to this pleasant land spend their time in the society of

Tukaitaua, chewing with unalloyed appetite this sweet sugar-cane.

T ekauae warned the people of this world to b e 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

FO R T EREAVAI’S FETE . COMPO SED BY KAPUA

,1 824 .

Na Miru te umu i Avaiki, Miru has an oven2 in spirit-land

,

Ei rangi tae ia T ane é Like that which devoured (the tribeof) T ane.

3

Aye

1 At Mangaia Tukaitaua was of a malevo lent disposition , the firstviolent death being due to his prowess. Tukaitaua taught the world the art of

war.

2 T he oven in daily use in each household , and particularly the monster

O vens in which it was the office of the tribe of T ane to cook ti roo ts (dracoenaterminalis), were said to have been derived from Miru’

s original oven in Hades.

3 T he reference is to the tribe of T ane, twice treacherously destroyed bytheir foes in the fires of their own ovens.

MyMs and Song s .

Ckorus.

E i rangi tae ia T autiti, An end was put to the dance, T autiti,E kai karii na Rongo é By the warlike behest O f Rongo .

O T ane mata reirua Alas , T ane author of all our amuse

ments,

Nai mata reirua 6, Those pleasures all came to an end

Na Miru oki te umu ka roa For Miru’

s dread oven for ever burnsI raro é In the shades

E nunumi atu e i te aereng a ae She devours all who g o down .

E nunumi atu,

Ka aere paa i te umu tao

I te umu kai na Miru éNoea Miru

NO Avaiki, i te pO anga noa é

T ao na i te eki

E ti rakoa éE ti uaua éE ti tara are 6

E ti nong onong o ia Avaiki é

Ae, Miru, naau tena

An ancient farewell in prospect of dissolution was,Ei ko na

ra,tau taeake, ka acre an i te tava ia Ill iru

,

”i.e. Farewell

,

brother,I g o to Me doma ins of M

'

iru l” How inexpressibly

affecting Having no hope, and without God in the world.

”

T he mistress of the invisible world,so cruel to visitors

,was

very tenderly attached to her only son T autiti. She would permit

no one to carry his drinking water but herself. On dark nights,or

1 Miru is charged by the chorus to prepare the intoxicating cup in order tostupefy her intended v ictims . She is represented as building up a vast oven of

t i roots of all kinds for a feast but Miru’

s ti roots are human souls (T he

song is not quite complete. )

She devoursAll who approach the blazing ovenWhere Miru’

s food is to b e cooked .Whence came Miru

From Avaiki (Spirit-land), out O f

horrid darkness.

Prepare thy intoxicating draught. 1Cook the graceful tiSpare no t the prolific ti ;

Nor even tha t grown at thy doorway,And that which is the pride of Hades.

Ah, Miru such are thy tricks

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JWyMs and Song s .

Here is a reference to Tiairi, by Koroa, in his“ Lament for

Tae,” who was slain circa 1 8 1 5.

Vaerua aere i tai

I Rang ikapua te nuku o te Atua

Ia tu roe’

roé.

Takima koe i ia

I Puara -moamoa i aka i Tia ir i,

I pare i te kiato.

Another reference to Tiairi occurs in a lament for the sons of

Rori,1 79 0 (circa).

Na tokotoru a Rori Three brave sons O f Rori

Ei tupeke pare kura e Wearing noble head-dressesT era roa te anau te aka mai i te Yonder are they dancing the war

ngaere danceI te kapa toa i T iairi. O f brave spirits in T ia iri.

When Ikoke heard of the murder of his beloved youngerbrother Takurua, he feelingly said,

“ We will meet in the

warriors’ resting-place,” I 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 vi olent death, as all who die

a natural death are devoured by Miru .

Another saying of theirs in reference to the unseen world is

Ka aere i nunga i te puokia ei aka i T iairi “ We will go to yon

place of safety, T iairi, to dance the warriors’ dance.

”

1 I nunga i te puokia maua e araveitu ci.

Spirits wandering towards the sea

At Rang tkapua is assembled a divinehost

A feeble, tottering throngWhither goest thou, friend ?

From the leaping-place I g o to danceat Tia ir i,

C lothed in fragrant flowers.

Hades ; or , Tb e Doctr ine of Spir it World. 1 79

Subj oined is a mention of the famous bua tree from the shades

(Arakauvae’s funeral games for his father

,circa

E metua tane ra é,Vara, kua topa ra

i te io ,

Kua veevee te po , ka eke atu ai é

E rua metua i raro e l

E metua tane ia Kovi, kua pa te rakaué

Ei toko ake i te maki ra e

Mitikia maiKov1rua , taraia mai, taraia

ra éT araia ra e te iO tupu na Motoro.

Kua vai te ata ivi e ! T oou angarakau O i 1 3. e

Tu maira tei runga koe i te pua i

mareva.

Kua mareva te metua i 0 1 0 i Avaiki.

My father Vara , thou art forsaken bythy g od.

Night is at hand , whither thou mustdescend .

Alas, to b e deprived of bothparents

Thy father Kovirua watches thy

wasting frame,

And vainly seeks to re -invigorate it.Day by day thy once-rounded limbs

are adzed awayPitilessly adzed away by thy g od

Motoro

So that only a living skeleton is left .

T ake thy place on the bua tree in

the shades.Lost for ever is the parent gone to

Avaiki.

A FAREWELL (VEE) CHANTED AT A REED

THROWING MATCH FOR WOMEN .

COMPO SED IN MEMO RY O F VAIANA,BY HER HUSBAND NAUPATA ,

IN 1 824.

T cna’ua ngaro e ?

T ei Avaiki e 0 1 0 atu,

Kore e arin tei te nii moana

T ei te opunga i te ra.

Ka tangi i reira

Whither has she gone ?

She has sped to Avaiki,

She disappeared at the edge of the

horizon,

Where the sun drops through.

We weep for thee

1 80 MyMs and Song s .

Ka tangi ana ’

i, Yes, I w ill for ever weep ,O ki ra a kimi ra aé And ever seek for thee

Ckorus.

T angi au ka tangi e, Bitter tears I shed for theeT angi ki te vaine na ngaro ra, I weep for the lost wife ofmy bosom .

Aore koe e tu e ang airi. Alas thou wilt no t return .

Mai tu e ang airi O h, that thou wouldst return

Ckorus .

Ariu mai i te ao é Stay come back to this worldO ki maira iaku nei. Return to my embrace.

Akia koe, na motu ia tarereia au T hou art as a bough wrenched off bythe blast

Mai tarere au 6 tei Avaiki Wrenched off, and now in Avaiki

T e enua mamao i oro atu na 6 T hat distant land to which thou art

fled.

T he author O f this “ farewell ” became a devoted servant of

the Lord Jesus Christ. These words are exceedingly popular

with the natives . Part is om itted.

Rakoia,chanting (in 1 8 1 5) 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 .

T e nunga koe i te uru O te kare i tai é Thy path is the foam ing crest of thebillow .

Aue é Enuataurere é Weep for Enuataurere,Enuataurere e 1 For Enuataurere.

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1 82 MyMs and Song s .

appearance.

I It was on account of Veétini 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 ag e 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 toanother part of the island . T he O bject in view was to avoid

giving offence to the female demon Muen, who introduced cloth

beating to this world ; but who herself beats out cloth of a very

different texture. H er cloth-flail is the stroke of death. So long

as the mourning and funeral games were going on, Mueu was sup

posed to b e 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 tutung a a Mueu,

”i.e.

“ Ah Mueu’

s flail is

once more at work

T he last resting-place of Veétini is at Rang ikapua, a green

spot about half a mile from the sea. The rays of the setting sun

fall upon the hill, about 1 0 0 feet above the level O f the ocean,thus distinguished . On the evening he was buried the dirges and

dances that had been invented in his honour were performed .

T he parents and the sister looked wistfully towards the norM,

hoping for his return to their midst— but in vainThe 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,

1 Since the establishment of Christianity this extravagan t mode of mourn

ing for the dead , w ith the single exception of the b ad- smelling “ pakoko , ”has been discontinued .

Vettini ; or,Tb e Immor ta lity of Me Soul. 1 83

exhausted with gr ief 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 spiri t of Veétini had so lately disappeared.

The mourning band next sought the lost one on the souMern

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). T he entrance to this

spacious cave i s washed by the surf. Ere dawn T ueva rose from

his stony couch to watch the rising of the sun . T he shadows of

night were fast passing away. In a few minutes more the sun rose

in all its wonted glory. T ueva now noticed a tiny dark speckbeneath 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 b e no

other than their own lost VeétiniThe now rej oicing parents rushed forwards to kiss their son ,

who was indeed Veétini, yet not altogether like his former self.

He said to the j oyful throng that he had been permitted to revisi t

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 O fferings 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, Veétini asked great Tangaroa to detain

MyMs and Song s .

the sun for a short time in its course, in order that he m ight rest

and converse awhile with his relatives . T he prayer was granted,and the sun was detained while Veétini 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 Veétini 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 Vairorong o, or

Rongo’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 Veétini. As the sun dis

appeared beneath the horizon,and the ocean was covered with its

golden light, Veétini said he must go . T he weeping parents

begged him to stay with them . The son replied,

I cannot ;7

I do not belong to this world now ;’and then shouted im

patiently

T akai ia te ra T hrust down the sun,

E i eke i T ekurutukia . That I may descend to nether-land

T he parents now endeavoured to detain him by force ; but,10 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 , Veétini, now a tiny distant speck in the train of the king

of day, for ever disappeared .

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1 86 MyMs and Song s .

Ckorus.

E aru atu i to miringa , Yes, he follows thy dazzling light,O te rapaa e opuopu atu na 6 As thou gently settest in the ocean .

T akai ia te ra , T hrust down the sun ,

Ei eke i T ekurutukia Tha t he may descend to nether-land.

THE CLOSING O R DAY-SONG FO R T ENIO’

S FETE.

BY KO RO A. C IRCA 1 8 1 4.

Call for Me dance to lead of :

Iti pakakina O te ra e Day is breakingKa roi te tere o T autiti The visit O f T autiti 1 is draw ing to a

closeKa aka 6 Dance away

T aipo é GO on !

Ckorus.

Kua aati te nio o Veetini Alas, the teeth O f Veetini 2 are all

broken,Kua akama i te ao é H e is ashamed to linger in the light .

Ao mata ng aa é T he eye of day is unclosing.

Ckorus .

E aru mai ia T autiti Come, obey the behests of T autiti.a mata tuitui kaka ra O Yatea e AS a burning torch is the O pening eye

ofYatea .

Ung aung a te ra e tu e ara ! Awake from thy slumbers, O Sun

arise.

It is in reference to this myth of the sad j ourneyings of the

beautiful Tiki with her parents in search of Veetini, that at the

1 T autiti was supposed to b e 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 ea ts.

Veetini ; or ,Tb e Immor tality of Me Soul. 1 87

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 Veétini’s Spirit was permitted to revisitthis 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 1 760 .

VEET INI MEETING H IS FATHER .

Tueva aka-itu i 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 iO tatou metua

E noo i te ao nei. E i aa ?

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 b e succes

sively thrown down upon it.“

Calling loudly each time the name

of the departed, they said,“ Here i s thy food ; eat it. When

the fifth nut and the accompanying “raro i,

” or pudding, were

thrown down,the mourners said,

“ Farewell ! we come back no

more to thee

T ueva , who seven times lamented forhis b oy,

Asked, Why didst thou return to

this worldI came,

”

(said Veétini, ) to instruct

you

In making food-offerings to the dead ,O fferings to those in spirit-worldGifts from their relatives,Who yet linger in this upper world .

I 88 MyMs and Song s .

Seventeen years ag o , Arikikaka, the last heathen of Mangaia,lost his only son— a consistent church member. The O ld man

was inconsolable at his loss . How could it b e otherwise with a

heathen parent ? The corpse was buried with his mother’s

deceased relatives, on the west of the island . T he 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 cookedfood 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 g rave, and the contents poured out upon the earth), which

they had carried six miles . T he 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, whils t their son died

in the faith and hope of the Gospel, the parents Should cling to

the effete superstitions of a bygone ag e It is,however, pleasing

to add that in May, 1 865, 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 1 777, Ngara, priest of Motoro, was paramount chief of

Mangaia . His nephew Vera died, i t was believed, in consequenceof having incurred the anger of that divinity by setting fire to a

forest O f thatch trees growing on the eastern part of the island .

Not that the pandanus trees were sacred, but the oronga

(ur tica arg entea ), growing between them ,was considered to b e

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

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1 9 0 MyMs and Song s .

Ckorus.

E niaki i te tere i Anakura e aere ei Resting in the Red-Cave by the way.

UNUUNU TAI. FIRST O FFSHO O T.

T urokia 6 T owards the setting sunC/zorus.

i tona are 6 is his home !

I tona are, e manga kai naVera. A home and food in plenty for Vera .

T u a rau kura Tueva akatapu. Tueva , encircled with red leaves, ismourning.

Tu a ran kura Tueva akatapu.

Kua tangi te ike a Mueu

Kua taroé na miringa, e Vera é

Ka aere au, e Manga 6,

I te ara taurere ki Iva é By a perilous path to spirit-land.

PAPA . FO UNDATIO N.

Pare mai Vera i te kau ara , Halt, Vera , on thy journey.E tc. etc. etc. E tc. etc. etc.

UNUUNU RUA. SECO ND O FFSHO O T.

Rush forth,Ckorus.

te rua e, i te tokeran 6 l O north-west wind 1

I te tokeran, e ng aa mai ki tai. Bear him gently on his way.

Iki ki te iku parapu Awake, O south-west

1 The north-west and south-west are known as spirit-winds. It is fabledthat the latter restored Veetini to his friends. Perchance it will restore Verato his sorrowing parents. Mantara , the grandfather of Vera , was dead at theperiod (more than a century ag o ) when this song was composed. T he name of

the illustrious chief is put for Ngara, his youngest son, then“ lord of Man

gaia.

Tueva , encircled with red leaves, ismourning.

Alas ! the death-flail O f Muea is

beating.Weeping, we follow thee, beloved

Vera .

I g o far away, mother,

Vee”tini ; or , Tb e Immor ta lity of Me Soul. 1 9 1

ki te iku parapu O south-west .

T ei te tur uki mai Vera 6 l Perchance Vera will return .

T e tangi nei a Mautara 6 Even Mantara weeps for thee,T e tirae tangata i pou rai. How desolate is our home

Ka aere au, e Manga 6, I g o far away, mother,

Ckorus.

I te ara taurere ki Iva é By a perilous path to spirit-land.

PAPA . FO UNDAT IO N.

Solo.

Pare mai Vera i te kau ara, Halt, Vera , on thy journey,Etc . etc. etc. Etc. etc. etc.

UNUUNU TO RU . TH IRD O FFSH O O T.

Kaukau,

Vera e, i tuaang a e Vera, the surface of the ocean,

I te tuaang a to ng a mata i te tai o The ocean-path once traversed byNg aké. Ng aké.

1

Porutu te na i te moana,

T e toa ranga nuka te a tua

E tau ai te tere o Vera e

T ei T ikura moana !

Ka aere au, e Manga e,

Ckorus.

I te ara taurere ki Iva é By a perilous path to spirit-land.

PAPA. FO UNDATIO N.

Pare mai Vera i te kau ara Halt, Vera , on thy journeyE tc. etc. etc. Etc. etc . etc.

1 Ng aké was one O f the three first slain, inconsistently represented as

traversing the ocean.

T orrents of rain obstruct thy journey,Yet by the aid of a mighty g odThe band led by Vera shall safely

reach

Their home beneath the glowingocean.

I g o far away, mother,

1 9 2 MyMs and Song s .

UNUUNU A. FO URTH O FFSHO O T.

Pokai

te tere e ia tau ai é traverse these rugged shores,Kia tau Vera i rangi maanga Ere Vera gain the western Skies.

No Maautaramea te tere i oki mai. Veetini 1 once returned to earth.

T e tere i oki mai Vera é O that Vera might but revisit earth,T ei tipurei moana i G liding over the Shimmering sea.

Ka aere au, e Manga e, I g o far away, mother,

Ckorus.

I te ara tiroa ki Iva é By a perilous path to Spirit-land .

PAPA. FO UNDATIO N.

Pare mai Vera i te kau ara , Halt , Vera , on thy journey,E tc. etc. etc. E tc. etc. etc.

UNUUNU RIMA. FIFTH O FFSHO O T .

E kiato Lash firmlyCkorus .

te vaka e kia mau ai é the outrigger of thybark , 2Kia mau ai i Koatu-taii-roa . Ere starting on thy long voyage.

NO O mai Vera i te tapaa 1 mua Linger awhile, Vera , on the sea

shore

I te tapaa i mua ’i O te tangi tai O n the beach where the waves beat

I ara mama kua taatong a’i Near this rough path. Must thou g o

Ki raro i tei T uatua -pipiki, T o the regions of the sun -setting ?Ka aere au, e Manga e, I g o far away, mother,

1 In the original a second name [Maautaramea] is sub stitued for Veétini,which I have dropped .

2 Vera’s spirit is actually starting. T he 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 b e drowned . Wkat Me outr igg er is to Me canoe,

Me g od is to Me soul. W ithout this necessary aid, tread not this treacherousocean-path.

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1 94 MyMs and Song s .

THE GHOSTS LED BY VERA PREPARING FOR THEIR

FINAL DEPARTURE.

A“ T IAU

,O R PART IAL WEEPING. BY UANUKU , C IRCA 1 770 .

TUMU . INTRO DUCTIO N.

Akarong o , Vera , i te tangi tai. List, Vera, to the music of the sea .

Reki atu koe i te ara pepe Beyond yon dwarfed pandanus treesT ang i mai paa i Maunuroa . The billows are dashing o

’er the

rocks.

Tutu atu ka aere’T is time, friends, to depart ;

O te uru matie kura ra e te nau. O ur garments are mourning weedsand flowers .

PAPA. FO UNDAT IO N.

Reki atu koe i te ngau rua Advance to yonder level rock ;E tatari koe i te parapu, There to await the favouring windNaku mai paa i tua moana . That will bear thee o

’er the sea .

T e karo nei Mitimiti e, (Thy father) Mitimiti looks sorrow

fully on

Ckorus.

I te Vivi matangi, e taku tere é The departing band led by thee.

INUINU TAI. FIRST O FFSHO O T.

Akarong o Vera 6, List, dear Vera,C/zorus.

i te tangi tai 6 ? to the music of the sea.

Kua patai tau ara , Thou art a wretched wanderer,Na te uru O Iva Almost arrived at Iva

Vee’

tini; or , Tbe Immor ta lity of Me Soul. 1 9 5

na te uru o Iva’i. yes, at Iva ;

Mai Iti au, mai T onga e, O nce from T ahiti, then from T ongaMai O nemakenukenu ; Now bound to the land of ghosts,O te rua mato ng aa ei. Entered though the gaping grave.

Tutu atu ka aere’T is time, friends, to depart ;

Ckorus.

O te uru matie kura t a e te nau é O ur garments are mourninz weedsand flowers.

INUINU RUA. SECO ND O FFSHO O T .

Ariung a atu 6 I turn my eyes

Ckorus .

I tai enua e ; to another land .I tai enua patiki atu tau vaerua. In some other region may my Spirit

rest !

T ei koatu tauri, tei te ngutu i te rua, O n this trembling stone, at the edgeof the chasm (I stand)

Tci te ngutu At the entrance

Ckorus.

i te rua’i.

O puaka ngunguru, tei te veeng a i te

papa.

Na rotopu i Vaenga, tei O T amakoti,

E takima aereia e te ui rauono .

Noea ra ikonei, na nunga atu

Ki te miri,

nanu atu south-eastern

Ckorus.

ki te miri breeze

T ei kopua-reia a tai ra tomokia . T o waft us over the far-reachingocean.

T ei are toka, tu ra i te rae, We havewandered hither and thither,

O f this dark chasm .

My path is over you black roc-ks nearthe sea.

O ver the roughest and sharpest stonesI lead this feeble troop of ghosts.Whence come we ? We are awai tingThe long-hoped-for

MyMs and Song s .

T ei T eunu i te kea, ka eke na tai e, Stepping lightly on the sea-washedsandstone.

Na koatu putuputu, tei kaiti-te-ra . O ver thickly studded rocks we havecome.

Kua kapitia e te po, akaroimata i reira, O vertaken by darkness we sit down toweep,

Vaka roimata no Vera e

Ang iang i te ua i te aiai

T airo atu i te tau are no Moke,

Kua parea e te au tai.

Tutu atu ka aere

Ckorus.

O te uru matie kura ra e te nau e O ur garments are mourning weedsand flowers.

INUINU TO RU. TH IRD O FFSHO O T.

Aere tn 6 Press forwards

Ckorus.

i Raumatang i 6. on our journey ;Kia ripoia na T autuaorau. T ake care that we miss not the way.

E kake iAuveo, Yonder is the landing-place,

Ckorus.

O te mata o Katoanu, Auveo,O te ui ava e ngaro , o Taumatatai. The entrance of which is so difficult

to find.

T era to metua, There, too, is my father,

tei runga i Pepeura. watching our course.

T aueue o te ra, tukuroi ki T eone. The sun is low rest we awhile.

A tearful band, under the guidance O f

Vera .

At one time a drizzling ShowerHides from view the heights O f the

interior

At another we are besprinkled withocean Spray.

’T is time, friends, to depart

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1 9 8 MyMs and Song s .

Na O oki aitu ki te papa O Aumea .

T ikiriri e atua, ci ara paa noku e,

I ang amakoitia , ki tuki naupata,I te pou O Atuturi, turi ai

Koukou rouru, e V-era e,

O mai tai noku ora e, O T e-ata-i

maiore.

T utu atu ka aere ;

Ckorus.

O te nau matie kura ra e te nau e O ur garments are mourning weedsand flowers .

INUINU RIMA. FI FTH O FFSHO O T.

Buapua-ariki Descendant of the kings

i Mauke-tau,Kua iknkitia e

,e te matangi au t a

No te tumu i te rangi , tei Kopuakanae,

T ei Nukuterarire, e ang aang a ikonei,

Na Mokoaeiau Vaio ra ikonei,

Vaio ake ia turina kapara o te pua Decked with the buds of sweet

scented flowersT aurarea e, raumiremire no Tutuila. And fragrant leaves brought from

Tutuila.

T utu atu ka aere ;’T is time, friends, to depart ;

C/zorus.

O te uru matie kura ra, e te nau é O ur garments are mourning weedsand flowers .

AKAREINGA. FINALE .

Ai e ruaoo e E rangi e ! Ai e ruaoo e E rangai e

A level beach laved by the sea.

The cricket-g od is chirping to directthy path,

Through the thickets to the Shore

Where the spirits of the dead wander .

Bathe thy streaming locks,Vera .

Grant me a new life, O Light of themorning

’T is time, friends, to depart ;

ofMauke ;Favoured one, led by a prosperous

WindFrom the root of the skies to these

shores,

Ere taking a long farewell , turn backIdol ofmy dwelling, remain awhile,

Veetini; or,Tbe Immor tality of Me Soul. 1 9 9

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 O f 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 ri sing and setting sun. T he 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 j ourney of ghosts

round half the island. T he 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 j ourney. M i timi ti , 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.

PUYAI LEADING A BAND OF GHOSTS TO

THE SHADES .

A“ TIAU, O R PART IAL WEEP ING. COMPO SED BY IIKURA,

C IRCA 1 795.

TUMU . INTRO DUCTION.

E matangi tu i te ng uare i Amakura , A favouring breeze sweeps the em

trance of the ghost-cave ;NO Puvai, kua roiroi ka tere,

’T is for Puvai, about to depart .

Ckorus .

Kua kake atu ki te uru kare é Lightly he skims o ’

er the crest of the

billows.

2O O

PAPA.

Ei kona ra, e au metua

Eva ake ai iaku nei

I te naupata i T aamatang i.

T e tangi nei i te tama angai ra ,

MyMs and Song s .

FO UNDATIO N.

Farewell, beloved parentsLet a mourning procession follow 1

O ver the rugged shore of the south.

Weep for the son so tenderly natured ,

Ckorus.

Ka uaki mai te matangi ki Iva é

INUINU TAI.

E matangi tn 6

i te nguare 6 !

I te ng uare i Anakura .

Kua va te tuarang i

Kua va te tuarang i tei Kokirinui e

Kua niu aere i T eng aatang a i Ana

orua.

Kua roiroi ka tere,

Ere a fair wind bear me to spiritland ( literally to Iva) .

FIRST O FFSHO O T.

A favouring breeze

sweeps the entrance

O f the ghost-cave Anakura .

List to the hum of the ghosts

’T is the hum of spirits passing o

’

er

the rocksThat crowd along thebeach by Double

Cave.

He is about to depart.

Ckorus.

Kua kake atu ki te uru kare é Lightly he skims o’er the crest of the

billows.

INUINU RUA. SECO ND O FFSHO O T.

Te vaka i te vaka Yonder is the barkCkorus.

O Puvai e

Kua tipoki i te riu i te oa.

the canoe— ofPuvai

Sorrowfully he bends over it

1 That is of living friends and relatives, not ghosts.

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20 2 MyMs and S ong s .

I te uru o te maunga ’i. And mountains of the interior.

Ka ano ki T amarua’i, Come back to the fair vale of T a

marua,

Kia tae ki Ang auru. The place where thou wast born .

Kua roiroi ka tere H e is about to depart .Ckorus.

Kua kake atu ki te uru kare é Lightly he skims o’

er the crest of the

billowsAKARE INGA. 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

affecting

KOROA’S LAMENT FOR HIS SON KO URAPAPA I

(E ndearing ly skortened into Circa 1 796.

FO R THE“ DEATH-TALK O F KO URAPAPA.

TUMU . INTRO DUCTION.

Karang aia e Koroa e, Koroa gave the commandE pa akari na Tueva , A feast of cocoa-nuts, like Tueva s

of old,

Na Ura Oki i te rua é For dear Ura in his grave

1 Koura-papa sma ll skr imp.

2 Like T ueva’

s of O ld.

” Like T iki’s.

”The former was the father, the

latter the lovely sister, of the mythical Veétini.T he feast was all dry,

” because it was ill prepared , and lay exposed foran entire day at the entrance to the gloomy cave Auraka .

” At nightfall thefood was wrapped up in na tive cloth and thrown down to the corpse.

Vcetini; or,Tke Immor tality of Me Soul. 20 3

Ckorus.

Butung akai na T iki oki i rara e A feast for ghosts, all dry, likeT iki’

s .

PAPA. FO UNDATIO N.

Nai kume au i te ng utupa , At the entrance to thy sad home I

shout

T eia to pakuranga Here is the feastT ei raro Ura i te taeva For Ura who lies at the bottom

Ckorus.

te enua ia, e vae of the deep cave.

INU INU TAI. FIRST O FFSHO O T.

Karang aia ra e’Twas Koroa

Koroa nei é that gave the command .E Koroa nei , Kua rongo e, Alas Koroa heard (his b oy) lament

ing

Kua kai ong utung utu, The ghosts fought over my food

Kua kai ong utung utu, aore au e tongiana .

Kua kirikiritia e te ueuera kaka

O Naukino , na pakoti i te ara nei.

Na Ura oki i te rua e

Cliorus .

Putung akai na T iki oki i rara e We bore a feast, all dry, like T iki’s .

1 Evil Spirits , more literally, br zgkt evil spirits b ut brightness is inour ideas associated with goodness. These Dii inferi at night became

luminous ; not so the unfortunate kuman spirits that g o down to their abode.

Yet these spirits are supposed to linger a while about the cave where their deadbodies had been thrown the period for their final departure to the shades nothaving come.

Fought so fiercely that I did not g et a

taste.

Evil Spirits 1 stole it all away. (Theirchief)

Nau-the-Bad would not let me g et

near it.”

’Twas for Ura in his grave

20 4 MyMs and Song s .

INU INU RUA. SECO ND O FFSHO O T.

Putung akai a, T hat feast for the dead ,

Ckorus.

na T iki oki a, like T iki’s —long ag o ,Na T iki Oki na Ura. Was desig ned for our beloved Ura ,

T e porca mai i te toketoke kura, Who is condemned to feed on red

worms ;

I te toketoke kura ’i, i te vnvu taae. Yes, on earth-worms and other

,

vilecreatures.

Akaatua atu ana Oki te tangata, e tau Pet child, thou hast taken thy placepotiki. amongst the gods.

Na Ura Oki i te rua e !’Twas for Ura in his grave

Putung akai na T iki Oki i rara e ! We bore a feast, all dry, like T iki’

s .

INU INU TO RU. TH IRD O FFSHO O T.

Nai kume au t a At the entrance

Ckorus.

i te ng utupa 6 ! 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 takang a o te Thou art now compelled to feed onueue black beetles,

Na manga a te tangata mate. The food of disembodied spirits.Na Ura Oki i te rua e

’Twas for Ura in his grave

Ckorus.

Putung akai na Tiki Oki i rara 6 ! We bore a feast, all dry, like T iki’s.

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20 6 MyMs and Song s .

Ei ko na ra, kai ai, e Ura, i to me Farewell. Enjoy thy feast, my Ura.

ringa ’i.

Kua akani maua i to enua. We return no more to thee.

Pai ia mai to putung akai i te kainga. We g o back to our desolate home.

Na Ura oki i te rua é ’

Twas for Ura in his grave

Putung akai na T iki oki i rara 6 We bore a feast, all dry, like T iki’s.

AKAREINGA. FINALE .

Ai e ruroo e ! E rangai e Ai e ruaoo e l E rangai e !i

Kourapapa died at the ag e 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 affl icted 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 thesefood O fferings. T he living friends never (like the Chinese) ate the

solid residuum. T O do so would b e sacrilege.

ANOTHER LAMENT FOR KOURAPAPA.

I

BY KO ROA, C IRCA AD 1 796.

TUMU. INTRO DUCTIO N .

Ua roiroi ka aere e l The little voyager is ready to start.

Mirimiri Koroa ia rurou Koroa is distracted for his b oy.

Naoeoe te aue a Koi (The rocks) re-echo the cries,

Roimata i te anau. O fKoi the heart -broken mother.

1 This and the subsequent “ laments are given without the solos and

choruses being marked O ff. With the aid of the preceding specimens, the

reader will easily see how they were actually chanted .

Veetini; or , Tb e Immor tality of Me Soul.

PAPA.

Kapitia ra e te matangi i pae ake éPae ake Ura i ruruta 6 l

A roi te roi 0 te ng arie,

O ro atu na kimi motu ke

No taua , ia kite e Oki mai ?

E tere akaong a e Ruru é

UNUUNU MUA.

Ka roi te roi 6 i tai enua 6

I tai enua tumiri te na 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 tokeran a !I te tokeran te taka nei i te aang a.

E kauaka ia— e kanaka taiE kauaka

'

i'

a — 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 TO RIU .Pae ake Ura ra, i ruruta nei é

I ruruta nei tei paeng a o Kut aran,T ei paeng a O Kurarau,Pang itia te vaine rena

,

Ua tae koe! Ua tae Metua

I te maora nui i O nemakenu kenu

20 7

TH IRD O FFSHO O T.O h for a shelter from the tempestO n some well-Sheltered shoreYes on some well-sheltered shore !The mother mourns the deadBut thou and thy sister have reachedThe gathering-place O f spirits,

FO UNDATIO N.

Should an ill wind o’

ertake thee,

Seek shelter, O Ura , my Spiritchild .

Go on thy way, fated voyager !Go seek some other landTken return to fetch me.

’T is a spirit pilgrimage, 0 mother.

FIRST O FFSHO O T.Speed , then, on thy voyage to spiritland

,

Where a profusion of garlands awaits

thee.

Tkere the bread-fruit tree,Pet son , is ever laded With fruit.Yes Mere the bread-fruitIs for ever in season, my child.Koroa is distracted for his b oy.

(The rocks) re-echo the cries

O fKoi the heart -broken mother.

SECO ND O FFSHO O T.Awake, thou Spirit-bearing winds !Gently waft him o

’

er the ocean.

Yonder is a frail barkYes yonder is a frail bark.’T is a canoe full of spirits from Man

gaia,Hurried o ’

er the sea by fierce currents.

Koroa is distracted for his b oy.

( The rocks) re-echo the cries

O fKoi the heart-broken mother.

20 8 MyMs and Song s .

Ua iri te pa kura O Tueva . Whilst we lament,like Tueva of o ld.

Mirimiri Koroa ia rurou. Koroa is distracted for his b oy.

Naoeoe te aue a Koi (The rocks) re-echo the cries

Roimata nui i te anau. O f Koi the heart-broken mother.

UNUUNU A.

E tere ia, e tere akaong a a !

O ngai te akarua, aore e tae tika,Aore e tae tikai kua topaI te tere o Kovi ia Ang atoro .

Ua puia e te aua mei te moana.

Mirimiri Koroa ia rurou,

Naoeoe te aue a Koi

Roimata nui i te anau.

AKAREINGA. FINALE .

Ai e ruaoo a l E rangai é Ai e ruaoo a ! E rangai a

DEATH-LAMENT FOR YARENGA,DAUGHTER OF

ARO KAPIT I.

COMPO SED BY KO ROA, C IRCA 1 8 1 7.

TUMU . INTRO DUCT IO N.

T ei Iti au, e Vareng a e, Vareng a, who came from the sun

rising, ” 1

Kua kiteAro kua noo tane i Avaiki, In spirit-land is now wed.

T e ama mai e te ata e She was wooed by a ShadowT e Vivitaunoa ra tau moe 6 I Such was my dream on the mountain.

PAPA. FO UNDATIO N.

T au moe ra tei Iti, e Arokapiti é My dream was of thee at the sun

risingU ira e rapa ia maine é Thy form dazzling as lightning.

1 Referring to the ancient home of the tribe o f Tane at Iti ( 2 T ahiti),or

“the sun-rising .” The “

ancestral marae where her remains were laidwas expressly selected (being due east) with an eye to this circumstance.

FO URTH O FFSH O O T.Prosperous b e thy perilous pilgrimageMay soft zephyrs waft thee on

Maybe thou hast miscarried,

T oo late to accompany the ghostsWhich are hurried o

’

er the sea byfierce currents.

Koroa is distracted for his b oy.

(The rocks) re-echo the cries

O fKoi the heart-broken mother.

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2 1 0 MyMs and Song s .

T ei Kauava , kua oti i te akatu,

E ng a tupuna kia kioro ua ra

Kia kioro na ra’i ia aiai,

E kaunuku a tu ai io T umarong a ,

E niaki mai i te uru mato .

T e ania mai e te a ta éT e Viv itaunoa ra tau moe é

AKAREINGA. FINALE .

Ai e ruaoo é E rangai é Ai e ruaoo é E rangai eI

LAMENT FOR MO URUA

(THE FR I END O F CAPTAIN CO O K).

UANUKU .

Kua tu te are i Imog o

E enua koe no Kavoro,

Kua tupuria e te rakau.

O te ukeng a i nunga ’i

O te one kuru i erue .

O taua nei te aroa’i tangi é

PAPA . FO UNDATIO N.

Ukea mai Kavoro 6 ! But Kavoro was disinterred ;I te rua é i tanu ai. Was taken out of the grave where he

had lain .

descend finally to nether-world . Ghosts from this cave, when the coral treeblossomed, took their departure by leaping from a rock in the Mission

prem ises 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 Veétini, disappearedwith the sun in nether-world . Although these disembodied spirits avoid thefragrant but fatal bua tree, they cannot escape Miru, mistress of the Shades .

At the gathering -place of ghosts isthis home,

Built by thine ancestors,where

spi ritsRest awhile and chatter in the

evening ;O r wander about at the edge of the

cliffsO r sit on the stones gazing a t the

interior .

Now thou art wooed by a ShadowSuch was my dream on the moun~

tain .

C IRCA 1 780 .

INTRO DUCTIO N.

There is a spirit -dwelling at Imog o’T is the burial -place of Kavoro ,

In a shady grove.

There we dug his graveThere the red soil was thrown up.

How bitter the w idow ’

s grief

Veetini ; or,Tb e Immor tality of Me Soul. 2 1 1

Kua eteia te ara nio The teeth all exposedKua vai te ivi i te mokotua H is form , oh , how wasted ,Kakaro io an e As we gazed on him

Kua ngaro iaaku te ang aang a é Now so mournfully changed

UNUUNU TAI. FIRST O FFSHO O T .Kua tu te are e tei Imog o é There is a spirit-dwelling at Imog o ,T ei Imog o , e enua koe no Kavoro. For there our Kavoro was buried .Kua otinga atu na

,There we parted

Kua o tinga atu na’i. Aye, parted for ever

Kua tanu kere i uri ra ki te rua 6 1 Shallow w as the grave where we

buried him,

O te ukeng a i nunga ’i T here we dug his grave

O to one kura i erue ! There the red so il was thrown

up.

0 taua nei te aroa tang i é How bitter the widow’

s grief !

UNUUNU RUA. SECO ND O FFSHO O T.Uri mai te aro e i to v aine é Look once more at thy w ife

I to vaine ia Turuare,

At thy beloved T uruare 1

1 T he night Mourua (Kavoro ) was Slain,Turuare, the most beloved of his

three wives, and her little son T a ing arue, were w ith him in the fi shing hut on

the beach which they temporarily occupied . The father feared lest his littleb oy should b e struck , b ut he escaped unhurt . No t so the mother ofT aing arue,

who bravely stripped off her own clo thing in order to break the force of the

blows aimed at her husband . For a time she was successful b ut , despite theefforts 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 laboriouslycarried by a very circuitous route, so as to escape O bservation , to a gorge calledImog o , half a m ile from the scene of murder. In performing this lastO ffice of love, the son had at first only the aid of Turuare, who was herselfsuffering from the anguish of a broken arm ; b ut afterwards friends arrivedfrom the interior. A grave was speedily dug with their iron-wood spades, andthe body of Monrua, wrapped in several fo lds of native cloth, was laid in the

grave. Instead of fi lling it with earth, it was merely covered with a largestone, so as to elude the notice of his foes.

It happened that the women of tha t part of the island , when employed incollecting candle-nuts, availed themselves of this large stone for shelling them ,

2 1 2 MyMs and Song s .

Kua peka te rima ka akauta ,

Kua peka te rima ka akauta’

i.

Angi ng a rua , taura rima te mou.

Kua rikarika te tama i te toa akarere,

T amaki tutai é, tamaki a ta 6

O i atu koe i vao, kua pa ra, kiritia ,

Tukua o au no te mate 6 1

O te mate ia i tangi no Kavoro i tai.

T ei Nukutaiparia, te vai rai i reira .

Naai e takitaki ? T aua ka apai

Ka uuna kia ngaro é

T upeke atu na 6, tupeke atu na,kia

mamao ,

O te kimi te mataku, o te kimi te SO that if carefully sought by hismataku, foes,

Ka kitea i te ngara anga. H is body shall ne’er b e found.

The family felt so sure that Mourua must b e dreadfully annoyed by theincessant noises over his head , that they disinterred the body which, althoughin an advanced state of decay, was re-anointed with fragrant O il and re-investedwith fine white cloth. In a few days it was borne across the island toT amarua, and finally thrown down the deep and gloomy chasm— Raupa. A

night or two after, one of the sons had a dream , in which Monrua reproachedhis relatives for the b ad treatment he had received at their hands, for no sooner

had his body reached the bottom of Raupa, wbere so many of kis own v ictims

kad been so unceremoniously kurled a t diferent times, than the Slain rose up, and

most v igorously pummelled his bones until they became intolerably soreHowever, it was too late to remove him again. The motive for letting the

corpse down Raupawas to prevent its falling into the hands of his numerous

liv ing enemies.

She whom thou once clasped in thy

arms,

Intw ining 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), E scape,

leave me, for I am struck ,I am doomed to die 1

Thus perished beloved Kavoro bythe sea.

H is bleeding corpse lay on the sandybeach .

Who shall bear it ? W ife and son

will carry it away,And hide it where foes Shall find it

never

Bear him, aye, bear him far away ;

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2 1 4 MyMs and Song s .

Kia karo ake Nekaia’i

Na Patiatoa e uuma’

i 1

E tai ra no vaevae, e taua ariki,

E maru aina iaau

O te nkenga i nunga ’i

O te one kura i erue.

O taua nei te aroa’i tangi é

UNUUNU A .

O kitumurua 6 i te tanumang a éI te tanumang a e !

Apai au teiia T ei te rua taeva.

T ei te rua taeva’i.

Apairia atu Kavoro nei.

Kua pe te papa e vai ai, atikauria .

O te ukeng a i nunga ’i,

O te one kura i erue.

O taua nei te aroa’i tangi é

AKAREINGA. FINALE .

Ai e ruaoo 6 E rangai 6 ! Ai e ruaoo é E rangai é

tua , or instructor of kings— a peculiarly sacred office. It was a strikinghomage to Christianity to see this aged man give the lie to all that had givenhim rank and fame amongst his countrymen during a long life, and when pastthe 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 H is Sav iour’sdying love for the first time, he was too weak to walk so far. H is sons extempo

rized a platform of a number of green branches, and carried the aged discipleto the foo t of the pulpit, where he received the ordinance of the Lord’s Supperfor the first and last time in his long eventful life

T he second offshoot ” is called “a surpr ise

.

(unuunu rako), on account

of its great length, and because the weeping is continuous. The fact is, thesong evinces blank , hopeless sorrow and tears from the beginning to the end.

O ne of Vera’

s laments also contains a verse or two of surprise.

Ah ! Nekaia , b e gentle to him .

Patiatoa , too , w ill shield thee,For many a day to come, dear child .Will he b e safe in thy hands ?

There we dug his grave.

T here the red soil was thrown

up.

How bitter thy w idow’s grief !

FO URTH O FFSHO O T.A second t ime thou wast buried ,

Committed to the earth !

Whither shall we bear thee ? T o

some deep chasmT o some fathom less fissure .

Come, let us carry Kavoro there, for

H is body is fast crumbling to dust.There we dug his grave.

T here the red soil was thrown

up.

H ow bitter thy widow ’

s grief

Veetini ; or , Tbe Immor ta lity of Me Soul. 2 1 5

A SPIRIT-JOURNEY.

A DIRGE FO R PUKUKARE AND KO URAPAPA,BY THEIR FATHER

KO ROA, C IRCA 1 796.

TUMU .

T e iO kikino o tau potiki,

Kua pa te rakauKi te m iro ia vero i mate na

Ki, rave atu na koe, kare 6 1

PAPA. FO UNDAT IO N.

Moe araara Pukukare é reiré ! The nights O fPukukare are sleeplessUa tauria e te maremare Are spent in coughing and pain .

Ua tupo na ngonga na rai. Panting fo i breath, he gasps outT eia au

,e Ruru e, ka eke, atu ! Mother, I am going to leave you.

T aka e, tei Avaiki te moenga.

” My rest will b e in Spirit-world.

UNUUNU TAI .

T e io ! i te io ra e kikino e !

Kikino ra , e vae

Kai akakorekore Turang a é

T a ta keke mai éUa taka te eka i te atua o Rurung apu.

E tika paa tai rangi éT ai manuiri ei akarong o

Ki te miro ia vero i mate na

Ki, rave atu na koe, kare é

UNUUNU RUA.

Akaete te maki é , ua toira éUa toira i to kaki e tuarang i

INTRO DUCTIO N.

Thy g od, pet child , is a b ad one

For thy body is attenuated .This wasting sickness must end thydays .

T hy form once so plump, now how

changed !

FIRST O FFSH O O T.Ah, that g od

— that b ad g odInexpressibly b ad, my child !The g od

“ Turang a is devouringthee,

Although only partially his own .

I am disgusted with the g od of thy

mother.

O h, for some other Helper !Some new divinity, to listenT O the sad story of thy wastingdisease !

Thy form once so plump , now how

changed !

SECO ND O FFSH O O T.Thy disease went on increasing .Like a demon squatting on thy

shoulders,

2 I 6 MyMs and Song s .

KO te na o T aa

Mei te ua o T aa , me tairia mai,

Kia marekaeka , na toko auau !

Mei toko auau ra

Ua kakau i te vai o Ruanuku,

NO Rongo paa , no T angaroa ,Ka puaki e mama ki nungaI to kiri, mei nunga ra i

‘

to kiri.Rikarika te mate ia vero .

O te rua tapu O te rua noa

Na tuataka i te m otu anga ia Pukukare.

Ua t akat aka te io Ng ariki.

I moria e ao ia mateng ateng a ,

Norea -norea , norea te kiko .

Reia -reia , reia e mana !

E vae, kua tae koe i te o reore

l a Ikurang i e enua kai marama ,

E enua kai marama no T onga-iti,

Na T onga ra , na veravera o Iti ngaruerue.

Ka mimiti ki te aro o Yatea

Ka Oki au l A oti te ariki O T onga

Ua kake atu na i katoa i te taurere,Ua taparere i Enuakura na O arang i

E i ing oa manuiri tei T atang akovi au

T e kai maira i te au tai,

I te pia paa i te vai i Vaikapuarang i,

Ua tunoko i te matoroa ,

Ua akarong o i te tangi tai tei Aarna 6 !

T e aiai na ra oa te vaerua mato

I te naupata , na takang aia .

E Kourapapa , tei O papa te ngai iturukia

’i !

The g od (Motoro ) of Ng ariki 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 reachedThe loftiest heights of Mount Iku

rangi,Where the moon itself is devouredBy the gods from T onga and T ahiti.

Thou shalt enter the presence of greatVatea .

I g o home now . So , too , will theking from T onga .

Tkou hast entered the expanseAnd w ilt v isit the-land-O i-red-

par

rot -feathers,Where O arang i was once a guest.T hou feedest now on ocean spray

,

And sippest fresh water out of the

rocks,T ravelling over rugged cliffs ,T O the music ofmurmuring billows.

Thy exile spirit is overtakenBy darkness at the ocean

’

s edge.

Kourapapa there sleeps. All three 1

Was the swelling on thy neck.Thou wast fain to b e fanned ,T o gain relief from burning feverA fever sure to return.

T hou wast loved in the sacred streams

O f Ruanuku, Rongo , and T angaroa .

Sometimes hopes O f thy recoveryVainly flattered thy friends.

Again thy body wasted away,And the mouths of ancestra l cavesSeemed to gape for our Pukukare.

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2 I 8 IldyMs and Song s .

Eiaa te rua ia T ikiEi 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 kaveI te pakuranga ma te meringa

,

Meringa mai Avaiki e,

Meringa mai i O tatou metua

E noo i te ao nei. Ei aa ?

O ai te roa i te eiva, e T ane ? Wherefore this delay inthy dance, OT ane

O i te rang i O rovaru E vaia

O i te rangi matao tao ? 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 ,

Ie niia 0 e, oai te atua

I keing a’i o tatou metua

Ae, na ara iaku.

E ariki taotaoaia e te tuarang i,

1 Shav ing the head was one way of mourning for the dead . T ane gloriesin hav ing occasioned this mourning. This is a reference to T ane-Ng akiau,

or Tane-str iv ing for —power , from Iti (T ahiti), who was believed to kill peopleprematurely, by devour ing Meir souls . O f course, their bodies, however strongand healthy formerly, quickly faded and died after this

Wherefore the chasm of T iki ?T o shut down the natives of

Avaiki (nether -wo rld ).Tueva , who seven times lamented for

his b oy,

Asked, Why didst thou return to

this world ?I came (said he) to instruct youIn making food -offerings to the dead,O fferings to those in spirit -worldGifts from their relatives

Who yet linger in this upper world.

Is it a fiat of the gods ? Breakthrough it.

IS it the lowering clouds of war ?

D issipate them .

Ha ! Ha ! Great Papa is my (T ane’s)mother.

But why, Papa , didst thou descendT o Avaiki, to O btain the honours of

a goddess ?Ah thou hast shaved thy head 1

Should it b e asked , Which of the

godsDevoured our parentsThe fault is all my own .

I (T ane) am a sovereign possessed ofan evil Spirit.

Vee‘

tini ; or , Tbe Immor tality of Me Soul. 2 1 9

Aitoa , e Rongo , kia unuia te tumu Yes, Rongo , I will drink up the soulsI O tatou metua ! Aue ! Aitoa ! O f our ancestors. I will , wiMout

fa il.Aue tou e ! E Papa , taku metua ! I fear naught ; for great Papa is my

mother.

Callfor music and dance.

T ataia i te tanga o T ane Beat the drum 1of T ane

O te vaa mi tuku ai te kaara. Those lips which SO sweetly speak .

T a ipo é Go on.

Ckorus .

Kua tangi reka te vaa O T ane. H ow pleasant is! the voice O f T ane

(i. e. the drum) .Rutu ake i te rangi. The very heavens re-echo .

Ka rutu au, e T an ! T ane, I will beat thy drum

O ai tua roi au 6

E Papa , taku metua !

Second

E kakara tuputupu,

E kakara koritong aE maire t itatoe e a kake.

T aipo é Go on

Cliorus.

Uru are te kakara i tau ai. Cull all sorts of fragrant flowers.

1 The dance was Specially under the pa tronage of T ane. Hence the b igdrum used on the occasion is called the voice of T ane.

”

Ckorus.

But who shall take the leadI (T ane) , for Great Papa is my

mo ther.

callfor music and dance.

Let there b e abundance of fragrantleaves,

Magnificent , sweet-scented flowers,With garlands ofmyrtle for the advent(of T ane) .

2 20 MyMs and S ong s .

Ckorus .

E maire e kakara tuputupu. Abundance, too , of sweet-scented

myrtle.

O Aratea te ci. And white pandanus blossoms.

Porutu te vai e tei te moana aé But what if torrents of rain shouldfall

Ckorus.

Porutu te vai i te moana é Though torrents of rain should fall ,Auenei , apopo T autiti é ! T o -night and to -morrow we w ill b e

merry.Ua kokoti Avaiki i te rau O te pua Fairies 1 from the shades are prepar

ing

T apokipoki ranru e i te maire, Are entwining myrtle leaves with their

hair,

E rau maire tapu e no te ariki Robbing the sacred myrtle of the kingO f its sprigs .

T ei nunga te kapa i te Rongo Nui no The fete comes off on the nights 2T ane. dedicated to Rongo and T ane.

1 The peerless daughters never failed to honour the fetes of T ane w ith theirpresence. Like mortals

, they will come attired with sweet-scented flowersand myrtle sprigs . It is pretended that the fairy toilet is nearly complete ;the dance must for v ery Shame lead off w ithout delay .

2 The night of the zbtb of each month was sacred to T ane the nightfollowing to Rongo .

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2 2 2 MyMs and Song s .

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

fall until she reached Avaiki, or Spirit-world . T he ghosts,happen

ing to b e on the look-out, caught her in their arms , so that she was

not killed by the fall. T he 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 b e cooked and

eaten. A special guard was set over her, both blind and aged,named T iarauau. At regular intervals the old fellow would shout,“ E Kura e !

”

(O Kura), to which the unvarying reply of the

victim was, E T iarauau e I”

(O T iarauau). 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 T umatarauua, 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, i t 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 O f the old blind

keeper and the replies of Kura herself. His lost wife was found

but the puzzle was how to g et her away'

without exciting the

suspicions of Tiarauau and other hungry denizens of the shades,

Adventures in Spir it Wor ld. 2 23

Cautiously peering in all directions through the darkness,he dis

covered a cocoa-nut tree with ezgkt cocoa-nuts on it. Eneene

climbed the tree,carefully plucked a single nut holding the stem

between his teeth, he Silently descended to the g round. This

process was repeated again and again,until the tree was cleared,

without attracting the notice of the ever-wa tchful T iarauau. With

extreme care during that long night Eneene succeeded in husking

the nuts and scraping out their contents, too, without noise.

There were ezgkt 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. T he rats,scenting the rich food, now came by hundreds to

feast themselves . They even fought and quarrelled over the

delicious morsels , not on ly on the ground but on the low-thatched

roof,enough to drive a man out of his senses . Certainly it

seemed strange to T iarauau that the rats Should b e SO unusually

noisy. Am idst 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 O ld blind( 9)guardian called out, O Kura Listening intently to the reply,

he discovered that his poor trembling young wife was in the middleof 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. T he astonished Kura asked

in an undertone, Who that was ? ” and received the j oyful

answer,“ Your own husband Eneene. T he 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. H e 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 MyMs and Song s .

chasm by which She had so summarily entered Avaiki, and there

to await his arrival.

Encene now let himself down through the low roof, and

occupied the place of the released prisoner,so as to give her time

to escape. T he old guard called out as usual,O Kura ! ” to

which Eneene replied,closely imitating the voice of his wife, O

T iarauau T he trick was not discovered, either by T iarauau or

the drowsy inmates of the prison-house. Eneene now thought it

to b e 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 a s nimbly as he could to the appointed rendezvous,where he found his trembling wife waiting for him.

There was no time to b e lost,for he could hear the echo of

T iarauau’

s stentorian voice giving the alarm. C lasping his wife in

his arms, he offered the following prayer to his god

United in one fate,We ascend , we rise

,

T o light, to light,T o 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 O f its fine grain and being almost imperishable. T he

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.

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226 IldyMs and Song s .

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 O f his dark outline, and

shouted lustil’

y to the boy, “ The shark is under you.

” Ngaru,

hearing this , instantly leapt high in the air, so that this first

a ttempt failed. T he foe now leapt in the air after Ngaru but he

dived under the wa ter 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. T umuitearetoka became crafty ; but Ngaru was still

craftier : Moko O ften 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 T ong atea. 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 theprecedence. Once in, Ngaru was in no hurry to g et 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 O ff to her friends .

Adventures in Spir it Wor ld. 2 2 7

When at length Ngaru reached home, Moko inquired wha t

had become of his fair spouse, and learnt that, disgusted with her

husband’s appearance,she

.

had fled to T eautapu. Said Moko,

Nothing blackens the Skin so soon as the sea and the sun .

”

The grandson inquired how his Skin could b e blanched . Mokosaid

,

“ The only way to blanch your skin is to treat you as green

bananas are treated when they are to b e ripened.

I 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. O n 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 light

proceeded from the face and person of Ngaru,being in reali ty

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 b e fr izzly. Moko resolved not to spoil the head

of his fair grandson with such a wretched mop . Vaiare took itback to the god

,and asked for some better hair. Tang aroa put

the suppliant off with some lzgkt yellow .

2 “ This will never do,

”

said Moko I'

must have Me best.” Once more Vaiare trudged

back to the god to b eg him to exchange the hair. Finding thatthere was no escape from the importunity of the g randfather,

1 In the native language ta-para , or blanc/zed .

‘ Europeans would sayripened . ”2 A detestable co lour in the eyes of a Hervey Islander. T angaroa’s own

kair was of the objectionable light yellow .

2 28 MyMs and Song s .

Tangaroa gave a profusion of wavy, smooth raven locks . Moko

was delighted, and gladly secured it to the bald pate of his fair

grandson .

T he lightning, or dazzling flashes of light,from the face and

person of Ngaru reached even!

to the distant abode of T ong atea

Me fair Tong an), SO that everybody said,Behold the

dazzling fairness of Ngaru Said the runaway wife,

“ This

Ngaru you praise must b e a different individual from the Ngaru

I know.

”T he bystanders asserted that it was her despised hus

band but T ong atea remained incredulous .

Now,T ong atea 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 beg in the amusement of the day, each

with a long reed in her right hand. T ong atea, 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.

H er 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 T ong atea, that i t 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

,

“ IVever

will I return to thee.

”T he despairing T ong atea 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,

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230 MyMs and Song s .

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 b e careful, or he would infallibly

perish, as multitudes had done before him . As evening drew

on,all three started off on their j ourney 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 Kumutong a-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

O i au tiria , tiria

O i au tara, tara

T araia akeraKia kite au 1 teia maungaO te maunga poro oa teia

A tau tupuna a Moko Roa,

T au metua a Vaiare,

T au vaine a T ong atea.

To this Kumutong a and Karaia responded ( temporarily releas

ing Ngaru)

Kiritia kai e kinana Thou shalt b e forthwith devouredT o koiv i, vaio i E rang rmaunga Thy body shall rot on this H ea

venly mountain,”

1 Evidently in allusion to sickness. The sick “stay at home.

Put me down, put me down .

Set me free, set me free.

O h that I had libertyT o gaze on this mountain’T is surely the mountain spoken of

By my grandfather, The longLizard

And by my mother Vaiare (stay -ai

kome) .1

And bymywife, T he fair T ongan.

Adventures in Spir it Wor ld. 23 1

T o vaerua , e kave i te pO Thy spir it shall b e borne to the

shades,Na to maua metua na Miru T o furnish a repast for our mother

Miru.

To this Ngaru replied,

“ ’Tis thus you treat your intended

husband 1”

Again wrapping up and cording their intended victim,they

bore him to another spur of the same mountain range. Conscious

O f this, the imprisoned victim again prayed to b e released

O i 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 b e forthwith devoured , etc.

To this Ngaru replied,“ ’Tis thus you treat your intended

husband I” 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, I

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 : Kumutong a-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 g randfather

1 The three sorts of kava known in Mis world are but ofifskoots from the

original root.

232 MyMs and Song s .

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 j uncture 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 O f 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

m istress of the invisible world what she meant to do with this

burning oven . Miru promptly replied,

“ To cook you 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 momen t the clouds,

which had been gathering ever since he had entered Avaiki, burst

suddenly. A fearful delug eI 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, 2 the beautiful T apairu

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

1 A deluge-myth is inserted in a forthcoming popular vo lume, entitledLife in the Southern Seas.

”

2 Mor indo citrifolia . Its root is wonderfully tenacious.

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234 MyMs and Song s .

O ne 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 speedilydrawn up out of Sight. Not many days after

,this process was

repeated ; but it came to b e noticed, after a time,that none

ever came down again to report what they had seen . This

looked decidedly suspicious . T he fact was, a Sky-demon named

Amai-te-rangi, or Carry-up-to-keaven,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.

T he more wily Moko detained his heroic grandson until his faith

ful little lizard subj ects Should go up and find out what was going

on in the Sky. T he word having been given by The-king—of-lizards ,a number of his sharp-eyed a ttendants 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 O f 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 gigant ic 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

Adventures in Spir it Wor ld. 235

feast, as the intended victim was uncommonly heavy. Upon

touching the magnificent paving of blue stone, Ngaru found the

demon drawn out to his full s ize, chisel and mallet in hand ready

to deal the fatal blow. At this moment the human hero gave i t a

sudden j erk, that precipitated himself and the basket down to

earth again . T he 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 b e 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 ag ain 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 basket touched the g round 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 thedemon, 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 forhim 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 MyMs and Song s .

to madness , dropped chisel and mallet . Ngaru,seizing these

weapons , succeeded in killing Amai-te-rangi,and then let himself

down to earth again,accompan ied by his four-footed protectors

,

and carrying with him the chisel and mallet of his slain foe. Ere

leaving, he tried ba ll-Mrow ing with Ina and Matonga,who kept

eight balls going at a time,and succeeded in beating them t oo .

Such were the exploits of this Polynesian Hercules .

In the original , when describing the repentance of T ong atea at

the reed—throwing match,the question is asked

,

“ Whose place in

all anono is vacant ? ” T he reply is,

“ Why,then

,does

she not begin ? ” There i s a spot on Mangaia SO named ; but

every one believes that the reference is to the island of Manono ,”

in the Samoan Group . T he wife’s name, T ong a tea, means T he

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 O bjection to this view tha t the myth, as now told,i s localized here

,as a long residence would b e sure to produce

this . T he proper depositories of such lore invariably assert that

they were introduced here from other lands.

T he story of Miru is merely a vivid representation of their old

belief as to the state of those who die a natural death . Fairywomen come to fetch Ngaru he i s like any other corpse, wrapped

up in tapa,and well corded, and borne by two individuals to the

deep cavernous domain of Miru.

“ Oraka i s b ut 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

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MyMs and Song s .

THE DRAMA OF NGARU .

A REED-THROW ING MATCH FO R WO MEN,IN HONOUR O F

PAT IKIPO RO . COMPO SED BY TUKA, C IRCA 1 8 1 5.

Two women .

Akiakia tute te manava ia T evoo’i S trip the branches 1 offMiru’

s“ kava

tree

Ei mana paa no Ngaru Avaiki, T o stupefy wonder-working Ngaru,Koia i pau taae Victorious over all monsters,

T epoi arire na Moko ra , Pet grandson of Moko ,Na Vari-ma-te-takere é ! Descended from Vari-originator-of—all

things.

Ckorus .

T e taa O te rangi T he 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 , T o save Ngaru the golden lizardsI te tau aro O te Moko kura i tau é, C limbed up the front and backKa pare nei kia Apai

-te-rangi é Batfling cruel Apai-te-rangi.

Kua kino Ngaru ei te tacke aé T’

was Ngaru blackened by diving,

Ckorus .

Kua kino Ngaru i te taeke, Ngaru blackened in the billows.

E anga turoko ka 0 1 0 ai T ong atea 6 ! T he sight disgusted the fair T ongan,T ei Itikau te roki Whose loved resort is at Itikau.

Two women .

T ei Itikau te roki é Yes her loved resort is at Itikau.

1 The root only of thepiper -my tlzisticum is chewed to make the stupefyingdrink . But M iru

’

s own original plant , of enormous size,in the Shades is

narco tic even to its branc/zes. T he inebriate spirits are helplessly carried to thefatal oven, and are cooked . Ngaru alone defeats her cruel arts.

Adventures in Spir it Wor ld. 239

Ckoru s .

Papa paka , a in-

u ra i te vai O Marua, Refresh yourselves, fair ones, in

Shady-Land ,E rua enua e pei ai te péi. Like celestials proficient ’

in ba llthrowing.

INUINU TAI. FIRST O FFSHO O T.

Two women.

Péi iknki na Ngaru 6 1 O h the wondrous skill of Ngaru.

T era rava te karanga ,E karanga ia Ngaru.

Iti mai rapa te uira,E uira tu akarere,

Na mana o Ngaru-tai.

Noea toou mana ?

No raro i Avaiki,

Na Vari-ma-te-takere,Na ooki atu na ,

T ena ia ia kava.

E tere aa ra, e Miru

E tere kai tangata !

Two women .

T akina ra Avaiki, e Miru 6 ! DO thy worst, Miru !

Ei rapang a uira i tane. Provoke not the flashing lightning ofyour betrothed

1 Ngaru wave a play on the name is intended, as well as a referenceto his first exploit.

Ckorus .

List to yonder voice’T is addressed to Ngaru.

Lightning is emitted from his person ,And flashes all around .Great is the m ight of O cean-lovingNgaru.

1

Whence this unheard of powerFrom the depths of spirit- land

,

From Vario riginator-of-all things,

Who sends him back again (to this

world).Ah ! there comes the stupefyingdraught.What have you come for

,Miru ?

I come to devour mankind.

240 MyMs and Song s .

Two women.

T ane oro ki Iti 1 The betrothed , whose loved resort isat Itikau

Ckorus.

Aé, Ngaru-tai. Aye, O cean-loving Ngaru.

Two women .

Akiakia tute te manava ia T evoo’

i, Strip the branches off Miru’s kava

tree,

Ei mana paa no Ngaru Avaiki, T o stupefy wonder-working Ngaru,Koia i pau taae Victorious over all monsters.

T epo i arire na Moko ra , Pet grandson of Moko ,Na Vari-ma-te-takere é ! Descended from Vari-o rigina tor-O f

all-things.

Ckorus.

T e taa o te rangi T he natives O f the Sky

A tuku i te a ta apai Ngaru 6, Let down a trap to catch Ngaru,I te kakenga atu rava . Who ascended on high .

Two women .

Kake atu Ngaru i te tautua T o save Ngaru the golden lizardsI te tau aro o te moko kura i tau e, C limbed up the front and backA pare nei kia Apai-te-rangi-é l Baffling cruel Apai-te-rangi.

Kua kino Ngaru e i te taeke aé’Twas Ngaru blackened by diving,

Cli orus.

Kua kino Ngaru i te taeke, Ngaru blackened in the billowsE anga turoko ka 0 1 0 ai T ong atea E, The sight disg usted the fair T ongan,

T ei Itikau te roki. Whose loved resort is at Itikau.

Two women .

T ei Itikau te roki e1 Yes her loved resort is at Itikau.

1 “ Iti, an abbrev iation for Itikau, the name of a famous resort for

lovers on the west of the island.

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242'

MyMs and Song s .

Two women .

Akiakia tute te manava ia T evoo’i,

Ei mana paa no Ngaru Avaiki,Koia i pau taae

O i au tiria , tiria.

O i au tara, tara,

T araia akera,

Kia kite an i teia maunga.

O te maunga poro oa teia

A tau tupuna a Moko-Roa,

T au metua a Vaiare,

T au vaine a T ong atea .

Kiritia kai e kinanaT o ko ivi

, vaio i Erang i maunga

T o vaerua, e kave i te po

Na to maua metua na Miru

Kumutong a , Karaia -i- te-ata Oi,

Tukua maira ta korua tane,

Kua roa oa te umu a Miru

Aore a e pau atu i tau mokoE tapu te tiking a vaine a Ngaru

T uku atu te taura i Enua-Kura .

E taura v iriviri, e taura varavara,

Strip the branches offMiru’s kava

tree,

T o stupefy wonder-working Ngaru,Victorious over all monsters.

Thou shalt b e forthwith devouredT hy body shall rot on this Heavenly

Mountain”

Thy spir it shall b e borne to the

shades,T o furnish a repast for our mother

Miru.

Hist , Kumutong a ! Hist, Karaia-the

Shadowy,Bring me your intended husband ,For the oven of Miru is waiting

I will not part w ith my grandson .

’T is thus ye fairies treat Ngaru.

Pray drop down some cords to SpiritLand

Ropes of many strands and of grea tst rength,

Ckorus.

Put me down, put me down.

Set me free, set me free.

O h, that I had libertyT o gaze at this mountain’T is surely the mountain spoken of

By my grandfather The-longLizard ,

And by my mother Vaiare,And by mywife, The-fair-T ongan.

Adventur es in Spir it Wor ld. 243

Ruia e tematang i, kakea e Ngaru, Swaying to and fro in the breeze, yetable

Kakea e te rangi tautua, T o bear Ngaru, the heaven -climber,Kakea e te rangi tuamano . Reso lved to explore all nature.

E tuku te taura i Enua-Kura é Pray, drop down some cords to SpiritLand .

Mauria Hold fast. (Grea t empkasis .)

Mauria , e Ruateatong a , Spirit of the shades hold fastT e pitong a i te taura T o the end of these ropes

,

I tukua ’i i maua ariki. Intended to rescue our favourite

O Raka maumau é From all-devouring Auraka .

”

Tukua , tukua ra ikOna Drop, drop them down at once !

O ki mai, e Ngaru 1 Hasten back , NgaruT era

’tu te umu e tao iaau 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 living took

part in the performance. O ne was named Miru for the occasion

a second Moko a third Ngaru. Two others represented the

daughters of Miru— Kumutong a and Karaia-i-te-ata. These fairies,

at the proper time, carried over the crest O f the hill a large bundle

like a seeming corpse, ready to b e 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.

T he husband of Patikiporo is s till living. He has for many

years sustained a good Christian profession .

The part commencing “ Put me down, etc. , down to a

244 MyMs and Song s.

repast for our mother Miru, i s taken from the myth,which is

known to b e of g reat antiquity.

Sadaraka well recollects the performance,at which

,as a male

he could only b e a spectator.

THE BALL-THROWER’S SONG ; OR, THE FAIRIES

BEATEN BY NGARU.

FO R THE FETE O F PO T IKI,C IRCA 1 790 .

Callfor Medance to lead mj”

.

Pei ikiiki tei to rima, e rua toe, Keep the balls all going ; two are

left,T ei Iva e ; a tai ra koe. In all spirit-land thou hast no equal

T aipo é Go on_ 1

Ckorus.

Pei aea ng a T apairu no Avaiki Here are fairy players from nether

land,

NO nunga paa i te rangi é AS well as natives of the sky.

Ae é

Ckorus.

Pei aea i te pei itu, i te pei varu, e Ina alone keeps seven , yea , eightIna e ! balls in motion.

Ka ré koia O Matonga-iti kau réré. Little Matonga is beaten— utterlybeaten .

Ka re Oki, e Matonga e, i tepei Ah Matonga , thou art beatenKa topa i to rima a tai 6 ! At the outset a ball has fallen to the

ground .

INU INU TAI. FIRST O FFSHO O T.

T iria mai taku pei. Give me the balls .

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IldyMs and Song s .

Ka re oki e Matonga e i te pei Ah Matonga thou art beatenKa topa i to rima a tai 6 1 At the outset a ball has fallen to the

ground .

INU INU RUA. SECO ND O FFSH O O T.

T ei niing a ! How high

Ckorus .

I nunga o pei tini, i raro O taaong a. All the balls in the air how dexterousthe hand

T o kura pei kura , maautara , The balls are all red and greatlyadmired .

Mea Auraka te metua , e nui ana , Thanks to the divinities who taughtthee,

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 tung ane, Women and men in wonderRiu atu to tau, anga mai to oro Gaze at thy face and form .

T eia taku pei, e pei ikiiki Marama With these balls again I challengerua 6 ! you fairies.

Era koe, e Matonga ! I have beaten thee, too ,

Matonga

Call Me second.

Pei ikiiki tei to rima,e rua toe, Keep the balls all going ; two are

left .T ei Iva e, a tai t a koe 6 ! In all spirit-land thou hast no equal .

T aipo 6 ! Go on

Pei aea ng a T apairu no Avaiki Here are fairy players from nether

land ,NO nunga paa i te rangi a ! As well as natives of the sky.

Adventures in Spir it Wor ld. 247

Pei aea i te pei itu, i te pei varu, e Ina alone keeps seven, yea , eight ballsIna e in motion.

Ka ré koia O Matonga-iti kau rere Little Matonga is beaten utterlybeaten.

Ka re oki, e Matonga e, i te pei, Ah Matonga, thou art beaten .

Ka topa i to rima a tai O 1 At the outset a ball has fal len to theground.

INU INU TO RU . TH IRD O FFSHO O T .

A tai Again

Ckorus.

T ai, rua, toru, a , rima , ono , itu, varu. O ne, two , three, four, five, six ,

ev en , eight balls !Tu akarong o no Pai, no Manoinoi ariki Pai and the royal Manoinoi adm ire.

E tangi te vai i Aratatia . T he crowd is astonished.Akairi i nunga i Aramaung a i te Akaina , though skilled in all arts,

kopuku.

Aakina i te maro Akaina , Surpassing the men of his day,

Na tumaang a ng ining ini i te rearea , The bravest and wisest of men,

E tangata e tu i T Orea , Ne’er could equal thee.

E mania i te kura , e mania i te rearea ! Let perfect silence now b e pre

served .Era koe, e Ina ! Again I have beaten thee, Ina !

T aipo é GO on !

Ckorus.

Pei aea ng a T apairu no Avaiki ; Here are fairy players from nether

land ,No nunga paa i te rangi é As well as natives of the sky.

Ae e'

!

MyMs and Song s .

Ckorus .

Pei aea i te pei itu, i te pei varu, e

Ina e

Ka ré koia o Matonga-iti kau ré'

ré.

Ka re oki, e Matonga e, i te pei,

Ka topa i to rima a tai O 1

INUINU A.

E retia

E retia, e retia O Tua-niinn

Ina alone keeps seven , yea, eight ballsin motion .

Little Matonga is beaten— utterlybeaten.

Ah Matonga, thou art beaten.

At the outset a ba ll has fallen to theground .

FO URTH O FFSHO O T .

Avaunt

Avaunt, avaunt , thou of a scraggyback '

Ckorus.

E retia, e retia O Tua-ara-roa !

Ara-roa i te iki-tanga i te akamateng a.

Na kura pei kura , na tama reiong a ,

Na kakara onu e rutu i te tua O Yatea .

Re tai, re rua, re toru, re a,

Re rima, re 0 1 1 0 , re itu, re varu,

Re iva , re ng auru, tinitini, manomano ,

O Arauru, O Ara peipei, tei kai tereing a.

Koi tangatanga iri, koimata kerekere,

Ko i nunga , koi raro , koi te patiu éEra koe, e Matonga

Pei iki iki tei to rima, e rua toe.

T ei Iva e, a tai ra koe é !

Avaunt, avaunt, thou of the longspine

T all to deformity and ready to die.

Give me my g rand scarlet-balls,Like young turtle in the palm of

Vatea.

Beaten once, twice, thrice, yea, fourtimes

Beaten ag aln, again, and againBeaten times innumerable, all of you.

Pack up your traps, one and all

Ye sweet -scented ball-players fromthe skies

And from nether-land— and b e o ff

Again I have beaten thee,

Matonga .

Keep the balls all going two are

left.In all spirit-land thou hast no equal.

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250 MyMs and Song s .

E ara pei Oki ra na Karaia ae é A game of ball -throwing with

Karaia !

E ara pei na Kumutong a,

Na Karaia-i-te-ata.

Aore paa e kitea te ikOng a i

Of the Sky-fairies

,Ina and Matonga were the most clever at

this game. Both,however, are vanquished by Ngar u in the first

and third stanzas Ina i s 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 im itated the movements of the

ball-throwers, without balls, however.

T he contemptuous language of the fourth stanza is in direct

contradiction of the standard belief in their “ peerless ” beauty.

It i s a Sly hit at certain ladies at the dance personifying the two

sets O f fairy women. Proud of their assumed name,“ T apairu,

”

they are really the butt of the whole assembly.

A JOURNEY TO THE INVISIBLE WORLD .

A TAH IT IAN MYTH .

O uri bare O ema 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

Ckorus.

A game of ball-throwing with

Kumutong a

And her sister Karaia-the-shadowy .rima ! T he quick movements of the fingers

are invisible.

Adventures in Spir it Wor ld. 25 1

descended to Hawai i 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

But Arii would on no account consent to b ecare Of our mother. ’

left behind by his younger brother.T he 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. Ar nwas 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 O f 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 O f 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 j udged the food to b e 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 I

2 52 MyMs and S ong s .

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,i t was gone And thus, too, of the

bread-fruit and the packages of sour bread-fruit paste.

T he old blind woman,now thoroughly enraged, exclaimed ,

Whoever this is that has dared to come to my land, I w ill devour

kim. 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. T he lads contrived

to keep clear of it, but threw a pandanus log at it. T he log was

hooked . Whilst Kui was pulling in her line with immense satis

faction, the b oys chanted these words

Carefully secure My fish,

Ere Mou b e o’

ertaken by a shark.

To which Kui replied

For him that is caught by my hookT here is no hope. Strong is my hook .Its name is Furnisher of) food for immortals.

T he line is called The indivisible.

”

Kui seized her supposed victim, which proved to b e 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

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254 MyMs and Song s .

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 everywhere covered with the fa llen 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.

A1 1 1 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 ofduring 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 swimm ing on the surface. When at length the

strength ofArii was exhausted, the red shark again rose to the sur

face, and generously forg iving the late offence, carried them to

Shore. This is the farthest lim it of spirit-land.

T he 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. T he

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. T he 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 Spir it Wor ld. 55

causing him to writhe in agony. Having thus humbled the priest,he asked him where Oema was. The priest —he

i s dead . GO on until you meet an old woman— Mehas 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 O ld 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-losthusband. 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 al

Wife,

”and “ The Wisdom of Manihiki.

” “ Kui-the

Blind figures in all three versions of their ancient faith.

MyMs and Song s .

CHAPTER XI.

Y MEN AND

TAPAIRU ; OR,FAIRY WOMEN AND MEN.

T HE deformed and ugly Miru has her home in the nether-world,

where She cooks human spirits in her oven. H er son Tautiti

presides over the dance called by his name.

I Besides T autiti,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 norMern half of the island, they would

b e 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

1 The graceful T autiti dance stands opposed to the Crab , in which

the side movements of that fish are most disagreeably imitated . Dancesalways took place by moonlight.

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MyMs and Song s .

T angi atu au ra i te annga tiere. I love the fragrance of the flowersT ei Aupara na vaine tau nong onong o At Auparu

,from fairy women

I te pa etu na Ina é Arraying themselves by starlight ,T e aiai a Kura Eu é Aé Whilst Ina in the moon looks on .

T o are kario i é T ekura-i-T anoa . Ah ye e’en surpass T ekura-of-T anoa.

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 b e present at the dances of mortals .

The fete of T erang ai, ancestor of the present tribe of Tane,was specially honoured by fairy visitors . The fete came off at

Butoa. T eporo and T erauara, fair daughters of Miru, availed

themselves of the gorge j ust by, to come up out of nether-world

to take part in the festivity. T he 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 b e males , and, O f course,connected with Miru— also to climb up to witness their favourite

dance,T autiti. O roiti I and T eauotang aroa

2 came up at a gorge

known as Tuaoruku,on the south. Marang aitaiti

3 got up through

a disag reeable-looking hole on the west, Marang aitaao 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 .

T0 this myth the prologue to Po tiki’s fete—songs alludes . After

years of anarchy and bloodshed, peace was proclaimed in the name

1 O roiti 2 : slow ooted.

2 T eauotan aroa reion -o -Tan r aroa .

<5 <5

3 Marang aitaiti g entle-east-wind.

1 Marang aitaaoZ fierce-east-w ind.

Fa iry Men and Women . 259

of the gods . At this,the firs t fete inaug urating the era of peace

,

i t is hoped the fairies will b e present as at T erang ai’

s. T he

greater gods, whose j ealousies occasion the wars of mortals,

should b e chained.

PROLOGUE T O THE DRAMATIC FETE O F PO T IKI,

O N H IS ASSUMPTION O F THE TEMPORAL

SOVEREIGNTY, CIRCA 1 79 0 .

Vaia te rua i Avaiki, O pen the entrance to spirit -world ,

Kia kake mai O roiti e T ane Oi ! T hat O roiti and T ane may come up.

Clior us .

T ireia T autiti, O n this merry nightKia aka i O nemakenukenu. The ghosts are dancing on the smooth

swardT ane ao i te tua O T erang ai. AS at T erang ai

’

s famed fete O f old.

T e moko ia T autiti 6 ! T ane is the patron of dancing.Karéia ! (War dance).

Tukua, tukua é Down w ith your burdens, 1Tukua ki raro . Down with them and rest.

1 Each fete has its distinctive symbolism . In Captain Cook’s song,caulking is appropriately introduced : in Mis the employments of peace,

as contrasting with those of war. The “ burdens were bundles of longbamboos, suitable for fishing -rods. These furnished employment for men in

t ime of peace.

“ The cloth-beating mallet ” was intended to illustrate thework of industrious wives . This could not b e pursued with safety in time of

war, as the far-reaching Sounds would only guide the murderer to his prey.At this féte, however, men beat mimic clo th-boards. These fairies were

acted— one c oming from either end, met in the middle.

260 MyMs and Song s .

Cli orus .

E ngae pu Avaiki i te papa , Spirit-land is stirred to its verydepths

E tukia ma te kaara . At the music of the great drum .

Kuamaamai nei T eporo ma T erauara . T he fairies T eporo and T erauara have

come up.

T akaia te papa i maui Lead off the dance, ye of the leftRumakina te papa i katau. And you, too , of the right .E era te taua i Tuaoruku At T uaoruku is a fairy dancing

ground ,Na O roiti, na T eauo tang aroa, For O ro iti and T eauo tang aroa ,

Kimi pou enua ke atu. Who have dared to come up to this

world .

Ka tutu Rongo i te rangi é Great Rongo shakes his club .

NO te ike tangi reka e papa i tua. Softly sounds the cloth-beating malleto’

er the sea .

T utua Tutua ! Beat away ! Beat away !

Kano korua kiea ? Whither g o ye, fairies

Kano maua a kimi ia T autiti, We g o in s earch of the pleasingdance ,

Kua ngaro mai nei. So long disused .

T eia . Here it is .

T eia te akatu, ma te akarong orong o , Hereare thedancers, the torch-bearers,Ma te matakitaki. And the spectators.

Kano koru a kiea ? Whither g o ye, fairies ?

Ckorus.

Kano maua a kimi i te marua kapa We follow the merry sounds of

dancingKua ana mai nei. Therefore have we come.

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26 2 MyMs and Song s .

E uru tupu ariki te apai o te pau e Now for a war-dance as we bear on

this drum .

Karéia (War dance. )

Apai nuku, apai rangi Let all take a part toss it aloft.Ckorus .

T uia uta , tuia tai. Those over yonder ; those near at

handTuia i te kapa o T autiti e te aka nei. Prepare to lead O ff our fairy dance.

Uakina e Kaukau te papa i T eaka The dance-loving tribe assembled ofrum , yore

T e papa o T erang ai. O n the lands of T erang ai.

T atakina te kaara, urikaka. Up with the great drum ; toss it in

the air.

Rumakina e Rong oimua ,1 T he illustrious Mantara fought

T e papa iPekekura , te papa i te ngaere. And conquered the island for us, hischildren.

Ckor us.

Vaoo ra ikona tena kaara , Up with this great drum ; toss it in

air,

E i poani i te rua i Avaiki. And close up the mouth of Spiritworld .

T e miro O te tata koe O Come forward , ye players of melodions flutes,

Ckorus.

T autiti te kapa i Atea . Ia. In honour O f this dance of the gods !(Shouts )

1 Mantara’s true name was Rong oimua , but it has been entirely dropped in

later years in favour of the nickname “ Mantara,” because he took to the

cannibal ways of that outcast.

Fa iry M en and Women .

Callfor Me dance to lead of :

T anum la T evoo i Avaiki rangi taea é ! “ Miru’s own kava grows in spiritland .

T aipo 5 ! GO on

Ckorus.

T e kava ru an e rupepea. The finest and most intoxicatingdrink .

Ae é

Ckorus.

E atua nio-renga i Iti, e T ane ! T ane, g od with yellow teeth, was

once expelled T ahiti,Baa 1a manu kai tangata ra é Yellow with devouring mankind

Nai kava kura te kava akiakia’i

T e tere O turina kake é

T e rangia te kava e no te atua ae e

Ckorus.

T e rangia te kava O te atua . The sacred bowl of the priests isready .

Kia inumia ia pau e i te titara are. T 0 b e quafl’

ed only by yon sacredmen.

Kiekie toro e Is there not yet another sort ?

Ckorus .

E rani tapu e taki na, ’T is too sacred for mortal use.

Let the red “ kava b e carefullyplucked ,

As a draught for dancers in the upperworld .

Let the drink b e prepared for the

priests.

MyMs and Song s .

T akina te kava, e vaio te noko The Shoots only may we strip off

the parent stemIa T evoo i akamae ana é ! Is Miru’

s own ,”

reserved for the

destruction of souls.

These “ T apairu, 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

T e ui a te T apairu T he questionings of the T apairusA vari koe ia Kaputai Who came up at Kaputai

T e moea ra te enua marama 6 ! T o sojourn in a land of light.

After all,these fairies formed one fam ily, known as

“ fairies

from neMer—world .

” Ngaru climbed the sky,in his passion for

exploring all nature, and discovered a different set of T apairus

— 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 landof darkness.

Kua pou au nei, Riuvaka ra,

T ai kai e ou te atua ,

T e ravca ra e te are T apairu

T ei te ara veerua.

Alas, Riuvaka , I am devoured of the

gods ,Who have assembled to feast upon

me !

I was saved by the friendly T aparius

Who met me on the road .

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266 MyMs and Song s .

husband,“ Perform on me the Caesarean O peration

,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 O f

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 g rief 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 b e put an end

to ? Ati Should accompany her. This was agreed upon, and

accordingly the great stones were dragged up from the bottomof 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 fairydived 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 wasthis process repeated— in vain ! T he fair one from spirit-land wept

because her husband was not permitted to accompany her ; for

only the spirits of the dead and immortal s can enter.

Sorrowfully 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”

Atl e-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 .

M en and Women .

It is to this lovely fairy woman the O ld song of the Ati clan

alludes :

Kua ve’eia te pou enua, She has descended again to spirit

w orldKa paa

’i te rau atua O Ati e i Vaitipi Men praised the divine being first seen

e by Ati at the fountain.

Akana tu a kino te inang aro But his heart is now filled with grief.

Hence the origin of the common name T apairu peerlessone, in memory of their fairy ancestress .

268 MyMs and Song s .

CHAPTER XII.

DEA TH TALKS AND DIRGE S.

GHOST-KILLING (TA 1 T E MAURI).

UPO N 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 off 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

mim ic battles designated “ta i te mauri ,

” or slaying the ghosts .

T he district where the corpse lay represented the mauri,

” or

ghosts . T he young men belonging to it early in the morning

arrayed themselves as if for battle, and well-armed , started O ff for

the adj oining district, where the young men were drawn up in

battle array under the name of “aka-0 a

,

” or friends . T he 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 b e malignantspirits

,who would thus be deterred from doing further mischief to

mortals.

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2 70 MyMs and Song s .

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) 77

pe e proper. Thus, in all,as many as sixty separate songs would

b e 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 thefirst tangi,

” or crying- song.

”At theproper pauses the chorus

catches up and carries forward the song. In the “ tang i”the

weeping is reserved for the close, when the entire assembly abandon

themselves to passionate cries and tears. A song of this description invariably begins, Sing we (T iO ra).

T he appropriate tiau,

” or pe’e proper, follows . Tiau

means “a slight shower and metaphorically

,

“a partial weeping.

T he 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 i t again became his duty to take

up his part in a soft plaintive voice.

T he accompan iments of this performance were the great

wooden drum,called “ Me awakener ( kaara), and the harmonicon.

was added. The musical instrumentsSometimes the “

pan

were called into use between each song ; in the case of the

showery songs the great drum accompanied the grand chorus.

T he true accompaniment of the “ crying songs ” was the pas

sionate weeping of all present.

DeaM Talks and Dirg es . 2 7 I

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 complex ions to b e thought of, but a liberal provision 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 b e 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, O R 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

1 . T he eva tapara,

” or funeral dirg e, wiM 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.

2 72 MyMs and Song s .

2 . T he eva puruki, or war -dirg e. For this long spearswere made, as iffor wa r ; only they were adzed out O f orotea

(a white, brittle sort of wood), not of' fatal iron-wood (casua rina

equasitzfolia ). T he war-dirge for T uopapaI 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. T he 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 clanby slowly chanting the introduc

tory words . At the appointed pause both companies take up

the strain and vigorously carry it forward. T he mighty chorus

i s accompanied by a clashing of spears and all the evolutions of

war. At the close of what In wri ting would b e 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. T he eva toki,

” or axe-dirg e. In this iron-wood axes,

not stone, were used that is,mim ic axes , as the use O f stone 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 b e under Mangaia. In

cleaving the earth a vain wish was expressed that an opening

might b e made through which the spirit of the departed might

return— tears stream ing down the cheeks of the performers .

1 T ranslated by the writer with a number of clan songs, but not yet published.

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2 74 MyMs and Song s .

Tera T ane-mata-ariki, Here is T ane-of-royal -face,

E i koti i te na ma te ra , Keen in rain and sunshine,

E i tua i te pa rakau, T o lay low the loftiest trees.

E mae ai te toki ia Iti. They are felled by the T ahitian axe.

Ie-kOkO-kOkO (War—dance. )

Era ei tiki i na tumang amang a This axe is to slay the braveE noo i te are ! When buried in sleep .

T aumaa Kaukare i te inapoiri, E’en a s Kankare 2 perished in

night .A motu oki O T he fiat went forth !

Kotia aea ia Ruateatong a . The axe from spirit-land did

deed .

Kapitia oki te tiraa i Paataang a o

E tama e ! E Uri e !T ena te tamaki.

Ka rua’i ia T urang a o

T aamaa te toki ia ake te upoko

Ie-kOkO -kOkO

from the shades,and trimmed the thatch of Rauvaru

’

s house all round . Grea t

was the astonishment of the owner in the morning to see what an improvement had been effected by an unseen friend during the peltering storm. The

magic-axe of Rangi, named Ruateatong a , became the envy of men and the

gods too . When Rangi died,it disappeared for ever.

1 “ T ane-of-royal-face ”is the name of the axe-

g od, identified with the

clever Mang aian method of securing ordinary stone axes to wooden handles .

T his valuable know ledge was introduced by Una from T ahiti (or Iti) . These

axes were equally valuable for felling trees and men ! It is made to stand forthe veritable axe which slew Kankare and others.

2 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 ,w ith a natural cry for vengeance which was but too truly answered not longafterwards.

3 T he T ongan tribe introduced the iron -wood tree, and first made spearsout of its timber. The g od Turang a

”

(now in the Missionary Museum ) isput for the tribe.

Prostrate they all lay on the ground.Alas for thee, eldest sonThey come rushing on.

Tw ice has the g od Turang a3 thus

served our clan.

Their axes enter the skulls of the

v ictims .

(War-dance. )

DeuM Talks and Dirg es .

T ena oa te toki paekaeka a T inirau.

T araiia i te rangi te upoku o Kae .

Ia totoia, ia tangi a pu te iku o te

toora .

Ia tangi kekina ,Tuparua te kapu,Ia mo tu a uka ,

Ia eveeve ua ,

Ia kite i te kata.

T aina ra !

T aki na te toki ia Iti,Ei koti i te iku O te toora,

E puta i tokeran .

T aumaa o T e-ariki-takotO -i-vaengamoana

,

E tae a vai oki te pera o Tutavake O

Pur uki T ong aiti.

Ua ta T ong aiti.

E karonga na RongoE karonga tuturi.T e vaka autu,

T e vaka aueke.

Kua pau Mangaia Oi

Aue te tamaki e Oi

Aue, ka mate e

Baa te puruki ?

E toa te puruki

T e vaa O T ong aiti

T e kai kaka,

T umaeu kura e !

E ati mata tao ,

Ei taki i te ara toko i te ngaere

Ié-iel Ie-kOkO-kOkO.

2 75

This is the axe grea tly coveted by theg od T inirau

Now uplifted against the head of its

victim

Irresistible as a blow from the tail ofa whale.

W ith a ringing soundDescend on the hapless skull.As unresisting thatchIs trimmed by this axe,Let him feel its keen edge.

S lay him !Lift the famed T ahitian axe,

T o chop off the tail of the wha leCome from some northern sea.

Let the shark -g od, supreme in the

ocean ,devour thee,

T hat avenging Tutav ake may wadein human blood

The T ongans struck the blow .

The T ongans shed thy blood .The war-g od is delighted .Shoulder to shoulder they come.

Will they prove v ictorious

O r are they dest ined to failThe warriors of Mangaia havefallen

Alas that fearful night .

How dreadful is deathWith what were they slain ?

W ith iron—wood spearsThe specia l teaching of the T ongans .

O poisonous wood ,Red like human blood ,That defies all o ther weapons,

That hurries the greatest chiefs to an

untimely grave !(W

'

ar-dance twice performed .)

IWyt/i s and S ong s .

T he whole of this dirge, excepting the first two lines,was

chorus.

This “eva was performed by his father’s clan, and takes

precedence of Arokapiti’

s.

ARO KAPIT I’

S DIRGE PROPER (EVA) IN HONOUR

OF RURU . (C IRCA A D .

EVA TA,O R CRASH ING-DIRGE .

Ia Rum te toko i te ra Oi Ha il, Ruru, predestined chief !Ckorus.

T era , e Ruru, te uira vananga ei unui O Ruru, the flashing lightning came

i to manava 1 to fetch thy spirit !O Ruru atia vaie Cut down w ith a stroke

T e kutu i te mangungu e karara i te The crashing thunders of heaven

rangi. salute thee.

T ie-koko koko . (War-dance) .

Vavaia, e Rongo , te rua i te matangi,

Ia katamutamu Avaiki.

Koia aea i te kOpuvaru.

E maiti te pura O T utavake e rere i

erang i .

I aa to taumaa , e te rangi maoaoa ? Why this curse, ye angry skies ?T o punang a , e te veri tautua ? Art thou offended , O Centipede,

everywhere presentKa pura te O i Ikurang i, The enraged Mantis fl its over mount

Ikurang i.

Reia e te moko i Enua -kura . The irate Lizard has arrived from the

shadesKa moe koe, e te karaung a, Art thou, Earwig, in haste to occupy

tona are. the dwelling ( of the dead)

Great Rongo,cleave an aperture in

the horizon ,

T hrough which may b e heard the

whispers of spirit-land .Each (g od) w ields an octagonal club.Sparks of fiery war fly up to heaven.

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MyMs and Song s .

I aevaIa e T ane te manavaroa O te

Keanui.

O aia te ara puku i tu i Maung arua.

A puta koe i te rangi, e Rongo

O ai te tiaki i te are 0 T ong aiti ?

O T eio , a tai. O T evaki, a rua .

T irang o , a toru.

O Paia , ka a. T euira, ka rima . O

Rarea , ka ono .

akaara i te moe o te koromatua

i MangonuiE tu, e ara ! E tu, e ara

ara na tokorua te papakura.

Ka eva T ane i T iairi.

T e tu ra oa Ruaika i T ikura , ua mau

te rakei.Na Rerepuka i aae i te tua O Tuku

tuku,I rauka

’

i tana taua .

Na makona o Tutavake e tu i te taua;

E akaara i te tiraa i te rau tamanu,

T u iora ikona e Kotuku.

Aore e taea teia paepae,E paepae tua -manomano .

O tai i ta ,o T eiiri o T erarama .

O tai i ta , a tai paepae O Rongo .

E Ina Oi ! E Ina Oi ! Hail , 2 Ina ! Fair Ina !

1 T iairi is the warrior’s paradise, in which the clan of T ane is supposed to

have a large share, most of them hav ing died a v iolent death . T he referenceis introduced to distract attention from the d ismal fate of all who fall into the

clutches of Miru .

2 T his is a sort of comedy . The performers now divide themselves into

The clan of T ane was cut up by theshark-worshippers,

Who love to worship on steepMaung arua .

Favoured children of the g od Rongo .

Who maintained the ancient fame of

the T ongansT eio , T evaki, and T irang o ,

Paia , T euira ,'

and Rarea — all six

famous warriors.

T hey loved to waken the slumbers ofthe w ise man at Mangonui,

(With the words) Get up ! Get

up !

Day“

would dawn upon these

watchers,

Ah,T iairi 1 is filled with the tribeof T ane.

Brave Ruaika gaily equipped was

speared .Rerepuka a ttacked his foes from

behind ,And gained a decisive v ictory .

Successful fishermen of the war-g od

Avenged him who sleeps under thetamanu

”tree,

T he fearless Ko tuku.

This place is henceforth sacred .None dare approach.

O nly the fairies may come, T enri

and T erarama.

Rongo himself has been here !

DeaM Ta lks and Dirg es . 2 79

Ua akia 0 a to puta vai na , e Ina ! E Thy fruits are sto len . Alas ! Ina,Ina the moon-goddess.

Ckorus.

A mau ; T era rava te maoaoa. Catch ( the thieves . ) The sky is

threatening.

O ne kalf.’

E kake ra koe, e te unga. O Robber-crab, climb and catch

them !

OMer kalfiAua au e kake na te irave e kake. I will not climb let the Irave

catch them .

O ne kalf:

E kake ra koe, e te Irave O Irave, climb and catch

them

OMer kalf.

Aua au e kake ; na te“ Papaka e I will not climb let the Papaka

kake. catch them .

O ne kalf.

E kake ra koe, e te papaka . O Papaka, climb and catch

them

OMer ka lf.

Aua au e kake na te tupa e kake. I will no t climb let the Tupacatch them .

One kalfiE kake ra koe

,e te tupa. O Tupa , climb and catch them !

two bands, alternately addressing each o ther. At length two men , callingthemselves mice, actually climb a pandanus tree well- laden with ripe fruit, andsqueak ! Showers of nuts are scattered over the performers to their greatamusement .

T he“eva , or

“ dirge properly SO called , was always performed byday ; usually in the early morning.

The“ irave,

” “ papaka ,” and “tupa are well-known varieties of the

land -crab .

280 MyMs and Song s .

OMer kalf.

Aua an e kake ; ne te karau e kake. I will not climb ; let the tiny crabcatch them .

One kalf.

E kake ra koe, e te karaii. O tiny '

crab , climb and catch them 1

OMer kalfAua au e kake ; na te kiore e kake. I will not climb let the mouse catch

them .

Noai teia ngai ? Who is up there ?

Ckorus.

Ake Ake ! Keka Keka Tutute ! What noises are these of nibblingT utute 1

and crunchingNg eng ene Ng eng ene Kaika Squeaking and fighting ?

KaikaAkaruke i te katu 1 T he hard shells are falling.

Fururu te katu a te kiore, te katu a te T hey are scattered in all directionskiore. by the mice.

T ai naku, e Kio ! T ai naku, e O mouse, give me some PrayKio give me some .

T era ake oa te kuriri Hark to the song of the birds 1T ikaroa te irO iro . O ur amusement is concluded .

This dirge was performed by the mother’s clan under the

direction of Arokapiti. There happened to b e thunder and

lightning on the day Ruru died ; which was, of course, regarded

as a celestial compliment to the dying chief.

All the m inor gods (i. e. reptiles and insects) have resolved to

kill the illustrious Ruru. None of the maj or gods pitying him,

his ghost sorrowfully enters the shades .

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282 MyMs and S ong s .

E kimi i te ara , Inquiring the reason

Kia kitea te ara i keing a’i Why his poor body was devoured (by

the gods).

Itia e Ruateatong a te 1 1 Fairy of the axe l cleave O penI te keremuta O Vatea T he secret road to spirit-land and

l a amamaAvaiki Compel Yatea to give up the dead !

Ua, e T iki, i te ii tuarang i Puff,1 T iki, a puff such as only ghostscan

Ckorus .

Aria Wait a moment.

Ua , uaia ! (Again I say) puff, puff away !

(Ckorus of pretended explosions

Ckorus .

T o taringa , e Pang eivi A curse upon thee, priest Pang eivi.I kai koe i tat

’

i tamaiti na Thou hast destroyed my b oy.

As no one would undertake to compose an atheistic dirge for

the angry mourner, Koronéu made his own. It was performed

successfully amongst the other more regular dirges for Atiroa.

THE FIRST MURDER AND THE FIRST BATTLE.

T he earlier part of the reign of Rangi was “the golden ag e

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

1 In Latin, pedite.

DeuM Talks and Dirg es .

ance ; and of course war,fam ine

,sickness

,and pain were uh

known .

But this happy state of things did not last. Even during the

lifetime 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-b e murderer,so that the weapon would fall to the ground andMatoetoea 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 T ukaitaua,

I

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 i sland for his foe,until

he found him. For the first time Matoetoea’

s power of self

defence was at fault,and b e easily fell under the blows of the

redoubtable T ukaitaua. Ngakeand Akuru were also slain by this

brave inall, three persons were murdered successively on one

night by T ukaitaua— 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 Veétini 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. H e

sought everywhere for the unknown murderer but to no purpose.

H e therefore descended to (Avaiki) nether-land, to pay a visit

to his grandfather Rongo,as the on ly possible way of discovering

1 He whose delight it is to fight (tu= stand; kai= eat; tau ba ttle. )

MyMs and Song s .

the murderer. Upon entering the presence of the great Rongo,

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.

”T he war-god

now inquired,“ Have you not seen any new face in the upper

world ? ” “ I have,” replied Rangi . “ file is the murderer

,

”re

j oined Rongo .

Rangi, now thirsting for revenge, asked how he, a mortal, could

kill T ukaitaua. Rongo said, GO back to daylight you cannot

conquer T ukaitaua . I 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, T utaVake, cousin to the redoubtable Tu

kaitaua,who represented the elder branch of the family. T he

father of T ukaitaua was T avareng a (Deceiving) ; the parent of

T utavake was Tuatakiri (Entirely-brave). Summoned to the

presence of Rongo,T utavake was ordered to go at once to

daylight ” and Slay T ukaitaua. How can I manage it ? ” asked

T utavake. Rongo directed him to search through the six districts

of Mangaia.

“ And if you cannot then discover him , climb the

hills,and you will b e 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 O f morning Shortens,T ukaitaua

’

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 .

”

T utavake obeyed . Coming up to “ daylight,he found the

inhabitants of Auau (Mangaia) crowded together in the interior

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MyMs and Song s .

eighth time he made the circuit,i t was evident that his strength

was much impaired. At this T utavake suddenly swung round in

the opposite direction and dealt the hitherto invincible T ukaitaua

a fatal blow on his head.

Rangi was delighted that the death of Matoetoea and his

friends was thus speedily avenged . T utavake returned to the

shades. But the former peaceful state O f things could never b e

enj oyed again . Blood had 'b een shed first in sheer wantonness ,

next in just retribution. Ever since,mankind has been engaged

in either aggressive or defensive warfare. D iseases of variouskinds 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 O f 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 g row luxuriantly. At various points in this

natural road round Mangaia , T ukaitaua 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.

T he inhabitants of the world (Mangaia) contrived to g et

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 anative of nether-world possessed of such fearful strength. It was

DeaM Ta lks and Dirg es . 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 O f “ Tongans-sai ling-through-the-skies ” (T ong aiti

akareva-moana), The leader of this formidable band was the first

high-priest of the god T urang a. The secret of his successful

navigation was a vast ball of str ing wkick kc keld in kis kand during

kis long voyag e, and which was quite exhausted . upon their safe

arrival on the southern coast of Mang aia .

I Hence his name,T e

aO-roa,or Tke—man-of-Me-long -str ing . In those days the now

unruly ocean was smooth as the little lake in Veitatei its surface

O ccasionally 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 O f the elemen ts, and so gave rise to

the fearful storms and cyclones we now suffer from .

1

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 thefirst of the forty-two pitched battles

which have been fought on Mangaia. This primary conflict took

place at T e-rua-noni-anga,

” or Valley-of-spoil. Of this battle

i t 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 moderns 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 army of

1 Until lately was shown the hole in the coral reefwhere “ The-man-of-the

long-string ” tied Mis end of the enormous ball of string ! The b it of rock isnow destroyed .

288 MyMs and S ong s .

Rangi, and who were sure of securing the entire island to them

selves , fled in utter disorder. T he 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 O f those slain in

the pursuit.

Of Rangi’s victorious force three fel l— one out O f each O f

the three original tribes . And thus was established the ancient

doctrine (ara taonga), that victory and chieftainship O f all degrees

can only b e secured by first Shedding the blood of some of the

victor ious party, so as to secure the favour of Rongo, the arbiter of

the destinies of war.

In the persons of Rangi and T iaio,but in no other, the

secular and Spiritual sovereignties were united .

Peace was secured by the offering up on the altar O f 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. T he art O f 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 .

T he settlement of a Tongan colony on the south, and their

first conflict with the earlier inhabitants,are historical facts . Their

bravery is un iversally adm itted.

T he restless character of these Tongans is indicated in the

proverb,

“ A stone-mouM is needed to exhort the Tongans to keep

the peace,”i.e. lips that never tire.

When dealing a death-blow i t was sometimes said, GO , eat

the stale food of T ukaitaua the food in question being the club

and the spear which T ukaitaua loved so well.

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29 0 MyMs and Song s .

T he practice once begun was continued until Christianity put

a s top to it for ever. T he second human sacrifice was Turnia,first priest of Tane on Mangaia

,from Iti (Tahiti). T uruia was

slain at the instigation of T amatapu, during the lifetime of Rangi .

T he 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 .

T he successive priests of Tane, viz. Matariki, T iroa, and

Tepung a, were in after times slain and offered in sacrifice by the

older tribe. The martial supremacy of Mantara alone saved

T evaki, the last of that devoted race, and from whom the present

tribe of Tane i s 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

O f settlers (with one or two exceptions), on some pretence or

other, to the altar. T he only tribe never thus treated was the

original one who worshipped Rongo and Motoro : the alleged

reason being that Rongo would b e angry if his own worshippers

and so-called children were offered . With perfect consistency,

then,it was proposed by the angry heathen

,in 1 824, to offer up

Davida,the first Christian teacher, to the god Rongo . This

was with the view of extinguishing Christianity. The plot almost

Human Sacr i/ices . 29 I

succeeded . Providentially, a convert named Mauapa1 revealed i t

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 . H isfisk werekuman victims.

Three varieties O f butterflies are indigenous on Manga ia : a

large,velvety

,purple beauty ; a somewhat smaller one, with red

spots and a small,unattractive, yellow sort.

O ne day Rongo missed from his altar a fine sword-fish (aku)it had been stolen by the Lizard-god, Matarau

,whose marae i s at

Aumoana,

2at 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 Mataran

implies,two hundred eyes, bes ides eight heads and eight tail s .

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 away the “ fish stolen

from his altar. T he birds returned, and in their zeal venturing too

near the cave of the god possessed O f two hundred eyes, were all

summarily devoured . Several other bird-messengers Shared a

sim ilar fate. Rongo now commissioned r ick velvety butter/t ies

to attempt the rescue but they, too, were all snapped up by the

Lizard-god. T he red butterflies fared no better. At last Rongo,

1 A heathen song in honour of this man is given on p. 257.

2 O cean current .

29 2 MyMs and Song s.

at his wits’ end, hit upon a notable device to g et back his stolen

sacrifice : two little yellow butterflies were summoned to his

presence, and were directed to a banyan tree g rowing 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 b e noticed. T he trusty little mes

seng ers, so utterly insignificant in appearance, easily made their

way unnoticed to the banyan tree. All the butterfl ies 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 Lizardgod). Down came a shower of yellow leaves with the two yellow

butteiyties 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. T he 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 O f the army of butterfl ies through theair 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 aere. Lift it on high bear it carefully on.

Aumoana is the ancient marae of the Tongan tribe, to

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294 MyMs and Song s .

ceremonies to secure peace would b e now easily arranged by the

king.

Seven distinct j ourneys would b e 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 . O ne 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 spearsof 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 MM 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 inaug urated .

Miniature houses were erected on all these maraes ; each house

being a fathom long and well thatched,with a little open door

neatly screened with a strip of the best white cloth. These tiny

houses were designated “ conservators of peace ”

(are ci au). The

idea was, that all the gods and all their worshippers should layaside 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 kole b e made through

which wind and rain (war and bloodshed) might enter. If all the

Human Sacr ifices . 29 5

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

Me drum of peace all round Me island. But the indispensable

preliminary to this was the securing an acceptable O ffering to

Rongo, arbiter of war and peace. A man or woman must b e

Slain, but not needlessly battered, for the express purpose, a ndlaid upon the altar.

T he 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 O ften 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 .

I

E kai'i ra ura pia

Ura vananga , ura turou,Turoua takaia , takaia e maria,

Rimarima tangata, ang aang a tangata,Atia a mana airi a tapuAtia te iO, te iO no Rong o .

O Vatea te aurang a moana, Great Vatea is the guardian of the

ocean .

Ie rua rau’i au, By him it is ruffled

E rua rua’i toro. By him it is calmed .

1 This prayer, and the Prayer for Peace on p . 299, are of unknownantiquity .

Stately, noble priest‘Sweet peace, pleasant offeringSecurely fastened and well-tied .These human hands and human form,

Devoted to this fate by the godsDoomed to sacrifice by the g od

Rongo.

MyMs and Song s .

Ka tupu O te t , Here is iron-wood of noble growthKa rito o te t , A most graceful tree,Ka rara O te t , W ith numerous branches.

Ka kokoti O te t , Fell this iron-wood treeKa era o te t , Div ide its tmnk

Ka maikuku o te t , Split it with wedges,Ka ng aa o te t . For the making of spears.

T upu akera ia uki e toa

E maori no taua puruki

NO taua te arutoa

No tupurang a taua ,

No taua kiea , no taua kieaE ti o temaunga o te matOni

T eniteni te matakeinang a

KOakOa te matakeinang a

T aua ra i te makitea , Lately we hid in the rocksI te punang a o te ao . The refuge of the conquered .

T eniteni te matakeinang a But now we shall enjoy plenty,KOakOa tematakeinang a

1 This day we heartily rejoice.

T he 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 . T he 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. T he “ 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

1 D racoena terminalis.

In every ag e the iron-wood has yieldedDea th-dealing spearsFor the use of warriors onlyFrom time immemorial.

And bravely have we w ielded themThe wild 1 ti root of the hills (was

our food).But now we shall enj oy plenty .This day we heartily rejoice.

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MyMs and Song s .

management of all great feasts, and was supposed to make the

food grow, came in for kis Share O f the nose. T he “ praying

king,” however, was the great spiritual dignity or pontiff, and as

such came in for the best lands,in addition to the daily O fferings

of food of best quality.

And now the famous drum of peace, expressly made for this

solemn occasion, would b e beaten or,strictly speaking, would b e

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. T he 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. T he

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 t he kingly families united their voices, and all the drum s

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 sacrifices 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 Sacr ifices . 299

PRAYER FOR PEACE .

Tkc sing le voice of Me“

pray ing king .

Akiakia Maruata ikitia taku atarau. A bleeding v ictim has been chosen

for our altar .

Iaia ia vaerea te tam taru enua By it are weeded out the evils of theland

0 Avaiki mai raro O Which spring up from nether-world .

All Me drums and a ll Me voices.

T eimaia rangi maia , rangi vaerea . Let peace begin. May the sky b e

cloudless !T eimaia rangi maia , rangi vaerea. Let peace begin . May the sky b e

cloud less !Vaerea tai taru vaerea. Weed out all evils. Weed them

out !

Vaerea ; vaerua i to makita, makita . Weed , weed them out ; utterly andfor ever !

Makitaria kitaria, kua rangi riri O 1 Aye, let each threatening cloudentirely 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 c ertain cave, kept an inviolable secret

to this day. So that for each proclamation of peace a new drum

(pau) must b e 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 b e covered

30 0 MyMs and Song s .

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 O f 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 thearms, 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 part of their treasures . Some were avowedly protected to

furnish human sacrifices at a future day. T he 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.”

T he coral-tree (eryMrina cora lodendron), 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 reig n’

of peace might b e equally

enduring. Cocoa-nut trees were also planted all over the island

to mark the duration of peace. T he only warrior-chiefs under

whom peace prevailed long enough for a cocoa-nut tree to bear,were T uanui, Mautara

,Ngara

, Potiki, and Pang emiro . 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 g reat Chieftains for

causing peace to prevail so long !

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30 2 MyMs and Song s .

denote “ rule, or reign ; Me rule O f 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 exterm ination. When the victors felt

themselves secure,a human victim (sometimes more than one)

must b e secured,and all this burdensome ceremonial g One through

again, ere peace and order ‘could once more prevail . Hence the

difli culty of native chronolog y ; the “ reigns,” or periods of

peace, are most carefully enumerated ; the years of war and

anarchy are invariably om itted . T he means for correcting their

chronology is supplied by the lifetimes of their priests, which are

well known . It is impossible that the errors Should b e serious,seeing the names of the three contemporaneous orders of priests

(Motoro, Tane, and T uarang a) are definitely ascertained .

T he last time the peace-drum was played was about the year

1 8 1 5 . T he victim selected was T eata . Of course the poor old

bald-headed fellow was kept in ignorance of the intentions of the

sacrificers. O n 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 o f T eata, they found it empty. They were not

a little perplexed ; for Should their presence in the village b e 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 T eata was maternal uncle to Rakoia,who well

knew that the o ld 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 T eata into the hands of

his foes . A few minutes previously he had left his uncle in a lone

Human Sacr ifices . 0 3

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

1 875) and T eata, Rokoia had been rehearsing songs . Then they

chatted pleasantly about the dire famine then prevailing. T he old

fellow patted his head, and remarked,“Could they g et TH IS (as

an offering), the gods would send plenty again . At length T eata

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

‘

fisk.

’ 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 T eata. A single blow from the axe of

Arokapiti ended the career of the old man, who an hour or two

later in the same n ight was laid on the altar. And thus it was

that the drum of peace for Pang emiro’

s temporal sovereignty came

to b e beaten . Hence the consideration ever paid amongst the

chiefs to the word of Rakoia, who in 1 846 succeeded his brother as

chief, or governor, of Tamarua . Rakoia was one of the first to

embrace Christianity; and until his death, in 1 865, 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 ag e.

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.

30 4 MyMs and Song s .

Some proposed to give it to another tribe,to whom it anciently

belonged . T he O ld men O f the tribe then confessed that the land

in question was Pang emiro’s formerly

,but was formally given

to Rakoia as the price of T eata’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 O f Davida a sacrifice was

sought for the public acknowledgment of Pang emiro’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. T he

coolness of the n ight 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 dissen sions which

arose on account of this occurrence (that the gods were angry)prevented the completion of the ceremon ies necessary to peace.

Reonatia was the last human sacrifice ever laid on the altar O f

Rongo.

T he 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 ag e— say eighty-five— he passed away from our midst.

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MyMs and Song s.

order that the drum of peace might b e beaten, was Arauru, who ,with the rest of the Teipe clan

,had been hiding with the ancient

tribe of Ng ariki inside a grand and almost inaccessible cave

named Erne. For a consideration of some valuable lands,T oe,

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, T oe proposed to his victim that they should go

fishing. Arauru objected, on the ground of danger ; but T oé,assured him that their foes had that day started off in a differen t

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 you 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 U anuku,the “ wise man

”

(koromedual

) 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

ing ly thrown down a neighbouring chasm .

A new and unobjectionable victim must b e sought. Who

so suitable as Maruata, who had no family ties to the winn ing

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 . T he prayers were duly offered,1 Hence the native name for “ Missionary, O rometua , meaning literally,

a w ise man , or instructor .

”O rometua is T ahitian for Koromatua .

”

Human Sacr ifices .

and all the other ceremonies performed . Thus Kirikovi was in

s talled paramount chief.

As there were several Maruatas, this one is known as“ Maruata

who fell at Ioapa,”the place where the victim was clubbed being

so named .

T he wife of Maruata,who at an earlier period so narrowly

escaped being eaten by Ng ako , not only witnessed the cruel

sacrifice of her husband,but also of some of her children in after

years.

T oé was himself offered in sacrifice at the commencement

of the next reign .

Arauru,Maruata

,and T oé all worshipped the lizard-god

Teipe.

A “ CRYING SONG FOR MARUATA

(PERTAIN ING T O THE DEATH—TALK O F PUVAI

BY KO ROA,C IRCA 1 795.

Used only by MeAltar-tr ibe Teipe.

TUMU . INTRO DUCTIO N .

T iO t a, tinaoia Maruata O ! Sing we of Maruata, slain for the

altar,E kitea mai ng a erepua tei iaau, Though many were the promisesE Mai O T o thee, 0 Mai

Atuia mai taua O All, alas soon broken byPae atiati Ng ariki O Deceitful, lying Ng ariki.

MyMs and Song s .

PAPA. FO UNDATIO N .

Akamoe ana era, e Mai O The clans were united , yet Ma'

p1

fellCkorus.

Akamoe koe i te iv i-roa Solemnly united to the ancient chiefsE tamaki kiato i Erue, ua tanimo O Yet bro ther sold bro ther to death at

Erue.

Ua tanimo tai kopu. T hey cruelly sold thee.

T e raka nei tai aiai ua O ia Mai O Thou was deceived to thy death,O Mai

Maruata ra, tei O Ioapa O Yes, the Maruata who fell at Ioapa.

UNU UNU TAI. FIRST O FFSHO O T.

T inaoiaMaruata ra O Alas for Maruata, slain for the altar

Ckorus.

T inaoiaMaruata nei Maruata was slain for the altarUa koa tei Ng ariki. (Ng ariki only sm iledUa tapaia tai apaki, Like so many o thers O fhis tribe,Apapatai ua tapariri. T hat b ut few now survive

Pikao rauti ra Wrapped in green t i leaves,I te taringa kotikoti Slices ofMaruata

’

s ears

O Maruata ia OtOia Announce all new possessions.

Na Rongote take 1 ting eti T hy head , sacred to Rongo ,Ua kakina O Was hit and Split in his name !

Ua kakinaMaruata nei. Yes, Maruata , thy skull was splitE kitea mai ng a erepua tei iaau, Though m any were the promises

E Mai O ! T o thee, 0 Mai !

1 A second name for Maruata.

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3 1 0 MyMs and Song s .

T ena te tamaki, e tiki ia Kfi tei roto i Let us attack the g uardian of the

te rua . cave.

Kua mo tu i te rauaika. H is hour has come.

Nana ia ka ora. H e vainly dreams of safety .E tiki e ta i te rua o T ong aiti. Up

,attack the stronghold of the

T ongan clan .

Vaarire te iki i te kapua e tangi ra . Vaarire is the ofiering1 for the altar

— the price of peace.

Music and

T Ora Ng utukfi, Ng utukii, Ngutuki'

i Look yonder ! Ng utuki’

i , Ng utukfi

tit iri Ng utuki‘

i has fallen.

Ngutuki'

i Oki ka apai na Ng utukii is destined for the altar,I te kapua ei ika na Rongo . AS a peace-O ffering to Rongo .

Amatia kia mou,kia ketaketa . Secure the victim well to the litter.

Kotia Vaarire, kotia Vaarire, kotia Vaarire is slain, Vaarire is Slain

,

Ngutukfi . Ng utuki'

i is slain 1

Ng utukfi , Ng utukfi titiri ! Yes, Ng utuki'

i,Ng utukfi is hurled

down.

I

Kua maranga o Vaarire i te kapuaE uru tupu ariki, e ika na Rongo 1

E apai e takitaki aere.

Music and Voices.

Vaarire te ika i mua. Bear in front the sacrifice (fish) ,Vaarire.

E Vaarire te ika i te kapua Vaarire is destined for the altar.

T ei runga au,na T amarua, We scaled the entrance to his cave at

T amarua .

Na Piti, e Piti, Piti, W e now bear him along the roadI na Veitatei ra : tukuroi t a i Vaipia Until reaching Veitatei we rest at

the stream .

1 Vaarire was the original name of Ng utuki'

i . Wherever I have translatedO ffering

,

”the original is fisk.

The ancient song of the butterflies, on page 292, is incorporated into thismodern production.

oices only .

Ah, Vaarire is borne to the altar

Dance in triumph before this offeringto Rongo .

2

Lift it on high ; bear it carefullyon .

Human Sacr ifices .

A na ! Ia ia ! ! tataki na !

Kua naua. O ie puruki Rongo ,

O ie puruki Rongo .

Romia mai, e te matakeinang a

Kia takitaki tatou takaki na uriuri.

Ka apai ei kapua koe.

Music and

Kua roiroi ka aere, a tan te vaapoiro ,

Anatia te peru ao

Akairi ra i te na ,

Kia aere atu i te taatuatini, i te taatua

tini

E vaka no Ngutuku, e vaka takikoatu

E vaki taki aere.

Kua kakaro i te matangi.Kua tu te rirei kua tu te rirei

E maro tikoru e itikitiki rouru O

Itikitiki rouru O

Kotia ra e Kauare to metua, e Mua .

Kotia ra Ng utuki'

i . T ena oa te

tamaki !Kotia ra Ng utuki

'

i

I koia koe i te rakau.

A puta koe i te puruki a Rongo O !

Ia O 1

3 1 1

And now for the war dance. Up

with him .

We have succeeded.fiat of Rongo !

So wills the g od of war 1

Such is the

O nwards, onwards, brave friends.

T oss him aloft . Dance the war

dance.

Tkou a rt on My way to Me altar.

O nce thou didst despatch 1 thy hurriedmeal

Thewell-secured basket of tackleS lung to thy shoulder

Thou madest thy way to the sea for

sport .

A canoe for Ng utukfi . Put in some

stones.

Launch thy frail bark.Note well the wind.

The tokens are favourable ’twill b e

fair.

1 Ngutukfi was an expert fisherman ; hence the reference to his dailyavocations in this and the following stanza.

Thy girdle is secured ; thy hair tiedup,

Ready for the altar.

O Muare ! thy father was slain byKauare.

Yes, Ng utuku was cut down by hishand .

Ng utuki‘

i fell (War-dance. )T he spear entered thy body !

Such is the resistless will of the g odRongo

3 1 2 MyMs and Song s .

O i tatamaki koe oi tatamaki koe.

O T aura tei mua Atiati te teina

O Paraakere, o Veruara.

Ka apai na to metua i te kapua !

MAKITAKA’

S LAMENT ON THE LOSS OF THE

TEMPORAL SOVEREIGNTY.

COMPO SED BY TUKA, C IRCA A D . 1 8 1 5.

Recited at a Reed-Mrowing Matck.

T aku pua i tanu reka O Fair tree planted by my handUa tanu ake koe i T amarua Alas, for the tree O f peace which

E tupu te an O O nce flourished at T amarua

T eipoi arire riro akera Mangaia i te Alas, that Mangaia should b e

rave1 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 beingborne to the altar .

” Muare, the only son of the victim, did no t fo llow 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 Reing a to compose this song in commemoration of his father’stragical fate. Muare found a melancholy pleasure in chanting this song to itsproper accompaniment of the harmonicon : indeed, he quite excelled at this

outrageous performance. A few years ag o he died the death of a Christian.

H is sister Paraakere died recently.

For thou art of a restless and doomedrace.

Thy daughter 1 T aura leads the wayAtiati follows.

Then comes (the youngest) Paraakerewith her mother.

Your faMer is being borne to Me

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3 1 4 MyMs and Song s .

Ia ara i te pa The wounded are shriekingIa ara i te mate. Are awakened only to dieA tara nei e T ane. T ane has gained the v ictory.

Kare kaiti kau rere1 Alas ! Alas Alas ! Alas

Ua riro rai Mangaia rai, e T eau. Mangaia,friends, is lost.

Ua O ia Maki, The chiefs dealt treacherously,O te ivi koia i akamoea

’i O ! After plighting their solemn troth.

T eipoi arire riro’

akera Mangaia e i te Alas, that Mangaia should b e

rave ! snatched from my grasp

Ckorus.

Ia Makitaka te ua . Makitaka , once supreme chief ;A motu te toa ia Ngaki te miro. Now dispossessed by the fiat O f

Ng akiau.

Ia Ng aki te miro ia T eata Ah ! Ng aki directed the sacrifice of

T eata ;

O te uri Oki na Aemata . Like all the descendants of Aemata,

T ei nunga O i te kapua. The v ictim was laid on the altar.Kore rai ooku taeakO Unpitied— unsaved

Kore kore rai e taeake tangi e Alas ! unpitied— unsaved !

Ckorus.

E tini na T ane i ka riro Mangaia . Mangaia is now transferred.

UNUUNU RUA. SECO ND O FFSHO O T .

Tutukiria ng a in e Let brother slay bro ther.

Ka tu au ka aere, I will arise and fight.Ka aere taua O ! Join our band .I nunga i te tuarong a. Away to yon plainT aukarokaro i reira . T o fight our foes.

T ena te vai maka. S tones are flying about,

Human Sacr ifices . 3 I 5

E vai koatu O 1

E vai rakau O 1

Ka ui te vai.

A pa te vai.

A pa te toa ia T auokura.

Ia katamutamu ia karearea.

T e vaa i koma’i.

T e vaa i tara’

i.

Ka tara nei, e Tane.

KarO kaiti kau rere

Ua riro rai Mangaia rai, e T eau. Mangaia , friends, is lost .

Ua O ia Maki, The chiefs dealt treacherously,O te ivi koia i akamoea i O After plighting their solemn troth.

T eipo i arire riro akera Mangaia i te Alas, that Mangaia should b e

ravO ! snatched from my grasp

C/zorus.

Ia Makitaka te na. Makitaka , once supreme chiefA motu te toa ia Ng aki te miro . Now dispossessed by the flat of

Ng akiau.

Ia Ng aki te miro ia Teata

O te uri oki na Aemata

T ei nunga O i te kapua ,Kore rai ooku taeakO

Kore kore rai e taeake tangi e Alas ! unpitied— unsaved !

Cli orus.

E tini na Tane i ka riro Mangaia. Mangaia is now transferred.

O ut of the slings of the brave.

Spears are uplifted.The chiefs pause a moment

T o examine the omens .

Death-blows are being dealt .Fearful are the shouts of the victors.

Alas, those lips that once spakeAlas

, the mouth once shouted !T ane has gained the v ictory.

Alas ! Alas 1 1 Alas 1 1 Alas 1 1

Ah ! Ng aki directed the sacrifice O f

T eata

Like all the descendants of Aemata,

The victim was laid on the altar.Unpitied— unsaved

MyMs and Song s .

CHAPTER XIV.

THE SEASONS,PHASE S OF THE

M O O IV, E T C ,E TC .

THE SEASONS (NGA TINO MARAMA) .

EREU , O R SUMMER.

(Ra in , Heat, and Plenty . )

1 . Aka ic‘

. Breadfruit appears ;chestnut and o ther trees in blossom .

This month is also known as“the

time of beautiful cocoa -nut leaves ”

(marama O te kikan). Akafi extendsfrom the middle of December to Me

middle of 7anua ry .

2 . O tung a . Breadfruit andchestnuttrees covered withfruit, but not ripe.

Sprats 1 arrive. Hills covered w ithreeds in blossom.

1 T he two months preceding the arrival O f sprats are called te kara l i 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 b eempty and weak , until the arrival of sprats gives new life. During these hotand enfeebling months children are fractious and troublesome, but s/zoula’ on no

account be beaten

PARO RO , O R W INTER.

(D roug kt, Cold, and Scarcity )

I . Pa ro'

ra. Cold south winds,w ithering up the wild vines everywhere.

2 . Manu. Incuba tion of birds .

The woodpecker bores the dead cocoanut for a nest . The titi bores the

side of the mountain. Coral-tree inblossom . Warrior-spirits take theirdeparture from earth.

3. Pipir i. Mufl ed up inside Me

b ouse,on account of the cold.

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MyMs and Song s.

CHANGES OF THE MOON (TE TAU ARO PO ).

IN THE WEST . IN THE EAST.1 Iro. Sacred to Iro , patron of 1 6 O turu.

thieves. Favourable for thiev 1 7 Rakau.

ing . 1 8 Rakau-roto , i. e. Second Rakau.

2 Qata shadow ,i. e. moon seen 1 9 Rakau-akaoti, i.e. Last Rakau.

in Shadow .20 Korekore.

Sprats arrive 2 1 Korekore-roto , i. e. Second Koreduring these kore.

3 Amiama . three days in 22 Korekore-akaoti, i.e. Last Kore

4 Amiama -akaoti, i. e.Feb . Failing kore.

Last Amiama.that , expect 23 T angaroa. Sacred to T angaroa.

5 T amatea.th em th e 24 T angaroa -roto . Second night sasame days in cred to T angaroa.

March. 25 T angaroa-akaoti. Last night sa

6 T amatea-akaoti, i. e. Last T ama cred to T angaroa .

tea.

7 Korekore. 26 O T ane. Sacred to T ane .

8 DKorekore-akaoti, i. e. Last Kore 27 Rongo -Nui, i. e. Rongo -the-Great.

kore. T he 26th and 27th were féte

9 O Vari (i. e. Vari-ma -te-takere nights— Rongo and T ane beingthe O riginator-of-all-things. ) patrons of their dances in time

1 0 Una. of peace.

1 1 Maaru.

1 2 Ua. 28 Mauri ghost.1 3 E atua A g od. 29 O m i

'

itu ended.1 4 O Tu, i. e. T u-metua

, the last 30 O O tire O Avaiki (abbreviatedmade of the major gods.

“ O tireo Lost in Me

1 5 O Marang i,1or Full-Moon. depMs of Ava iki.

At Rarotonga the 1 3th 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 .

1 Cocoa -nuts were invariably planted at the full of the moon ; the size of

the moon symbolizing the full roundness of the future fruit.

Tbe Seasons, Pkases of Me M oon ,etc. 3 1 9

From the 1 7th to the 28th the nights were considered favour

able for fishing also favourable for catchingMefisk of Me g ods, i.e.

men . In other words,these were murder nzg/i ts. Tangaroa

( 23rd) and O Tane ( 26th) and Rongo-Nui ( 2 7th) were the threemost lucky for this cruel purpose.

T he eastern Polynesians , like the New Zealanders , invariably

reckon by n igkts~ not as we do, by days. For example,

“ Po ia

koe i te aereng a ? How many nzgkts were you j ourneying ?”

etc.,etc.

THE MARINER’S COMPASS OF POLYNESIA.

To the Chinese belongs the honour of inventing the mariner’s

compas s,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 b e no reasonable doubt that Polynesia was peopled

from Asia . D id 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. Subj oined

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 g roup . At the edge of the horizon are a series of holes,

some large and some small, through which Raka,the god of winds

,

320 MyMs and S ong s .

and his children, love to blow. Hence the phrase in daily use,“rua matangi,

” or “ wind-bole,

” where Europeans would Simply

speak of “ wind .

”T he “ head of the winds is supposed to b e

in the east ; by the time it has veered round to s .w. by w . it is

“ he

named the iku,or “ tail in fact

,i t is dying away until it becomes ,

in the merely an uru,or “ like the touch of a feather.”

Cyclones, of course, begin in the NE, and go on increasing in

violence until,on reaching the iku

,or “ tail

,they moderate.

Passing on to the urn,or “ feathery,

” there i s a perfect calm,

mocking the desolations so lately wrought.

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32 2 MyMs and Song s .

the true native banana is s trangely twisted and contorted some

weeks previous to a hurricane, as if to g ive warning of impending

danger. This is usually associated with an extraordinary growth

of food . Doub tless‘

the excessive moisture and heat which occa

sion this rapid growth, and give ri se 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 i s are,which literally means a kouse .

in its plural use i t may b e rendered a-housefl full-of,

”i.e. many .

Thus

e are atua “a number of gods ; literally,

“a-house

full-of gods

e are aping a a number of valuable things literally

a-house-full-of valuable things .”

2 . A second plural is “vaka

” “canoe;

rendered,“a-canoe-full-of.” Thus

7 or,as it may b e

e vaka angela a host of angels litera lly “a-canoe

full-of angels

e vaka puruki” “

a host of warriors ; literally, a

canoe-full—of warriors .

3. Another frequently used plural is “

pa enclosure : door.

Thus

a pig enclosure a pig-sty“a range of mountains ,

”a s enclosing a

Tb e Seasons, Pkases of Me M oon, 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 O f 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 run”

leaf” Thus

we may speak of“te rau tangata o te Atua, i.e.

“a people

numerous as Me 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 O ff 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 . T he last instance of plurals is maru skadow,or

Made.

” Thus the natives daily speak of te ma ru tangata o te

Atua,”i.e. Mepeople wko sit under Me skadow of God.

”T he old

idea was still of an ancient tree overshadowing the marae filled

with worshippers . The noblest trees affording the best shade wereplanted in their idol groves, not a twig of which might b e plucked.

As applied to Christian worshippers gathering Sabbath after

Sabbath in the house of God to take refreshment under theshadow of the Almighty (Psalm xc. the figure is extremely

beautiful .

In the Tahitian dialect the “r” is dropped, “ maru’” becoming

1 The Aitutakians Speak of te taru ariki = the chiefs, or kingsMang aians speak of te tau ariki. ” T aru on Mangaia is a verb, “

to heapup,

”to cover over w ith new soil. It is easy to trace the connecting link

of thoug ht, i.e. the entire assembly of chiefs.

324 MyMs and Song s .

mau,

”the ordinary plura l of that gr oup . Doubtless our common

p lural au is the same as the mau of the Eastern islands.T he 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 Ofte anau ika “

the wholefamily of fish

te anau kai “the wholefamily of plants.

A very polite mode of address in the Mang aian dialec t is the

use of the Mird person singular, dual, and plural, where in other

languages the second person would b e appropriate reminding one

of the use O f the German S ic.

POLYNESIAN NUMERATION.

T he 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 i slands have

wisely discarded it. I was much surprised when first I heard

the school children at Aneiteum , Mare, and Lifu, repeating theE ng lisk multiplication table with great facility and correctness,

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MyMs and Song s .

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 i s expressed by katoa ”all

(i.e. the fingers).

The “rau

I is a favourite number, continually occurring

in their stories of the past. In a decisive battle fought circa

eighty-nine years ag o, Potai boasted a“ran 2 0 0 warriors ;

whilst the winner, Potiki, had only 1 20 (6 takau) .“ Eternity” is often expressed by the phrase e rau te tautau,

i.e. 20 0 ag es . This is less poetical than the common e r imua

ua atu“ until covered with the moss 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 na atu,

”i.e. time on on,

still on .

”

1 “ Rau also means“ leaf, or pandanus thatch. A nat ive house

requires about 20 0 reeds of thatch to complete one side rau,”therefore,

may mean indifferently a leaf, 20 0 , or a “tua-rau,

”i.e. thatched side of a

dwelling.

I N D E X .

Adventures in spirit-world , 22 1Adventures ofNgaru ,

225

Arokapiti’

s dirge,276

Astronomica l myths , 40Avatea , or Yatea , 3

Bachelor g od in search of a w ife, 1 0 7Blackened face dirge for At iroa ,

28 1Ina

,the fa iry v oyager

, 88

Celestial fish-hook , 48 Irou-wood tree,11 137111 O f, 8 1

Chase that never ends, 40Cocoa-nut tree, myth of, 77 Journey to the inv isible world

,2

Creat ion, myths of, 1

50

Dancing, orig in of, 1 0 0Kereteki, 26

Death-ta lks and dirges, 269 K11' 1k0 V1’

5 sacrifice, 30 5

Dedication O f infants, 36

Kite-flying , I 23Deified men, 23

Kourapapa , laments for, 20 2, 20 6

Derivation O f the Polynesian word forGod. 33

Drum of peace, 293

Echo, 1 1 4Ec lipses , 47Escape from spirit-land , 22 1Eva , or d irge-proper, 27 1Exploits of Maui, 5 1

Fairy men and women ,256

Fa iry of the fountain, 265Fire-god’s secre t , 5 1 f h '

ld 8F irst murder and first bat tle, 282Naming O C 1 1 3 11 3

Ngaru,adventures of, 225

Ng u tuku,dea th of, 30 9

Ghost-killing , 268 Numeration, 1 0 0 , 324

Hades,1 52

Heav en, Aitutakian , 1 75

Hell, Aitutakian, 1 72Human ar ts and inventions

,1 30

Human priesthood needed, 35

Human sacrifices,289

Makitaka’

s laments, 3 1 2

Mariner’s compass , 3 1 9Maruata

,

“crying song for,

Ma tariki, or Pleiades, 43Maui, 5 1 , 63Miscellaneous myths, 1 0 7

Moon ,phases O f, 3 1 8

Mosquitoes, 1 26Mot oro , 25Mourua , lament for, 2 1 0

Papa, 8

Perils of beauty,1 3 1

Pigs , origin of,1 35

Pleiades, 43Plura ls

,remarks on, 322

Potiki,drama t ic féte of

,259

Prayer for a thief or murderer,

Prince O f reed throwers , 1 1 8Pumice s tone , origin of, 58

Puvai,lament for, 1 99

Raka , g od O fwinds , 5Rangi, 1 6

Rata ’

s canoe, 1 42

Riuvaka,in troduction to the féte of

,2 1 7

Rongo,1 0 , 1 5

U takea , 26

U ti’s torch, 1 24Seasons, 3 1 6

Seeking for light , 1 39

Sky raised , 58, 7 1 Yarenga , lament for, 20 8

Sneezing , 1 75 Vari, the Great Mother , 3Spirit-journey, 2 1 5 Veétini or

,the immorta lity of the soul , 1 8 1

Sun and moon , 44 Vera,dirges for , 1 89 , 1 94

Sun made captive , 6 1 , 70Wisdom ofManihiki, 63

T aairang i, or porpoise, 98 Woman in the moon , 45

Cax ton Pr in ting Works , Beccles.

Tane-ng akiau, 30Tane-papa-kai

,1 1

Tangaroa,1 0

T ang i ia , 1 1

Tango , 5T ekuraak i, 3 1

T he-long-lived,1 28

Thiet’

s prayer, 1 50

T iaio , king and g od, 29T inirau, 4

Tonga-iti, 1 1

Tree myths, 77T u-metua , or T u , 6

Tumuteanaoa , or Echo , 5T utapu ,

23

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