<?xml version="1.0" encoding="UTF-8"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.tei-c.org/ns/1.0 nzetc-p5.xsd" xml:id="CowYest" xml:lang="en">
  <teiHeader>
    <fileDesc xml:id="fileDesc-0001">
      <titleStmt>
        <title type="marc245">The Maori: Yesterday and To-day</title>
        <title type="sort">Maori: Yesterday and To-day</title>
        <title type="gmd">[electronic resource]</title>
        <author><name key="name-207731" type="person">James Cowan</name></author>
        <respStmt xml:id="respStmt-0001">
          <resp>Creation of machine-readable version</resp>
          <name key="name-121582" type="organisation">Aptara</name>
        </respStmt>
        <respStmt xml:id="respStmt-0002">
          <resp>Creation of digital images</resp>
          <name key="name-141366" type="person">Samantha Callaghan</name>
        </respStmt>
        <respStmt xml:id="respStmt-0003">
          <resp>Conversion to TEI.2-conformant markup</resp>
          <name key="name-121582" type="organisation">Aptara</name>
        </respStmt>
      </titleStmt>
      <extent>ca. 519 kilobytes</extent>
      <publicationStmt>
        <publisher><name key="name-121602" type="organisation">New Zealand Electronic Text Centre</name></publisher>
        <pubPlace>Wellington, New Zealand</pubPlace>
        <idno type="etc">Modern English, CowYest</idno>
        <availability status="unknown">
          <p>Publicly accessible</p>
          <p n="public">URL: http://www.nzetc.org/collections.html</p>
          <p>copyright 2007, by Victoria University of Wellington</p>
        </availability>
        <date when="2007">2007</date>
        <idno type="vuw-bbid">493214</idno>
      </publicationStmt>
      <notesStmt xml:id="notesStmt-0001">
        <note xml:id="note-0001">Line breaks have only been retained for non-prose elements.</note>
      </notesStmt>
      <sourceDesc xml:id="sourceDesc-0001">
        <biblFull>
          <titleStmt>
            <title><name key="name-400378" type="work">The Maori: Yesterday and To-day</name></title>
            <author><name key="name-207731" type="person">James Cowan</name></author>
          </titleStmt>
          <publicationStmt>
            <pubPlace><name key="name-007584" type="place">Christchurch</name>, N.Z.</pubPlace>
            <publisher><name key="name-002884" type="organisation">Whitcombe &amp; Tombs</name>,</publisher>
            <date when="1930">1930</date>
            <idno type="callno">Source copy consulted: Victoria University of Wellington Library Catalogue, DU423 C874 M</idno>
          </publicationStmt>
        </biblFull>
        <bibl xml:id="text-1-bibl">
          <title><name key="name-400398" type="work">My Eyes are like the Flax-Flowers.</name></title>
        </bibl>
        <bibl xml:id="text-2-bibl">
          <title><name key="name-400398" type="work">English translation of 'My Eyes are like the Flax-Flowers'.</name></title>
        </bibl>
        <bibl xml:id="text-3-bibl">
          <title><name key="name-400400" type="work">The Deserted Girl's Lament.</name></title>
        </bibl>
        <bibl xml:id="text-4-bibl">
          <title><name key="name-400400" type="work">English Translation of 'The Deserted Girl's Lament'.</name></title>
        </bibl>
        <bibl xml:id="text-5-bibl">
          <title><name key="name-400402" type="work">Hokihoki Tonu Mai.</name></title>
        </bibl>
        <bibl xml:id="text-6-bibl">
          <title><name key="name-400402" type="work">English Translation of 'Hokihoki Tonu Mai'.</name></title>
        </bibl>
        <bibl xml:id="text-7-bibl">
          <title><name key="name-400404" type="work">The Flute Song for Hinemoa.</name></title>
          <author>
            <name key="name-400405" type="person">Tutanekai</name>
          </author>
        </bibl>
        <bibl xml:id="text-8-bibl">
          <title><name key="name-400404" type="work">English Translation of 'The Flute Song for Hinemoa'.</name></title>
        </bibl>
        <bibl xml:id="text-9-bibl">
          <title><name key="name-400407" type="work">E te tau, e te tau!</name></title>
          <author>
            <name key="name-400408" type="person">Hinemoa</name>
          </author>
        </bibl>
        <bibl xml:id="text-10-bibl">
          <title><name key="name-400407" type="work">English Translation of 'E te tau, e te tau!'</name></title>
        </bibl>
        <bibl xml:id="text-11-bibl">
          <title><name key="name-400410" type="work">A Love-Charm.</name></title>
        </bibl>
        <bibl xml:id="text-12-bibl">
          <title><name key="name-400410" type="work">English Translation of 'A Love-Charm'.</name></title>
        </bibl>
        <bibl xml:id="text-13-bibl">
          <title><name key="name-400412" type="work">Haul up the Canoe.</name></title>
        </bibl>
        <bibl xml:id="text-14-bibl">
          <title><name key="name-400412" type="work">English Translation of 'Haul up the Canoe'.</name></title>
        </bibl>
        <bibl xml:id="text-15-bibl">
          <title><name key="name-400414" type="work">A Sentry Song.</name></title>
        </bibl>
        <bibl xml:id="text-16-bibl">
          <title><name key="name-400414" type="work">English Translation of 'A Sentry Song'.</name></title>
        </bibl>
        <bibl xml:id="text-17-bibl">
          <title><name key="name-400428" type="work">Miru, of the Reinga.</name></title>
        </bibl>
        <bibl xml:id="text-18-bibl">
          <title><name key="name-400428" type="work">English Translation of 'Miru, of the Reinga'.</name></title>
        </bibl>
        <bibl xml:id="text-19-bibl">
          <title><name key="name-400430" type="work">A Song of Praise.</name></title>
        </bibl>
        <bibl xml:id="text-20-bibl">
          <title><name key="name-400430" type="work">English Translation of 'A Song of Praise'.</name></title>
        </bibl>
        <bibl xml:id="text-21-bibl">
          <title><name key="name-400432" type="work">For Those Killed in Battle: A Lament for Mahoetahi.</name></title>
          <author>
            <name key="name-400434" type="person">Hokepera</name>
          </author>
        </bibl>
        <bibl xml:id="text-22-bibl">
          <title><name key="name-400432" type="work">English Translation of 'For Those Killed in Battle: A Lament for Mahoetahi'.</name></title>
        </bibl>
        <bibl xml:id="text-23-bibl">
          <title><name key="name-400435" type="work">Pass On along the Quiet Ways.</name></title>
        </bibl>
        <bibl xml:id="text-24-bibl">
          <title><name key="name-400435" type="work">English Translation of 'Pass On along the Quiet Ways'.</name></title>
        </bibl>
        <bibl xml:id="text-25-bibl">
          <title><name key="name-400437" type="work">Ko te tuanga o te rakau ki raro</name></title>
          <author>
            <name key="name-400405" type="person">Tutanekai</name>
          </author>
        </bibl>
        <bibl xml:id="text-26-bibl">
          <title><name key="name-400437" type="work">English Translation of 'Ko te tuanga o te rakau ki raro'.</name></title>
        </bibl>
        <bibl xml:id="text-27-bibl">
          <title><name key="name-400439" type="work">A Rotorua Canoe Chant.</name></title>
        </bibl>
        <bibl xml:id="text-28-bibl">
          <title><name key="name-400439" type="work">English Translation of 'A Rotorua Canoe Chant'.</name></title>
        </bibl>
        <bibl xml:id="text-29-bibl">
          <title><name key="name-400440" type="work">The Chant of Takitimu.</name></title>
        </bibl>
        <bibl xml:id="text-30-bibl">
          <title><name key="name-400440" type="work">English Translation of 'The Chant of Takitimu'.</name></title>
        </bibl>
        <bibl xml:id="text-31-bibl">
          <title><name key="name-400441" type="work">A Waikato River Song.</name></title>
        </bibl>
        <bibl xml:id="text-32-bibl">
          <title><name key="name-400441" type="work">English Translation of 'A Waikato River Song'.</name></title>
        </bibl>
        <bibl xml:id="text-33-bibl">
          <title><name key="name-400442" type="work">Ko Aotea te waka,</name></title>
        </bibl>
        <bibl xml:id="text-34-bibl">
          <title><name key="name-400442" type="work">English Translation of 'Ko Aotea te waka,'</name></title>
        </bibl>
        <bibl xml:id="text-35-bibl">
          <title><name key="name-400443" type="work">Te Taniwha o te Rua</name></title>
        </bibl>
        <bibl xml:id="text-36-bibl">
          <title><name key="name-400443" type="work">English Translation of 'Te Taniwha o te Rua'</name></title>
        </bibl>
      </sourceDesc>
    </fileDesc>
    <encodingDesc>
      <editorialDecl>
        <p>All unambiguous end-of-line hyphens have been removed, and
          the trailing part of a word has been joined to the preceding
          line.</p>
        <p xml:id="ETC">Some keywords in the header are a local Electronic
          Text Centre scheme to aid in establishing analytical
          groupings.</p>
      </editorialDecl>
      <classDecl>
        <taxonomy xml:id="nzetc-subjects">
          <bibl>
            <title>NZETC Subject Headings</title>
          </bibl>
        </taxonomy>
      </classDecl>
    </encodingDesc>
    <profileDesc xml:id="profileDesc-0001">
      <langUsage>
        <language ident="en">English</language>
        <language ident="mi">Māori</language>
      </langUsage>
      <textClass>
        <keywords scheme="http://www.nzetc.org/nzetc-subjects">
          <list>
            <item><rs key="subject-000010" type="subject">Historical Māori and Pacific Islands</rs></item>
          </list>
        </keywords>
      </textClass>
    </profileDesc>
    <revisionDesc>
      <change n="quickProof"><date when="2007-09-03T14:48:13">14:48:13, Monday 3 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Text-proofing of a sample of the text</change>
      <change n="teiMarkup"><date when="2007-09-03T15:02:56">15:02:56, Monday 3 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Conversion to TEI.2-conformat markup</change>
      <change n="scriptedMarkup"><date when="2007-09-04T15:12:59">15:12:59, Tuesday 4 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Adding name markup</change>
      <change n="encodingDesc"><date when="2007-09-04T15:13:17">15:13:17, Tuesday 4 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Addition of encodingDesc</change>
      <change n="assembleImages"><date when="2007-09-05T13:01:47">13:01:47, Wedsnesday 5 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Assembled all images</change>
      <change n="derivativeCreation"><date when="2007-09-05T13:01:48">13:01:48, Wedsnesday 5 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Creation of derivative images</change>
      <change n="teiValidation"><date when="2007-09-05T13:32:20">13:32:20, Wedsnesday 5 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Validation of TEI</change>
      <change n="nameValidation"><date when="2007-09-05T13:35:56">13:35:56, Wedsnesday 5 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Validation of names</change>
      <change n="utf8Conversion"><date when="2007-09-05T13:36:22">13:36:22, Wedsnesday 5 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Conversion to Unicode (utf-8)</change>
      <change n="addBibls"><date when="2007-09-06T10:50:06">10:50:06, Thursday 6 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Addition of bibls</change>
      <change n="makeProduction"><date when="2007-09-06T10:50:12">10:50:12, Thursday 6 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Promotion to production</change>
      <change n="drmAddition"><date when="2007-09-06T10:50:13">10:50:13, Thursday 6 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Addition of text to access control</change>
      <change n="harvestTopicMap"><date when="2007-09-06T11:09:32">11:09:32, Thursday 6 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Harvest into Topic Map</change>
      <change n="browserCheck"><date when="2007-09-06T13:48:13">13:48:13, Thursday 6 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Checking of text using browser</change>
      <change n="corpusAddition"><date when="2007-09-06T13:48:49">13:48:49, Thursday 6 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Addition of text to corpus</change>
      <change n="catalogueAddition"><date when="2007-09-06T13:50:47">13:50:47, Thursday 6 September 2007</date><label>editorial</label><name type="person" key="name-141366">Sam Callaghan</name>Addition of text to Library Catalogue<!-- BBID=493214 --></change>
      <change n="live"><date when="2008-09-23T14:47:13">14:47:13, Tuesday 23 September 2008</date><label>editorial</label><name type="organisation" key="name-121602">NZETC</name>Make text available on NZETC website</change>
    <change n="epubPreparation"><date when="2009-08-04T14:07:23">14:07:23, Tuesday 4 August 2009</date><name type="organisation" key="name-121602">NZETC</name>Preparation of EPUB (and other formats such as DaisyBook)</change></revisionDesc>
  </teiHeader>
  <text xml:id="t1">
    <front xml:id="t1-front">
      <divGen type="toc" rend="div/div"/>
      <div xml:id="t1-front-d1" type="covers">
        <p>
          <figure xml:id="CowYestFCo">
            <graphic url="CowYestFCo.jpg" mimeType="image/jpeg" xml:id="CowYestFCo-g"/>
            <figDesc>Front Cover</figDesc>
          </figure>
        </p>
        <p>
          <figure xml:id="CowYestSpi">
            <graphic url="CowYestSpi.jpg" mimeType="image/jpeg" xml:id="CowYestSpi-g"/>
            <figDesc>Spine</figDesc>
          </figure>
        </p>
        <p>
          <figure xml:id="CowYestBCo">
            <graphic url="CowYestBCo.jpg" mimeType="image/jpeg" xml:id="CowYestBCo-g"/>
            <figDesc>Back Cover</figDesc>
          </figure>
        </p>
        <p>
          <figure xml:id="CowYestTit">
            <graphic url="CowYestTit.jpg" mimeType="image/jpeg" xml:id="CowYestTit-g"/>
            <figDesc>Title Page</figDesc>
          </figure>
        </p>
      </div>
      <pb xml:id="n1"/>
      <pb xml:id="n2"/>
      <pb xml:id="n3"/>
      <titlePage xml:id="t1-front-d2-d1">
        <docTitle>
          <titlePart type="main">
            <hi rend="c">The Maori</hi>
            <lb/>
            <hi rend="sc">Yesterday and To-day</hi>
          </titlePart>
        </docTitle>
      </titlePage>
      <pb xml:id="n4"/>
      <div xml:id="t1-front-d3" type="frontispiece">
        <p>
          <figure xml:id="CowYest_P001a">
            <graphic url="CowYest_P001a.jpg" mimeType="image/jpeg" xml:id="CowYest_P001a-g"/>
            <head>Whitebait Fisherwomen, Waikato River.<lb/>
Large quantities of whitebait (<hi rend="i">inanga or matamata</hi>) are netted on the Lower Waikato in the spring and early summer. The Maoris camp on the low islands and the banks for several weeks. Their catch marketed is worth about £10,000 for the season.<lb/>
[<hi rend="i">Photo. taken near Tuakau, August</hi>, 1929.</head>
          </figure>
        </p>
      </div>
    </front>
    <body xml:id="t1-body">
      <pb xml:id="n5" n="1"/>
      <head>The Maori: Yesterday and To-day</head>
      <div xml:id="t1-body-d1-d1" type="chapter">
        <head><hi rend="sc">Chapter</hi> I.<lb/>
<hi rend="c">The Maori's Place in New Zealand Life.</hi></head>
        <div xml:id="t1-body-d1-d1-d1" type="section">
          <p>Three-quarters of a century ago an officer of the Royal Engineers stationed in Auckland put this prophecy in writing: “In fifty years there will scarcely be one <name type="place" key="name-170607">New Zealand</name> native left alive. All that can be done is to let them die out as quietly as possible…” Many Englishmen after Captain Collinson's day made a similar prediction, and in the Sixties there were politicians and newspaper writers who did not content themselves with the mere hope that the race would die out; they counselled a war of extermination. Even such sympathetic men as <name type="person" key="name-207832">Alfred Domett</name>, poet and statesman, regarded the Maori as a fast vanishing race.</p>
          <p>The Maori himself has given reply to these confident prophecies of his melancholy fate by declining to lie down and die. There was a time when in his fatalism he was ready to accept the extinction like the <hi rend="i">moa</hi> that the all-dominating <hi rend="i">pakeha</hi> march meant for him. The process of disappearance from the earth to which the South Sea Islander and the Red Indian alike were submitting before the unconquerable advance of the white man, seemed inevitable also in the land of the Maori. Forty years ago the condition of the race was considered by many New Zealanders void of hope for the future. Like the forest-tree
<pb xml:id="n6" n="2"/>
encircled by the ever-tightening and strengthening coils of the <hi rend="i">rata</hi>, the fate of the Maori, though long deferred, it was impossible to avert. He would gradually perish from the land, leaving nothing but his ruined hill forts and some military traditions and poetic literature to remind the coming generations of the <name type="place" key="name-170607">New Zealand</name> nation of the men who traded and fought with the pioneers of British colonization.</p>
          <p>But to-day the Maori is 65,000 strong. Every census shows an increase in population. The race is established as a factor of permanent importance in the growth of <name type="place" key="name-170607">New Zealand</name> nationalism. In social conditions, in hygiene, in industry and the production of wealth, the Maori has exactly reversed the common belief of two generations ago. To a considerable degree the race is amalgamating with the Anglo-Celtic colonists who outnumber it nearly twenty-five to one, but there is a distinct increase in the purely Maori population and a faith in the future of the people as an individual entity in the life of the Dominion for many generations to come. The Maori, in short, stands on his feet once more. He rejoices in his renewed virility and hold on life, and he is opening a way for himself to a new world of contentment and prosperity. The agencies and influences that have contributed to this happy reversal of the mournful decline are manifold; the cumulative effect is a result that is peculiarly creditable to enlightened British methods in dealing with a native race. For it is only in British Colonies and Dominions in the South Seas, or groups largely under British influence, that the native races have picked up new heart after the early tragedy of contact with the European, and are regaining something of their ancient pride of nationhood and the olden fecundity.</p>
          <pb xml:id="n7" n="3"/>
          <p>In the old Maori belief everything animate and many things inanimate were endowed with a <hi rend="i">mauri</hi> and a <hi rend="i">hau</hi>, by which terms were meant a soul, an individuality, and in the case of man, a “vital spark” which by various means, natural and supernatural, could be extinguished. When the white man's influence transformed the face of Maoridom, and the native race began to decrease, the wise men of the tribes attributed the decadence of the people to the neglect of the ancient religion, and the decay of the sacred <hi rend="i">hau</hi> which had been conquered by the spirit of the new age.</p>
          <p>But there must be in the Maori a strong racial quality of physical and spiritual resilience, a power to rise superior to hostile natural forces. At any rate the outlook for the people has completely changed during the present generation. Factors which have contributed to this happy condition are the Government's sanitation crusade, medical and nursing attention, improved diet, better attention to young children, a return to the agricultural industries, increased sobriety, regular habits of work—all these have helped to overcome stagnation, moral and physical, which was an inevitable condition of the violent transition from a primitive state of society to the modern.</p>
          <p>You see the depth of the despairing spirit of racial decay in the Marquesas group to-day. There a once splendid Polynesian people is disappearing, smitten to death by the impalpable enemy, the breath of the intrusive white man. The <hi rend="i">hau</hi> of the race has been overrun, trampled in the dust; the Marquesan has lost his <hi rend="i">mauri ora</hi>, his living soul. Conversely, the Maori of New Zealand regained his, or at any rate, has plucked up courage, the will to live, that makes all the difference in the world to a <name type="place" key="name-023279">Pacific Islands</name> people.</p>
          <pb xml:id="n8" n="4"/>
          <p>First in the agencies that have transformed the outlook on life for the Maori is the work of the State's doctors among the people in the last quarter of a century. It was in 1901 that the pioneer Maori doctor, <name type="person" key="name-140961">Maui Pomare</name>—now the <name key="name-140961" type="person">Hon. Sir Maui Pomare</name>, M.P.—a young New Zealander of high pedigree and great natural gifts, the first native graduate in medicine, who had returned to his country full of zeal for his profession and his people, was appointed to the staff of the newly-formed Department of Public Health. That was the beginning of the great work, the task of staying the downward drift of the race. The enthusiastic young doctor who went into the <hi rend="i">kaingas</hi> from end to end of the Maori districts and earnestly preached sanitation and exhorted and pushed the people into new and higher modes of life, has won high honours as an administrator since the early days of this century; but his greatest work was that first almost heartbreaking effort to stop the all-but-inevitable end of the Maori race and its South Sea Island kin. Pomare, in his first report to the Chief Health Officer, wrote that “it was with a heart full of fear and trembling that my mission was undertaken.” He had strong antagonism to <hi rend="i">pakeha</hi> science to overcome, deeply rooted belief in <hi rend="i">tapu</hi> and the <hi rend="i">tohunga</hi>, racial mistrust of all <hi rend="i">pakeha</hi> counsels; agelong social habits and practices. No <hi rend="i">pakeha</hi> doctor, or host of doctors, could have begun that breaking-down process: only a man of their own race, followed by others as they were trained, could turn the Maori into the path of life and progress. The campaign against disease and unwholesome ways has been carried on by several of the young generation since the way was opened twenty-seven years ago—<name key="name-202886" type="person">Dr. Te Rangihiroa</name> (<name type="person" key="name-202886">Peter Buck</name>) good soldier and distinguished ethnologist, <name key="name-209622" type="person">Dr. Wi Repa</name>, and
<pb xml:id="n9" n="5"/>
<figure xml:id="CowYest_005a"><graphic url="CowYest_005a.jpg" mimeType="image/jpeg" xml:id="CowYest_005a-g"/><head>“<hi rend="sc">The Light of Other Days</hi>.”<lb/>
“…. <hi rend="i">The memory of joys that are past, pleasant and mournful to the soul….. Slant looks the sun on the field; gradual grows the shade of the hill</hi>.”—<hi rend="sc">Ossian</hi>.<lb/>
The venerable <name key="name-100066" type="person">Patara te Tuhi</name>, Chief of Ngati-Mahuta clan of Waikato.<lb/>
A picture at Mangere, Manukau Harbour, by James McDonald.</head></figure>
<pb xml:id="n10" n="6"/>
Dr. Ellison—after the foundation of a new sound life was laid by Dr. Pomare.</p>
          <p>An admirable summary of the Maori health situation and its interrelated problems was contained in Dr. Pomare's official report in 1906. He wrote:</p>
          <q>
            <p>“We have lived in hopes, and at last I see a glimmering of realisation in the reconstruction of the Native Department. Not that we did nothing in the past years, far from it, but we laboured under great disadvantages and difficulties. The field was too great for one man, the task too herculean for one body, the distances that had to be travelled were too great, the roads in parts were often impassable, but yet never a call came that we did not respond, a cry that we did not heed.… Recent changes in the Native Department give promise of having this done, and, further, we can expect more systematic work being carried out in the sanitary inspecting of <hi rend="i">kaingas</hi>, medical attendance to the Maoris, and the proper care of the old men and indigent natives.”</p>
            <p>“We have looked into the question of the decline of the Maori, and have found that the causes of this were legion. Bad housing, feeding, clothing, nursing, unventilated rooms, unwholesome <hi rend="i">pas</hi>, were all opposed to the perpetuation of the race; but a deeper knowledge of the Maori reveals to us the fact that these are not the only potent factors in the causation of his decay. Like an imprisoned bird of the forest, he pines for the liberty and freedom of his alpine woods. This was a warrior race used to fighting for liberty or to death. All this is gone, fighting is no more. There is no alternative but to become a <hi rend="i">pakeha</hi>. Was not this saying uttered by the mouth of a dying chief many generations ago: ‘<hi rend="i">Kei muri i te awé kapara he tangata ke, mana te ao, he ma</hi>’ (‘Shadowed behind the tattooed face a stranger stands, he who owns the earth, and he is white’)? There is no hope for the Maori but in ultimate absorption by the <hi rend="i">pakeha</hi>. This is his only hope, if hope it be, to find his descendants merged in the future sons of the Briton of the Southern Hemisphere. Sons who will not forget that in them runs the warrior blood of unconquered chieftains of centuries, and who, on the other hand, will be imbued with loyalty and imperialism, proud of being members of the Empire to which belong their fathers. While, however, this is taking place we must recognise the fact that these people must live under hygienic conditions, not only because it would be to their own advantage, but also that the public at large demands it; and that is why the crusade must be carried on, the war waged with increased vigour and untiring effort.”</p>
          </q>
          <pb xml:id="n11" n="7"/>
          <p>That was the situation as it appeared over a score of years ago. Pomare's prophecies have been fulfilled in some respects. The war against disease and ignorance has been carried through with the result that many of the old habits that were dragging the race down have been given up. But it is happily apparent also that the Maori of the new generation is not likely to merge his individuality completely in that of the <hi rend="i">pakeha</hi>. The Maori community in many a district will continue thoroughly Maori in many of the features that distinguish a proud race of immemorial poets and warriors from that of the commercial-minded <hi rend="i">pakeha</hi>.</p>
          <p>The second great factor in the regeneration of the race is the return to the agricultural life, and the growing interest in pastoral pursuits. The Maori is now a successful farmer in many districts; he has even taken to the dairying industry, which at one time was distasteful to a people impatient of the steady attention to one job which the milkingshed demands.</p>
        </div>
        <div xml:id="t1-body-d1-d1-d2" type="section">
          <head>What the Census Shows.</head>
          <p>In 1926, the year of the last census, there were 63,670 Maoris, of whom 11,306 were half-castes and 6,632 three-quarter Maoris. The total native population showed an increase of about 18,000 on the figures of the census twenty-five years previously. In the last census the males numbered 23,783 and the females 21,646. Over 61 per cent. of the males and 63 per cent. of the females were under 25 years of age. The Government Statistician, in commenting on the census figures, said that already probably almost one half of the Maori community was no longer of pure Maori descent and could never again contribute to the quota of pure
<pb xml:id="n12" n="8"/>
Maori. The pure Maori remnant must inevitably suffer attrition as members from time to time marry outside its ranks. “The analogy of other races in other countries does not lend colour to the theory of indefinite survival, but the somewhat gloomy prophecies of rapid extinction held in past years by such men as Featherston, Hochstetter, Newman, Buller and Walsh have happily been refuted.” One statistician considered it very doubtful whether the race could survive the gradual infiltration of European strains. Its continuance as a separate entity for many generations was assured, but its indefinite continuance was quite another matter. In other words, there would most probably be in the future a complete blending of the two races.</p>
          <p>An estimate of the Maori population in February, 1929, was 65,441.</p>
          <p>In 1919, of 814 men of the Maori Pioneer Battalion returning from service in France, 48 per cent. had European blood; and of 4,500 native school children investigated in 1922, the percentage with white blood was 50.1 per cent.</p>
          <p>Ninety-six per cent of the Maori population is in the North Island and seventy per cent. in the Auckland province. In 1926 the Maoris recorded in the South Island numbered only 2,804. The North Auckland peninsula holds almost one-fourth of the whole Maori population. In particular the counties of Hokianga and <name type="place" key="name-100221">Bay of Islands</name>, with an aggregate native population of 7,280, represent the densest Maori communities of the present day.</p>
          <p>Of the Moriori, or Mai-oriori race, the original people of the <name type="place" key="name-120136">Chatham Islands</name>, there is only one solitary pure-blood member to-day; this is Tami Horomona, a sheep-farmer at Awapatiki. He has a Maori wife. Tami's forefathers were such
<pb xml:id="n13" n="9"/>
<figure xml:id="CowYest_009a"><graphic url="CowYest_009a.jpg" mimeType="image/jpeg" xml:id="CowYest_009a-g"/><head><hi rend="c">Map<lb/>
showing districts<lb/>
of the principal<lb/>
Maori Tribes<lb/>
in <name key="name-170607" type="place">New Zealand</name></hi></head></figure>
<pb xml:id="n14" n="10"/>
inveterate lovers of the peaceful life that they eschewed all weapons of war and all military exercises, with the natural consequence that they fell the easiest of victims to the cannibal Maori invaders headed by Pomare, of Ngati-Mutunga, nearly a century ago.</p>
        </div>
        <div xml:id="t1-body-d1-d1-d3" type="section">
          <head>The Test of War.</head>
          <p>It was the Great War that gave the young Maori the grand opportunity of demonstrating his fitness for soldierly brotherhood with the world's finest fighting men. Physically, mentally and morally the Maori troops who went to Gallipoli and Europe were the peers of the best of Britain's blood. More than 2,200 Maoris, with several hundred of <name type="place" key="name-170607">New Zealand</name>'s Polynesian Islanders, enlisted for service in the Empire's cause overseas. Most of these served in the New Zealand Pioneer Battalion, organised for France after the Gallipoli expedition. The first Contingent of Maoris distinguished itself in the Gallipoli fighting and lost heavily in the battle of <name type="place" key="name-123570">Sari Bair</name> in 1915. The total casualties, 1915–1918, were nearly a thousand, or about 45 per cent. of the Maori strength. Many officers and men were decorated for special acts of bravery; all won praise for their conduct in troopship, in camp and in the trenches. The Pioneers' steadiness and endurance under the greatest test of all, sustained shellfire, was the theme of commendation by British generals. A <hi rend="i">pakeha</hi> officer on Gallipoli wrote of them: “I am satisfied that better troops do not exist in the world”; and another said they were the best of bayonet fighters, and were perfect as sentries. The honourable and gallant record established by the Maoris on foreign battlefields enormously stiffened the fibre of the race. They had won the respect and affection of their <hi rend="i">pakeha</hi>
<pb xml:id="n15" n="11"/>
<figure xml:id="CowYest_011a"><graphic url="CowYest_011a.jpg" mimeType="image/jpeg" xml:id="CowYest_011a-g"/><head>A Maori fort of the musket era: Ohaeawai Pa, near Kaikohe, North Auckland, unsuccessfully attacked by British troops, 1845. The strong timber palisade, double, was thickly padded on the outside with green flax, which deadened the impact of artillery balls as well as musket bullets. The defenders in the trench in rear of the stockade fired through the loopholes at ground level.<lb/>
[<hi rend="i">From a drawing by Major Bridge, 58th Regt.</hi></head></figure>
<pb xml:id="n16" n="12"/>
brothers in a way nothing but the common sufferings and sacrifices of war could have achieved for them. The social and spiritual rehabilitation of the Maori was crowned by this long service under arms on the thundering fields of France and Flanders.</p>
        </div>
        <div xml:id="t1-body-d1-d1-d4" type="section">
          <head>The Genius of the Race.</head>
          <p>Coincidently with this material renaissance of the race, its ascent in health and comfort and industrial habits, there has come a new interest in the cultural side of the Maori, the artistic and poetic tradition and the varied forms it assumes; features that will strongly colour the <name type="place" key="name-170607">New Zealand</name> national life and character of the future. The native talent in artcraft, the poetry that so deeply permeates the Maori being, are discussed in chapters in this book; a vast amount more could be written about them. A great body of Maori lore and ancient wisdom and poetry has been placed on printed record. But these records should not be regarded as so much museum lore, an interesting relic of the past and no more. Much of it is at least as worthy of use among the Maori of to-day as <hi rend="i">pakeha</hi> traditional practice is among the <hi rend="i">pakeha</hi>. I should like to see the young generation of Maori take more pride in his nationality, in other things than sport. He is too ready to accept his <hi rend="i">pakeha</hi> environment and to believe that what the <hi rend="i">pakeha</hi> believes is also the right and proper thing for him. There are many of his grand traditions he can practice to-day without sacrificing his opportunities of advancement in the arts and industries of his English fellow-New Zealanders.</p>
          <p>The soul of the race, the individuality and peculiar genius of the descendants of the old Pacific sea-rovers, bards and mystics, are expressed in the national tradition, poetry, song and artcraft. Long
<pb xml:id="n17" n="13"/>
discouraged by neglect and by those who desired to see the Maori individuality merged in the white and Anglicised out of all likeness to the original type, these rich fields of knowledge and inspiration are now engaging the attention of students of both races. The beauty of much of the old Maori religion has come to be recognised. The best type of missionary among primitive races is now an ethnologist, with a mind broad enough to appreciate the nobility of primitive religion even when it runs counter to the dogma and prejudices of his own church. All present-day church people, however, do not seem to realise the merits of the immemorial Maori system of faith and ceremonial ritual, and there is an unfortunate tendency to supplant even what little remains of the original <hi rend="i">karakia</hi> with the customs of the <hi rend="i">pakeha</hi>. As an example, there is the Maori service for the opening of a newly-built carved house. Nothing in a <hi rend="i">pakeha</hi> service for the blessing of new buildings is so finely poetical and so appropriate as the Maori house-opening chant given in Chapter 10 of this book, an Arawa <hi rend="i">karakia</hi> that is a true house-warming prayer. Custom and wholesome veneration for the unseen and the divine are bound up in such ceremonials. I should like to see the Maori people generally insist on preserving such observances as these unspoiled by the foreign element.</p>
        </div>
        <div xml:id="t1-body-d1-d1-d5" type="section">
          <head>The Maori Farmer.</head>
          <p>The Maori in the pre-European era was the most industrious of men. Probably no other race had to work harder for its very existence. Enormous works, such as fortifications, were carried out by communal labour, and these scarped and terraced hill forts stand to this day in many hundreds of examples, as monuments to the skill, perseverance and
<pb xml:id="n18" n="14"/>
<figure xml:id="CowYest_014a"><graphic url="CowYest_014a.jpg" mimeType="image/jpeg" xml:id="CowYest_014a-g"/><head><hi rend="sc">Maori Skill in Military Engineering</hi>.<lb/>
These detail drawings of the Ngapuhi fortifications of Ruapekapeka <hi rend="i">Pa</hi>, in Hone Heke's war in North New Zealand, 1845–46, illustrate the ingenuity with which the Maori adapted his defences to the needs of the firearms era. The Maori was particularly skilful in “digging in” against artillery fire.</head></figure>
<pb xml:id="n19" n="15"/>
working capacity of the native people. Tree-felling and timber-working, clearing land for cultivation, making great canoes, building large and beautifully-carved houses, obtaining food from forest, sea, river and lake, were occupations that called for strenuous effort and great ingenuity. Agriculture, though primitive and restricted to one or two staples, provided subsistence for a very large population. Then, in the early days of contact with the <hi rend="i">pakeha</hi>, the rush to obtain firearms and gun-powder set every tribe toiling with feverish energy at flax-cutting and scraping for the traders. In a later era, the first two decades of British colonization, the Maori became a grower of wheat and other new foodstuffs, and there was a time when the infant cities in the North Island drew much of their wheat and flour and potatoes from the Maori farms. The long wars ruined this happy industrious age, when thousands of acres of wheat and other crops were raised by the tribes on the coast and far inland, and when nearly every large community had its flourmill, driven by waterpower, and when flour from the heart of the Waikato was even shipped to the new gold-rush towns in California and Australia. The wars that lasted for ten years set the Maori back fifty years; and the dealings in land that followed, the interminable Land Court sittings, with their scenes of drunken dissipation—until the Government changed the venue to purely Maori districts away from the temptations of the public-houses—the chicanery and double dealing of <hi rend="i">pakeha</hi> agents, the unsettled conditions of life, the lack of definite aims and hopes—all these factors made for deterioration of the moral and physical fibre of the race. Life's handicap sat heavily on the Maori of forty years ago. Now the change that has come over the scene is pleasant indeed. The old
<pb xml:id="n20" n="16"/>
racial bitterness has gone, or is all but gone; the old despair has given place to hope and faith in the future. The knowledge that the race is increasing in numbers, as shown by every census that is taken, has enormously heartened up the Maori people. The increasing virility of the race, the increase in the proportion of children, the general steady growth within the last generation have given the people courage to attack the industrial problems of life. And above all the life on the land is engaging the physical energy and the brains of the young Maori. There are still some sections lingering in the old paths, reluctant to learn and adapt themselves to the new era. But the Maori generally is manfully shouldering the <hi rend="i">pikau</hi> of this twentieth century and is in some quarters showing that, given the same facilities, he can even outstrip the <hi rend="i">pakeha</hi> in the walks of civilized life. He has come to realize that the <hi rend="i">pakeha</hi> regards him as a member of the community whose value, social and industrial, to the nation increases with every year that passes. He appreciates, too, very acutely the fact that his <hi rend="i">pakeha</hi> fellow countryman—and now his racial kinsman—places high value on the spiritual and intellectual gifts of the ancient race, and looks to the Maori for inspiration in art and poetic conceptions and the distinctive characteristics that go to build up the national ideals.</p>
          <p>The Maori, wherever he is given a fair chance to win a living from the soil of his ancestors, is manfully doing his best to keep up with his more experienced <hi rend="i">pakeha</hi> neighbours. As for his standard of living, it is relatively high. The native is a “good spender” as the tradespeople say, he is no miser, no coin-hoarding Chinaman or Hindu. No doubt he would sometimes be better, like his <hi rend="i">pakeha</hi> friends, for a little of the frugal spirit, but
<pb xml:id="n21" n="17"/>
generosity and hospitality are the soul of the race, and the communal spirit of giving reaches its pinnacle, perhaps, in the <hi rend="i">kainga</hi> Maori.</p>
          <p>The Maori people have only about four million acres of land remaining to them, and from this area there have to be deducted rugged mountains unfit for settlement and other useless land, so that the area available for farming is now too small for the requirements of the increasing native population. Not merely should the Maori be secured beyond all fear of dispossession of what land remains to him, but he should be given State facilities to obtain more land for his present and future needs. The truth is that in some districts the people have not sufficient land for their subsistence. They are forced to take to other occupations to earn their bread. If the Maori is to take his natural and most fitting place in the industrial world he must be assured in the possession of land for himself and his children after him. In Taranaki, in Waikato, and in the Rotorua district, and other parts, there
<figure xml:id="CowYest_017a"><graphic url="CowYest_017a.jpg" mimeType="image/jpeg" xml:id="CowYest_017a-g"/><head>In the potato field, Whakatane Valley, Urewera Country.<lb/>
[<hi rend="i">J. A. Baine, photo</hi>.</head></figure>
<pb xml:id="n22" n="18"/>
are Maoris willing and anxious to farm the land, but they have no land to farm. The call is for more population for the Dominion, but the human material native to the soil is far more valuable to the nation than any immigration from overseas. Happily during the last few years the Legislature has exhibited an excellent sense of its duty to the native race, and measures passed during the 1926 session enabled the various Native District Boards to assist Maoris in farming and otherwise making use of their properties, and this financial help has given a desirable impetus to the work of cultivating and stocking the land. There was at the last return over half a million in funds held by the Native Land Boards, and farmers are able to obtain loans from this source. The work of consolidation of interests in land, so that each owner shall have a usable block or section to work, instead of having a number of small and comparatively useless interests in various parts, is a most necessary preliminary to satisfactory farming, and this task has engaged the Native Department of the Government for some years.</p>
          <p>In those districts such as the East Coast where sheep-raising and other branches of farming have been carried on for some years with success, the people have received practical help from their <hi rend="i">pakeha</hi> fellow-settlers, and now that they are able to stand on their own feet, and even to exhibit a fine example to the European stock-owner and agriculturist, they are a distinct source of economic strength to the nation. What Ngati-Porou have done in the East Cape country can be emulated in other districts, given the financial and technical help that the Government is now making available. But an assured sufficiency of workable land is the first essential to the building of a prosperous and contented Maori people.</p>
        </div>
        <pb xml:id="n23" n="19"/>
        <div xml:id="t1-body-d1-d1-d6" type="section">
          <head>The Progress of <name key="name-207089" type="organisation">Ngati-Porou</name>.</head>
          <p>The Maoris of the East Cape district held on to a large portion of the land when other tribes were selling as fast as they could sign the deeds and dissipate the proceeds. In the Waiapu county, of nearly three-quarters of a million acres and a population of about 2,700 Maoris, there is something over a quarter of a million acres in native hands. A pity, perhaps, there is not more, seeing that the Maori population is on the increase; but what there is has put the people on the road to great comfort and prosperity.</p>
          <p>
            <figure xml:id="CowYest_019a">
              <graphic url="CowYest_019a.jpg" mimeType="image/jpeg" xml:id="CowYest_019a-g"/>
              <head><hi rend="sc">A Taranaki Family</hi>.<lb/><name key="name-400384" type="person">Te Whare-aitu</name> and his wife and children (Ngati-Tupaea <hi rend="i">hapu</hi> of Ngati-Ruanui tribe).</head>
            </figure>
          </p>
          <p>Here, led by <name key="name-208832" type="person">Sir Apirana Ngata</name> and other educated Ngati-Porou of the younger generation, and wisely counselled and generously assisted by
<pb xml:id="n24" n="20"/>
the Williams family of pioneers, the natives embarked a little over twenty years ago on a system of co-operative sheep-farming which has developed into a very large enterprise. New Zealand, indeed, does not realize what a splendid thing this Maori-<hi rend="i">pakeha</hi> combination has been to the East Coast and to the native race.</p>
          <p>In the joint application of brains, capital and labour to the sheep-farming business, the communal or group system has worked out exceedingly well. The co-operative principle exactly suits the tradition and genius of the Maori. It helps to preserve the village life instead of isolating families on large farms. Every comfort of civilized life is to be found in these Ngati-Porou homes, and indeed many of the luxuries of the town are here. Ngati-Porou certainly seem to have solved the problem of how to keep the young people on the farm.</p>
          <p>Large, well-furnished homes, all the latest farm implements, large modern-type woolsheds with shearing machinery, are to be seen throughout this Maori coast country over a stretch of about a hundred miles. The country is for the most part better suited for the raising of mutton and wool than for a cow-farmer's industry, but wisely the Ngati-Porou are not going to be dependent altogether on the sheep. There are large areas of the lower lands excellently suited for dairying, and so the best herds are being obtained, dairy factories have gone up, and butterfat cheques are coming in. There are pretty villages, each with its decorative meeting-house and its church and school; its flag-staff where the Union Jack and the <name type="place" key="name-170607">New Zealand</name> flag and the tribal colours are flown. No homes in the Dominion are more snugly or more picturesquely placed than those happy looking <hi rend="i">kaingas</hi> of Ngati-Porou, lying in their fruit-groves and
<pb xml:id="n25" n="21"/>
<hi rend="i">kumara</hi> gardens among the hills, or on some half-moon bay-front, facing the <hi rend="i">Rawhiti</hi>, the place of the sunrise—the territorial name by which all this East Coast is known.</p>
          <p>Climate and situation, and soil-kindliness combine to make this Sunshine Coast a perfect home for the development of a great race. Ngati-Porou and their European neighbours surely have their lot fixed in a fortunate place. Their semi-isolation in what may be called their pioneer years of farming has after all worked to their advantage.</p>
          <p>
            <figure xml:id="CowYest_021a">
              <graphic url="CowYest_021a.jpg" mimeType="image/jpeg" xml:id="CowYest_021a-g"/>
              <head>Pinia, of Ngati-Haua.</head>
            </figure>
          </p>
          <p>During the 1927 season the principal native dairy factory—that at Ruatorea, East Cape district—doubled its output of butter, from 60 to 120 tons, and in the following season this total was again more than doubled. As for sheep, a fact noted by the Native Department in its annual report for 1927 was that while the gross total of sheep owned by station-holders in the Gisborne and Hawke's Bay
<pb xml:id="n26" n="22"/>
districts—where the principal Maori sheep-farmers were situated—decreased by 118,669, the native flocks in the same districts showed an apparent increase of 2,700 sheep. The number of sheep owned by Maoris was estimated at about half-a-million, out of a total of, roughly, 24,900,000 held by flock-owners throughout the Dominion. Since then the flocks have increased very considerably.</p>
          <p>Maize is very largely grown by Maori farmers in the North and on the East Coast. Tobacco is another crop favoured by native growers, who now have the benefit of expert advice from the Department of Agriculture and a market in the Dominion's tobacco factories.</p>
          <p>
            <figure xml:id="CowYest_022a">
              <graphic url="CowYest_022a.jpg" mimeType="image/jpeg" xml:id="CowYest_022a-g"/>
              <head>The robe-weavers of Mataatua, Urewera Country. The flax mats on which they are working are the most valuable kind, with decorative borders of <hi rend="i">taniko</hi> pattern</head>
            </figure>
          </p>
        </div>
      </div>
      <pb xml:id="n27" n="23"/>
      <div xml:id="t1-body-d1-d2" type="chapter">
        <head><hi rend="sc">Chapter</hi> II.<lb/>
<hi rend="c">Maori-Polynesian Origins</hi>.</head>
        <epigraph>
          <p>“Turn once again your face to the shadowy land from which we came, to the homes of our ancestors far away, to Great Hawaiki, to Long-Hawaiki, to Hawaiki-of-Great-Distance, to the Hono-i-Wairua (the place of spirits), the land where man was formed from the earth by Great-Tané-of-the-Sky, and had life first breathed into him. So begin our genealogies.”—Maori chant.</p>
        </epigraph>
        <div xml:id="t1-body-d1-d2-d1" type="section">
          <q>
            <p>“<hi rend="i">I haere mai ahau i Tawhiti-nui, i Tawhiti-roa, i Tawhiti-pa-mamao, i te Hono-i-Wairua, i Hawaiki</hi>.”</p>
            <p>(“I came from Great-Distance, from Long-Distance, from the Very-Distant-Places, from the Gathering-Place-of-Souls, from Hawaiki.”)</p>
          </q>
          <p>This is a formula that summarises the Maori's idea of the migration of his ancestors, from one Tawhiti or Hawaiki to another across the island-strewn Pacific. The traditions of the last migration, that from Tahiti and Raiatea and Rarotonga, are widely diffused and are well authenticated; and Maori tribal historians have preserved in minute detail, handed down from <hi rend="i">tohunga</hi> father to son through many generations, the stories of the dissensions amongst the people in these last Hawaikis, the building of the canoes, with the attendant ceremonies and priestly invocations, and the voyages across the Ocean of Kiwa to these shores. But beyond that all is vague, and it is to the sciences of ethnology and philology that we must go for the piecing together of the earlier migrations of this far-travelled people.</p>
          <pb xml:id="n28" n="24"/>
          <p>In Maori tradition numerous place-names besides those mentioned are preserved as those of ancient homes; of these are Waeroti, Waerota—to be heard to this day in <hi rend="i">kumara</hi>-planting chants—Mataora, Wawau, Nukuroa, Rangiatea, and other places, and mountains, such as Hikurangi, and rivers or bays, such as Pikopiko-i-whiti. But as to where these places were, the Maori is unable to tell us. Of Waeroti and Waerota we are told by the Maoris that they were the islands whence they obtained the <hi rend="i">kumara</hi>, the sweet potato. As to such localities as Wawau and Hikurangi, there are several places bearing those names in the <name type="place" key="name-023279">Pacific Islands</name>, but they must be names of very great antiquity, going back to the remote Asiatic lands. The place-name Wawau we can trace back westward through the Pacific; it is a sign-post on the ocean-rovers' ancient track. In the Society Islands we find it first; the ancient name of the beautiful fantastically-pinnacled isle Porapora, or Borabora, is Vavau. Sailing westward there is Vavau (Maori, Wawau), one of the principal islands of the Tonga group. Then, Fornander, the great Polynesian student, considers that Babao, the ancient name of Compang, Isle of Timor, in the East Indies, and probably the name of the whole island before the Malays conquered and settled it, is identical with Vavau or Wawau. Further back still it goes, and it very likely refers to one of the ancient Continental home lands, perhaps India, or the shores of the Persian Gulf.</p>
          <p>That the Maori-Polynesian is a branch, though a distant one, of the Caucasian race, is generally accepted by scientific investigators.</p>
          <p>The opinions of ethnologists differ as to when and where the hiving-off began: as to when the ancestors of the Maori began their great eastward
<pb xml:id="n29" n="25"/>
migration, and as to where they first ventured on the great waters and became navigators and seamen. Some go no farther back than India; but all the evidence of feature and language and custom seems to point to a still more distant Hawaiki. Custom is more persistent than language, and some of the habits and customs of the race are identical with those that have been observed amongst
<figure xml:id="CowYest_025a"><graphic url="CowYest_025a.jpg" mimeType="image/jpeg" xml:id="CowYest_025a-g"/><head>A Samoan girl: Polynesian type<lb/>
[<hi rend="i">Photo by G. Andrew, Apia, Samoa</hi>.]</head></figure>
<pb xml:id="n30" n="26"/>
sea-faring peoples on the coast of Arabia, and on the shores of the Red Sea.</p>
          <p>Professor A. H. Keane says that the Eastern Polynesians (those living in the groups east of Fiji, namely, Tonga, Samoa, the <name type="place" key="name-031209">Cook Islands</name>, Tahiti, Hawaii, <name type="place" key="name-170607">New Zealand</name>), “constitute the purest and most interesting section of the Caucasian Indonesians. Their claim to belong to this connection can no longer seriously be questioned. There have been from the remotest times both a dolicho and a brachy section of the Caucasic division. To the former belong our Eastern Polynesians, who are mostly long heads with remarkably regular features, often of a distinctly European stamp, and other characteristics of a pronouncedly Caucasian type. The hair is mostly black and straight, but also wavy, though never frizzly or even kinky. The colour also is of a light brown compared to cinnamon or <hi rend="i">café-au-lait</hi>, and sometimes approaching an almost white shade, while the tall stature, averaging 5 ft. 11 in. or 6 ft., slightly exceeds that of several European groups in Sweden, Norway, North Britain, and Ireland.”</p>
          <p>As to the period at which the ancestors of the Polynesians began their great <hi rend="i">héké</hi>, their migration eastward from the shores of south-western Asia to India and Indonesia, and finally to the Pacific, we have no data that will enable us to fix even an approximate date. <name key="name-209282" type="person">Mr. S. Percy Smith</name>, whose excellent little book “Hawaiki” is the best work on the subject, does not carry his investigations further back than India. He agrees with Mr. J. H. Logan that the Polynesians formed part of the very ancient Gangetic race, which has been in India from remote antiquity, but which had at various periods been modified by the instrusion of Semitic, Tibetan and other races. Mr. Smith concludes, from a mass of traditional as well as scientific evidence which he
<pb xml:id="n31" n="27"/>
cites, that the ancestors of the Maori were living in a land known as Atia-te-varinga-nui, which he holds is India, about 450 B.C., when they were ruled over by a great king or supreme chief named Tu-te-Rangi-marama; that not long before the beginning of the Christian era they began to migrate to the islands of the East Indies, and settled in Java, thence gradually moving eastward into the Pacific.</p>
          <p>This conclusion however, must be modified by the consideration of the traces of ancient man in <name type="place" key="name-170607">New Zealand</name>. It is extremely probable that there were tribes of a Polynesian type, with a mixture of Melanesian, in these islands long before the period suggested by Mr. Smith and others as the date of the migration from India.</p>
          <p>It seems to me reasonable to suppose that from the start the eastward movement of the migrants, whenever it began, was for the most part by sea; from the shores of Arabia and the Red Sea and the Persian Gulf across the <name type="place" key="name-001315">Indian Ocean</name> to India, thence by the island stages upon which most writers are agreed. The ocean, with which the Arabs and their kin were familiar, offered an unobstructed highway to the East, whereas by land there were the enormous difficulties and dangers of rugged mountain country, deserts, hunger and thirst, and hostile tribes. The coastal people of South-Western Asia were from ancient times navigators with a knowledge of the stars; they were among the earliest sailors. They coasted down the eastern shores of the African Continent at any rate as far as the Zambesi and they also visited and partly colonized Madagascar; this would account for the resemblances between the Maori-Polynesian language and Malagasy.</p>
          <p>The south-west monsoon would take them across the Arabian Sea to India and again across the Bay
<pb xml:id="n32" n="28"/>
of Bengal to Indonesia. In Sumatra they probably remained for some centuries; several eminent Polynesian scholars look upon Sumatra as one of the great Tawhitis or Hawaikis of the race. Java and Borneo were later Hawaikis. Then the north-west monsoon, ranging ten degrees each side of the Equator, would carry them on to Ceram, Gilolo, and other islands of the Molucca Archipelago, thence to the great island of <name type="place" key="name-019923">New Guinea</name>, and so fairly on into the Western Pacific.</p>
          <p>These stages in the migration of the race would not be covered quickly; they would probably occupy hundreds of years; and in each stopping place the people would probably encounter aboriginal tribes, who would in one way or another leave their impress on the new-comers, in a partial blending of blood and in traditions and folk-story; there would too be preserved memories of the animals and reptiles of those lands.</p>
          <p>That the fair-haired lighter-complexioned strain in the Maori came from Asiatic shores there is little doubt. It is not always easy now to distinguish a pure fair-haired <hi rend="i">urukehu</hi>, so widely spread is European blood. But in the Urewera country on the head-waters of the Wanganui River, in South Taupo, and certain other parts of the interior that have been comparatively isolated until recent years, the <hi rend="i">urukehu</hi> (literally “red-hair”) can still be seen as in the olden days, undeniably pure Maori, and with a dull golden tinge in the hair that a careful observer can clearly distinguish from that of the half-bloods.</p>
          <p>As far back as 1772, Crozet, the French navigator, who came to the <name type="place" key="name-100221">Bay of Islands</name> with Marion du Fresne's expedition, noted this and other Caucasic characteristics of the race. Describing the Ngapuhi people, whose stockaded villages
<pb xml:id="n33" n="29"/>
dotted the coast-line, he says, “Their colour is, generally speaking, like the people of Southern Europe.” Some of the men were as white as the French sailors, and there was a young girl of fifteen or sixteen “as white as our French women.” Crozet saw several people “with red hair.” But while noting the numbers of the tall fair-skinned, straight-haired people with little beard (no doubt the hair had been eradicated in the usual way with shell tweezers), and noting also the somewhat yellowish complexion of some, he recorded the presence of the more Melanesian type, shorter in stature, “slightly frizzled” as to hair, more swarthy
<figure xml:id="CowYest_029a"><graphic url="CowYest_029a.jpg" mimeType="image/jpeg" xml:id="CowYest_029a-g"/><head><hi rend="i">Urukehu</hi> girl, of the Urewera tribe at Mataatua (Ruatahuna). This is the ancient fair-haired type, pure Maori<lb/>
[<hi rend="i">Photo by J. A. Baine</hi>, 1929.</head></figure>
<pb xml:id="n34" n="30"/>
and more bearded than the others, in fact more negroid-looking. Crozet did not know of the Western Pacific race we now call Melanesians, nor did he know anything of the history and migrations of the Maori; his testimony is, therefore, all the more valuable as a faithful observer's record of the very evident differences of type in the Maoris seen in even the one district visited—a district where the ancient differences of physiognomy and other physical points have now been obliterated by the <hi rend="i">pakeha</hi> blend.</p>
          <p>We may readily picture the eastward progress of our daring sailors through the Pacific. From one island to another they spread, exploring each and carefully weighing its suitability as a home. Fiji (Whiti, or Viti) and Samoa appear, from the evidence of history, tradition, and song to have been their homes for many a generation. From Samoa as a centre they made many great canoe voyages, exploring all parts of the Pacific, north, south, east, and west, in search of new homes, new kinds of food, new adventures. What Mr. Frank Bullen wrote in “Our Heritage the Sea” of the early Italian and Spanish and Portuguese navigators is equally true of these still earlier and even more daring seamen, the Polynesian pioneers: “They had become so far familiar with those apparently illimitable breadths that they put forth in all confidence that they would fetch somewhere or another, and that wherever it might be it would be well worth the visiting and annexing.”</p>
          <p>The late Mr. Charles E. Nelson—the <hi rend="i">Taré</hi> of the Maoris—who was a great linguist and ethnologist, with a very thorough knowledge of the Maori-Polynesian, held strongly to the view that the Maori came from Arabia and the adjacent parts. He gave me this summary of his observations during a curiously varied life:</p>
          <pb xml:id="n35" n="31"/>
          <q>
            <p>“In the Fifties I made three voyages as a young sailor in a Brazilian schooner from Santos to the West Coast of Africa, and I was acquiring a smattering of Angolese and other African dialects when <name type="person" key="name-006178">Her Majesty</name>'s brig the <hi rend="i">Cygnet</hi> interfered, and put a stop to any further linguistic pursuits on my part by taking the vessel and cargo (negro slaves for Brazil) to St. Helena. Later, after having put in a season whaling in the region of the Crozet Islands, I stayed a few months ashore in St. Augustine Bay, Madagascar, where I joined a Portuguese vessel from Panjim, in India; she traded on the East African coast, from Sofala to Quiloa, or Kilwa. While on board of her I learned a little of the Suahili tongue. Strange to say, the words <hi rend="i">kumi</hi> (ten) and <hi rend="i">mata</hi> (face) correspond exactly with the Maori <hi rend="i">kumi</hi> (ten fathoms) and <hi rend="i">mata</hi> (face). Moreover, these words have the same meaning on the West Coast of Africa. At Quiloa I engaged to navigate an Arab dhow, with 80 negroes, to Sur, near Muscat, and by favour of a dark night and an easterly course managed to evade the British cruiser that was waiting outside for her prize. Some years afterwards, when I had learned something of the Maori, his language and customs, I began to be impressed with the idea that he might be akin to the Hamatico-Semitic people living in Arabia, Egypt, and other parts of Africa; in fact, that he might be a branch of the Cushite stem.</p>
            <p>“I have seen natives on the North Somali coast who, like many Polynesians, dyed their hair red with chunam, and wore loin-cloths, while the women in their dances went through similar movements to those of the Maori at a <hi rend="i">haka</hi>. On a sandy beach on the southern coast of Arabia I once saw some fishermen curing—that is, drying—sharks, hung on rails in the sun, exactly as is done by the Maori.
<pb xml:id="n36" n="32"/>
Some of the Arab women had blue lips. Besides these resemblances, many of the customs and habits of these people correspond with those of the Maori, hence my conclusion that the ancestors of the Maori were blood relations of the Cushites and Phœnicians, that they spoke a cognate language, and, like the latter, migrated from the Persian Gulf. In support of this assumption there is the Maori tradition that the Arawa canoe on her voyage from Hawaiki was nearly engulfed in the throat of a great monster, called the Parata, which lived in the sea at the extreme boundary of the horizon. The original of this Parata, in my opinion, is the mouth of the Euphrates, which the Arabs call Furat or Pharat.</p>
            <p>“Besides the foregoing, there is other interesting evidence. At the commencement of the so-called Lower Euphrates, and about 550 miles from its mouth, are situated the bitumen springs of Is. Now, the Hebrew word Mi or Mim, when joined to a proper noun, signifies not only water, but a spring, well, or even the fluid emanating from such spring, hence the word ‘mimis’ would mean the asphaltum or bitumen from Is, as well as the spring whence it issued. Again, a Maori would pronounce ‘mimis’ as <hi rend="i">mimiha</hi>, the very word he uses to designate the black bitumen he is sometimes seen chewing. Here let me remark that the ancient Semites held the maxim ‘Imago animi, vitae, vultus, nomen est.’ So with the Maori, the name was not deemed an indifferent matter, but was an integral part or an essential attribute of the object itself. This is a fact, which I regret to say, has not been noticed sufficiently by our modern Maori philologists.</p>
            <p>“I have often found the name of a place, river, or person a most useful little key. The Maori calls
<pb xml:id="n37" n="33"/>
<figure xml:id="CowYest_033a"><graphic url="CowYest_033a.jpg" mimeType="image/jpeg" xml:id="CowYest_033a-g"/><head>A girl of the Ngati-Ruanui tribe, Taranaki, New Zealand.</head></figure>
<pb xml:id="n38" n="34"/>
obsidian <hi rend="i">tuhua</hi>, from Tuhua Island. <hi rend="i">Pukepoto</hi> is a bluish earth used as a dye, derived from a place called Pukepoto. The Phœnicians called the sun Hel. The ancient Maori worshipped the sun as <hi rend="i">Here</hi>. The Phœnician god Io was the supreme god of the Maori, who still on occasions keeps a <hi rend="i">hakari</hi>, or feast, also of Cushite origin. Then, again, there is the <hi rend="i">whengo</hi>, with its consequent shame, humiliation and disgrace, and I very much doubt whether any of our learned Maoriologists can find this curious breach of etiquette anywhere outside of Maori or Arab conventionality. Let me just mention a few Semitic words in daily use among the Maori—Maori, <hi rend="i">wai</hi>, water; Syrian, moai; Arabic, mai. Maori, <hi rend="i">hau</hi>, wind; Syrian, hawa, wind. Maori, <hi rend="i">puke</hi>, ship, vessel; Syrian, symbuk. Maori, <hi rend="i">tuwha</hi>, to spit; Hebrew, tuph, to spit. Maori, <hi rend="i">rangatira</hi>, a chief; Hebrew, rangah, to lead, feed—tirah, a tent or camp of shepherds. Maori, <hi rend="i">pakeha</hi>, a foreigner or white man. The prefix <hi rend="i">pa</hi> in this word is the Maori causative. The <hi rend="i">keha</hi> is derived from the Hebrew adjective kehah, pale, dim. Similarly to this latter the Maori calls a man with red hair <hi rend="i">pawhero</hi>—composed of the causative <hi rend="i">pa</hi> and the adjective <hi rend="i">whero</hi>, red.</p>
            <p>“Before coming to <name type="place" key="name-170607">New Zealand</name> I spent some time in the Pacific, and one season on board of a Bremen whaler, catching bowhead whales in the Arctic Ocean. On our return, after getting through Behring Straits we visited the coast of Alaska, and from the carvings on totem poles, besides mats, garments, fishhooks, and weapons which I saw there, I am under the impression that there must have been an intercourse between these Indians and the Polynesians, as the fishhook, the <hi rend="i">korowai</hi> mat, <hi rend="i">taiaha</hi>, and the stone <hi rend="i">méré</hi> of the Maori are decidedly of American make, or should I say
<pb xml:id="n39" n="35"/>
pattern. At the Smithsonian Institution at Washington there are five stone clubs exactly like the Maori <hi rend="i">onewa</hi>, and made of a basaltic stone resembling the <hi rend="i">kara</hi> of <name type="place" key="name-170607">New Zealand</name>. In Field's Museum, in Chicago, is an Alaskan staff, the very counterpart of a Maori <hi rend="i">taiaha</hi>, only the tongue is made of flint, but of the same shape as the Maori one. Up in Nevada I met some Indians, and amused them by making a number of knots and bends, and showed them also how the Maori lashed (<hi rend="i">tuparu</hi>) the reeds or rushes to the wall of a house, and it astonished me to see them doing these things exactly the same. The Yaqui Indians wear <hi rend="i">tikis</hi> like our Maori <hi rend="i">tikis</hi>, only they are made of turquoise. Whether the Maori—i.e., the Polynesian—introduced these things into America or they were acquired by him from castaways wrecked or stranded on some of the islands in the Pacific is a mystery yet to be solved. I have good reasons for believing that the Maori learnt from the Indian.</p>
            <p>“As regards the generic appellative <hi rend="i">Maori</hi>, it also, I am inclined to believe, is of Cushite origin, and derived from the Hebrew word Maor, light, just as the gipsies of Arabia call themselves Nawar, from Nur, light. The Japanese named their island Nippon, the land of the rising sun. The Incas called themselves children of the sun, and it is not impossible that even Greece—Helas—is derived from the Cushite, Hel, the sun, to which is added the Greek nominative termination -as, just as we find Eleph-as, genitive Elephantos, from which we get our elephant.</p>
            <p>“Three old friends of mine—Mr. Abraham Fornander, countryman and quondam shipmate, and Messrs. <name type="person" key="name-209282">S. Percy Smith</name> and <name type="person" key="name-121391">Edward Tregear</name>—assign India to be the cradleland of the Maori, but I confess my inability to follow them up the sinuous
<pb xml:id="n40" n="36"/>
stream and find the source in the fog of Indian antiquity. Before the Aryan invasion and conquest, India was peopled by yellows and blacks. These latter are yet found in Malacca and the Andaman Islands. The Dravidians are a mixed race of black and yellow, and the Malays of black, yellow, and white, very much modified and levelled by Islamism. Knowing the Malay fairly well makes it very difficult for me to believe that he and the Maori are descendants of the same original stock. The Maori sojourned for some considerable time in the Malay Archipelago but he preserved his own original characteristics.”</p>
          </q>
          <p>We must, I think, concede the fact that there are strong affinities of physique and racial custom, as put forward by Mr. Nelson, between the Maori and the sea-using Arabs who covered the <name type="place" key="name-001315">Indian Ocean</name> in their trading cruises and ranged the sea from Madagascar to Indonesia. To those littoral Arabs, who were venturesome deep-sea navigators long before any European race became great sailors, I consider the Polynesian owed in the beginning the genius of navigation and seamanship and the native sense of direction which he developed so highly during his centuries-long explorations from Indonesia eastward.</p>
          <p>His Arab progenitors were astronomers, shipbuilders and sailors, and the lateen-rigged dhow with its open waist, seen from the African rivers to the coast of Java, was the remote prototype of the swift-sailing outrigger canoes in which the <hi rend="i">tupuna</hi> of the Maori swept the whole Pacific as far as Hawaii and <name type="place" key="name-150173">Easter Island</name> and touched the American coast. The knowledge of the stars as steering marks and seasonal guides, the ability to orient himself with accuracy in strange surroundings, the skill in taking advantage of tides, currents
<pb xml:id="n41" n="37"/>
and trade winds, which distinguished the Polynesian through so many centuries could only have been gathered from such people as the sea-Arabs, before the eastward migration mingled with the people of India. The Polynesian was no haphazard navigator; he knew how to find his way back to his starting-point, and though some islands were populated no doubt by driftaways at the mercy of wind and sea, there was a general deliberate design in his ocean cruisings and explorations. Though without compass or sextant, or its early predecessor the astrolabe, he was no ignorant savage trusting to his luck for landfall somewhere or other; he could navigate with an accuracy really wonderful when we consider the tiny dimensions, just pinpoints on the waste of the Pacific, of the islands to which he returned with such confidence from his search for new lands.</p>
        </div>
        <div xml:id="t1-body-d1-d2-d2" type="section">
          <head>The Ancient People of New Zealand.</head>
          <p>More than a thousand years ago, centuries before the sailing canoes of the Eastern Pacific made landfall on these shores, there were people here—a race closely resembling the Maori, in fact, Polynesians of an earlier and more primitive stage of culture than the Hawaikian Maori, with a strong element of Melanesian blood. Some of these tribes came from the north, probably from the <name type="place" key="name-021361">New Hebrides</name>, and Fiji. The later migrations which mingled with these peoples were purely Polynesian.</p>
          <p>Many years ago a member of the Arawa tribe, a learned old chief of Mokoia Island, gave me these names of the aboriginal tribes who were found in possession of the Lakes Country, the plains, and the Bay of Plenty Coast, when the historic canoes arrived from the <name type="place" key="name-023279">Pacific Islands</name>:—
<pb xml:id="n42" n="38"/>
<list type="simple"><item><p>Pakakohi.</p></item><item><p>Kokomuka-tutara-whare.</p></item><item><p>Tururu-Mauku.</p></item><item><p>Raupo-Ngaoheohe.</p></item><item><p>Haere-Marire.</p></item><item><p>Te Ngaru-Tauwharewharenga.</p></item><item><p>Te Pirita.</p></item><item><p>Kahu-pungapunga.</p></item><item><p>Te Aruhe-toro-rararo.</p></item></list></p>
          <p>Some of these clan names are curiously descriptive and poetical, such as Te Ngarutauwharewharenga, which refers to the curling over of a wave just before it breaks. Others, such as Te Pirita (“the supplejack”), and Tururu-mauku (“fern-seedlings”), are taken from the vegetation of the country. Pakakohi is a kind of edible fern root. Kahu-pungapunga, as the old legend-keeper explained, meant garments dyed yellow with the raupo-reed pollen.</p>
          <p>The Maruiwi people described in so many traditions were similar to, and probably identical with, some of these tribes. There were also the Waiohua, a blend of the ancient and later peoples.</p>
          <p>A learned <hi rend="i">kaumatua</hi> of the Ngai-Tahu tribe, at Rapaki, Canterbury, gave me this traditional information concerning the successive <hi rend="i">iwi</hi> or peoples of the South Island:</p>
          <q>
            <p>“The first race to occupy this country was a tribe named Hawea, who came here in a sailing canoe called the <hi rend="i">Ngapakitua</hi>. They came from the west, or the north-west. They were a dark curly haired people. The next <hi rend="i">iwi</hi> to reach this island was a tribe called Te Rapuwai, who came from the north. They had <hi rend="i">kiri whewhero</hi> (red or copper-coloured skins). The Rapuwai strain still exists in our South Island tribes. Next came the Waitaha,
<pb xml:id="n43" n="39"/>
who were a very numerous people. Then in much later times, Ngati-Mamoe migrated to the South from the North Island, and they were followed by Ngai-Tahu, who fought and defeated them and intermarried with them. The present Maori inhabitants of the South Island and <name type="place" key="name-150254">Stewart Island</name> are a blend of the various migrations; Ngai-Tahu is the principal tribe. But we are half <hi rend="i">pakeha</hi> now!”</p>
          </q>
          <p>
            <figure xml:id="CowYest_039a">
              <graphic url="CowYest_039a.jpg" mimeType="image/jpeg" xml:id="CowYest_039a-g"/>
              <head>A man of Waikato, wearing tail-feathers of the pheasant.</head>
            </figure>
          </p>
        </div>
      </div>
      <pb xml:id="n44" n="40"/>
      <div xml:id="t1-body-d1-d3" type="chapter">
        <head><hi rend="sc">Chapter</hi> III.<lb/>
<hi rend="c">Maori-Polynesian Ships and Sailors.</hi></head>
        <epigraph>
          <lg type="verse">
            <l>Float lightly, float lightly, my sailing-canoe,</l>
            <l>Like a bird of the air, with thy soft-flapping wings—</l>
            <l>We'll anchor ere long on far-distant shores;</l>
            <l>Thy spouse is Ariki-tapu, the Sea.</l>
            <l>Soon shall we drink of Whakatau's waters.</l>
            <l>Avaunt all ye dangers, death rocks in the ocean;</l>
            <l>Ye clouds of dread gloom, may our prayer-charms dispel ye!</l>
            <l>O Tane, Tree-Lord, let us peacefully glide!</l>
          </lg>
          <p>—<hi rend="i">Ancient Chant for the Canoe Takitimu when leaving Hawaiki for New Zealand</hi>.</p>
        </epigraph>
        <p>The Maori has forgotten the art of building the form of sea-going craft in which his ancestors reached the shores of <name type="place" key="name-170607">New Zealand</name> from the islands of the Central and Eastern Pacific. We sometimes hear the question: “How could Maori canoes make a long ocean voyage?” But the ordinary river-canoe of to-day is a very different vessel from the ocean sailing-canoe of Polynesia. The craft in which the progenitors of our Maori made such extraordinary voyages were large double or outrigger canoes, built with great care, and navigated with a skill that, considering the primitive state of the Polynesian civilization, is nothing short of wonderful.</p>
        <p>Maori traditions tell us very little about the build and rig of these vessels. In only one instance is any such description recorded; this is the story of the <hi rend="i">Arawa</hi>, which tradition says was a large double canoe—some say the largest that came to these islands—and had three masts. Many large craft were probably double canoes, that is two fastened together by cross-beams and a deck; but
<pb xml:id="n45" n="41"/>
some were no doubt outrigger canoes. <hi rend="i">Tainui</hi> was most probably an outrigger vessel. A large strong sailing-canoe fitted with an outrigger would be safer and more seaworthy on a long voyage than a double canoe, which would be liable to disaster in bad weather; the two canoes would be apt to work apart in a rough seaway.</p>
        <p>It is from the observations of European navigators in the South Seas that we are able to form an exact idea of the kind of craft the old Polynesian sailors used in their daring voyages of discovery and colonization. Captain Cook and the missionary Ellis give us some interesting notes. Cook, when at Tahiti in 1769, on his first voyage round the world, took note, as any sailor would, of the excellent seagoing canoes or <hi rend="i">pa'i (pahi</hi>) which the natives used. One <hi rend="i">pa'i</hi> or double canoe he measured was 51 feet in length, carrying a lofty mat-sail shaped something like what <hi rend="i">pakeha</hi> sailors call a leg-of-mutton sail, running to a point at the head. These canoes were most eleverly constructed. The keel-part consisted of a hollowed-out log—like our ordinary Maori dubbed-out canoes. Above this the vessel was built up with hewn planks sewn together with sinnet, the planks being very carefully smoothed and fitted together, and supported by wooden stanchions; the sinnet or coco-nut fibre plaited cords were passed several times through holes bored in the planks with a bone gouge or auger; above again were topsides curved inwards, hewn out of a solid log. The fitting together of the planks was so carefully done, Cook says, that caulking was unnecessary; but such a craft was sure to leak in a seaway, and the seams and holes must have been caulked with some Polynesian substitute for oakum and tar. An illustration of some of the Tahitian canoes in Cook's “Voyages” shows one with a
<pb xml:id="n46" n="42"/>
single mast stepped right amidships, and stayed on each side to the end of a plank outrigger projecting from the hull; another canoe has two masts and her rig is at first glance not unlike that of a modern fore-and-aft schooner, except that her sails have neither boom nor gaff, and there are no head-sails.</p>
        <p>Another type of large sea-going canoe, such as probably voyaged for great distances in ancient times, is a Friendly Islands craft, depicted in the frontispiece to the portfolio of “Pacific Views” by James Webber, who was the draughtsman with Captain Cook in the <hi rend="i">Resolution</hi>, 1776–1780. This is a large double canoe, with not quite so much “sheer” fore-and-aft as that of the Tahitian <hi rend="i">pa'i</hi>; there is a single mast and a large lateen sail. The head of the sail is cut out in a deep curve such as we see in pictures of <name type="place" key="name-019923">New Guinea</name> canoes. The two canoes are joined by a platform, with a low rail running round its sides; on this platform there is a thatched structure, a kind of deck-house; and on top of the house, which is just clear of the sail, figures are seated. On first seeing this picture I was at once reminded of the Maori account of the <hi rend="i">Arawa</hi> canoe and her voyage to <name type="place" key="name-170607">New Zealand</name>. The <hi rend="i">Arawa</hi>, we are told, was a double canoe, with a house built on her deck. These Tonga (Friendly Islands) canoes were beautiful sailing machines. Cook says that he went on board one of them when it was under sail, and by several trials with the ship's log found that the canoe travelled at the rate of seven knots in an hour, close-hauled in a “gentle gale”. “From this I judge,” he wrote in his “Journal,” “that they will sail on a medium with such breezes as generally blow on their sea, about seven or eight miles an hour.” “In their longer voyages,” Cook says, in describing the brown navigators of Tahiti, “they steer by the sun in the day, and in the night by
<pb xml:id="n47" n="43"/>
the stars, all of which they distinguish separately by name, and know in what part of the heavens they will appear in any of the months in which they are visible in their horizon; they also know the time of their annual appearing and disappearing with more precision than will easily be believed by a European astronomer.”</p>
        <p>Picture, then, several of these ancient Polynesian sailing-craft taking their departure from Tahiti or other tropic islands, for the far-away Long Bright World, or the Land of Long-lingering Dayligh—the Maori name of <name type="place" key="name-170607">New Zealand</name> will bear both these interpretations.</p>
        <p>
          <figure xml:id="CowYest_043a">
            <graphic url="CowYest_043a.jpg" mimeType="image/jpeg" xml:id="CowYest_043a-g"/>
            <head>Tonga Sailing Canoe.<lb/>
[<hi rend="i">From a sketch by James Webber, draughtsman with Captain Cook</hi>.</head>
          </figure>
        </p>
        <p>The great canoes, some double, some outrigger, are launched down the white coral beaches, and ride on the calm waters of the lagoon. The shore is crowded with the Island people, farewelling their departing relatives and friends with many cries and many tears. The emigrants climb aboard, men,
<pb xml:id="n48" n="44"/>
women, and children, and complete the lading of their sea-homes with their household treasures. The canoes are already stored with their sea-provisions, securely stowed from damage by salt water—coconuts for both meat and drink, calabashes of water, bread-fruit, the staple vegetables <hi rend="i">hué, kumara</hi>, and <hi rend="i">taro</hi>, preserved birds, and other foods of the plantation and forest. The priests or <hi rend="i">tohunga</hi> are there, reciting their final invocations, placatory and propitiatory, for the safety of the ships and crews. Every important part of the canoes' equipment has been appropriately <hi rend="i">karakia'd</hi> over—“blessed”—for the great voyage. Paddles, sails, bailers, all are consecrated for their duties; and are given the name of ancestral heroes, names the very recital whereof is in itself a prayer. The canoes have already been consecrated, in the ritual of the <hi rend="i">Whai-kawa</hi>, for their passage across the <hi rend="i">whare-hukahuka-a-Tangaroa</hi>, the “Sea-god's foamy dwelling.” The <hi rend="i">awa-moana</hi>, the sea-smoothing chants, in strange rhythmic time, with, their frequent repetitions, have been recited. To the priest of each canoe have been entrusted the sacred carven images, in wood and stone, of the ancestral deities, and those thrice-<hi rend="i">tapu</hi> treasures, the <hi rend="i">whatu-kura</hi>, which are to be borne to the new homes of the tribe as talismanic relics of fertility. There is a carved figure-head to each canoe—not, however, worked in the elaborate Maori patterns we now see; the figure is the image of a deified ancestor; he looks out with fierce staring eyes at the ocean he is; to ride over and conquer. The canoe is <hi rend="i">Tané</hi>, the God of Forests, the Father of Man; <hi rend="i">Tané</hi> the Sea-rider.</p>
        <p>In the stern is the <hi rend="i">whakarei</hi>, the sacred seat for the high priest of the canoe. The stern-piece is dressed with plumes of feathers; the upper plumes,
<pb xml:id="n49" n="45"/>
or <hi rend="i">puhi-kai-ariki</hi>, are dedicated to the divinities of the sky; the lower plumes, the <hi rend="i">puhi-moana-ariki</hi>, dipping in the sea, are for the spirits of the ocean.</p>
        <p>The last food-loads and the last passenger are on board; the lofty mat-sails are hoisted, the sinnet halliards and sheets belayed, and with the brisk trade wind catching the sails, the fleet begins to move. There is a great wail of voices; the voices of the shore-people and the loud cries of the emigrants. “<hi rend="i">Haere atu ra, haere ra</hi>!” “Farewell, depart, depart!” the Islanders cry. The swishing heads of the palm trees that lean around the shores of the lagoon bend, too, as in farewell.</p>
        <p>Out across the sheltered lagoon they sail, one after the other, straight for the reef passage, where the natural breakwater of coral opens in a channel to the sea. Gliding into this, the ocean swell heaves them giddily aloft and down again, and the sails take a tenser curve. The thundering surf breaks white and fearful on either side, but now they are safe in the deep water outside the reef, and sails are trimmed for the far sou'west. Away they slide over the long easy swell, fairly started on their voyage of two thousand miles or more. The watchers on the shore stand, still waving their garments and green branches, and crying their <hi rend="i">poroporoaki</hi> of farewell; but soon the trade-wind whisks the lofty-winged children of Tané the Tree-god down into the sunset, and the last brown matsail fades away into the dancing blue. They are alone on the <hi rend="i">vast moana-uliuli</hi>, the dark tropic sea.</p>
        <p>It will be their home for many days, perhaps many weeks, that sea of mystery, and many a time will the sea-worn, brine-sore, hungry and thirsty emigrants long for the shady groves and delicious fruits and cool waters of their old Island homes.</p>
        <p>Making a leading wind of the South-east Trade,
<pb xml:id="n50" n="46"/>
the sailing canoes would carry steadily on until they had covered the greater part of the ocean journey. For day after day they would need to shift neither tack nor sheet—or their Polynesian equivalents—with the splendid and regular trade singing aloft. Before their bows would dart schools of flying-fish, their little wet wings shining in the sun as they whirred from wave to wave, in terror of their ocean-enemies. Around them played swift and arrowy porpoises, Tritons of the deep; and sometimes huge Tohora, or Paikea, the whale, would rise majestically, and spout beside them, and the people would say, low and with wide eyes, “Behold our god, the Taniwha!”</p>
        <p>Night after night the stars came out to cheer and guide them; Maahu-tonga, the Southern Cross, broad on their weather bow; red-eyed Rehua and all the twinkling gods of the sky; and in the mystic dawn the men on watch chanted their songs to Tawera and Tariao, the bright morning stars.</p>
        <p>Sometimes, down would shriek a tropic rainsquall, and it would be down sail and hold her head to wind until the puff passed; then out shone the rainbow in the path of the sun, and looking on it the sailors would say one to the other:-</p>
        <q>
          <p>“See, Uenuku, the god who dwells in the Rainbow, shows himself to us—our guardian on the sea.”</p>
        </q>
        <p>So they sail on and on, sou'west, until some daydawn a long high coast-line breaks on their eyes, and they see with delight, as they sail nearer, the groves of red-flowered <hi rend="i">pohutukawa</hi> crowning the white cliffs, and the clear and sparkling waterfalls quivering in the sun as they leap to the sea, or the wider streams that, flowing in powerful volume into the tide-way, tell of a vast land beyond, a land where there is room and to spare for all the Islanders of the Great-Ocean-of-Kiwa.</p>
        <pb xml:id="n51" n="47"/>
        <p>There was much danger on the deep for those ancient sailormen, putting to sea in what were practically long open boats, such as most white mariners would now hesitate to make a coasting voyage in. They had no compass<note xml:id="fn1-47" n="*"><p>There is a story from Hawaii about a so-called magic calabash, said to have been used to ascertain the latitude. The theory concerning this “combined sextant and compass,” as it has been described, is not convincing, and it must be regarded with doubt.</p></note>; their guides were the sun by day, the stars by night, the steady trade wind and the regular run of the easy Pacific swell; perhaps also the flight of certain birds, the migrant <hi rend="i">kuaka</hi> (godwit) and <hi rend="i">pipiwharauroa</hi> (shining cuckoo). The ocean was for them full of wonders and strange enchantments, for it was the domain of Tangaroa and his myriad satellites, the <hi rend="i">taniwha</hi> and the <hi rend="i">marakihau</hi>, who sometimes rose and destroyed whole fleets.</p>
        <p>The south-east trade would carry the canoes on until they were about in the position of the <name type="place" key="name-101194">Kermadec Islands</name>; then they would perhaps pick up the north-east wind, the <hi rend="i">marangai</hi>, one of the prevailing winds on the northern coasts of <name type="place" key="name-170607">New Zealand</name>, and this would carry them down to the long-stretching shores of Aotea-roa. Most of the canoes made the coast between Doubtless Bay and the East Cape.</p>
        <p>Many a canoe must have been lost, and many must have drifted away to other islands than those for which they set out. Such accidents happen now in the Pacific. Native canoes and boats voyaging from island to island are frequently blown away to strange lands, sometimes many hundreds of miles away from their homes. It was no doubt in this way that many South Sea islands and atolls were first peopled.</p>
        <p>As for the speed of these long-ago ocean-cruising craft, I am inclined to believe that they were quite as fast as the average schooner which carried
<pb xml:id="n52" n="48"/>
on most of the South Sea Island trade a generation or so ago. One of the fastest little vessels in the trade between Auckland and Rarotonga some thirty years ago, the schooner <hi rend="i">Torea</hi>, took from 14 to 21 days on her fruit-running passages from the <name type="place" key="name-031209">Cook Islands</name>; three to four weeks was a good average passage from Tahiti. A strong outrigger canoe such as the <hi rend="i">Tainui</hi> was would probably have taken about the same time to make the <name type="place" key="name-170607">New Zealand</name> coast.</p>
        <p>It is very probable that in the days when the great Polynesian navigators flourished there were in existence islands which have since disappeared. Traditions tell of islands which are now unknown, and there is the well-known story of Tuanaki Island, south of Rarotonga, which vanished during last century. It appears to me quite likely that the Beveridge Reef was once an inhabited island and a calling place for ocean canoes. This reef is a large submerged atoll, one of the myriad “drowned islands” in the Pacific; it lies twenty degrees south of the Equator and in 167.49 west longitude, between the <name type="place" key="name-031209">Cook Islands</name> and Tonga and in a practically direct line between <name type="place" key="name-170607">New Zealand</name> and the atolls of Pukapuka (Danger Island), Manahiki and Penrhyn; all peopled by Maoris. Such islands and atolls would be way-places for sea-stock and necessary repairs on the ocean voyages, and of value to the navigator as an indication of his progress across the unmapped sea.</p>
      </div>
      <pb xml:id="n53" n="49"/>
      <div xml:id="t1-body-d1-d4" type="chapter">
        <head><hi rend="sc">Chapter</hi> IV.<lb/>
<hi rend="c">Maori Cosmogony and Religion.</hi></head>
        <div xml:id="t1-body-d1-d4-d1" type="section">
          <p>Old beliefs, ancient religions, linger long after a primitive people has made outward acceptance of modern creeds. It is but natural that immemorial faiths, deep in the heart of the race, should be perpetuated to some extent, preserved by word-of-mouth instruction, as the real religion to which the people turn in time of sickness and stress. In such manner the respect for <hi rend="i">tapu</hi> is handed on. Strong, too, among many primitive folk is the belief in witcheraft and in the efficacy of certain spells for the relief of sickness and protection from the arts of wizardry.</p>
          <p>The Maori-Polynesian religion, broadly stated, consisted in a reverence for the personified powers of nature, and a worship or propitiation of the spirits of ancestors. A belief in the animation of all nature pervaded and influenced the whole life of the Maori, and equally strong was his faith in the divinity of his great <hi rend="i">Ariki</hi> forefathers, ancestors who had long passed to the Reinga-land, yet whose spirits still held dominion over their descendants and were powerful to bless or ban. The Maori invested the elements and forces of the cosmos with names and human attributes; these and his reverenced dead stood to him for deities. That universal primitive religion which takes the form of animism is nowhere to be found more copiously embodied in priestly <hi rend="i">karakia</hi>, or ritual, and sacred legend than among the New Zealanders and the islands of Polynesia; and nowhere are ancestral spirits so venerated, their names held so sacred that
<pb xml:id="n54" n="50"/>
their repetition is in itself a prayer. So carefully are the genealogies preserved that their recitation forms a large portion of many a <hi rend="i">karakia</hi>; any mistake in the repetition destroys the efficacy of the prayer or formula, and is even fatal to the suppliant.</p>
          <p>The Maori, for all his primitive savagery, had not evolved the idea of hell. The prospect of an eternity of torment, on which the mediaeval <hi rend="i">pakeha</hi> founded his dismal religion, had not occurred to the Polynesian. He did not carry his hatreds into the other world. When the missionary of a century ago introduced the Christian hell to the Maori mind, even the cannibal declined to accept the alien theological horror, and annoyed the brethren by questioning its probability. The missionary for his part quite failed to grasp the sublimity and beauty underlying the old Maori religion. Few of the excellent men who pioneered the Churches in <name type="place" key="name-170607">New Zealand</name> took the trouble to investigate the system of beliefs they were supplanting. It was but natural that they should decline to study the faiths and practices that appeared to them nothing but “idolatrous abominations.” Indeed it is only within comparatively recent times that the intellectual nobility embodied in the heart of the ancient religion has come to be understood and appreciated by the student of faiths ancient and modern.</p>
          <p>There is much that is sublime in the ancient cosmogonies. The Maori could conceive of uncountable aeons of Chaos and primeval Darkness (Po), gradually giving place to light until the Ao-māramai the World of Light was evolved. Ages upon ages of Nothing (Kore), as the old <hi rend="i">tohungas</hi> recited, preceded the gradual Dawn of Life and the coming into being of the Heavens and the Earth. Many tribal genealogies go back to the source of all things,
<pb xml:id="n55" n="51"/>
<figure xml:id="CowYest_051a"><graphic url="CowYest_051a.jpg" mimeType="image/jpeg" xml:id="CowYest_051a-g"/><head><hi rend="sc"><name key="name-400382" type="person">Tumakoha</name>, the Arawa</hi><hi rend="i">Tohunga</hi>.<lb/>
This learned man, a priest, mystic, bard and genealogist, was the highest <hi rend="i">tohunga</hi> of the old religion in the Arawa tribe surviving in modern times. He lived at Lake Okataina, and died about 1895. Like some other great <hi rend="i">tohungas</hi> he was not tattooed, because he was highly <hi rend="i">tapu</hi>.</head></figure>
<pb xml:id="n56" n="52"/>
to the time when the world was “without form and void.”</p>
          <p>The idea that seems most strongly to pervade the Maori mind, the conception that colours all his theories as to the origin of everything in nature, is the dual principle, the generative power of male and female, of the active and passive forces. Everything he endowed with sex, even the successive periods of Darkness and of Light, before man was. Light was to him the primal active generating force, operating upon Po, the Darkness, the passive, the receptacle for the mysterious Vivifier.</p>
          <p>The following cosmological recital is the first portion of a very long genealogy which I obtained many years ago from one of the chief families of the Ngati-Maniapoto tribe in the King Country. The <hi rend="i">whakapapa</hi> or genealogy begins with the seldom-uttered name, Io, the mystic First Power, and then come the successive cycles of Darkness and Light, Night and Day, opposed to each other as Male and Female:</p>

            <table rows="22" cols="2">
              <head><hi rend="b"><hi rend="c">I0<lb/>
Whetu (the Stars)</hi></hi></head>
              <row>
                <cell rend="center" role="label">(Female Element)</cell>
                <cell rend="center" role="label">(Male Element)</cell>
              </row>
              <row>
                <cell><hi rend="c">Te Marama</hi> (the Moon)</cell>
                <cell><hi rend="c">Tera</hi> (the Sun)</cell>
              </row>
              <row>
                <cell>Te Po-nui (the Great Darkness)</cell>
                <cell>Te Ao-nui (the Great Light)</cell>
              </row>
              <row>
                <cell>Te Po-roa (the Long Darkness)</cell>
                <cell>Te Ao-roa (the Long Light)</cell>
              </row>
              <row>
                <cell>Te Po-papakina (the Darkness that can be felt)</cell>
                <cell>Te Ao-papakina (the Light that can be felt)</cell>
              </row>
              <row>
                <cell>Te Po-pakarea</cell>
                <cell>Te Ao-pakarea</cell>
              </row>
              <row>
                <cell>Te Po-ki-tua (the Darkness Beyond)</cell>
                <cell>Te Ao-ki-tua (the Light Beyond)</cell>
              </row>
              <row>
                <cell>Te Po-ki-roto (the Darkness Within)</cell>
                <cell>Te Ao-ki-roto (the Light Within)</cell>
              </row>
              <row>
                <cell>Te Po-tawhito (the Ancient Darkness)</cell>
                <cell>Te Ao-tawhito (the Ancient Light)</cell>
              </row>
              <row>
                <cell>Te Po-ruru (the Sheltered Darkness)</cell>
                <cell>Te Ao-ruru (the Sheltered Light)</cell>
              </row>
              <row>
                <cell>Te Po-aio (the Calm Darkness)</cell>
                <cell>Te Ao-aio (the Calm Light)</cell>
              </row>
              <row>
                <cell>Te Po-whero (the Red Darkness)</cell>
                <cell>Te Ao-whero (the Red Light)</cell>
              </row>
              <row>
                <cell>Te Po-ma (the White Darkness)</cell>
                <cell>Te Ao-ma (the White Light)</cell>
              </row>
              <row>
                <cell>Te Po-pango (the Black Darkness)</cell>
                <cell>Te Ao-pango (the Black Light)</cell>
              </row>
              <row>
                <cell>Te Po-whakararu (the Darkness agitated)</cell>
                <cell>Te Ao-whakararu (the Light agitated)</cell>
              </row>
              <pb xml:id="n57" n="53"/>
              <row>
                <cell>Te Po-kumea (the Darkness Drawn Out)</cell>
                <cell>Te Ao-kumea (the Light Drawn Out)</cell>
              </row>
              <row>
                <cell>Te Po-whakarito</cell>
                <cell>Te Ao-whakarito</cell>
              </row>
              <row>
                <cell>Te Po-i-runga (the Darkness Above)</cell>
                <cell>Te Ao-i-runga (the Light Above)</cell>
              </row>
              <row>
                <cell>Te Po-i-raro (the Darkness Below)</cell>
                <cell>Te Ao-i-raro (the Light Below)</cell>
              </row>
              <row>
                <cell>Te Po-i-matau (the Darkness to the Right)</cell>
                <cell>Te Ao-i-matau (the Light to the Right)</cell>
              </row>
              <row>
                <cell>Te Po-i-maui (the Darkness to the Left)</cell>
                <cell>Te Ao-i-matau (the Light to the Left)</cell>
              </row>
              <row>
                <cell><hi rend="c">Papa-Tu-a-Nuku</hi> (The Earth)</cell>
                <cell><hi rend="c">Rangi-Nui-E-Tu-Nei</hi> (The Heavens)</cell>
              </row>
            </table>

          <p>Rangi and Papa, the Sky-Father and Earth-Mother, were the parents of the following deities, who are the chief gods of the Polynesians and the Maoris:</p>
          <q>
            <lg type="verse">
              <l>Rongo (God of Cultivations and of Peace).<note xml:id="fn1-53" n="*"><p>Rongo was also the deity of Sound, according to Haré Hongi.</p></note></l>
              <l>Tane (God of Man, also Forests and Birds).</l>
              <l>Tangaroa (God of the Ocean and Fish).</l>
              <l>Tawhiri-matea (God of the Wind and Storms).</l>
              <l>Haumia (God of Fern-root and Uncultivated Foods).</l>
              <l>Ruai-moko (God of Volcanoes and Earthquakes)</l>
              <l>Tu-mata-uenga (God of Man and of War).</l>
            </lg>
          </q>
          <p>To resume the genealogical recital: from Tu-mata-uenga the divine descent to Tiki, the first man, is as follows, each name representing a distinct stage in the evolution of man:</p>
          <q>
            <p>Aitua; Aituere; Aitu-kikini; Aitu-tamaki; Aitu-whakatika; To Kore; To Kore-nui; Te Kore-roa; Te Kore-para; Te- Kore-te-whiwhia; Te Kore-te-rawea; Kore-te-oti-atu-ki-te-po; Ngana; Ngana-nui; Ngana-roa; Ngana-ruru; Ngana-maoe; Hotu-wai-ariki; Tapatai; Tiki; Tiki-te-pou-mua; Tiki-te-pou-roto; Tiki-i-ahua-mai-i-Hawaiki (Tiki-who-was-made-in-Hawaiki), the first human being.</p>
          </q>
          <p>Following upon the begetting of their seven children (there are many others mentioned in legends and genealogies), came the separation of Heaven and Earth. For ages Rangi, the Sky-Father, and Papa-tua-nuku, the Earth-Mother, clung closely to each other and no glimmer of light penetrated to their numerous children. At length these rebelled, and forcibly parted the primal pair. It was Tane-mahuta who forced his parents apart
<pb xml:id="n58" n="54"/>
by standing on his head and thrusting Rangi upwards with his feet. Tane's limbs were the trees; it was with these forest-pillars that he propped up the leaning sky, so that the Sky-Parent henceforth dwelt on high, dropping down his tears on Papa's face in the form of rain and dew. “Tears” are a poetic euphemism for the procreating and fecundative powers of the Sky, the Clouds, the Rain, and the Sun. These potent influences Rangi showers upon his spouse the Earth, who in return brings forth abundantly of all plants and trees and foods, and who ever exhales her tokens of love or <hi rend="i">aroha</hi> in the form of mists and soft clouds. These vapours of <hi rend="i">aroha</hi> are night after night wafted on high to her Sky-Husband, her <hi rend="i">Tane</hi>, whose face and breast are so grandly adorned with myriads of stars. Papa (a term interchangeable, as word-students know, with the equally universal “mama”), is the all-nourishing, all begetting one, the great <hi rend="i">Mater Genetrix</hi>.</p>
          <p>Beyond and above the personification of natural forces and objects, the Earth, the Ocean, the Wind, the Sun and Moon and Stars, there was the belief in a Great First Cause. This supreme being is Io, a name exceedingly sacred and not to be mentioned lightly. “Io was really the God,” says a Maori. The protection or shelter of Io (“Te Maru a Io”), is an expression in an ancient prayer. In a Ngati-Porou (Takitimu) cosmological recital, written for me by an old chief, Io is coupled with Hå as one of the two high deities. Hā, however, means the breath of life, the vivifying force. Io may be from the original <hi rend="i">iho</hi>, the core, the animating force of all things. Io is the Jewish Jehovah, the Greek Zeus.<note xml:id="fn1-54" n="*"><p>“The word io, commonly used for “god” by the natives of Mangaia, Cook Group, properly means “pith” or “core” of a tree. What the core is to the tree, the god was believed to be to the man. In other words, the gods were the <hi rend="i">life</hi> of mankind.” When the missionaries spread the Christian faith, the islanders transferred its name <hi rend="i">Io oro</hi>, or “the living god,” to the Bible Jehovah. (<name key="name-202923" type="person">Rev W. Wyatt Gill</name>).</p></note>
<pb xml:id="n59" n="55"/>
Like the original Jewish name for the supreme spirit, it was too sacred to be uttered publicly.<note xml:id="fn1-55" n="*"><p>Jehovah: “By mutual and sacred agreement they [the Talmudists] accepted <hi rend="i">Jehovah</hi> as the substitute for <hi rend="i">Jah</hi> or the mystery word <hi rend="i">Iao</hi>. Alone the initiated knew of it.” (“Isis Unveiled.”)</p><q><p>“Whenever the Eternal awakes from its slumbers and desires to manifest itself it divides itself into male and female. It then becomes in every system the double-sexed deity, the universal father and mother.” (“Isis Unveiled.”).</p></q><p>Our Maori wood-carvers illustrate this belief in their <hi rend="i">parata</hi>, the front end of the massive ridge-pole, that section in the roof of the porch or <hi rend="i">mahau</hi> of a decorative house. The under-side of this <hi rend="i">tahuhu</hi> is carved in a representation of Rangi and Papa, the Sky Father and Earth Mother; they are invariably represented in the act of sexual connection in the conventional fashion of the <hi rend="i">whakairo</hi> art.</p></note></p>
          <p>If we resolve such names to their beginning we find that Io and Jehovah and their equivalents are simply the names adopted to denote Nature, the first object of worship of all peoples. The countless systems of theology to which the world has pinned its faith are artificial structures; the natural religion of man is the primal faith of all, the worship of the elements, the heavenly bodies, the mystery and magic of earth and sea and sky.</p>
        </div>
        <div xml:id="t1-body-d1-d4-d3" type="section">
          <head>Io and the Twelve Heavens.</head>
          <p>An aged wise man of the Upper Whanganui people, Te Haupapa-o-Tané, of Orongonui, Tuhua Country, wrote this statement of ancient religion for <name key="name-209282" type="person">Mr. S. Percy Smith</name>, President of the Polynesian Society, in 1908:</p>
          <q>
            <p>“The great god of all in our belief—that is the Maori people—above all gods, was this, Io-matua, the meaning of which is, that he was the parent of all things; in the heavens or in the worlds. His second name was Io-mata-ngaro [Io-the-hidden-face], which name means that he is never seen by man. His third name is Io-mata-aho [Io-seen-in-a-flash], so called because he is never seen except as in a flash of light or lightning. A fourth name is Io-tikitiki-o-rangi [Io-exalted-of-heaven], called so because he dwells in the highest and last of the heavens. A fifth name is Io-nui [Io-the-great-god], because he is greater than all the other gods that are known as dwelling in the heavens or the earth.</p>
            <pb xml:id="n60" n="56"/>
            <p>“The heavens above us are twelve in number, and their names are:</p>

              <table>
                <row>
                  <cell>Rangi-tikitiki</cell>
                  <cell>Rangi-tauru</cell>
                </row>
                <row>
                  <cell>Kirikiri-o-matangi</cell>
                  <cell>Rangi-te-mata-waiwai</cell>
                </row>
                <row>
                  <cell>Rangi-aoao-ariki</cell>
                  <cell>Rangi-mairehau</cell>
                </row>
                <row>
                  <cell>Rangi-tu-te-wawana</cell>
                  <cell>Rangi-paraparawai</cell>
                </row>
                <row>
                  <cell>Rangi-nui-ka-taki</cell>
                  <cell>Rangi-tamakumaku</cell>
                </row>
                <row>
                  <cell>Rangi-mata-uraura</cell>
                  <cell>Rangi-whakataka</cell>
                </row>
              </table>

            <p>“These are the names of the heavens as described in the recitations of the learned men of old.</p>
            <p>“The following are the Apa of those heavens. [The Apa are messengers, ambassadors, companions]:—</p>

              <table>
                <row>
                  <cell>Te Apa-whawha-kura</cell>
                  <cell>Te Apa-kaukau</cell>
                </row>
                <row>
                  <cell>Te Apa-whatu-kura</cell>
                  <cell>Te Apa-tahu-rangi</cell>
                </row>
                <row>
                  <cell>Te Apa-rauao</cell>
                  <cell>Te Apa-tahu-maero</cell>
                </row>
                <row>
                  <cell>Te Apa-rahui-kura</cell>
                  <cell>Te Apa-tahu-whakaaweawe</cell>
                </row>
                <row>
                  <cell>Te Apa-matangi-hau</cell>
                  <cell>Te Apa-tahu-para</cell>
                </row>
                <row>
                  <cell>Te Apa-mata-wai</cell>
                  <cell>Te Apa-tahu-mahaka</cell>
                </row>
              </table>

            <p>“Besides these there are many other Apa-atua [? celestial messengers], but the above are the companions of the god Io.</p>
            <p>“The offspring of Rangi-takataka and of his wife Papatiraharaha [the earth] number seventy, all of whom are males.</p>
            <p>“Now, it was related by the Ruanuku [wise-men, learned-men] of old, and so came to my father, that some of the offspring of Rangi-takataka and Papa-tiraharaha separated their parents [the sky and the earth] and hence this saying:—</p>
            <lg type="verse">
              <l>Rangi dwells apart,</l>
              <l>Papa dwells apart,</l>
              <l>Behold Rangi stands up above</l>
              <l>Papa lies here below.</l>
            </lg>
            <p>“It was also narrated by those old men that the separation of the sky and the earth was the work of Tane, Paihau, Tu-matauenga, Tu-mata-kaka and others by propping up the sky. It was told, too, by those old men that Rangi had great love for his wife Papa-tiraharaha, and he called down to her, ‘O old woman! I will send down to you the <hi rend="i">wai-tangotango-uri</hi> [ice and snow] as greetings to you.’ The wife [the earth] replied, ‘It is well; I will send up to you the <hi rend="i">wai-tau</hi> [mists and fogs] of my body as greetings to you.’ In consequence of the strength of their mutual love they clung to one another; at which Tu-mata-uenga [god of war] and Tu-mata-kaka seized upon the axes named ‘Te Awhiorangi’ and ‘Te Whiro-nui,’ and with them cut off the arms of their parents, and thus separated them. It is from this cutting, that the <hi rend="i">horu, kokowai, pukepoto</hi> and <hi rend="i">tahurangi</hi> [red and blue coloured clays used for paints] are used by man to paint their dwellings, and the same [red colour] is seen in the skies denoting their blood, as a sign to their offspring.”</p>
          </q>
          <p>Nature-worshipper as the Maori was, everything was personified—the trees, the streams, the rain and
<pb xml:id="n61" n="57"/>
dew, the mist and sunshine. He had deep respect for the forest of tall timbers—the “Vast and Holy Woods of Tané.” In the fogs that rose like fleecy wraiths from the rivers and the swamps were the Hau-Maringiringi, the dewy children of Rangi and Papa. These, too, were the divine offspring of the Sky-Father and Earth-Mother: Hau-nui and Tomairangi the dew; Tane-uarangi, the heavy rain; Hau-maroroto, rain in big drops; and the grateful warmth of midsummer days was the Tou-a-Rangi.</p>
          <p>
            <figure xml:id="CowYest_057a">
              <graphic url="CowYest_057a.jpg" mimeType="image/jpeg" xml:id="CowYest_057a-g"/>
              <head>Greenstone <hi rend="i">tiki</hi></head>
            </figure>
          </p>
          <p>There are numerous legends describing in great detail the formation by Tane-nui-a-Rangi of a woman from the earth, named Hine-ahu-one, the “Earth-formed Maid.” Into her he breathed life, and when she became a living being, he took her to
<pb xml:id="n62" n="58"/>
wife, and their son was Tiki, the parent of mankind. One of Tane's daughters was named Tikikapakapa, which seems to be an allegorical name for the birds of the forest, sometimes spoken of by the Maoris as “<hi rend="i">Nga aitanga kapakapa a Tane</hi>” (“Tane's wing-flapping children”). It was Tane's daughter Hine-a-Tauira who descended to the Po, the Underworld, and took the name of Hine-nui-te-Po, the Great-Woman-of-Night. She is the personification of Death. Human beings are spoken of as “<hi rend="i">Nga Aitanga a Tiki</hi>”, the begotten of Tiki.</p>
          <p>The Maori greenstone neck-pendant, carved in grotesque resemblance to a human form, and called <hi rend="i">tiki</hi>, is probably a representation of Tiki, the father of mankind.</p>
          <p>The Maori strongly believed in his divine descent. His genealogies all go back to the gods. The following is a translation of an <hi rend="i">oriori</hi>, or chief's lullaby to his little son, frequently sung at the present day in the Wairarapa and along the East Coast by the people of Takitimu descent:</p>
          <q>
            <lg type="verse">
              <l>From heaven's pinnacle thou comest,</l>
              <l>O my son,</l>
              <l>Born of the very Sky,</l>
              <l>Of Heaven-that-Stands-Above.</l>
              <l>Yes, from the Sky-God thou art,</l>
              <l>From the vast and lofty Rangi;</l>
              <l>From Tane, too, and Paia,</l>
              <l>Who raised on high the firmament</l>
              <l>At the separation of Heaven and Earth.</l>
              <l>From the very elements, the Winds,</l>
              <l>The whistling, swirling Winds of Heaven,</l>
              <l>The brightly flashing Lightning,</l>
              <l>And the rumbling, loudly crashing Thunder.</l>
            </lg>
          </q>
          <p>Deep in the heart of the Maori-Polynesian was the belief that everything in nature had its <hi rend="i">mauri</hi> or soul-force. “Everything,” said a Ngati-Porou <hi rend="i">tohunga</hi>, “has a <hi rend="i">mauri</hi>: Heavens, Sun, Moon, Stars, Seasons, Lightning, Wind, Rain, Fogs, Winter, Summer, Darkness, and Light—there are religiou
<pb xml:id="n63" n="59"/>
ceremonies appropriate and peculiar to each. Man has a <hi rend="i">mauri</hi>, so also have animals, the earth, mountains, trees, food, birds, rivers, lakes, and the many things of the earth, and there are incantations and ceremonies proper to each.”</p>
          <p>The term <hi rend="i">mauri</hi> is a difficult one to explain clearly to the <hi rend="i">pakeha</hi> mind. It can be translated as “soul”, but the Maori does not intend to convey the idea that animals (<hi rend="i">kararehe</hi>) have souls, when he speaks of their <hi rend="i">mauri</hi>. Again forests and cultivation-grounds have their <hi rend="i">mauri</hi>, the intangible quality that makes them fruitful as sources of food supply. When the historic canoes landed in <name type="place" key="name-170607">New Zealand</name>, the new arrivals deposited their sacred stones (<hi rend="i">kura</hi>, or <hi rend="i">mauri-kohatu</hi>) in the forests to preserve the <hi rend="i">hau</hi> of the birding-grounds, that is their power of productiveness. The expression <hi rend="i">hau</hi>, as applied to man, is used in the sense of soul or life-essence, but it is not always easy to distinguish between <hi rend="i">hau</hi> and <hi rend="i">mauri</hi>. A man's <hi rend="i">hau</hi>, the intangible embodiment, if the expression is intelligible, of his vital principle, could be taken by an enemy, by means of witchcraft, and unless the spell were counteracted, his <hi rend="i">mauri-ora</hi> would depart from him, and he would die. Man's <hi rend="i">mauri-ora</hi> has been translated as “vital spark.”</p>
          <p><hi rend="i">Wairua</hi> is the common Maori term for man's spirit or soul, which is capable of leaving him at times and communing with other souls. When a person is asleep, the <hi rend="i">wairua</hi> wanders abroad, and visits the Reinga, the underworld, or spirit world; visions in dreams are those which one's <hi rend="i">wairua</hi> sees when temporarily absent in the spirit-land. An often-sung Maori love-ditty begins:</p>
          <q>
            <lg type="verse" xml:lang="mi">
              <l><hi rend="i">Hokihoki tonu mai te wairua o te tau</hi>,</l>
              <l><hi rend="i">Ki te awhi-Reinga ki tenei kiri e</hi>.</l>
            </lg>
            <lg type="verse">
              <l>(Oft may the spirit of my love return to me,</l>
              <l>To embrace in Reinga-land this form of mine).</l>
            </lg>
          </q>
          <pb xml:id="n64" n="60"/>
          <p>The Reinga is here the Land of Dreams.</p>
          <p>Besides the great deities, the seven of Rangi and Papa, there were the innumerable lesser deities of the Maori pantheon, a vast company of <hi rend="i">atua</hi>, to whom invocations and propitiatory incantations were addressed; <hi rend="i">atua</hi> of earth and sky, of cultivation and food, of fishing and seafaring, of the forests and waters, and particularly of war. These were in general deified beings of mortal origin. Amongst a people whose great glory was in battle, deities of war held high place. Each tribe had its war-god, and each god had its <hi rend="i">kaupapa</hi> or medium,
<figure xml:id="CowYest_060a"><graphic url="CowYest_060a.jpg" mimeType="image/jpeg" xml:id="CowYest_060a-g"/><head>A Maori <hi rend="i">tuahu</hi>, at Hauraki, near Puhirua, Rotorua. The stones set in the ground represent the principal gods of the Arawa tribe: Marute-whare-aitu, Rongomai, Ihungaru, and Itupawa. The <hi rend="i">tuahu</hi> was the sacred altar of the priests, and here the gods were placated by <hi rend="i">karakia</hi> and offerings.</head></figure>
<pb xml:id="n65" n="61"/>
the person into whom the god was supposed to enter, when it was desired to invoke or consult him. Uenuku was the special war-god of several tribes, including those of Waikato and Taranaki; his <hi rend="i">aria</hi> or visible form is the rainbow. The god Maru is the Mars of the Whanganui tribes. Kahukura (synonymous with Uenuku) is the principal god of the Ngai-Tahu tribe. The Arawa tribe recognise Uenuku, Maru, Rongomai, Itupawa, and Makawe as their war-gods. The Urewera people have several who were invoked in time of war; belief in them has not yet disappeared. <name type="person" key="name-100293">Eru Tamaikowha</name>, the fierce old fighting chief of the Ngai-Tama and Urewera at Waimana, who died a few years ago, professed to be the medium of the war-gods Te Hukita and Te Rehu-o-Tainui.</p>
          <p>Besides the national and tribal deities, each family also had its special <hi rend="i">atua</hi>, its ancestral spirits, the names of chiefs of sacred rank and priestly powers. A person often had—and still has, in Maori belief—a kind of astral guardian. <name type="person" key="name-400087">Te Heuheu Tukino</name>, M.L.C., head chief of Ngati-Tuwharetoa, of Taupo, said to me:</p>
          <q>
            <p>“Our tribal gods are Rongomai, Uenuku or Kahukura, Tawhaki, Puhaorangi, and others. Some of these were ancestors. Rongomai is my personal god. I am a Christian, and believe in the <hi rend="i">pakeha</hi> God, nevertheless my own god has not vanished. The saying of my family is ‘Ko Rongomai te Atua, ko <name type="person" key="name-400085">Te Heuheu</name> te Tangata,’ (‘Rongomai is the God, Te Heuheu is the Man’), He is our guardian <hi rend="i">atua</hi>, and our god of war. His <hi rend="i">aria</hi> (form) is a star; in the olden days it was a shooting star (<hi rend="i">whetu-rere</hi>). Rongomai still appears on certain occasions. He has accompanied me on my travels at night. I was once riding along the shore of Lake Taupo, when the <hi rend="i">tohu</hi> (sign) of Rongomai appeared to follow me
<pb xml:id="n66" n="62"/>
in the sky as I went on my way. He is my <hi rend="i">kai-tiaki</hi>, my protector.”</p>
          </q>
          <p>There is a remarkable modern instance of this tendency to exalt tribal and national heroes to the rank of gods. <name type="person" key="name-100152">Te Kooti</name>, the famous warrior who led his Hauhaus from 1868 to 1872, continually chased by the Government forces but never captured, is regarded as little short of a god by the Urewera people. “For three years he fought your Government troops,” they will tell you, “and yet you never got him. He was a wonderful man, and he had <hi rend="i">mana-tapu</hi> and influence with the gods. Indeed he was a god himself (<hi rend="i">he atua ano</hi>).” Many singular stories are related of <name type="person" key="name-100152">Te Kooti</name>'s supposed supernatural powers. Since his day another prophet has arisen in the Urewera Country, but Ruatapu-nui of Maungapohatu is not a <name type="person" key="name-100152">Te Kooti</name>.</p>
          <p>
            <figure xml:id="CowYest_062a">
              <graphic url="CowYest_062a.jpg" mimeType="image/jpeg" xml:id="CowYest_062a-g"/>
              <head>A <hi rend="i">Tohunga</hi>, <name key="name-400385" type="person">Werewere te Rangi-pu-mamao</name>, of Taupo (died about 1892).</head>
            </figure>
          </p>
          <pb xml:id="n67" n="63"/>
        </div>
        <div xml:id="t1-body-d1-d4-d4" type="section">
          <head>Modern Religions of the Maori.</head>
          <p>“In the Iceland of the Heroic Age,” says the saga-man, a “little of the older lore was cast aside, though men were baptised and were Christian in name.” This was exactly the condition of very many Maori people up to quite lately, and indeed it describes the attitude of some of my friends of to-day. Earth-magic, forest-magic, water-magic, are still strong in their hearts.</p>
          <p>The first numerical survey of the religious professions of the Maori was published by the Government Statistician in June, 1928; it was compiled from the census of 1926. It revealed the fact that the English Church, which was the first to Christianize the Maori, is still the most favoured sect. Another salient feature of the analysis of faiths was the popularity of the latest-born sect, the Ratana Church, founded by the Rangitikei evangelistic preacher and faith-healer <name type="person" key="name-209045">Wiremu Ratana</name>. The most interesting religious cult of all is the Ringatu religion, which includes those who avow themselves Hauhaus. This is the present-day off-shoot of the old Pai-Marire religion, the fanatic faith of the Maori War days. Founded in Taranaki in 1864, Pai-Marire became the gospel of blood and fire throughout a large area of Maori country, and it united many tribes in a common bond, violent opposition to <hi rend="i">pakeha</hi> government. With various modifications and shorn of its original barbarisms, it survived for many years, and from it the Ringatu Church of to-day has been evolved.</p>
          <p>The list is headed by the Church of England, which had 21,738 adherents at last census, or just over a third of the Maori population. Next in importance is the Church of Ratana, with 11,567 followers. There are 8,558 Roman Catholics. The Ringatu (literally the “Uplifted Hand,” the old
<pb xml:id="n68" n="64"/>
Pai-Marire gesture) number 4,540 people; these are chiefly among the Bay of Plenty, Arawa, Urewera, and East Coast tribes. The next class is Methodists, 4,066. “Mihinare,” as the Maoris pronounce and write the word “missionary”, is the religion entered by 3,804 people. These are probably adherents of the Church of England. The Mormon Church (Latter Day Saints) was very popular among the Maoris some years ago. There are still 3,461 natives returned as of this belief. Presbyterians number 638.</p>
          <p>The followers of <name type="person" key="name-100311">Te Whiti</name> and Tohu, the prophets of Taranaki, who in their day had a great native town at Parihaka, where thousands of the faithful assembled, have not yet altogether vanished from the land. The memory of <name type="person" key="name-100311">Te Whiti</name> and his fellow-preacher of self-determination for the Maori, and of strange mystical doctrines, is held in worshipful reverence by a remnant of the faithful, 375 according to the census. But 3,193 Maori declined to state their religious beliefs and it is probable that a number of these are <name type="person" key="name-100311">Te Whiti</name> disciples and others Ringatu. A few hundreds of natives declare themselves followers of various small sects, including the Seventh Day Adventists, and a Maori church in the Wellington provincial district known as “The Seven Rules of Jehovah.”</p>
          <p>There is a fine catholicity of religious taste in the Maori. He is no zealot or bigot denying to others the religions that please them. At a great camp-meeting at <name type="person" key="name-209045">Wiremu Ratana</name>'s township, Ratana, in the Rangitikei district, services were held not only by the disciples of the Ratana Church, but by the native Anglicans, Roman Catholics, Methodists, Mormons, and Ringatu. (One explanation of the gesture of the “ringa-tu,” the uplifted hand, from which the religion takes its name, is that
<pb xml:id="n69" n="65"/>
<figure xml:id="CowYest_065a"><graphic url="CowYest_065a.jpg" mimeType="image/jpeg" xml:id="CowYest_065a-g"/><head>An early days Maori Minister: <hi rend="sc">The Rev. Karaka Terawhiti</hi>, of Ngati-Whawhakia, sub-tribe of Waikato.<lb/>
He was associated with the Rev. B. Y. Ashwell, of Kaitotehe, Taupiri, in English Church missionary work in the Waikato, before the war.</head></figure>
<pb xml:id="n70" n="66"/>
this is derived from the feat of the ancient Hebrew <hi rend="i">tohunga</hi> whose hands were held up by his people until the battle turned for his warriors.) After each sect had had its service in its tent or the local church, all the denominations gathered round the flagstaff with its large banner of the Rongo-Pai (“Glad Tidings”), and at the mast-foot each sect in turn was addressed by its minister. Each church respected the views of the others; there was no monopoly in modes of worship.</p>
          <p>The chants and prayers in the Ringatu sect are mostly from the Psalms of David, and there is much beauty in the service, with its long-drawn chantings and its responses like the Church of England ritual. The priest of the service places the tips of his fingers together as he recites the prayers and the people in responding hold up the right hand on a level with the face. Saturday is the holy day of the Ringatu, and there is a kind of special festival once a month.</p>
          <p>In Taranaki the adherents of <name type="person" key="name-100311">Te Whiti</name>-ism—quite a different brand of old-time religion from the Ringatu—have their monthly meetings for prayer and exhortation at Manu-korihi, on the Waitara. The followers of the late <name type="person" key="name-209476">Tohu Kakahi</name>, <name type="person" key="name-100311">Te Whiti</name>'s fellow-prophet, hold similar gatherings on the 17th and 18th of each month at Ketemarae, near the township of Normanby.</p>
          <p>There is much that is poetical and inspiring in these survivals of the olden faiths, and the conservative Maori finds in them a heart-link with his fathers and a mode of expression for his spiritual fervour, a very strong characteristic of the native and closely bound up with his intense love of his ancestral home.</p>
          <p>There is a remarkable survival of an ancient faith in the Hokianga district, North Auckland.
<pb xml:id="n71" n="67"/>
<figure xml:id="CowYest_067a"><graphic url="CowYest_067a.jpg" mimeType="image/jpeg" xml:id="CowYest_067a-g"/><head>A <hi rend="i">tohunga</hi> and orator: <name key="name-400386" type="person">Hetaraka Tautahi</name>, of NgaRauru tribe, Waitotara (West Coast of North Island). He was a Hauhau and an adherent of the leading Taranaki war-chief <name key="name-124007" type="person">Titokowaru</name>.</head></figure>
<pb xml:id="n72" n="68"/>
This is the cult of the Nakahi, which is a god with a <hi rend="i">Karakia</hi> or a ritual of its own. “Nakahi” is not a true Maori word; it is the native rendering of “snake,” the word used for “serpent” by the translators of the Bible into Maori. A long story, too long to give here, could be told of the fashion in which legends of the dragon and snake—foreign to the Maori—have been grafted on to the original belief in Tu-kai-te-uru, a deity whose visible manifestation was a glow on the western horizon, distinct from the sunset glow. Omanaia, a village in a quiet Hokianga valley, is the headquarters of this cult; spiritualistic seances are held and the ancient <hi rend="i">Karakia</hi> are taught and olden chants are sung. Associated with these the memory of the great <hi rend="i">tohunga</hi> <name type="person" key="name-101640">Te Atua Wera</name>, who was the priest of Tu-kai-te-uru and the Nakahi a century ago, is revered throughout the Hokianga and especially at Omanaia, which was his home. The olden priests were ventriloquists, and could produce strange voices to mystify the people, and “whiowhio” or spirit-whistlings have been a feature of the Northern seances, especially at Omanaia and in the villages of the Mahurehure tribe in the Waima Valley.</p>
          <p>
            <figure xml:id="CowYest_068a">
              <graphic url="CowYest_068a.jpg" mimeType="image/jpeg" xml:id="CowYest_068a-g"/>
              <head>Memorial canoe set up at the grave of a <hi rend="i">pakeha</hi> whaler at Te Awaiti, Tory Channel.<lb/>
[<hi rend="i">From a sketch by J. A. Barnicoat</hi>, 1843</head>
            </figure>
          </p>
        </div>
      </div>
      <pb xml:id="n73" n="69"/>
      <div xml:id="t1-body-d1-d5" type="chapter">
        <head><hi rend="sc">Chapter</hi> V.<lb/>
<hi rend="c">The Law of Tapu</hi>.</head>
        <p><hi rend="i">Tapu</hi> was the “noli me tangere” of Maori Land. Literally the word means “sacred,” or “holy,” or “forbidden”; but its variations and peculiar applications are innumerable. There was a personal <hi rend="i">tapu</hi> and a local <hi rend="i">tapu</hi>; and <hi rend="i">tapu</hi> of some kind or another faced the ancient Maori everywhere. Invisible presences thronged the world of primitive man, and these had to be propitiated or exorcised. <hi rend="i">Tapu</hi> was the quarantine law; it served some of the same purposes as the old Jewish laws of prohibition. With the <hi rend="i">Ariki</hi>, the sacred high chief of priestly rank, or the <hi rend="i">tohunga</hi> or ordinary priest and expert in occult arts, lay the exercise of many of the mystic powers of <hi rend="i">tapu</hi>, and they were respected and often dreaded accordingly. <name type="person" key="name-207832">Alfred Domett</name> wrote of the <hi rend="i">tohunga</hi> class in his epic “Ranolf and Amohia”:</p>
        <q>
          <lg type="verse">
            <l>“Departed spirits were their dumb police,</l>
            <l>And ghosts enforced their lightest law.”</l>
          </lg>
        </q>
        <p>The personal <hi rend="i">tapu</hi> of the priests was partly hereditary and partly acquired as the result of their instruction in the sacred house of education in the lore of the race (<hi rend="i">whare-kura, whare-wananga</hi>, or <hi rend="i">whare-maire</hi>).</p>
        <p>The <hi rend="i">tohunga</hi> Maori possessed some of the strange powers that Indian priests and experts possess to-day. They had the ability to make people believe they had seen things which had no existence in fact. I have heard of numerous instances of these hypnotic powers. Telepathic gifts the <hi rend="i">tohunga</hi> of the highest class undoubtedly had, and
<pb xml:id="n74" n="70"/>
many stories are told of the <hi rend="i">tohunga makutu</hi> who exercised the power of projection of the will for death-dealing purposes. Some of the singular tales of the occult power of the adepts in <hi rend="i">tohunga</hi>-ism are obviously exaggerations, but there was a strong basis of fact for many.</p>
        <p>The ban of <hi rend="i">tapu</hi> is frequently applied to rivers, lakes or other waters in which people have been drowned. This was a needful prohibition against eating fish which might have fed on the dead. After the wreck of the steamer Wairarapa at the <name type="place" key="name-101066">Great Barrier Island</name> in 1894, with the loss of 126 lives, the Maori of that island, who live in a bay a few miles away, <hi rend="i">tapu</hi>'d all fish within a certain area for a long period. During this time of interdiction no native would eat or touch any food of the salt sea. As a great portion of the food of these people consisted of fish of all kinds, from snapper and <hi rend="i">hapuku</hi> to shark, besides oysters and <hi rend="i">pipi</hi> and other shellfish, the <hi rend="i">tapu</hi> meant considerable privation, but it was religiously observed for more than a year. In August, 1900, a number of Maori school children of Omaio were drowned near the mouth of the Motu River when crossing in a canoe. In consequence of these deaths a <hi rend="i">tapu</hi> was imposed on the lower part of the river and on the coast waters from Te Kaha to Opape, for a period of twelve months, and for four years in the more limited area between Tokaputa and Whitianga points. This prohibition was observed and enforced by the Whanau-a-Apanui tribe. As the sea around the coast is alive with edible fish of all kinds, the voluntary <hi rend="i">tapu</hi> was a very serious matter to the Maori. The strictness with which the <hi rend="i">tapu</hi> was honoured is illustrated by an incident which occurred many months after the drowning of the children. A chief of Maraenui, crossing the Motu River at the ford in his bullock
<pb xml:id="n75" n="71"/>
dray, took a drink of water from the river. This was observed, and discussed among the Whanau-a-Apanui, and a long time after the incident occurred, a <hi rend="i">taua muru</hi> or “robbing party”—perhaps it would be better to say a “punitive expedition”—came from Gisborne, a hundred miles away, to inflict punishment for the infraction of the <hi rend="i">tapu</hi>. These champions of the Maori law were kinsmen of the children who had been drowned. After much talk, the offending chief was formally and officially <hi rend="i">muru</hi>'d. His drink of <hi rend="i">tapu</hi>'d water cost him nearly £50.</p>
        <p>The hair of the head and beard was held in a mystical respect amongst the Maoris, just as it is amongst the Arabs and other Orientals. The Arabs, it has been recorded, bury the hair very carefully so that no one may employ it in witchcraft spells against them. This was exactly the Maori idea and practice. When Tuhoto Ariki, the ancient wizard who was found alive in the ruins of his hut at Te Wairoa, Lake Tarawera, in 1886, some days after the destruction of the place by the eruption of Mount Tarawera and Rotomahana, was taken into the Rotorua Sanatorium, he was shorn of his long shaggy hair. The loss of his <hi rend="i">tapu</hi> hair is said by the Maori to have hastened the old man's death, which occurred a few days later; the old sorcerer himself believed that with his hair much of his personal <hi rend="i">mana-tapu</hi> had left him. But as he was quite a hundred years old when he died, even the most powerful of <hi rend="i">Atua-Maori</hi> could not have been expected to retain him much longer in this <hi rend="i">Aomarama</hi> of ours.</p>
        <p>The horror of cooked food or anything connected with food coming in contact with the head or any other sacred part of a high chief's person was an outcome of the <hi rend="i">tapu</hi> system. A story bearing on
<pb xml:id="n76" n="72"/>
this was related concerning an old acquaintance of mine, the late Honana te Maioha, one of the leading chiefs of Ngati-Mahuta. In his youthful days he eloped with a woman of high rank from the Waikato, but one day his regard for her suffered a shock when he saw her working with the old women at the <hi rend="i">hangi</hi>, and allowing the steam from the newly-opened earth-ovens to reach her and envelop her sacred head. This was an unforgivable breach of the laws which regulate the behaviour of chiefs and chieftainesses, for to permit the polluting vapour from a food-oven to touch one's <hi rend="i">upoko-tapu</hi> (sacred head) was as bad as placing the cooked food itself thereon. So the indignant husband divorced his wife there and then, telling her that she had forgotten the duties and restrictions pertaining to her exalted rank; that she had shown herself wanting in the respect due to herself and her position, and that she was, in short, no <hi rend="i">rangatira</hi>.</p>
        <p>A notable case of <hi rend="i">tapu</hi> illustrating the incident represented in Lindauer's picture of the <hi rend="i">tohunga</hi> which is reproduced on the opposite page, occurred in modern times in the Waikato. When the sacred bones of <name type="person" key="name-100276">Potatau Te Wherowhero</name>, the first Maori king, were removed in 1888 from a cave in the mountainous recesses of the King Country, and borne to Waikato, to the ancestral burial-ground at Taupiri, they were carried, wrapped in native mats, by old <name type="person" key="name-124467">Te Wharepu</name> on his back. The first part of the journey, as far as Whatiwhatihoe, was made on foot and fasting, and the chief who bore the great warrior's bones was in the native mind saturated with the <hi rend="i">tapu</hi> emanating from the remains. His whole body was for the time being extremely <hi rend="i">tapu</hi>, and as he dared not, according to his ideas, touch food with his hands, he had to be fed like a child, much in the manner shown in Lindauer's picture.</p>
        <pb xml:id="n77" n="73"/>
        <p>
          <figure xml:id="CowYest_073a">
            <graphic url="CowYest_073a.jpg" mimeType="image/jpeg" xml:id="CowYest_073a-g"/>
            <head><hi rend="sc">The Tapu Quarantine</hi>.<lb/>
This picture illustrates a Maori custom of the past, the restrictive law of <hi rend="i">tapu</hi>. The old man is a <hi rend="i">tohunga</hi> who has been in contact with the dead, and must not touch food with his hands or feed himself, for a certain period. He is therefore fed by the little girl, who is giving him a potato on the end of a fern-stalk.<lb/>
[<hi rend="i">From a painting by <name type="person" key="name-208470">G. Lindauer</name>, Auckland Gallery</hi>.</head>
          </figure>
        </p>
        <pb xml:id="n78" n="74"/>
        <p>I was acquainted with a man who had spent a considerable part of his life under the quarantine of <hi rend="i">tapu</hi>. This old fellow, Patara te Ngungukai, was a practitioner of various branches of the <hi rend="i">tohunga's</hi> art in the Arawa Country some thirty years ago. He was a venerable relic of the cannibal era; in his day he had been a very active warrior and had won some local fame as the fastest long-distance runner in his tribe. When I knew the tattooed wizard he was the tribal bone-scraper, and my Maori friends warned me to beware of his <hi rend="i">tapu</hi>, which was of a particularly virulent kind; he had scraped so many bones in his time. It was his ghoulish duty, when the remains of the dead were exhumed after a lapse of about two years, to remove any flesh, scrape the bones clean, pack them up in bundles and remove them with appropriate ritual to the tribal ossuaries. There is a warm pool at Whakarewarewa, a <hi rend="i">tapu</hi> place called by an ancient Hawaikian name, Pikopiko-i-whiti, in which Patara and those of his profession cleansed themselves after the <hi rend="i">hahunga</hi> operation. Patara was always intensely <hi rend="i">tapu</hi> after such a task, and of necessity was a recluse.</p>
        <p>The <hi rend="i">hahunga-tupapaku</hi>, or lifting of bodies, with the attendant bone-scraping, has been abandoned by most Maori communities, but some tribes in the middle parts of the North Island still practise it, or did a very few years ago. There was a ceremonial of this kind on a large scale in the Waimana district, on the northern border of the Urewera County, in 1915. Some hundreds of Maoris from Whakatane, Opotiki, Ohiwa and other parts of the Bay of Plenty, as well as the Urewera people, were engaged on several burial grounds in the Waimana valley, disinterring the remains of their relatives who had been buried there some years previously. The exhumations were accompanied by the chanting
<pb xml:id="n79" n="75"/>
of laments. The bones were scraped, then packed in black cloth in bundles, about two feet in length, and old men of the tribes carried these to their final resting places. Several of these bearers of bones passed through Opotiki town with the bundles strapped on their backs. They were allowed to ride on horseback, but were not permitted to remove the packages from their backs until they reached the journey's end. The reason was that anything or any place on which the sacred burdens rested became <hi rend="i">tapu</hi> and could not be approached or touched.</p>
        <p>A special form of <hi rend="i">tapu</hi> pertains to many family and tribal heirlooms, especially weapons and greenstone <hi rend="i">tiki</hi> or neck pendants carved in the familiar grotesque shape. The very sacred axe Awhiorangi, a relic of wonderful <hi rend="i">mana</hi>, is an example of these <hi rend="i">tapu</hi> treasures; it was brought from Tahiti to <name type="place" key="name-170607">New Zealand</name> in the canoe <hi rend="i">Aotea</hi> six centuries ago, and it is still preserved by the Ngarauru tribe, at Tauranga-ika, near the Waitotara. Another, of more recent origin, is the beautiful <hi rend="i">méré</hi> Pahikaure, a greenstone weapon which is the <hi rend="i">tapu</hi> talisman of the Heuheu family, of Ngati-Tuwharetoa. The curious carved stone bird Korotangi, brought in the canoe <hi rend="i">Tainui</hi>, is another antique treasure famed in song and tradition. <hi rend="i">Tiki</hi> and other greenstone ornaments were frequently buried with the dead, and were worn again by the living after the lapse of some years, when the remains of the dead were disinterred for removal and the ceremony of the <hi rend="i">hahunga</hi>, the bone-scraping. An antique relic of an unusual character is a very <hi rend="i">tapu</hi> greenstone headrest, called a <hi rend="i">kohamo</hi>, in the possession of the chief family of the Ngati-Mahuta tribe, Waikato. This <hi rend="i">kohamo</hi>, which is said to be the only one in existence, is a polished block of green jadeite or
<pb xml:id="n80" n="76"/>
nephrite, the <hi rend="i">pounamu</hi> of the Maori, shaped and smoothed to fit the back of the head and neck as a rest. In size it is 11 inches by 10 inches, and 6 or 7 inches thick, and is said to weigh about 50 lbs. When a great chief was buried, the <hi rend="i">kohamo</hi> was placed at the back of the head, and was left in the burial cave until another high chief died, when it was removed. It is a relic deeply revered by the tribe, and when it was recovered from an ancient burial ground at Tangirau—“the Place of Many Wailings”—on the Waikato River side, in 1898, it was hailed with great excitement and much chanting of tribal <hi rend="i">tangi</hi> songs. There was a great gathering of the people at Waahi village, where it was placed in the care of the Mahuta family, and the old men and women of the tribe shed tears and murmured the olden <hi rend="i">waiata</hi> as they passed before the holy greenstone on which so many ancestral heads had reposed in death.</p>
        <p>
          <figure xml:id="CowYest_076a">
            <graphic url="CowYest_076a.jpg" mimeType="image/jpeg" xml:id="CowYest_076a-g"/>
            <head>The late <name type="person" key="name-134512">Mahuta Potatau Te Wherowhero</name>, son of <name type="person" key="name-124336">King Tawhiao</name>, of Waikato.</head>
          </figure>
        </p>
      </div>
      <pb xml:id="n81" n="77"/>
      <div xml:id="t1-body-d1-d6" type="chapter">
        <head><hi rend="sc">Chapter</hi> VI.<lb/>
<hi rend="c">Makutu</hi>:<lb/>
<hi rend="sc">The Belief in Witchcraft</hi>.</head>
        <div xml:id="t1-body-d1-d6-d1" type="section">
          <p>The popular belief in malignant occult powers possessed by certain people, a belief prevailing more or less among most of the tribes, is still a force to be reckoned with among the Maori. Undoubtedly the older Maori <hi rend="i">tohunga</hi> possessed hypnotic influence and the power of projection of the will, but the power of imagination was strong, and many supposed victims of the wizard's art were simply killed by their own fears on being told that they were afflicted by <hi rend="i">makutu</hi>. Yet, after making allowance for exaggeration and myth in the innumerable stories told of the death-dealing <hi rend="i">makutu</hi> stroke, there is sufficient of fact left to suggest that the learned Maori of old enjoyed certain faculties which were widely possessed in the early stages of human history, but which through disuse and civilisation have been lost to general knowledge. The wizardly arts were usually practised by the inferior grade of priest; but the greatest <hi rend="i">tohunga</hi> in the land frequently fell under the odium of popular suspicion and aversion as an agent of death through supernatural means. The fear of <hi rend="i">makutu</hi> to a certain extent had its uses; it was allied with the belief in <hi rend="i">tapu</hi>, and it restrained the bully and the thief. The charms and spells of <hi rend="i">makutu</hi> are by no means forgotten; and the prayers believed to be efficacious in counteracting the <hi rend="i">makutu</hi> are still known by some of the elders in numerous tribes. Examples of those survivals are given in this chapter. Such <hi rend="i">karakia</hi> will be handed
<pb xml:id="n82" n="78"/>
down by word of mouth for generations yet. It is not many years since old men and women suspected of having bewitched people were sometimes killed by relatives of the victims. In the Wairoa (Hawke's Bay district) several cases of vengeance of this kind occurred within modern times; the <hi rend="i">makutu</hi>- workers were secretly shot. <hi rend="i">Makutu</hi> has frequently been investigated in the law courts. Occasionally, even to-day, the person accused of practising witchcraft sues his enemies for slander. During last year (1928) a Rotorua man, an old chief with priestly knowledge, took proceedings against other members of the Arawa tribe to recover damages for slander, the libel consisting in an accusation that he had caused the deaths of certain people by means of <hi rend="i">makutu</hi>. He lost his case.</p>
          <p>A Maori of the Lower Waikato told me not long since, after reciting a lament for the untimely death of his son, that the lad had been <hi rend="i">makutu</hi>'d by some persons at a religious gathering in the Rangitikei.</p>
          <p>Many years ago a leading chief of the Waihou (Thames) tribe, the Ngati-Maru, died as the result of eating twice-cooked canned meat. His relatives, knowing nothing of ptomaine poisoning, came to the conclusion that he had been bewitched by an enemy. The tribe placed the blame on the Ngapuhi tribe, of the <name type="place" key="name-100221">Bay of Islands</name>, having in mind the old wars between the two tribes sixty years before, when Ngapuhi warriors captured Totara Pa and other places at the mouth of the Waihou. A deputation of chiefs from the Hauraki shores therefore went to the <name type="place" key="name-100221">Bay of Islands</name> to enquire into the incident. I never heard the outcome, but presumably the discussion with Ngapuhi ended satisfactorily.</p>
          <pb xml:id="n83" n="79"/>
          <p>
            <figure xml:id="CowYest_079a">
              <graphic url="CowYest_079a.jpg" mimeType="image/jpeg" xml:id="CowYest_079a-g"/>
              <head><hi rend="sc">A Guardian of the Tapu</hi>.<lb/><name key="name-400387" type="person">Te Ata-o-Tu</name> (“The War-God's Shadow”) was the name of this Ngai-Tahu chief and warrior of the olden time. He was captured at the storming of Kaiapohia <hi rend="i">pa</hi> in 1830, but his bravery won the admiration of the great Rauparaha, who took him to the north. At Kapiti Island he was made the guardian of the sacred places of Ngati-Toa.<lb/>
[<hi rend="i">From a painting by G. Lindauer</hi>.</head>
            </figure>
          </p>
        </div>
        <pb xml:id="n84" n="80"/>
        <div xml:id="t1-body-d1-d6-d2" type="section">
          <head>The Pao-Miere: A King Country Cult to Combat Makutu.</head>
          <p>On the old frontier—the border-line between the Upper Waikato and the King Country—many years, ago, we used to hear something about an offshoot of Hauhauism, known by the conjecture-provoking name “Pao-miere,” and also of a form of worship bearing the name “Tariao.” At Maori settlements in the King Country in the young Eighties the people gathered for their prayer-chantings morning and night, and there was much earnestness about those half-religious, half-political rituals. Tariao is a morning star. Pao-miere, which means, literally, “Chant to render powerless,” was primarily a faith devised to combat the professors of <hi rend="i">makutu</hi>, or witchcraft, who were then a very real peril among the Maoris. But it presently developed into a kind of patriotic fanatic religion directed by some of its adherents against the <hi rend="i">pakeha</hi> influences in the Rohepotae.</p>
          <p>From elders of the Ngati-Maniapoto tribe I have received accounts of this Pao-miere <hi rend="i">hihi</hi> or church, as they call it, with its ritual in full.</p>
          <p>It was in the middle Seventies, so far as I can fix it, that Pao-miere was established. Its foundation was the ancient Maori faith; the chants and prayers are of remote origin, with certain recent additions, as the Pai-marire exclamation: “Hau!” (whence came the term “Hauhau” in the Taranaki war days) at the end of each prayer. One of my Rohepotae authorities thus elucidates the articles of the faith (I translate from his account):</p>
          <q>
            <p>“This church Pao-miere was begun in the days of the Hauhaus; these prayers came to be used within the boundaries of Ngati-Maniapoto. The priests, of Ngati-Rereahu and other <hi rend="i">hapus</hi>, who composed
<pb xml:id="n85" n="81"/>
this form of service, were two in number, Rangawhenua and Karepe. They were both powerful <hi rend="i">tohungas</hi>. They had a prayer-house built at Te Tiroa, near Mangapeehi, at the foot of the Rangitoto Ranges, and there the people gathered and they promulgated the new religion. [This house was of cruciform shape, and was <hi rend="i">nikau</hi>-thatched.]</p>
            <p>“Now let me explain why this church was set up. In those days there was a great deal of sickness among the people, and these two priests both took thought how they could combat that sickness and save their fellow-Maoris from death. They considered it for a long time, and then they made it known that they had discovered the principal cause of this sickness was witchcraft. Therefore, they established this church, for a four-fold purpose: (1) To expel the various forms of witchcraft (<hi rend="i">makutu</hi> and <hi rend="i">wheiwheia</hi>); (2) To restore sick persons to health; (3) To punish the workers of witchcraft and cause them to die; (4) To ward off witchcraft from sick persons and the tribe.</p>
            <p>“When the purpose and practice of this new church became known, there was much alarm amongst the workers of <hi rend="i">makutu</hi>, and their evil ceremonies presently became of no avail, and they were deprived of the <hi rend="i">mana</hi> that enabled them to cause pain and death. When a person became sick, the priests of the church took him in hand. He was taken to the <hi rend="i">tohunga</hi> so that the cause of his illness might be discovered. The <hi rend="i">turoro</hi> (invalid) sat at the foot of the <hi rend="i">poutokomanawa</hi>, the central pillar of the house, and told the <hi rend="i">tohunga</hi> the nature of his sickness. The priest then stood up and recited a <hi rend="i">karakia</hi> appealing for mystic enlightenment as to the cause, ‘<hi rend="i">kia kite tatou i te pu o te mate</hi>,’ whether it were witchcraft, whether it were the work of spirits of the earth or the powers of heaven.</p>
            <pb xml:id="n86" n="82"/>
            <p>“This was the <hi rend="i">karakia</hi>:</p>
            <lg type="verse" xml:lang="mi">
              <l>“ ‘<hi rend="i">He po tenei, e rua nga po</hi>.</l>
              <l><hi rend="i">Ko te pane tetahi, ko te kopu tetahi</hi>,</l>
              <l><hi rend="i">He ringaringa to runga, he waewae to raro</hi>,</l>
              <l><hi rend="i">I korerotia ai enei korero katoa</hi>,</l>
              <l><hi rend="i">Kia kite tatou i te pu o te mate</hi>,</l>
              <l><hi rend="i">He makutu enei</hi>,</l>
              <l><hi rend="i">He rua-nga-nuku enei</hi>,</l>
              <l><hi rend="i">He rua-nga-rangi enei</hi>,</l>
              <l rend="pad-left"><hi rend="i">Hau-u</hi>!’</l>
            </lg>
            <p>“When this part of the ceremony was ended the priest told the sufferer that he would now engage in spiritual fight with the <hi rend="i">makutu</hi> man. He then recited with force a prayer which was a curse upon the witchcraft worker, a hurling back of the evil upon him:</p>
            <lg type="verse" xml:lang="mi">
              <l>“ ‘<hi rend="i">Kowai ka hua e tangi koe ki ahau</hi>,</l>
              <l><hi rend="i">E kai koe i toku ate, e kai koe i taku manawa</hi>,</l>
              <l><hi rend="i">Ripiripi tu te ika i te po, haehae tu te ika i te ao</hi>.</l>
              <l><hi rend="i">Tena tao ana hoki</hi>,</l>
              <l><hi rend="i">Ka tu ki to tia [ki to puke]</hi>,</l>
              <l><hi rend="i">Ka tu ki to kona [ki to puku]</hi>,</l>
              <l><hi rend="i">Ka tu ki to tamore, [ki to manawa]</hi>,</l>
              <l><hi rend="i">Taka hee-he ai te mauri o nga atua [makutu]</hi>.’</l>
            </lg>
            <p>“The priest then put forth a powerful chanted prayer, the purpose of which was to cause the death of the wizard. It is a very ancient <hi rend="i">karakia</hi>. These are the words of it:</p>
            <lg type="verse" xml:lang="mi">
              <l>“ ‘<hi rend="i">Pokia i runga, pokia i raro</hi>,</l>
              <l><hi rend="i">He ahi he huhunu he puratoke</hi>,</l>
              <l><hi rend="i">He potipoti rangahue, he kuku</hi>,</l>
              <l><hi rend="i">He kuku moe wai, he toka wharewharenga</hi>,</l>
              <l><hi rend="i">He kohinga he anewa i te rangi</hi>,</l>
              <l><hi rend="i">Turou ko tu mura, ko tu pawa</hi>,</l>
              <l><hi rend="i">Kukuti, kukuti, mawhera, mawhera</hi>,</l>
              <l><hi rend="i">Kapohia i te uru o te tohunga makutu</hi>,</l>
              <l><hi rend="i">Tupou o uru, hokai o waewae</hi>,</l>
              <l><hi rend="i">Horea i roto, horea i waho</hi>.</l>
              <l><hi rend="i">Whakaruapeka</hi>,</l>
              <l><hi rend="i">Te rua to, he rua whakaero</hi>,</l>
              <l><hi rend="i">He maheu, he maota, he papa i tahia</hi></l>
              <l><hi rend="i">Ki te pouriuri, ki te po tangotango</hi>.</l>
              <l><hi rend="i">E ingo ki to matua, e ingo ki to whaea</hi>,</l>
              <l><hi rend="i">Pakiri o niho, whete o karu</hi>,</l>
              <l><hi rend="i">Ka hinga ki te po, ka hinga ki te tahua</hi>.</l>
              <l><hi rend="i">Rukutia e Rangi; rukutia e Papa</hi>,</l>
              <l><hi rend="i">Kei puta te momo ki te ao</hi>;</l>
              <l><hi rend="i">Tatao ana te po i a koe, e whiti ana te ra ki ahau</hi>.’ ”</l>
            </lg>
          </q>
          <pb xml:id="n87" n="83"/>
          <p>This <hi rend="i">karakia</hi> is, in Maori belief, an extremely potent death-dealing chant. It contains some very curious expressions, beginning with an invocation of the powers of destruction, to the end that the worker of evil should be covered up, hidden from the world of day, that his only light should be the ghostly gleam of phosphorescence of the glowworm's mystic cave-lamp. It goes on to call vengeance on the head of the <hi rend="i">tohunga makutu</hi>, and ends with a curse consigning him to the Night of Death, to the Po-uriuri, the Po-tangotango:</p>
          <q>
            <lg type="verse">
              <l>“Cry to your father, sob for your mother;</l>
              <l>Your lips are drawn back from your teeth,</l>
              <l>Your eyes wildly stare;</l>
              <l>You are cast to the night!</l>
              <l>You are hurled away by the powers of Heaven and Earth,</l>
              <l>You shall not return to this world of light!</l>
              <l>Darkness of death envelops you;</l>
              <l>The sun shines forth on me!”</l>
            </lg>
          </q>
          <p>So ends the chant of retribution with all the psychic force of the priest to give it efficacy. He recites then a brief charm to prevent any harm being wrought against his work by the wizard, and the ritual ends with the mystic amen “Hau!”:</p>
          <q>
            <lg type="verse" xml:lang="mi">
              <l>“<hi rend="i">Ko pae riakina, ko pae hapainga</hi>,</l>
              <l><hi rend="i">Ki tua na koe, ki tua nei ahau</hi>,</l>
              <l rend="pad-left"><hi rend="i">Ha-u-u!</hi>”</l>
            </lg>
          </q>
          <p>* * * *</p>
          <p>That summarises the spiritual or esoteric side of the Pao-miere cultus. It was simply one set of <hi rend="i">makutu</hi> countering the other.<note xml:id="fn1-83" n="*"><p>See <ref target="#t1-back-d1">Appendix</ref> for a complete translation and explanation of these <hi rend="i">karakia</hi>.</p></note></p>
          <p>The development of the political and agrarian phase gave pioneer surveyors some trouble in the South Taupo Country in 1882–83. There was a poetic survival of the belief in the existence of the <hi rend="i">Patupaiarehe</hi> or fairy people associated with the <hi rend="i">Pao-miere</hi> chants. This was an appeal to the <hi rend="i">Patupaiarehe</hi> tribe of the Rangitoto Ranges to cause them to remain in their ancient haunts as guardians of Ngati-Maniapoto, and so preserve the Maori land for the Maori people.</p>
        </div>
      </div>
      <pb xml:id="n88" n="84"/>
      <div xml:id="t1-body-d1-d7" type="chapter">
        <head><hi rend="sc">Chapter</hi> VII.<lb/>
<hi rend="c">On Stars, and Star Lore.</hi></head>
        <p>There is an alluring field of research for some of our Maori and Polynesian students in the investigation of star-lore. In all the volumes of literature that Polynesian scholars have collected, the matter dealing with the stars is scanty in the extreme. There are songs without end about the Shining Children of Rangi the Sky-Father, as the stars are called, but little in the way of recorded scientific information. The olden Maori-Polynesians were close observers of the stars, and made use of them as guides in navigation in the Pacific. The Maori was an astronomer in his way, although imaginative astrology entered largely into it, as is the way with primitive peoples. But the subject needs investigators who combine a scientific knowledge of astronomy with a thorough knowledge of Maori and Maori-Polynesian traditions. <name key="name-101094" type="person">Hare Hongi</name> (<name key="name-209353" type="person">Mr. H. M. Stowell</name>) and the <name key="name-207965" type="person">Rev. H. J. Fletcher</name> (an astronomer himself) are two qualified experts who I hope will yet give us books on the subject.</p>
        <p>Not being an astronomer, I shall treat only of the stars from their poetic Maori side. As to Kōpu, shining above us, there is not another member of Rangi's bright children who is so interwoven with the fabric of song. There are hundreds of Maori poetical compositions addressed to Kōpu. They are usually laments, beginning with a salutation to or invocation of this planet, generally as morning star. Most Maoris will tell you that Kōpu is the dawn-star, “the first and morning star,” with its forerunner or herald Tariao, who is not quite so bright.
<pb xml:id="n89" n="85"/>
Venus as morning star is also called Kōpu. The Maori, as far as I can gather, could not distinguish between Venus and Jupiter as morning stars. In the Ngapuhi and Waikato country and several other districts, the bright planet in the morning sky is called Tāwera; it is the more southern tribes that call it Kōpu. Venus as evening star in the west is Merémeré-tu-ahiahi — “The Quivering-Star-that-stands-on-high-in-the-evening.” “Yonder shines Kōpu, twinkling at us far on high,” is the beginning of a little song to the morning star which I heard my Maori cruising-mate chant softly to himself as we set out in the raw and early morning hours from our camping grounds on the shores of Rotorua and Rotoiti Lakes, boating from bay to bay. “See yon bright star rising o'er the mountains,” says one elegiac chant; “tis Kōpu the Great; perhaps 'tis thy loved spirit returning to me.” And again, as in this lament for the warrior chief Te Pokiha, of Maketu: “The morning breaks; the trooping stars
<figure xml:id="CowYest_085a"><graphic url="CowYest_085a.jpg" mimeType="image/jpeg" xml:id="CowYest_085a-g"/><head>One of the Waikato Kingite Flags at Waahi. The canoe represents the <hi rend="i"><name key="name-411426" type="ship">Tainui</name></hi>; the rainbow is the symbol of the god Uenuku, and the seven stars above the rainbow are the Pleiades (Matariki).</head><p>Kiingi <name type="person" key="name-134512">Mahuta Tawhiao Potatau Te Whero Whero</name></p></figure>
<pb xml:id="n90" n="86"/>
are dimmed; Kōpu alone shines forth; perhaps in yon bright shining one my father lives again.”</p>
        <p>The whole heavenly galaxy is enshrined in song and story. There are chants to Rehua, or Sirius—Rehua the Man-eater he is called—to Puanga, or Rigel, in the constellation of Orion; to brilliant Autahi (Canopus), the “Star of the South”—one of the guiding stars by which the Polynesians steered their canoes to <name type="place" key="name-170607">New Zealand</name> centuries ago; to Te Ika-mango-roa (“The Long Shark-fish”) as they called the Milky Way; to Maahu-tonga or Te Whai-a-Titipa (the Southern Cross); and to Matariki (the Pleiades), sacred amongst all primitive peoples. The Tahitians say that the Pleiades are the children of the planet Jupiter.</p>
        <p>About the Pleiades, the well-schooled old Maori has much to say. To him this benign constellation, “rising through the mellow shade,” is Matariki, or the “little Eyes,” and he regards it with much the same veneration as did the ancient Greek navigators.</p>
        <q>
          <p>“ . . The grey Dawn and the Pleiades before him danced Shedding sweet influence.”</p>
        </q>
        <p>Unlike the weak-eyed <hi rend="i">pakeha</hi>, the Maori star-gazer could discern the seventh star, the “lost Pleiad.” On the curiously-designed headpiece which used to adorn the front page of the Waikato Kingites' newspaper-gazette, the “Paki o Matariki,” all seven stars of the constellation are shown. Waikato, indeed, have a special regard for the Pleiades. It is their sky-guardian; its advent indicates the time when it is necessary to begin preparations for planting the new year's crops—Puanga, or Rigel, in the ascendant is another planting sign—and it is invoked or addressed in many folk-songs and in a <hi rend="i">kumara</hi>-planting chant. Here, also, one recalls the homely old English name of
<pb xml:id="n91" n="87"/>
the constellation, “the Hen and Chickens,” the name which Captain Cook gave to a cluster of high rocky islets on the northern coast of <name type="place" key="name-170607">New Zealand</name>.</p>
        <p>Yonder is Orion, the grandest star group blazing earthwards, with the imaginary Belt and Dagger. Tautoru the Maori calls it, “the Three Friends,” from the three stars in the Belt; also he sees in the constellation the shape of a <hi rend="i">pewa</hi> or bird-snare, crooked like the carved perches for snaring <hi rend="i">kaka</hi> parrots which we used to see in the Urewera Country, the birding tackle of the old foresters of that wild bush and mountain region. The heliacal rising of Puanga (Rigel) in Orion in the beginning of June marks the opening of the Maori new year.</p>
        <p>Higher still, the Milky Way stretches clear across the heavens, a nightly miracle of light. The Maori calls it Te Ika Mango-roa, “The Long Shark-fish,” and again “Te Ika-a-Maui,” or “Maui's Fish,” the ancient Polynesian name for the North Island of <name type="place" key="name-170607">New Zealand</name>. “The Long Shark-fish” is probably as descriptive of this wonderful sky-arch as any other name, though not so poetical as the Scandinavian “River of Stars.” The imaginative Maori saw fish forms in the sky just as the classic astrologers did. One of his names for the Southern Cross is “Te Whai-a-Titipa,” which means “Titipa's Stingray,” or, as it is more commonly spelt, stingaree; the pointers are the tail of the star-outlined “whai.” Starry canoes, too, he saw in the night, just as the Greeks saw Argo the Ship. The Waka-a-Tamarereti—“Tamarereti's Canoe”—is a famous allusion in native songs, and one of great antiquity. It is not quite clear which stars are included in this fanciful war-canoe; some say it is the Tail of the Scorpion only, but I am disposed to identify it with Argo; probably the brilliant Canopus, which represents the bow of the Greek
<pb xml:id="n92" n="88"/>
mythological ship, is part of Tama's canoe. Tamarereti, like Titipa, was some far-back Polynesian navigator and explorer; the stories of both are forgotten, but their brave names are enshrined for ever in the names which their hero-worshipping descendants bestowed upon these star-groups, exactly as the Old World ancients emblazoned the names of classic heroes upon their familiar heavens.</p>
        <p>A more universal Maori name than Titipa's “Whai” for the Southern Cross is Maahu-tonga. “Maahu of the South” it means; and here again we have the name of a daring South Sea voyager, who though unfurnished with the navigating instruments of modern science, made ocean traverses of thousands of miles in his long sailing canoe centuries before Columbus adventured across the Western Ocean. And the Coalsack at the foot of Maahutonga, looking blacker than ever as “the Cross swings low for the morn,” is “Te Rua o Maahu,” or again “Te Riu o Maahu”; the first means Maahu's Chasm or Pit, into which the ancient ocean pathfinder is supposed to have vanished; the second likens the Coalsack to the deep hold of his canoe.</p>
        <p>Lift the eye again zenith-ward from the low-swinging Cross and there is magnificent Canopus, a sun of proportions too huge for the mind adequately to grasp. It is a famous star to Maori-Polynesian; a steering-mark of old when the brown South Sea sailor covered the whole span of the Pacific in his voyagings, from Papua to Hawaii and from Ponape to <name type="place" key="name-150173">Easter Island</name>. Autahi, or Atutahi, it is named, and songs sometimes begin with an allusion to its scintillating brilliance; it is the Maori “Star of the South.” About Autahi, an old Maori of the Ngai-Tahu tribe (South Island), skilled in star-lore, once gave me this curious bit of information:</p>
        <pb xml:id="n93" n="89"/>
        <q>
          <p>“Autahi, shining there above us, is a weatherwise star, a foreteller of the winds and storms. Sometimes he twinkles more brightly on one side than the other. You <hi rend="i">pakehas</hi> cannot see that, of course, but our ancestors did, and so can I to-night. When he twinkles or winks very sharply and clearly on one side, and the other side is dimmer, then it is going to blow hard from the side on which the star is flashing brightest. When I see Autahi winking sharply and brightly on the south side, as he frequently does, then I know that a strong southerly wind, often a gale, is coming. This is a sign that never fails.”</p>
        </q>
        <p>I leave astronomers to comment on my sharpeyed Maori mentor's scrap of star wisdom.</p>
        <p>It was the same learned man of Ngai-Tahu tribe who gave me this item of local lore about Puanga (Rigel), or as it is called in the southern dialect Puaka:</p>
        <q>
          <p>“We call the group of stars Orion's Belt ‘Nga Tira a Puaka.’ In the beginning of June these stars are eagerly watched for. When Puaka rises out of the ocean it throws out unmistakable flashes. If these flashes are towards the north, it will be a year of plenty on land and in the sea. If they seem to flash towards the south, then it will be a lean year, and food will be scarcer than usual. This, in the tradition of our people, has always been an unfailing omen (<hi rend="i">tohu</hi>) of conditions in the new year.” (Our month of June was the first month in the Maori year.)</p>
        </q>
        <p>The Magellan Clouds were named by the olden Maori Ao-tea and Ao-uri. Ao-tea, meaning “White Cloud,” was the name of the larger and Ao-uri—“Dark Cloud”—that of the smaller of these familiar objects, which have been called “lost fragments of the Milky Way.”</p>
        <pb xml:id="n94" n="90"/>
        <p>Fiery Mars was an object carefully observed by the heavens-studying Native, who named him Whetu-Kura, the Red Star. Tariao is spoken of by the Waikato and Rotorua Maori as the forerunner of the dawn; it is often coupled with Kōpu and is probably Mercury, which is so close to the sun that it can only be seen just before sunrise or soon after sunset. As to Saturn, it is probably identical with Parearau, a name which has been interpreted to mean “Head-Wreath,” or “Chaplet of Leaves.” Some see in this a reference to the rings of Saturn, and it is quite possible that a clear-eyed Maori could make out those wonderful circlets. Kōpu and Parearau are mentioned in songs as typical stars of morning and evening:</p>
        <q>
          <lg type="verse">
            <l><hi rend="i">Ko Parearau i te po</hi>,</l>
            <l><hi rend="i">Ko Kopu i te ao</hi>.</l>
            <l>(Tis Parearau in the dark</l>
            <l>And Kopu in the dawn).</l>
          </lg>
        </q>
        <p>
          <figure xml:id="CowYest_090a">
            <graphic url="CowYest_090a.jpg" mimeType="image/jpeg" xml:id="CowYest_090a-g"/>
            <head>War dance by 120 of the <name key="name-100094" type="organisation">Ngati-Tuwharetoa</name> tribe, Taupo, at the Maori welcome to the present King George V. (then Duke of York), at Rotorua, 1901.</head>
          </figure>
        </p>
      </div>
      <pb xml:id="n95" n="91"/>
      <div xml:id="t1-body-d1-d8" type="chapter">
        <head><hi rend="sc">Chapter</hi> VIII.<lb/>
<hi rend="c">The Poetry of the Maori</hi>.</head>
        <div xml:id="t1-body-d1-d8-d1" type="section">
          <p>The Maori was not only a warrior and a farroving sailor, a skilled craftsman and an artist in decorative craft. He was a poet and a mystic. No other primitive race had evolved such a treasury of poetry and folk-song, revealing a soul and a mental culture that removed the Maori high above peoples still in the savage state. The poems, love-ditties, war-songs, dirges, canoe-chants, sacred charm-songs, constitute a field of native art which it would take a lifetime to record fully and interpret and elucidate. Much of the religion and mythology of the race is embodied in these long rhythmic recitals; much of history, and romance and social customs; and the elegiac chants form a very large section in which <hi rend="i">pakeha</hi> poets have found themes of great beauty and striking imagery. More and more the world's writers and singers are coming to recognise that some of the best sources of poetry are to be found among people who have lived and still live very close to nature, whose souls have absorbed the music and the mystery of the forest and the mountains and the sea, the song of primitive emotions. Maori songs are strongly tinged with sadness, like the sweetest songs of Scotland and Ireland; with melancholy “all noble things are touched.” Some great Old-World poets went to primitive folk for inspiration; in America Longfellow, Whittier and <name type="person" key="name-130430">Joaquin Miller</name> did the same.</p>
          <p>“While I love the classic poets,” wrote an American modern-day poet—John Neihardt, author of “A Bundle of Myrrh”—“and am lifted by the
<pb xml:id="n96" n="92"/>
wonderful tonal quality and metrical intricacies of the stylists, I find myself lifted much higher into the upper air by the ruder chants of the Hebrews and the rhythmic prose songs of my friends the Omaha Indians. I believe the greatest trouble with the modern writers of verse is that they perfect their vehicle without having anything to carry it in. They learn forms, and do not let their passions lead them enough. They have not the Rabelaisian spirit.… . The chant is the oldest form of verse. I think it was taken from the sounds of Nature. You can hear it in the ocean or in the prairie winds; and surely the movement of the first elegy was taken from the moaning of the gusty wind through primeval forests. Yea, verily, Poetry is a savage, and our moderns have tried to adapt it to evening dress!”</p>
          <p>What that American poet wrote of the Indians, we can apply to our Maori. But we have a far richer field amongst the Maori than ever Neihardt or the author of “Hiawatha” opened in America. It is an inexhaustible field; only a part of it has been explored effectively. Old songs, old tales, are treasured among every tribe; and new poems, sometimes adapted from ancient sources, often find oral circulation among the people.</p>
          <p>In many years of field work in all parts of <name type="place" key="name-170607">New Zealand</name> in the gathering of Maori folk-lore, history and the traditional word-of-mouth knowledge that is described by the all-embracing word <hi rend="i">whakapapa</hi>, I have collected some hundreds of songs and chants, besides notebooks-full of <hi rend="i">karakia</hi> or prayers and charm-songs and rhythmic recitatives. In this chapter, a few have been selected as typical of the various classes of <hi rend="i">waiata</hi>, the general term for songs.</p>
          <p>In my experience some of the best sources of bardic lore are the small settlements, such as the
<pb xml:id="n97" n="93"/>
<figure xml:id="CowYest_093a"><graphic url="CowYest_093a.jpg" mimeType="image/jpeg" xml:id="CowYest_093a-g"/><head>A singer of many <hi rend="i">tangi</hi>-chants.<lb/>
<name key="name-400388" type="person">Hera Puna</name>, widow of the <name key="name-100073" type="person">Chief Hori Ngakapa</name>, of the Ngati-Whanaunga and Ngati-Paoa tribes, Hauraki Gulf Coast.</head></figure>
<pb xml:id="n98" n="94"/>
<hi rend="i">kaingas</hi> in the Urewera Country, the West Taupo district, and the little villages around Lake Rotoiti. In such places away from the distractions of the large townships the old people have great funds of wonderfully memorised <hi rend="i">whakapapa</hi> in poetic form. In the same way recorders of ancient Gaelic poetry have found their greatest unwritten literary treasures in tiny shielings in the Highland glens.</p>
        </div>
        <div xml:id="t1-body-d1-d8-d2" type="section">
          <head>“My Eyes are like the Flax-Flowers.”</head>
          <p>This love-chant is a favourite among the <hi rend="i">poi</hi>-girls on the West Coast; it is sung to a haunting tune which may have been of <hi rend="i">pakeha</hi> origin but which has been adapted and altered as to time and intervals until it is thoroughly Maori:</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t1" decls="#text-1-bibl">
              <body xml:id="t1-body-d1-d8-t1-body">
                <div xml:id="t1-body-d1-d8-t1-body-d1" type="waiata" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">Whakapukepuke ai au—e</hi></l>
                    <l><hi rend="i">Te roimata i aku kamo</hi>,</l>
                    <l><hi rend="i">He rite ki te ngaru</hi></l>
                    <l><hi rend="i">Whati mai i waho—e!</hi></l>
                    <l><hi rend="i">Taku turanga ake</hi></l>
                    <l><hi rend="i">I te taha o te rata</hi>,</l>
                    <l><hi rend="i">Ka titiro atu</hi></l>
                    <l><hi rend="i">Ki te akau roa—e!</hi></l>
                    <l><hi rend="i">Ko te rite i aku kamo</hi></l>
                    <l><hi rend="i">Ki te pua korari;</hi></l>
                    <l><hi rend="i">Ka pupuhi te hau</hi>,</l>
                    <l><hi rend="i">Ka maringi te wai—e!</hi></l>
                    <l><hi rend="i">Ko te rite i ahau</hi></l>
                    <l><hi rend="i">Ki te rau o te wiwi</hi>,</l>
                    <l><hi rend="i">E wiwiri nei</hi></l>
                    <l><hi rend="i">He nui no te aroha—e!</hi></l>
                    <l><hi rend="i">He aroha taku hoa</hi></l>
                    <l><hi rend="i">I huri ai ki te moe</hi>,</l>
                    <l><hi rend="i">Hei hari atu</hi></l>
                    <l><hi rend="i">Ki raro Reinga e te tau—e!</hi></l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d8-t2" decls="#text-2-bibl">
              <body xml:id="t1-body-d1-d8-t2-body">
                <div xml:id="t1-body-d1-d8-t2-body-d1" type="translation">
                  <lg type="verse">
                    <head>(Translation.)</head>
                    <l>Like a flood, ah me!</l>
                    <l>My tears stream down;</l>
                    <l>They burst like ocean-waves</l>
                    <l>Breaking yonder on the shore, Ah me!</l>
                    <l>Lonely I sit</l>
                    <l>Beneath my <hi rend="i">rata</hi> tree,</l>
                    <l>Gazing, ever gazing</l>
                    <l>On the long sea-strand, Ah me!</l>
                    <l>My weeping eyes</l>
                    <l>Are like the drooping flax-flowers;</l>
                    <l>When the wind rustles them</l>
                    <l>Down fall the honey showers Ah me!</l>
                    <l>I'm like the wind-blown rushes,</l>
                    <l>The <hi rend="i">wiwi</hi> bending in the gale,</l>
                    <l>Quivering, shaking, trembling</l>
                    <l>With the strength of my love Ah me!</l>
                    <l>Once love was my companion</l>
                    <l>When I turned me to slumber;</l>
                    <l>It was the spirit of my love</l>
                    <l>That joined me in the land of dreams.</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
        </div>
        <pb xml:id="n99" n="95"/>
        <div xml:id="t1-body-d1-d8-d3" type="section">
          <head>The Deserted Girl's Lament.</head>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t3" decls="#text-3-bibl">
              <body xml:id="t1-body-d1-d8-t3-body">
                <div xml:id="t1-body-d1-d8-t3-body-d" type="waiata" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">Tangi tikapa</hi>,</l>
                    <l><hi rend="i">A tangi kupapa</hi>,</l>
                    <l><hi rend="i">A tangi hurihuri</hi></l>
                    <l><hi rend="i">Te moenga ra-e!</hi></l>
                    <l><hi rend="i">Hua au, e hine</hi>,</l>
                    <l><hi rend="i">He piné mau to piné</hi>.</l>
                    <l><hi rend="i">Koia-a nei-i</hi></l>
                    <l><hi rend="i">Ko taku te mau roa-e!</hi></l>
                    <l><hi rend="i">Ko te paru i repo</hi></l>
                    <l><hi rend="i">Ko te ma i te wai</hi>,</l>
                    <l><hi rend="i">Ko te paru o te aroha</hi></l>
                    <l><hi rend="i">Ka mau roa e-i!</hi></l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d8-t4" decls="#text-4-bibl">
              <body xml:id="t1-body-d1-d8-t4-body">
                <div xml:id="t1-body-d1-d8-t4-body-d1" type="waiata">
                  <lg type="verse">
                    <head>(Translation.)</head>
                    <l>With quivering limbs</l>
                    <l>And bowed head I weep,</l>
                    <l>And restlessly turn on</l>
                    <l>My lonely sleeping-mat</l>
                    <l>Once fondly I dreamed</l>
                    <l>Your love ne'er would wane.</l>
                    <l>Ah me! it is dead;</l>
                    <l>But mine ceaselessly burns.</l>
                    <l>Swamp-stains on the feet</l>
                    <l>Are washed clean in the stream,</l>
                    <l>But the heart-stains of love</l>
                    <l>For ever remain.</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
        </div>
        <div xml:id="t1-body-d1-d8-d4" type="section">
          <head>“Hokihoki Tonu Mai.”</head>
          <p>A love song set to a pretty, plaintive air, which is chanted and crooned from one end of <name type="place" key="name-170607">New Zealand</name> to the other is the following; it is often used as a <hi rend="i">poi</hi>-chant and as a lullaby.</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t5" decls="#text-5-bibl">
              <body xml:id="t1-body-d1-d8-t5-body">
                <div xml:id="t1-body-d1-d8-t5-body-d1" type="waiata" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">Hokihoki tonu mai te wairua o te tau</hi></l>
                    <l><hi rend="i">Ki te awhi-Reinga ki tenei kiri—ē!</hi></l>
                    <l><hi rend="i">I tawhiti te aroha e pai ana e te tau</hi>.</l>
                    <l><hi rend="i">Te paanga ki te uma mamae ana, e te tau!</hi></l>
                    <l><hi rend="i">He moenga hurihuri te moenga i wharepuni</hi>,</l>
                    <l><hi rend="i">Huri atu, huri mai, ko au anake, e te tau</hi>.</l>
                    <l><hi rend="i">He pikinga tutonu te pikinga Hukarere</hi>;</l>
                    <l><hi rend="i">Na te aroha ka eke ki runga—ē!</hi></l>
                    <l><hi rend="i">Aikiha ma e mau mai to uma</hi>,</l>
                    <l><hi rend="i">Maku i here ka tino pai rawa—ē!</hi></l>
                    <l><hi rend="i">Ka pinea koe e au ki te pine o te aroha</hi>,</l>
                    <l><hi rend="i">Ki te pine e kore nei e waikura—ē!</hi></l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d8-t6" decls="#text-6-bibl">
              <body xml:id="t1-body-d1-d8-t6-body">
                <div xml:id="t1-body-d1-d8-t6-body-d1" type="waiata">
                  <lg type="verse">
                    <head>(Translation)</head>
                    <l>Oft doth the spirit of my love</l>
                    <l>Return to me</l>
                    <l>To clasp in Reinga-land<note xml:id="fn1-95" n="*"><p><hi rend="i">Reinga</hi>, the place of departed spirits. Here it means the land of dreams. The <hi rend="i">wairua</hi> or soul is supposed to wander abroad during sleep, and visions in dreams are believed to have been seen in the <hi rend="i">Reinga</hi>.</p></note></l>
                  </lg>
                  <lg type="verse">
                    <l>This form of mine</l>
                    <l>Ere yet love came to me</l>
                    <l>My heart roved careless, pang-free;</l>
                    <l>Now a sweet pain lies ever in</l>
                    <l>My bosom, O my love!</l>
                  </lg>
                  <pb xml:id="n100" n="96"/>
                  <lg type="verse">
                    <l>Restless my couch</l>
                    <l>Within the <hi rend="i">Wharepuni</hi></l>
                    <l>I this way, that way, turn</l>
                    <l>I lonely lie,</l>
                    <l>My love!</l>
                  </lg>
                  <lg type="verse">
                    <l>Far, far above me rise</l>
                    <l>The heights of Hukarere</l>
                    <l>Yet will the power of love</l>
                    <l>Uplift me there,</l>
                    <l>For there art thou!</l>
                  </lg>
                  <lg type="verse">
                    <l>Ah! I see again the kerchief white</l>
                    <l>Upon thy breast</l>
                    <l>'Twas I who bound it there</l>
                    <l>To make thee look so fine.</l>
                    <l>I'll pin thee to me</l>
                    <l>With the pin of love, the pin</l>
                    <l>That never rusts!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
        </div>
        <div xml:id="t1-body-d1-d8-d5" type="section">
          <head>The Flute Song for Hinemoa.</head>
          <p>The Maori had not many musical instruments. The <hi rend="i">putatara</hi> and <hi rend="i">pukaea</hi> were shell and wooden trumpets which gave forth loud doleful calls, more of a bray than a bugle-call, but there also was a more musical trumpet of twisted flax-blades. There was the <hi rend="i">roria</hi> or twanging stick; the name was transferred to the Jew's-harp when the Maoris first acquired that instrument of plaintive music-making. There was the flute, of two kinds, the <hi rend="i">putorino</hi> and the <hi rend="i">koauau</hi>. The latter was a nose-flute, and with it the performer could speak, in a nasal way, thus saying to music the words of a <hi rend="i">waiata</hi>.</p>
          <p>Many years ago an old <hi rend="i">rangatira</hi> dame on Mokoia Island, Lake Rotorua, gave me this <hi rend="i">koauau</hi> song handed down through nine or ten generations as the <hi rend="i">waiata-koauau</hi> which Tutanekai, of Mokoia, composed as his love song for Hinemoa, the famous maid of Owhata. “On yon mound above us there,” she said, “the hill called Kaiweka, Tutanekai and his friend Tiki had their tree-balcony where they sat and played; Tutanekai sounded the <hi rend="i">putatara</hi> (wooden trumpet or horn) and Tiki played the
<pb xml:id="n101" n="97"/>
<hi rend="i">koauau</hi>. Tutanekai also played the <hi rend="i">koauau</hi>, but it was Tiki who chiefly played it, and the song which Tutanekai composed for it in honour of my ancestress Hinemoa became celebrated in the land.” The venerable chieftainess wagged her close-cropped white head, and imitated the sound of the playing of the <hi rend="i">koauau</hi> with the breath of the nostrils, and at the same time the nasal long-drawn chant:</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t7" decls="#text-7-bibl">
              <body xml:id="t1-body-d1-d8-t7-body">
                <div xml:id="t1-body-d1-d8-t7-body-d1" type="waiata" xml:lang="mi">
                  <lg type="verse">
                    <l>“<hi rend="i">Na-a te waka ra-a</hi></l>
                    <l><hi rend="i">Kai te Kopua-a</hi></l>
                    <l><hi rend="i">Hai-i wa-aka mai mo-ou</hi></l>
                    <l><hi rend="i">Ki-i Mokoia-a</hi>.</l>
                    <l><hi rend="i">Kai rangi na koe-e</hi></l>
                    <l><hi rend="i">Kai rangikura-a te tau e-e</hi>!</l>
                    <l><hi rend="i">Ko'ai ra-a i runga i-a-a Iri-iri-Kapua</hi>?</l>
                    <l><hi rend="i">Ko Hinemoa pea-a</hi></l>
                    <l><hi rend="i">Ko te-e tamahine o-o Umukaria-a</hi>;</l>
                    <l><hi rend="i">Hai tau naaku ki te whare ra-a</hi>.”</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d8-t8" decls="#text-8-bibl">
              <body xml:id="t1-body-d1-d8-t8-body">
                <div xml:id="t1-body-d1-d8-t8-body-d1" type="waiata">
                  <lg type="verse">
                    <head>(Translation)</head>
                    <l>“In yon canoe at Te Kopua's shore</l>
                    <l>Thou'lt paddle to Mokoia's isle.</l>
                    <l>From heaven art thou,</l>
                    <l>From heaven's crimson light,</l>
                    <l>O darling of my heart!</l>
                    <l>See yonder lonely form</l>
                    <l>On Iri-iri-Kapua rock,</l>
                    <l>Perchance 'tis Hinemoa,</l>
                    <l>The maiden daughter of Umukaria—</l>
                    <l>A loving wife of mine thou'lt be.”</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
          <p>“And this,” said the tattooed descendant of Hinemoa, as she ceased the imitation of the nose-flute, and began a plaintive little low-pitched <hi rend="i">waiata</hi>, “this is the song which Hinemoa sang as she sat lonely on yon high rock at Owhata when she found that she could not launch a canoe to paddle to her Tutanekai”:</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t9" decls="#text-9-bibl">
              <body xml:id="t1-body-d1-d8-t9-body">
                <div xml:id="t1-body-d1-d8-t9-body-d1" type="waiata" xml:lang="mi">
                  <lg type="verse">
                    <l>“<hi rend="i">E te tau, e te tau</hi>!</l>
                    <l><hi rend="i">Ka wehe koe i ahau</hi>.</l>
                    <l><hi rend="i">Tu tonu ake nei toku aroha</hi>.</l>
                    <l><hi rend="i">Nga tikapa kai te Houhi</hi>.</l>
                    <l><hi rend="i">Ka hua au, e te tau</hi>,</l>
                    <l><hi rend="i">Mau taua e kau mai</hi></l>
                    <l><hi rend="i">Kia rokohanga mai e hua</hi>,</l>
                    <l><hi rend="i">Rurutu ana i taku moe</hi>,</l>
                    <l><hi rend="i">Kia puripuri au nga takitaki</hi></l>
                    <l><hi rend="i">No Whitirere kai runga</hi>,</l>
                    <l><hi rend="i">Kia rakuraku au to tuara nui</hi></l>
                    <l><hi rend="i">Puru ki te kauri</hi>.</l>
                    <l><hi rend="i">Taku tau—e</hi>!</l>
                    <l><hi rend="i">E kore hoki au e tahuri</hi>,</l>
                    <l><hi rend="i">Tata iho kia koutou</hi></l>
                    <l><hi rend="i">Koua kitea, e Wahiao</hi>,</l>
                    <l><hi rend="i">Toku hawaretanga i taku itinga</hi>,</l>
                    <l><hi rend="i">E—e—e</hi>!”</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d8-t10" decls="#text-10-bibl">
              <body xml:id="t1-body-d1-d8-t10-body">
                <div xml:id="t1-body-d1-d8-t10-body-d1" type="waiata">
                  <lg type="verse">
                    <head>(Translation)</head>
                    <l>“Lover mine, lover mine,</l>
                    <l>I'm separated far from thee.</l>
                    <l>Alas, my well-beloved</l>
                    <l>Would that thou'd come for me!</l>
                    <l>Then searching, slowly paddling,</l>
                    <l>Thy willing wife thou'd find,</l>
                    <l>And both would flee together.</l>
                    <l>Would that I were in thy dear home</l>
                    <l>Within Whitirere's threshold there above!</l>
                    <l>I'd greet thee fondly and embrace</l>
                    <l>Thy lordly form, with chief's tattoo adorned—</l>
                    <l>O lover mine!”</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
          <p>* * * *</p>
          <pb xml:id="n102" n="98"/>
          <p>It was then that Hinemoa, despairing of meeting her lover otherwise, swam the lake to Mokoia, where he found her in the warm spring Waikimihia. Some <hi rend="i">pakehas</hi> have imagined that it was the sound of the flute that guided Hinemoa to Mokoia in the darkness of the night. The faint and plaintive music of the <hi rend="i">koauau</hi>, however, could scarcely have been wafted to the ears of the maid of Owhata across two miles of water. It was the braying of Tutanekai's wooden trumpet, softened by distance, that cheered Hinemoa as she swam the sleeping lake.</p>
          <p>
            <figure xml:id="CowYest_098a">
              <graphic url="CowYest_098a.jpg" mimeType="image/jpeg" xml:id="CowYest_098a-g"/>
              <head><name key="name-400389" type="person">Rangi-Topeora</name>, often called “the Queen of the South,” a famous Ngati-Toa chieftainess and composer of chants. She was a niece of <name type="person" key="name-400991">Te Rauparaha</name> and sister of <name type="person" key="name-110528">Te Rangihaeata</name>. She took part with her tribe in the great migration from Kawhia to Cook Strait, and lived for many years on Kapiti Island and afterwards at Otaki.<lb/>
[<hi rend="i">From a painting by G. Lindauer</hi>.</head>
            </figure>
          </p>
          <pb xml:id="n103" n="99"/>
        </div>
        <div xml:id="t1-body-d1-d8-d6" type="section">
          <head>Rakapa's Love Songs.</head>
          <p>There were some men and women renowned for their poetic compositions. A great poet in the South Island was Tira Morehu, of Moeraki. Tumakoha, the Arawa <hi rend="i">tohunga</hi> of two generations ago at Lake Okataina, was locally famous for his knowledge of ancient songs and his chanting of <hi rend="i">waiata</hi> of his own. A poetess of the past was Hine-i-turama, the great lady of the Arawa. In the Wellington district there was Rangi-Topeora, of Ngati-Toa. She gained celebrity for her masterful character and for the number of songs she composed and chanted, from affectionate addresses to her various lovers to virulent <hi rend="i">kai-oraora</hi> or cursing chants against her enemies. Her daughter Rakapa, of Otaki, who became the wife of the late Petera te Pukuatua, of the Arawa, inherited Topeora's poetic gifts, and her <hi rend="i">waiata</hi> are favourite songs among the old Rotorua people as well as those of the Ngati-Toa and Ngati-Raukawa villages.</p>
          <p>The two songs which follow are <hi rend="i">waiata-aroha</hi> composed by Rakapa for her distant lover Petera before they became man and wife. Love-affairs among the Maori were often the concern of the whole community, and so Rakapa's love-sick ditties soon became public property. I translate from the originals as chanted to me by Tamarahi and others of the Arawa:</p>
          <q>
            <lg type="verse">
              <l>See yonder curling clouds ascend</l>
              <l>From Hinemutu's springs—</l>
              <l>Like those soft mists</l>
              <l>Arise my loving sighs for thee!</l>
              <l>My soul springs forth in tears</l>
              <l>That dim my eyes</l>
              <l>And rolling flood my cheeks;</l>
              <l>Like gushing water-founts they come,</l>
              <l>And in my lonely sleep</l>
              <l>The choking sobs are loosed</l>
              <l>And all my heart goes forth to thee.</l>
            </lg>
            <pb xml:id="n104" n="100"/>
            <lg type="verse">
              <l>What parts us twain?</l>
              <l>Is it the <hi rend="i">tapu's</hi> spell?</l>
              <l>'Tis but an empty name,</l>
              <l>Light as the western breeze.</l>
              <l>My love will pass all bounds,</l>
              <l>Time, space and thought;</l>
              <l>My heart flies forth to thee—</l>
              <l>And yet 'tis all in vain!</l>
              <l>We dwell apart!</l>
            </lg>
          </q>
        </div>
        <div xml:id="t1-body-d1-d8-d7" type="section">
          <head>“Ye Winds from Snowy Peaks Afar.”</head>
          <p>One of Rakapa's <hi rend="i">waiata</hi> for her lover Petera. The original begins:</p>
          <q>
            <lg type="verse">
              <l><hi rend="i">Hau no uta no te huka</hi>,</l>
              <l><hi rend="i">E kai ki taku kiri</hi>:</l>
              <l>Ye winds from snowy peaks after,</l>
              <l>That feed upon my cheek,</l>
              <l>O take upon your icy wings</l>
              <l>This message of my love</l>
              <l>The burning tears spring to mine eyes.</l>
              <l>And rushing fall</l>
              <l>As falls the brook's cascade.</l>
              <l>Ah! distant one,</l>
              <l>Far vanished from my side,</l>
              <l>To thee I'd gladly fly</l>
              <l>On southern breeze</l>
              <l>To Horohoro's rocky ridge,</l>
              <l>Past Ruapeka's sleeping bay,</l>
              <l>Where steam-clouds curl,</l>
              <l>And onward northward float</l>
              <l>To tides of Tokerau.</l>
              <l>My heart leaps forth;</l>
              <l>Stained is my cheek with tears.</l>
              <l>Oh! that those woods would fall</l>
              <l>On Tairi's topmost peak</l>
              <l>That hide thee from my sight!</l>
              <l>Yet would the all-enfolding mist</l>
              <l>Obscure thee from my loving eyes.</l>
            </lg>
          </q>
        </div>
        <div xml:id="t1-body-d1-d8-d8" type="section">
          <head>A Love-Charm. (Atahu)</head>
          <p>This little <hi rend="i">karakia</hi> is a love-charm of the Waikato and Taranaki people (given by the old man Kerei Kaihau, at Otautu, Patea, 1904). It is a potent <hi rend="i">karakia</hi> to gain the affections of a girl.
<pb xml:id="n105" n="101"/>
Should the lover be doubtful of his success with the young woman he would go out into the bush and by using a <hi rend="i">pépé</hi> or call-leaf, or by chirruping in imitation of bird-notes, would gather the birds around him. He would then kill one of the birds with a stick, and taking it in his hand (“a bird in the hand is worth two in the bush”) would repeat the charm, likening the desired female to the captured bird. Straightway, says the Maori, should the lover have sufficient <hi rend="i">mana tangata</hi> (personal prestige and psychic force) the girl's heart would fill with love for him and she would be his “<hi rend="i">manu-tupu-tangata</hi>.” These are the words of the charm:—</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t11" decls="#text-11-bibl">
              <body xml:id="t1-body-d1-d8-t11-body">
                <div xml:id="t1-body-d1-d8-t11-body-d1" type="waiata" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">He hara wa te manu</hi>?</l>
                    <l><hi rend="i">He pitori te manu</hi>,</l>
                    <l><hi rend="i">He hara wa te manu</hi>?</l>
                    <l><hi rend="i">He karewa te manu</hi>,</l>
                    <l><hi rend="i">I whano ki reira, “titi” ai</hi>—</l>
                    <l><hi rend="i">I whano ki reira, “kete” ai</hi>,</l>
                    <l><hi rend="i">I whano ki reira tutu mai ai</hi>;</l>
                    <l><hi rend="i">Te manu atu tupu ra tangata</hi>,</l>
                    <l><hi rend="i">Matua i a Tané</hi>.</l>
                    <l><hi rend="i">Tahu—e</hi>!</l>
                    <l><hi rend="i">Nau mai</hi>!</l>
                    <l><hi rend="i">Kia piri, kia tata</hi>.</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d8-t12" decls="#text-12-bibl">
              <body xml:id="t1-body-d1-d8-t12-body">
                <div xml:id="t1-body-d1-d8-t12-body-d1" type="waiata">
                  <lg type="verse">
                    <head>(Translation)</head>
                    <l>What is this bird?</l>
                    <l>It is a wood-robin.</l>
                    <l>What is the bird?</l>
                    <l>Now, 'tis a sparrow-hawk.</l>
                    <l>It jumps hither and thither, chirping “Ti-ti!”</l>
                    <l>It jumping there, calling “ke-te!”</l>
                    <l>It skips, it flutters from bough to bough.</l>
                    <l>This is the bird that is to bring forth men,</l>
                    <l>The parent of mankind.</l>
                    <l>O wife of mine.</l>
                    <l>Come hither!</l>
                    <l>Approach and fly to my embrace.</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
        </div>
        <div xml:id="t1-body-d1-d8-d9" type="section">
          <head>“Haul up the Canoe.”</head>
          <p>A popular song of welcome to visitors:</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t13" decls="#text-13-bibl">
              <body xml:id="t1-body-d1-d8-t13-body">
                <div xml:id="t1-body-d1-d8-t13-body-d1" type="waiata" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">Tōia mai te waka</hi>,</l>
                    <l><hi rend="i">Kūmea mai te waka</hi>,</l>
                    <l><hi rend="i">Ki te urunga—te waka</hi>;</l>
                    <l><hi rend="i">Ki te moenga—te waka</hi>,</l>
                    <l><hi rend="i">Ki te takotorango</hi></l>
                    <l><hi rend="i">I takoto ai te waka</hi>.</l>
                    <l><hi rend="i">Tōia mai te waka</hi></l>
                    <l><hi rend="i">Ki te urunga</hi>!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d8-t14" decls="#text-14-bibl">
              <body xml:id="t1-body-d1-d8-t14-body">
                <div xml:id="t1-body-d1-d8-t14-body-d1" type="waiata">
                  <lg type="verse">
                    <head>(Translation)</head>
                    <l>Oh haul away</l>
                    <l>The war-canoe,</l>
                    <l>Oh hither draw</l>
                    <l>Our great canoe,</l>
                    <l>To the resting-place,</l>
                    <l>To the sleeping-place,</l>
                    <l>To the abiding-place,</l>
                    <l>Oh haul away,</l>
                    <l>For home comes our canoe!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
        </div>
        <pb xml:id="n106" n="102"/>
        <div xml:id="t1-body-d1-d8-d10" type="section">
          <head>“Te Riwaru”</head>
          <p>The following is my translation of a lively Arawa <hi rend="i">takitaki-hoe-waka</hi> or canoe-paddling chant that lends itself to rhyme. The canoe-name Te Riwaru is a famous one in mythology; this was the canoe built by Rata, whose exploits are the subject of traditions all over Polynesia:</p>
          <q>
            <lg type="verse">
              <l>My great canoe,</l>
              <l>How speeds to shore my long canoe,</l>
              <l>Light as the fleecy cloud above</l>
              <l>That bears to Tauranga my love.</l>
              <l>My carved canoe</l>
              <l>Te Riwaru.</l>
              <l>O dear canoe!</l>
              <l>That featly o'er the waters flew</l>
              <l>From Arorangi, Island home</l>
              <l>Far in old Kiwa's ocean foam;</l>
              <l>The paddles in the toiling hands—</l>
              <l>How plunge they at Hautu's commands!</l>
              <l>My own canoe</l>
              <l>My Riwaru.</l>
              <l>Oh urge along</l>
              <l>My brave canoe,</l>
              <l>O viewless powers of earth and air,</l>
              <l>O Uru, list, O Ngangana!</l>
              <l>Drive on with lightning stroke and free,</l>
              <l>O'erwhelm with storm our enemy;</l>
              <l>Oh swiftly paddle, swift and true,</l>
              <l>Our proud canoe</l>
              <l>Te Ri-wa-ru!</l>
            </lg>
          </q>
        </div>
        <div xml:id="t1-body-d1-d8-d11" type="section">
          <head>A Patriotic Song.</head>
          <p>This ancient appeal to the Maori gods was chanted as a Kingite war-song in the Sixties, and it is still to be heard at political meetings in the Waikato:</p>
          <q>
            <lg type="verse">
              <l><hi rend="i">Ka ngapu te whenua</hi>,</l>
              <l><hi rend="i">Ka haere nga tangata ki whea</hi>?</l>
              <l><hi rend="i">E Ruaimoko</hi>!</l>
              <l><hi rend="i">Purutia</hi>!</l>
              <l><hi rend="i">Tawhia</hi>!</l>
              <l><hi rend="i">Kia ita</hi>!</l>
              <l><hi rend="i">A-a-a ita</hi>!</l>
              <l><hi rend="i">Kia mau, kia mau</hi>!</l>
            </lg>
            <lg type="verse">
              <l>The land is slipping away;</l>
              <l>Where shall man find an abiding-place?</l>
              <l>O Ruaimoko!</l>
              <l>(God of the under-world)</l>
              <l>Hold fast our lands!</l>
              <l>Bind, tightly bind!</l>
              <l>Be firm, be firm,</l>
              <l>Nor let them from our grasp be torn.</l>
            </lg>
          </q>
        </div>
        <pb xml:id="n107" n="103"/>
        <div xml:id="t1-body-d1-d8-d12" type="section">
          <head>A Sentry Song.</head>
          <p>This is a <hi rend="i">whakaaraara-pa</hi>, or night sentinel chant of the famous Rauparaha's Ngati-Toa warriors, a song composed on the west coast of the North Island, and bearing in its ringing words memories of the surf-beaten coasts of Mokau and the lofty cliffs of South Kawhia:—</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t15" decls="#text-15-bibl">
              <body xml:id="t1-body-d1-d8-t15-body">
                <div xml:id="t1-body-d1-d8-t15-body-d1" type="waiata" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">Whakaarahia</hi>!</l>
                    <l><hi rend="i">Whakaarahia</hi>!</l>
                    <l><hi rend="i">E tenei pa</hi>!</l>
                    <l><hi rend="i">E tera pa</hi>!</l>
                    <l><hi rend="i">Kei apitia koe ki te toto</hi>.</l>
                    <l><hi rend="i">Whakapuru tonu</hi>,</l>
                    <l><hi rend="i">Whakapuru tonu</hi></l>
                    <l><hi rend="i">Te tai ki Harihari</hi>.</l>
                    <l><hi rend="i">Ka tangi tiere</hi></l>
                    <l><hi rend="i">Te tai ki Mokau</hi>.</l>
                    <l><hi rend="i">Kaore ko au</hi></l>
                    <l><hi rend="i">E kimi ana</hi>,</l>
                    <l><hi rend="i">E hahau ana</hi>,</l>
                    <l><hi rend="i">I nga pari ra</hi></l>
                    <l><hi rend="i">Piri nga hakoakoa</hi>,</l>
                    <l><hi rend="i">E kau oma tera</hi>.</l>
                    <l><hi rend="i">Ka toa atu tera</hi></l>
                    <l><hi rend="i">Ki tua</hi>.</l>
                    <l><hi rend="i">E-l-a ha-ha</hi>!</l>
                    <l><hi rend="i">Ka ao mai te ra</hi></l>
                    <l><hi rend="i">Ki tua</hi>.</l>
                    <l><hi rend="i">E—i—a ha-ha</hi>!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d8-t16" decls="#text-16-bibl">
              <body xml:id="t1-body-d1-d8-t16-body">
                <div xml:id="t1-body-d1-d8-t16-body-d1" type="waiata">
                  <lg type="verse">
                    <head>(Translation.)</head>
                    <l>Arise, arise,</l>
                    <l>O soldiers of the fort!</l>
                    <l>Of this <hi rend="i">pa</hi> and of that,</l>
                    <l>Lest ye go down to death.</l>
                    <l>High up, high up, the thundering surf</l>
                    <l>On Harihari's cliffs resounds,</l>
                    <l>And loud the wailing sea</l>
                    <l>Beats on the Mokau coast.</l>
                    <l>And here am I, on guard,</l>
                    <l>Seeking, searching, peering,</l>
                    <l>As on those rocky crags</l>
                    <l>The sea-hawk sits</l>
                    <l>And watches for his prey,</l>
                    <l>Oh! dauntless be.</l>
                    <l>Soon will the sun</l>
                    <l>Rise flaming o'er the world!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
        </div>
        <div xml:id="t1-body-d1-d8-d13" type="section">
          <head><hi rend="b">Dirges, Laments</hi>.<lb/>
(Tangi, Apakura)</head>
          <div xml:id="t1-body-d1-d8-d13-d1" type="section">
            <p>Full of striking metaphors and often of poetical conceptions of great beauty, are the lyric laments and dirges which form by far the larger portion of the Maori poetry. The mourners as they gather on the <hi rend="i">marae</hi> at the wailing-place liken the dead chief to a lofty forest-tree overthrown—<hi rend="i">kua hinga te totara</hi>—to a carved war-canoe shattered by the waves. An orator or singer is likened to a <hi rend="i">tui</hi> or a bellbird—“my sweetest singing bird is hushed,
<pb xml:id="n108" n="104"/>
that waked with melody the morn.” At these funeral gatherings the leading men of the assembled tribes will pace to and fro, fine flax or feather mats thrown across their shoulders, over their European clothes, and greenstone, whalebone or wooden weapons, cherished family heirlooms, in their hands, and thus address the dead:</p>
            <q>
              <p>“Go, O Sir! Go to the last resting place, the black pit of death! Go to the <hi rend="i">Reinga</hi>, the leaping-off place of departed spirits! Depart to that other world, to the home of Hine-nui-te-Po (the Great Lady of Night), for that is the great abode of us all.”</p>
            </q>
            <p>And again: “Who is this person, Death? [<hi rend="i">Ko wai tenei tangata, Aitua</hi>?] Had he but taken the form of a man, I could fight him with this <hi rend="i">taiaha</hi> of mine! But he is intangible, and he cannot be conquered.”</p>
            <p>Sometimes ancient <hi rend="i">karakia</hi> to the departing soul are chanted: “Depart, O loved one, may your path be straight for the higher world [<hi rend="i">te Rangi</hi>]. Climb to that abode as Tawhaki climbed the divine vine to the first heaven to the second heaven”—and so to the tenth heaven. [<hi rend="i">Piki ake Tawhaki ki te Rangi</hi>].</p>
            <p>The spirits of the dead take the long viewless trail for the land's end in the north:</p>
            <q>
              <p>“Pass thou along the far sands of Haumu, following the great path trodden bare by the feet of the innumerable dead, ever going the one way, and none returning.”</p>
            </q>
            <p>Touching indeed and couched in noble language are the expressions of grief at the death of a great man. When a Prime Minister of <name type="place" key="name-170607">New Zealand</name> died, the chiefs of Waikato sent an address which contained these lines:</p>
            <q>
              <p>“O mighty <hi rend="i">totara</hi> tree, you have fallen to the
<pb xml:id="n109" n="105"/>
Axe of Death—Death the swallower of greenstone jewels [<hi rend="i">Aitua-horo-pounamu</hi>]…. The people lament and mourn. The heavens also made lament, the storms arose, the lightning flashed, and the thunder rolled along the sky. Then too was heard the soft wind of the crying of the earth. The great storm-wind has passed through the forest. The trees are stricken with grief, they cry with pain, they groan for the fall of the tall <hi rend="i">totara</hi> tree. Afterward the people know of the death, and there is nothing greater than death.”</p>
            </q>
            <p>
              <figure xml:id="CowYest_105a">
                <graphic url="CowYest_105a.jpg" mimeType="image/jpeg" xml:id="CowYest_105a-g"/>
                <head>The Path of the Maori Souls, near Te Reinga, northern end of <name type="place" key="name-170607">New Zealand</name>.</head>
              </figure>
            </p>
          </div>
          <div xml:id="t1-body-d1-d8-d2-d2" type="section">
            <head>Miru, of the Reinga.</head>
            <p>In this funeral chant, collected from the Ngati-Toa and Ngati-Raukawa people, <hi rend="i">Miru</hi> is the <choice><orig>legend-
<pb xml:id="n110" n="106"/>
ary</orig><reg>legendary</reg></choice> deity of the underworld, through which all souls must pass:</p>
            <quote>
              <floatingText xml:id="t1-body-d1-d8-t17" decls="#text-17-bibl">
                <body xml:id="t1-body-d1-d8-t17-body">
                  <div xml:id="t1-body-d1-d8-t17-body-d1" type="waiata" xml:lang="mi">
                    <lg type="verse">
                      <l><hi rend="i">E tomo, e Pa</hi>,</l>
                      <l><hi rend="i">Ki Murimuri-te-Po</hi>,</l>
                      <l><hi rend="i">Te Tatau-o-te-Po</hi>.</l>
                      <l>
                        <hi rend="i">Ko te whare tena</hi>
                      </l>
                      <l><hi rend="i">O Rua-kumea</hi>,</l>
                      <l>
                        <hi rend="i">O Rua-toia</hi>
                      </l>
                      <l><hi rend="i">O Miru ra-e</hi>!</l>
                      <l>
                        <hi rend="i">O Tuhouropunga</hi>
                      </l>
                      <l><hi rend="i">O Kaiponu-kino</hi>.</l>
                      <l>
                        <hi rend="i">Nana koe i maka</hi>
                      </l>
                      <l><hi rend="i">Ki te kopae o te whare—i</hi>!</l>
                    </lg>
                  </div>
                </body>
              </floatingText>
              <floatingText xml:id="t1-body-d1-d8-t18" decls="#text-18-bibl">
                <body xml:id="t1-body-d1-d8-t18-body">
                  <div xml:id="t1-body-d1-d8-t18-body-d1" type="waiata">
                    <lg type="verse">
                      <head>(Translation.)</head>
                      <l>Enter, O Sire,</l>
                      <l>The Gates of that Dark Land</l>
                      <l>The Door of the Endless Night,</l>
                      <l>For that is the dwelling</l>
                      <l>Of Rua-kumea,</l>
                      <l>Of Rua-toia</l>
                      <l>Of the goddess Miru;</l>
                      <l>Of Tuhouropunga,</l>
                      <l>The Ever-Greedy One.</l>
                      <l>'Tis she who hurleth thee</l>
                      <l>To the corners of her gloomy house.!</l>
                    </lg>
                  </div>
                </body>
              </floatingText>
            </quote>
          </div>
          <div xml:id="t1-body-d1-d8-d2-d3" type="section">
            <head>A Song of Praise.</head>
            <p>This chant is sung by the East Coast tribes (Ngati-Kahungunu and others) in welcoming a distinguished guest. It is also chanted over the dead:</p>
            <quote>
              <floatingText xml:id="t1-body-d1-d8-t19" decls="#text-19-bibl">
                <body xml:id="t1-body-d1-d8-t19-body">
                  <div xml:id="t1-body-d1-d8-t19-body-d1" type="waiata" xml:lang="mi">
                    <lg type="verse">
                      <l><hi rend="i">Pinépiné te kura</hi>,</l>
                      <l><hi rend="i">Hau te kura</hi>,</l>
                      <l><hi rend="i">Whanake te kura</hi>,</l>
                      <l><hi rend="i">I raro i Awarua</hi>.</l>
                      <l><hi rend="i">Ko te kura nui</hi>,</l>
                      <l><hi rend="i">Ko te kura roa</hi>,</l>
                      <l><hi rend="i">Ko te kura na Tuhoe-po</hi>.</l>
                      <l><hi rend="i">Tenei te tira hou</hi>,</l>
                      <l>
                        <hi rend="i">Tenei hara mai nei</hi>
                      </l>
                      <l>
                        <hi rend="i">Na Te Umurangi</hi>
                      </l>
                      <l><hi rend="i">Na Te Whatu-i-apiti</hi>.</l>
                      <l><hi rend="i">Nau mai, e Tama</hi>,</l>
                      <l><hi rend="i">Ki te tai ao nei</hi>.</l>
                      <l>
                        <hi rend="i">Kia whakangungua koe</hi>
                      </l>
                      <l><hi rend="i">Ki te kahikatoa</hi>.</l>
                      <l><hi rend="i">Ki te tumatakuru</hi>.</l>
                      <l><hi rend="i">Ki te tara-ongaonga</hi>;</l>
                      <l>
                        <hi rend="i">Na tairo rawa</hi>
                      </l>
                      <l>
                        <hi rend="i">Nahau e Kupe</hi>
                      </l>
                      <l><hi rend="i">I waiho i te ao nei</hi>.</l>
                    </lg>
                  </div>
                </body>
              </floatingText>
              <floatingText xml:id="t1-body-d1-d8-t20" decls="#text-20-bibl">
                <body xml:id="t1-body-d1-d8-t20-body">
                  <div xml:id="t1-body-d1-d8-t20-body-d1" type="waiata">
                    <lg type="verse">
                      <head>(Translation)</head>
                      <l>Oh, bind thy noble brows</l>
                      <l>With the lordly red feathers,</l>
                      <l>Waving bravely in the wind;</l>
                      <l>The plumes brought hither</l>
                      <l>From Awarua, our distant home;</l>
                      <l>The great plumes, the lofty plumes,</l>
                      <l>The treasured plumes of our ancestor Tuhoe-po.</l>
                      <l>Thou art the traveller brought hitherward</l>
                      <l>By Te Umurangi and Te Whatu-i-Apiti.</l>
                      <l>Thou'lt be a powerful shield against</l>
                      <l>The weapons of the world;</l>
                      <l>The sharp and deadly spears,</l>
                      <l>The pricking darts and stings</l>
                      <l>That fill the foeman's armoury;</l>
                      <l>Thou'lt conquer e'en the barriers</l>
                      <l>Which Kupe the explorer raise</l>
                      <l>To guard this new-found land.</l>
                    </lg>
                  </div>
                </body>
              </floatingText>
            </quote>
          </div>
          <pb xml:id="n111" n="107"/>
          <div xml:id="t1-body-d1-d8-d2-d4" type="section">
            <head>For Those Killed in Battle: A Lament for Mahoetahi.</head>
            <p>The following is <name key="name-400434" type="person">Hokepera</name>'s <hi rend="i">tangi</hi> chant (recited to me by <name type="person" key="name-100076">Te Huia Raureti</name>, 1920) for the chiefs and warriors of Waikato killed in the battle of Mahoetahi, Taranaki, on November 6, 1860:</p>
            <quote>
              <floatingText xml:id="t1-body-d1-d8-t21" decls="#text-21-bibl">
                <body xml:id="t1-body-d1-d8-t21-body">
                  <div xml:id="t1-body-d1-d8-t21-body-d1" type="waiata" xml:lang="mi">
                    <lg type="verse">
                      <l>
                        <hi rend="i">Kaore taku huhi taku raru</hi>
                      </l>
                      <l>
                        <hi rend="i">Ki a koutou e pa ma</hi>
                      </l>
                      <l><hi rend="i">E haupu mai ra</hi>!</l>
                      <l>
                        <hi rend="i">Ka huua hoki au ki a Epiha ma</hi>
                      </l>
                      <l><hi rend="i">E hui nei ki te runanga</hi>—</l>
                      <l><hi rend="i">He kawe pai i te tika</hi>.</l>
                      <l>
                        <hi rend="i">Kaore he mahi nui</hi>
                      </l>
                      <l><hi rend="i">I nga maunga a Whiro kua wareware</hi>.</l>
                    </lg>
                    <lg type="verse">
                      <l>
                        <hi rend="i">Hare ra, e Tima</hi>
                      </l>
                      <l><hi rend="i">I te riri kaihoro a Ngati-Haua</hi>;</l>
                      <l><hi rend="i">Kaore i whakaaro ko te kupu pai a Haapurona</hi>.</l>
                      <l><hi rend="i">Ko te aha e Rau [Raureti], e Rewi, ma korua nei</hi>?</l>
                      <l><hi rend="i">Heoi ano ra ma koutou he kawe tangata ki te Po</hi>.</l>
                      <l><hi rend="i">Aue i te mamae ra-i</hi>!</l>
                    </lg>
                    <lg type="verse">
                      <l><hi rend="i">Anea kau ana te whenua</hi>,</l>
                      <l><hi rend="i">Tangi kotokoto ai te tai o Puniu</hi>.</l>
                      <l><hi rend="i">E whakahakiri ana nga tohu o te rangi e—e</hi>,</l>
                      <l>
                        <hi rend="i">Kanapa kau ana te uira</hi>
                      </l>
                      <l><hi rend="i">I runga o Tautari, te hiwi ki Rangitoto</hi>;</l>
                      <l><hi rend="i">Ko te tohu o te maté ra-i</hi>!</l>
                    </lg>
                    <pb xml:id="n112" n="108"/>
                    <lg type="verse">
                      <l><hi rend="i">Ka riro Paetai, Mokau, Tainui Te Arawa, Raukawa, Motai-i</hi>!</l>
                      <l><hi rend="i">E koa ra e rau tangata ka takoto kau to moni</hi>!</l>
                      <l>
                        <hi rend="i">Tenei taku poho e tuwhera kau nei</hi>
                      </l>
                      <l><hi rend="i">He wai kokiringa mo Kirikumara</hi>,</l>
                      <l><hi rend="i">Te tangata whakanoho i te riri—i</hi>,</l>
                      <l><hi rend="i">Te kino, e—c—i</hi>!</l>
                    </lg>
                  </div>
                </body>
              </floatingText>
              <floatingText xml:id="t1-body-d1-d8-t22" decls="#text-22-bibl">
                <body xml:id="t1-body-d1-d8-t22-body">
                  <div xml:id="t1-body-d1-d8-t22-body-d1" type="waiata">
                    <lg type="verse">
                      <head>(Translation)</head>
                      <l>Alas! my grief, my woe! Alas for my chieftains!</l>
                      <l>Confusedly heaped in yonder mound of Death!</l>
                      <l>Ah, once I listened to Epiha and his chiefs in council;</l>
                      <l>Then I thought their word were laden</l>
                      <l>With goodness and with truth.</l>
                      <l>On the dark hills of Death their plans were brought to nought.</l>
                    </lg>
                    <lg type="verse">
                      <l>Farewell O Tima,</l>
                      <l>Overwhelmed in the flood of battle!</l>
                      <l>'Twas the impetuous deed of Ngati-Haua,</l>
                      <l>They who heeded not the wise counsel of Hapurona.</l>
                      <l>What of your words, O Raureti, O Rewi?</l>
                      <l>'Tis enough that you have borne warriors down</l>
                      <l>To the black night of Death.</l>
                      <l>Ah me! the sorrow of it!</l>
                    </lg>
                    <lg type="verse">
                      <l>The land is swept by war's red tide.</l>
                      <l>Mournfully roll the waters of Puniu.</l>
                      <l>The waters sob as they flow.</l>
                      <l>I heard the thunder's distant mutter,</l>
                      <l>The rumbling omen of the sky.</l>
                      <l>I saw the lightning's downward flash.</l>
                      <l>The fire of portent, on 'Tautari's peak,</l>
                      <l>On Rangitoto's mountain height.</l>
                      <l>The flashing hand of death!</l>
                    </lg>
                    <lg type="verse">
                      <l>Thou'rt gone, O Paetai! Thou'rt gone, O Mokau!</l>
                      <l>Swept away are the heroes of Tainui, Te Arawa, Raukawa, Motai.</l>
                      <l>Our foes in multitudes rejoice,</l>
                      <l>Your treasure is laid bare and desolate.</l>
                      <l>See now my unprotected breast</l>
                      <l>Bared to the spear of Kirikumara.</l>
                      <l>'Twas he who raised this storm of war.</l>
                      <l>Alas, the evil of it!</l>
                    </lg>
                  </div>
                </body>
              </floatingText>
            </quote>
          </div>
          <div xml:id="t1-body-d1-d8-d2-d5" type="section">
            <head>“Pass On along the Quiet Ways.”</head>
            <p>A lament for a high chief and leader:</p>
            <quote>
              <floatingText xml:id="t1-body-d1-d8-t23" decls="#text-23-bibl">
                <body xml:id="t1-body-d1-d8-t23-body">
                  <div xml:id="t1-body-d1-d8-t23-body-d1" type="waiata" xml:lang="mi">
                    <lg type="verse">
                      <l><hi rend="i">Hare ra, e Pa, i te ara haukore</hi>,</l>
                      <l>
                        <hi rend="i">Taku ate hoki ra, taku pa kairiri</hi>
                      </l>
                      <l><hi rend="i">Ki te ao o te tonga</hi>;</l>
                      <l><hi rend="i">Taku manu-korero ki te nohoanga pahii</hi>,</l>
                      <l><hi rend="i">Taku manu hakahaka ki runga ki nga iwi</hi>.</l>
                      <l>
                        <hi rend="i">Houhia mai ra te matua</hi>
                      </l>
                      <l><hi rend="i">Ki te kahu Tahu-whenua</hi>;</l>
                      <l>
                        <hi rend="i">Houhia mai ra te matua</hi>
                      </l>
                      <l><hi rend="i">Ki te kahu Taharangi</hi>.</l>
                      <l>
                        <hi rend="i">Marewa e te iwi</hi>
                      </l>
                      <l><hi rend="i">Nana i whitiki taku motoi-kahurangi</hi>,</l>
                      <l><hi rend="i">Ka mau ki te taringa</hi>;</l>
                      <l>
                        <hi rend="i">Taku koko-tangiwai</hi>
                      </l>
                      <l><hi rend="i">Ka mau ki te kaki</hi>;</l>
                      <l><hi rend="i">Taku pou-mataaho e tu i te whare</hi>.</l>
                      <l><hi rend="i">Kia tu mai koe i te ponaihu o te waka</hi>,</l>
                      <l><hi rend="i">Kia whakarongo koe te wawara tangi wai hoe</hi>.</l>
                      <l><hi rend="i">Waiho i muri nei to pukai-kura—i</hi>!</l>
                    </lg>
                  </div>
                </body>
              </floatingText>
              <floatingText xml:id="t1-body-d1-d8-t24" decls="#text-24-bibl">
                <body xml:id="t1-body-d1-d8-t24-body">
                  <div xml:id="t1-body-d1-d8-t24-body-d1" type="waiata">
                    <lg type="verse">
                      <head>(Translation.)</head>
                      <l>Pass on, O Sire, along the quiet ways;</l>
                      <l>The beloved one of my heart, my shelter and defence</l>
                      <l>Against the bleak south wind.</l>
                      <l>My speaking-bird that charmed the assembled tribes,</l>
                      <l>That swayed the people's councils.</l>
                      <l>Clothe him, the Father, with the stately garments,</l>
                      <l>The very fine mats Tahu-whenua and Taharangi,</l>
                      <l>Place in his ear the precious jewel-stone,</l>
                      <l>The greenstone <hi rend="i">kahurangi</hi>,</l>
                      <l>Hang on his breast the <hi rend="i">koko-tangiwai</hi>,</l>
                      <l>Of glistening lucid jade.</l>
                      <l>O thou wert a prop within the house:</l>
                    </lg>
                    <pb xml:id="n113" n="109"/>
                    <lg type="verse">
                      <l>At the prow of the canoe thou wert,</l>
                      <l>Ears bent to the splashing sound</l>
                      <l>Of many paddles.</l>
                      <l>Our prized <hi rend="i">kaka</hi>-bird has gone,</l>
                      <l>The plumes alone remain.</l>
                    </lg>
                  </div>
                </body>
              </floatingText>
            </quote>
            <p>
              <figure xml:id="CowYest_109a">
                <graphic url="CowYest_109a.jpg" mimeType="image/jpeg" xml:id="CowYest_109a-g"/>
                <head>A chieftainess of Taupo and the King Country: the late <name key="name-400390" type="person">Te Rerehau</name>, wife of <name type="person" key="name-400087">Te Heuheu Tukino</name>.</head>
              </figure>
            </p>
          </div>
        </div>
      </div>
      <pb xml:id="n114" n="110"/>
      <div xml:id="t1-body-d1-d9" type="chapter">
        <head><hi rend="sc">Chapter</hi> IX.<lb/>
<hi rend="c"><hi rend="i">Whakatauki</hi>.</hi><lb/>
<hi rend="c">Some Maori Proverbs and Aphorisms</hi></head>
        <p>Maori literature, written and unwritten, abounds in proverbial sayings embodying the wisdom of the elders, and couched in language terse, forcible and often highly poetical. There are hundreds of such proverbs, tribal sayings, injunctions to industry, ironical allusions to vanity, display, laziness. Those which follow are selected from a large number I have gathered from the Maori, and are typical of this rich field of native lore:—</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">He kokonga whare, e kitea</hi>;</l>
            <l><hi rend="i">He kokonga ngakau, e kore e kitea</hi>.”</l>
            <l>(“A corner of a house may be seen and examined; not so the corners of the heart”).</l>
            <l><hi rend="i">He tao huata e taea te karo</hi>,</l>
            <l><hi rend="i">He tao na Aitua, e kore</hi>.”</l>
            <l>(“The thrust of a spear shaft may be parried, That of Death never.”)</l>
          </lg>
        </q>
        <p>There are plain-spoken proverbs in praise of industry, and holding laziness up to opprobrium; such as this specimen of housewives' wisdom:</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">Tane rou kakahi, aitia te ure</hi>;</l>
            <l><hi rend="i">Tane moe whare, kurua te takataka</hi>.”</l>
            <l>(“The husband who is diligent in using the dredging net for shellfish, love him well; As for the lazy fellow who sleeps away the hours in the house, punch his head.”)</l>
          </lg>
        </q>
        <p>A humble person in his home-village is often boastful and makes quite a noise and show abroad, as this alliterative distich emphasises:</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">He kuku ki te kainga</hi>,</l>
            <l><hi rend="i">He kaka ki te haere</hi>.”</l>
            <l>(“A wood-pigeon when he's at home, a noisy parrot when he's on his travels.”)</l>
          </lg>
        </q>
        <pb xml:id="n115" n="111"/>
        <p>Military fame is fleeting; the soldier's calling is a precarious life:</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">He toa taua, he toa pahekeheke</hi>;</l>
            <l><hi rend="i">He toa mahi kai, e kore e paheke</hi>.”</l>
            <l>(“The daring warrior's life is insecure; his is a slippery path;</l>
            <l>The vigorous cultivator of the soil is secure; he will not slip.”)</l>
          </lg>
        </q>
        <p>Every tribe has its <hi rend="i">pepeha</hi> or peculiar saying, indicative of characteristics or attributes of the <hi rend="i">iwi</hi> or <hi rend="i">hapu</hi>. The following are examples:</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">Waikato taniwha rau</hi>.”</l>
            <l>(“Waikato of a hundred water-monsters, i.e., chiefs”—a reference to the strength and importance of the tribes of the district.)</l>
            <l>“<hi rend="i">He piko he taniwha, he piko he taniwha</hi>.”</l>
            <l>(“At every river-bend a chief.”)</l>
            <l>“<hi rend="i">Tuhoe moumou tangata ki te Po</hi>.”</l>
            <l>(“The Tuhoe people are wasteful with the lives of men”—an allusion to the warlike proclivities of the tribe.)</l>
          </lg>
        </q>
        <p>This proverb was quoted very appositely by the Kingite warrior chief Whitiora te Kumete, of Kawhia, when he and his fellow-prisoners of war, after escaping from <name type="place" key="name-100146">Kawau Island</name> to the mainland near Mahurangi in 1864, were visited by a Government agent and urged to return to their isle of captivity:</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">He manu ka motu i te mahanga e kore e taea te whai</hi>.”</l>
            <l>(“A bird which has once escaped from the snare will not be caught again.”)</l>
          </lg>
        </q>
        <p>The following proverb, denoting finality, unalterable purpose, destiny, has even been sent over the telegraph wires. When Hone Toia, the chief of the Mahurehure <hi rend="i">hapu</hi>, of Waima, Hokianga, organised his little rebellion against obnoxious <hi rend="i">pakeha</hi> authority in 1898, he replied in the words of the ancient <hi rend="i">whakatauki</hi> to <name type="person" key="name-100065">Hone Heke</name>, the member of Parliament for Northern Maori, who had <choice><orig>tele-
<pb xml:id="n116" n="112"/>
graphed</orig><reg>teleraphed</reg></choice> to him from Wellington urging wiser counsels:</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">He rangai maomao ka taka ki tua o Nukutaurua, e kore a muri e hokia</hi>.”</l>
            <l>(“When a shoal of <hi rend="i">maomao</hi> fish has passed to seaward of Nukutaurua rock (off Mangonui harbour) it will never return.”)</l>
          </lg>
        </q>
        <p>Paeko was a famous fighting man of the Bay of Plenty in ancient days. His friends never failed to send for him when they became involved in a dispute that necessitated the use of club and spear. He could be trusted to turn defeat into victory by the weight of his own right arm. One day a feast was given at a <hi rend="i">pa</hi> in Paeko's country, and the warrior was there, waiting with the other <hi rend="i">rangatiras</hi> to be called by name at the apportioning of the piles of food. He sat silently while those who were in the <hi rend="i">marae</hi> were named, and at last he realised that he had been forgotten. He was too proud to join in the festivities without being formally <hi rend="i">karanga</hi>'d, and he turned to go home. But before he left he stood forth, spear in hand, and hurled this alliterative reproof at his hosts:</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">Karanga riri, karanga kia Paeko</hi>!</l>
            <l><hi rend="i">Karanga kai, ka kapa Paeko</hi>!”</l>
            <l>(“Midst war's alarms, the cry is for Paeko!</l>
            <l>When the feast call comes, forgotten is Paeko!”)</l>
          </lg>
        </q>
        <p>It is an equivalent both in matter and form of the old English soldier's complaint:</p>
        <q>
          <lg type="verse">
            <l>When danger threatens and the foe is nigh,</l>
            <l>“God and the soldier” is the nation's cry;</l>
            <l>But when the war is o'er and wrong is righted,</l>
            <l>God is forgotten and the soldier slighted.</l>
          </lg>
        </q>
        <p>A Ngapuhi saying from <name type="person" key="name-101094">Hare Hongi</name>:</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">Tatai whetu ki te rangi, mau tonu mau tonu</hi>;</l>
            <l><hi rend="i">Tatai tangata ki te whenua, ngaro noa, ngaro noa</hi>.”</l>
            <l>(“The starry hosts of heaven abide there for ever, immutable;</l>
            <l>The hosts of men upon this earth pass away into oblivion.”)</l>
          </lg>
        </q>
        <pb xml:id="n117" n="113"/>
        <p>This fine sentiment is my favourite out of a long list of <hi rend="i">whakatauki</hi> I have collected:</p>
        <q>
          <lg type="verse">
            <l>“<hi rend="i">Whaia e koe te iti kahurangi</hi>;</l>
            <l><hi rend="i">Ki te tuoho koe, me mounga teitei</hi>.”</l>
            <l>(“Seek you the little treasure of your heart;</l>
            <l>If you bow your head, let it be to a lofty mountain.”)</l>
          </lg>
        </q>
        <p>The American philosopher expressed very much that idea, in more colloquial language: “Hitch your wagon to a star.”</p>
        <p>
          <figure xml:id="CowYest_113a">
            <graphic url="CowYest_113a.jpg" mimeType="image/jpeg" xml:id="CowYest_113a-g"/>
            <head>Ngati-Tuwharetoa veterans at Tokaanu, Lake Taupo, parading for <hi rend="i">peruperu</hi> (war-dance).</head>
          </figure>
        </p>
      </div>
      <pb xml:id="n118" n="114"/>
      <div xml:id="t1-body-d1-d10" type="chapter">
        <head><hi rend="sc">Chapter</hi> X.<lb/>
<hi rend="c">Artcraft of The Maori</hi>.</head>
        <div xml:id="t1-body-d1-d10-d1" type="section">
          <head>The Carved House.</head>
          <p>The art culture of the Maori is a field which is now engaging sympathetic study by artists and architects, and designers of decorative schemes, and it has come to be recognised that there is much that is very beautiful and graceful in the wood-carving and painting and weaving developed by the native people. Superficial observation in the past has dwelt on the grotesque and barbaric side of Maori art, to the exclusion of the decorative designs which reflect the height of Maori genius. The forms of tree and flower, of bird and cloud and mountain, the story of the tribes, the soul and romance of native life, are expressed in these designs, evolved during many centuries of life in a country of great natural beauty. It would indeed have been strange had the Maori not absorbed the spirit of this beauty, and interpreted it as best he could in the materials at his hand.</p>
          <p>“Maori designs,” a <name type="place" key="name-170607">New Zealand</name> artist has written, “with their oppositions of lines and spaces, their rhythmic sequences of curve and counter-curve, of thrust and counter-thrust, of balance and counter-balance, are expressive of the vitality and virility of both Maori and <hi rend="i">pakeha</hi>. The forms used seem to me to be the natural incarnation of our environment. They are the essence distilled from our surroundings, and are therefore part of the life and character of every New Zealander. Environment is the all-important factor in the creation of decorative forms.”</p>
          <pb xml:id="n119" n="115"/>
          <p>The importance of the study and encouragement of the art that is native to the soil has been recognised by the New Zealand Government in recent years, and a practical result of the newly-born interest in wood-carving and its kindred arts has been the creation of a Maori Arts and Crafts Board. This body was established under an Act of Parliament passed in 1926, entitled “An Act to Encourage the Dissemination of Knowledge of Maori Arts and Crafts.” The duty of the Board is defined as “to foster and encourage the study and practice of these arts and crafts,” and in furtherance of its objects it is empowered to establish schools of Maori art or other institutions; purchase, acquire, or vend any carvings or other articles having distinctive Maori characteristics, and take custody and control of native antiquities. The first step taken was to establish a school of carving and other arts at Rotorua, under the management of the Board, and the first director appointed was Mr. H. Hamilton, son of the late Mr. A. Hamilton, author of <hi rend="i">Maori Art</hi> and for many years director of the Dominion Museum. The school has been established in a small way, but it is a start, and it is looked to as the nucleus of a technical training college which shall have for its goal the fostering of a very wide appreciation of the artcrafts native to the country and the application of those arts to European as well as Maori architecture and decoration. It is peculiarly appropriate that Rotorua should have been selected as the centre of such a circle of <name type="place" key="name-170607">New Zealand</name> culture, for the Arawa people of that district have always been regarded as the most skilful wood-carvers in the land, and the experts of the tribe are the best instructors procurable to perpetuate the knowledge of the designs and the traditions of an artcraftsmanship distinctive of <name type="place" key="name-170607">New Zealand</name>.
<pb xml:id="n120" n="116"/>
Indeed the existence of such designs and such traditions are a very precious possession of our <name type="place" key="name-170607">New Zealand</name> people, and they will have a share of increasing importance in the moulding of decorative features peculiarly fitting to our landscape and our conditions of life.</p>
          <p>The principal medium in which Maori artistry finds expression to-day is the <hi rend="i">totara</hi>-wood in which carvings are made, and interior painting in red, black and white, for the communal meeting-house—the <hi rend="i">whare-whakairo</hi> (carved house), <hi rend="i">whare-hui</hi> (assembly-house), or <hi rend="i">whare-runanga</hi> (council-house), as it is variously called. In former days the war-canoe figureheads and stern posts were beautifully carved, but this branch of the olden artcrafts has still to be revived. The tattooing of face and body, the famous art of <hi rend="i">moko</hi> in which the Maori excelled, was also a great channel for artistic decoration, but this, except in the case of the women's chin-tattooing (<hi rend="i">kauwae</hi>) is an art extinct.</p>
          <p>During the last few years there has been a renaissance in wood-carving, especially in the Rotorua district and along the Bay of Plenty. The Maori type of house, even one unadorned with carving, has impressed many travellers as in fine harmony with the landscape, and a dwelling or a meeting-house with carved front and decorative finial or <hi rend="i">tekoteko</hi> and its warm but not garish colour scheme, has come to be regarded by the artist as a fitting and necessary complement to a scene of characteristic <name type="place" key="name-170607">New Zealand</name> life. The old village with its pretty orderly grouping of <hi rend="i">raupo</hi> and <hi rend="i">nikau</hi> or bark-roofed <hi rend="i">whares</hi> has given place to the new, which is too often the reverse of picturesque. But in nearly every village there is a carved meeting-house, the centre and focus of the township's social life.</p>
          <pb xml:id="n121" n="117"/>
          <p>
            <figure xml:id="CowYest_117a">
              <graphic url="CowYest_117a.jpg" mimeType="image/jpeg" xml:id="CowYest_117a-g"/>
              <head>Interior of a Carved House, Rotorua. [<hi rend="i">Photo, by <name type="person" key="name-208682">Josiah Martin</name>, Auckland</hi></head>
            </figure>
          </p>
          <pb xml:id="n122" n="118"/>
          <p>The martial tattooed figures carved at the entrance and around the walls of a <hi rend="i">whare-whakairo</hi> represent ancient chiefs and heroes, and <hi rend="i">atua</hi> or deified ancestors. The interior of such a house is bright with rafter scroll patterns, and adorned with rich carving and with <hi rend="i">tuitui</hi>, fanciful lattice-work done with lathes and reeds. A pretty design is the <hi rend="i">purapura-whetu</hi> or star-dust in groups of tiny stars. The scroll paintings in black and white and red are described as <hi rend="i">tuhituhi</hi> (do not confuse with <hi rend="i">tuitui</hi>) which means to depict with brush or pencil or charcoal. They are used in the broad frieze which runs, around the building; they are graceful conventionalised representations of natural objects, chiefly the drooping flowers of the <hi rend="i">kowhai</hi>, and the uncurling new fronds of the fern-tree; there is also an idea based upon the appearance of the hammer-headed shark, called the <hi rend="i">mango-paré</hi>, and there is the <hi rend="i">puhoro</hi>, the tattoo-pattern specially devoted in former days to the upper part of the legs.</p>
          <p>Many Maori designs are used in the adornment of the interior of churches in native districts. The pretty church of St. Faith at Ohinemutu is an example. The front of the pulpit is a series of panels of <hi rend="i">taniko</hi> work, the beautiful mat-border design; it seems to be painted until a close inspection shows that it is really woven fine flax, most delicately and skilfully done in black and white diamond shaped and zig-zag patterns. The <hi rend="i">tuitui</hi> (to sew or to stitch), or <hi rend="i">arapaki</hi>, in lathes and reeds, and coloured flax and other tough fibre binding, covers a great variety of patterns. Some of these have poetical names, indicating their origin or fancied likeness. One is <hi rend="i">niho-taniwha</hi> or “dragon's teeth”; another is called “albatross tears.” When bird-hunters years ago, the Maoris relate, went to the Rurima Rocks and other offshore islets in the
<pb xml:id="n123" n="119"/>
Bay of Plenty in search of the young (<hi rend="i">kuao</hi>) of the albatross, the young birds seemed to know their fate, for when the men approached they wept tears, which fell in long drops—the <hi rend="i">roimata toroa</hi>. Over the doors is the <hi rend="i">kaokao</hi> or “rib” pattern, a series of chevrons. There is the diamond pattern, which is called <hi rend="i">patiki</hi>, because of its imagined resemblance to the shape of the flounder. The <hi rend="i">poutama</hi> is a succession of steps in black and white.</p>
          <p>
            <figure xml:id="CowYest_119a">
              <graphic url="CowYest_119a.jpg" mimeType="image/jpeg" xml:id="CowYest_119a-g"/>
              <head>A decorated house of the olden type, in Tane-nui-a-Rangi <hi rend="i">pa</hi>, Hawke's Bay, 1858.</head>
            </figure>
          </p>
          <p>Many of the <hi rend="i">tuhituhi</hi> or painted scroll patterns are immeasurably ancient. Maori legend says they were first pictured by Tangaroa, the Maori Neptune, whose carved house in the depths of the ocean was hooked by Maui-tikitiki-a-Taranga, when he made his titanic fishing haul. The hook caught under the front gable end of Tangaroa's house, and drew it to the surface; and this mountainous island of ours is really nothing but the <hi rend="i">tahuhu</hi>, the painted ridge-pole of the sea-god's dwelling.</p>
          <pb xml:id="n124" n="120"/>
          <p>Some of the olden customs and ceremonies are adhered to quite strictly in the building and ceremonial opening of these carved houses. I observed at Maketu an illustration of one immemorial observance. The carved slabs had been set in position round the interior of the 60 ft.-long <hi rend="i">whare</hi>, built on concrete foundations, and the workmen were preparing for the raising of the heavy totara <hi rend="i">maihi</hi>, the two large carved front barge boards. There was a notice in Maori painted on a board in front of the building: “Women must not enter this house.” This prohibition against feminine visits applies to <hi rend="i">pakeha</hi> as well as Maori. No woman is allowed to set foot in a newly-carved house until the <hi rend="i">tohunga</hi> and the chief carvers have carried out the ceremonies of the “<hi rend="i">taingakawa</hi>,” or “<hi rend="i">kawangawhare</hi>,” for the removal of the <hi rend="i">tapu</hi> which attaches to all buildings in which the children of Tane-Mahuta, the god of forests, have been carved into the figures that represent tribal gods and ancestors. The final act in such ceremonies is the entry into the house of a selected woman, a chieftainess of the tribe, who is accompanied by the <hi rend="i">tohunga</hi> and the carving experts. They walk round the decorated interior, eating portions of cooked <hi rend="i">kumara</hi> as they go, and the priest recites the ancient <hi rend="i">karakia</hi>. Then, but not before, is the house free to all. A somewhat similar antipathy to female interference exists in some parts of Polynesia. At Niue Island no woman was permitted to board a fishing-canoe.</p>
          <p>The ancient prayers for the removal of the mystic spell of <hi rend="i">tapu</hi> are by no means forgotten. An old acquaintance of mine at Rotorua is frequently called in to perform these <hi rend="i">kawanga-whare</hi> ceremonies; he is a <hi rend="i">tohunga</hi> of high order, and he told me once how he had been <hi rend="i">karakia</hi>'d over in his youth by the famous <name type="person" key="name-400381">Tuhoto Ariki</name>, the ancient
<pb xml:id="n125" n="121"/>
<figure xml:id="CowYest_121a"><graphic url="CowYest_121a.jpg" mimeType="image/jpeg" xml:id="CowYest_121a-g"/><head>The carved and tattooed statue of Toroa, at the foot of the main roof-pillar in the assembly-house “Te Whai-a-te-motu,” Urewera Country.</head></figure>
<pb xml:id="n126" n="122"/>
wizard who was dug out alive at Te Wairoa after having been buried in his little hut for four days by the ash and mud from the Tarawera eruption in 1886. Nowadays, as a concession to the <hi rend="i">pakeha</hi> Church, clergymen are called in also to bless the new house. But the <hi rend="i">tohunga</hi> Maori says his prayers first, and nothing that the <hi rend="i">pakeha</hi> parsons can say is so appropriate or so beautiful as some of the passages in the ancient Maori ritual.</p>
          <p>Ngati-Porou, around the East Cape, have some large and artistic village halls, combining ancient patterns with modern comfort. But no carved house I have seen in all the villages of Maoridom is superior, for true ancient artistry and primitive consistency of construction, to the Whakatohea meeting-house and prayer-house called “Tane-Whirinaki,” which is to my mind the best extant example of a native decorated building. It stands among the peach trees on a pretty mound above the Waioeka River, a settlement called Opekerau, about six miles inland from Opotiki. The house was built by the chief Hira te Popo, of the Ngati-Ira sub-tribe, forty years ago. It is massively and richly carved in designs embodying tribal mythology and history, and is not disfigured with <hi rend="i">pakeha</hi> door and glass window like most Maori halls nowadays. The <hi rend="i">paré</hi>, or architrave above the doorway, the <hi rend="i">ruru</hi> head above the entrance, and the <hi rend="i">parata</hi>, the end of the ridgepole in the porch-roof, with the tattooed head of Rangi-Kurukuru, the Sky-father, are particularly good examples of Whakatohea artcraft. This house is of remarkable interest in another way, for it is <hi rend="i">tapu</hi> to Europeans. The Ngati-Ira are all adherents of the Ringa-tu church the—offshoot of the old Hauhau religion—and are strong in the faith that <name type="person" key="name-100152">Te Kooti</name> promulgated, and their prayers and chants rise in “Tane-Whirinaki” every night and morning.</p>
          <pb xml:id="n127" n="123"/>
          <p>In the heart of the Urewera Country, at Mataatua, is the largest <hi rend="i">whare-whakairo</hi> of purely Maori construction. It is about 80 feet in length and 36 feet in width. The raising of the massive ridge-pole, when the house was built for <name type="person" key="name-100152">Te Kooti</name> in 1890, engaged the united efforts of a hundred men. For many years, this house, “Te Whai-a-te-Motu,” was sacred; no food was allowed to be taken into it, and all persons entering had to deposit articles such as
<figure xml:id="CowYest_123a"><graphic url="CowYest_123a.jpg" mimeType="image/jpeg" xml:id="CowYest_123a-g"/><head>“Te-Whai-a-te-Motu,” the carved meeting-house at Mataatua, Ruatahuna Valley, Urewera Valley.<lb/>
[<hi rend="i">Photo by W. A. Neale, Tapui</hi>.</head></figure>
tobacco, knives and matches, outside the porch. Surmounting the front of the house is a carved head or <hi rend="i">tekoteko</hi> with outstretched tongue and glittering shell-made eyes. This represents the warrior-chief Te Umu-ariki, who was a leading brave of Tuhoe a hundred years ago, and who was killed by the Ngati-Ruapani tribe at Waikaremoana. Below the <hi rend="i">tekoteko</hi> is a carved and painted monster, half dog, half crocodile. This is Tangaroa, the enchanted dog of Taneatua, a chief who arrived on these shores in the Mataatua canoe. The dog, say the Maori, was
<pb xml:id="n128" n="124"/>
left by Tane-atua at a small lake in these mountains, where it remains to this day as a <hi rend="i">tipua</hi> or dæmon. The porch and the house-interior are rich with carved effigies of ancestral heroes, cut out of solid slabs of totara and grouped around the walls—stern figures with huge distorted heads, and leering mouths from which project red-painted tongues; three-fingered hands gripping stone weapons (sometimes a steel tomahawk) in attitudes of defiance, faces tattooed in exactest imitation of the <hi rend="i">moko</hi> of living men. There are strange reptilian forms, ornate and fantastic, recalling pictures of the plesiosaurus and other fearsome creatures of the past, as reconstructed by the scientist. The lofty painted ridge-pole is supported by three pillars. At the foot of the first one, the sacred <hi rend="i">poutoko-manawa</hi>, is the carved wooden statue of Toroa, the semi-deified kingly ancestor of the tribe. It was Toroa (“Albatross”), who commanded the canoe Mataatua, which brought some of the ancestors of this people to the shores of the Bay of Plenty from the South Sea Islands six centuries ago. The head and face are beautifully carved, and the majestic scornful visage of the Polynesian Viking-chief is scrolled with blue lines of tattoo. The head is surmounted by a <hi rend="i">putiki-whai</hi> or topknot, after the olden hair-dressing mode of the Maori. Depending from the ears are snow-white bunches of albatross down, and the figure is draped in fine flax and feather mats.</p>
          <p>The leading motive in Maori art is the spiral (<hi rend="i">pitau</hi>). Bold in design, beautifully accurate, it is purely a product of the native life in these islands. It was evolved in <name type="place" key="name-170607">New Zealand</name> from the study of natural objects. But it has its likenesses in many Oriental countries, and a poet reminds us that it appears in the decorated designs of ancient civilisations in Central and South America:</p>
          <pb xml:id="n129" n="125"/>
          <q>
            <lg type="verse">
              <l>“On Aztec ruins grey and lone,</l>
              <l>The eireling serpent eoils in stone,</l>
              <l>Type of the endless and unknown.”</l>
            </lg>
          </q>
          <p>The spiral is everywhere in Maori decorations, in the carved house—particularly on the ends of the <hi rend="i">maihi</hi> or bargeboards—the canoe figurehead and stern-post, and the tattooing on the face and hips. The double spiral design is beautifully open-worked or fretworked in the figureheads, now only seen in museums. Various objects in nature are given by the Maori as the original suggestion on which the carver and tattooer based their pattern. The term <hi rend="i">pitau</hi> is derived from the young first-unfolding fronds of the fern-tree. There is too, the web of the spider (<hi rend="i">whare-pungawerewere</hi>); the <hi rend="i">pitau</hi> is remarkably like a web. There are the wave-like markings on sandstone cliffs, such as the great white
<figure xml:id="CowYest_125a"><graphic url="CowYest_125a.jpg" mimeType="image/jpeg" xml:id="CowYest_125a-g"/><head>The Finishing Touch.</head></figure>
<pb xml:id="n130" n="126"/>
<hi rend="i">pari</hi> at Otamahuka, near Matata. Again, a wood carver turns up his thumb and shows the spiral markings there; “are they not like the <hi rend="i">pitau</hi>?”</p>
          <p>Whence did the Maori derive the design of the three-fingered hand, almost universal in the real old wood-carvings? The question has been asked many a time, and many different theories, mostly fanciful, have been advanced to account for this peculiarity in native decorative art. This is a legend told to me many years ago by an Upper Wanganui Maori who was a wood-carving artist: “The first man of the Maori race to carve and decorate houses as the carve them to-day was Mutu-wai-teko, a man of Hawaiki, in the South Sea Islands. He had only three fingers on each hand, and he perpetuated this in his carvings. All his figures he carved with but three fingers on a hand, and this has been kept up to this day by Maori carvers. This was in the very remote past, when my ancestors lived in the islands of the Pacific, Moana-nui-a-Kiwa. One day Tangaroa, the chief, paid a visit to a wonderful house which Mutu-wai-teko had built and adorned with carved figures. These effigies were carved on the side slabs of the house. Tangaroa entered the house, after greeting Mutu with the customary nose pressing. Then, seeing in the dim light of the interior of the house a tattooed chieftain-like figure standing at the side of the <hi rend="i">wharé</hi>, he approached and advanced his nose to that of the other in the greeting courtesy of the <hi rend="i">hongi</hi>. To his amazement he found that the tattooed chief was nothing but a wooden effigy. He was wonder-stricken, and chagrined that he had been so deceived by the cunning art of the wood-carver. And when you look upon the strangely carven and tattooed figures of the Maori houses of to-day, bethink you of the father of carving, Mutu-wai-teko, the three-fingered, the
<pb xml:id="n131" n="127"/>
<figure xml:id="CowYest_127a"><graphic url="CowYest_127a.jpg" mimeType="image/jpeg" xml:id="CowYest_127a-g"/><head>Carved figure of antique type with three-fingered hands.</head></figure>
<pb xml:id="n132" n="128"/>
skilful worker in wood, whose chisel-art deceived Tangaroa.”</p>
          <p>This explanation, of course, is not necessarily to be accepted. The three-finger conventional design in the carvings seen in Maori work no doubt originated far back in the ages in Asiatic lands—it has been observed in Alaska too—and who shall say now what object it served or what peculiar belief suggested and perpetuated it? Some will have it that it is intended to avert ill-luck, by varying the effigy somewhat from the human form, but this may be European theory.</p>
          <p>
            <figure xml:id="CowYest_128a">
              <graphic url="CowYest_128a.jpg" mimeType="image/jpeg" xml:id="CowYest_128a-g"/>
              <head>A meeting-house of the <name type="organisation" key="name-100099">Urewera Tribe</name>, at Ruatoki, Whakatane Valley.</head>
            </figure>
          </p>
          <p>Another curious design is the beaked <hi rend="i">manaia</hi> pattern, with its suggestions of some prehistoric creature. At Rotorua you see it carved on the ends of the choir seats and the pews in the Maori mission church of St. Faith at Rotorua. The design embodies, according to the Arawa carvers, the remembrance of a strange being of old who lived in
<pb xml:id="n133" n="129"/>
the ocean. In the sea he was a fish; when he emerged he took the form of a man. Moreover, he was a god, and it was bad luck to get him in your fishing-net or on your hook. The most extraordinary thing about the god creature was that he had only one human side to his face. Seen in profile form one side he was to all appearance a man, but let him I turn his face and you would see that the other side was that of a fish. He had but one eye and one arm; and so you never see <hi rend="i">a manaia</hi> carved in full face but only in profile, with the one eye showing. One is reminded of the stories of Dagon the fish-god and other classic mythological apparitions, but our Maori <hi rend="i">manaia</hi> out-freaks them all.</p>
        </div>
        <div xml:id="t1-body-d1-d10-d2" type="section">
          <head>The Rite of the Kawanga-Whare: Maori House-Opening Ceremonies.</head>
          <p>A special <hi rend="i">tapu</hi> attaches to the timbers of a newlycarved house, because the trees which have been felled to build the <hi rend="i">whare</hi> are the sacred children of Tane-mahuta, the God of the Forest, and because they have been carved into the semblance of revered ancestors and into representations of national and tribal deities. The <hi rend="i">tapu</hi> must be laid, its dangerous powers averted, before the house can be occupied safely. This priestly ceremony of quelling the mystic influences of danger is termed <hi rend="i">whai-kawa</hi>, or <hi rend="i">kawanga-whare</hi>, also <hi rend="i">taingakawa o te whare</hi>. The <hi rend="i">hau tama-tane</hi> and the <hi rend="i">hau wahine</hi>, the male and female principles, co-operate in the removal of the <hi rend="i">tapu</hi>.</p>
          <p>A peculiar sanctity surrounds all the operations of constructing an important carved house, from the felling of the tree to the day that the last worked slab is placed in position. The carvers of to-day are very careful not to infringe any of the unwritten
<pb xml:id="n134" n="130"/>
laws of the art and of <hi rend="i">tapu</hi>. Neither they nor any of the people would ever think of using the chips and shavings from the carvings for a fire for cooking food; neither will a workman blow the shavings off while he is engaged with chisel and mallet and axe. The breath is pollution; he turns the timber on its side and shakes the shavings off, or brushes them away. I have witnessed ceremonies of <hi rend="i">kawa-whare</hi> in the Arawa country conducted in strict accordance with ancient practice, with the full ritual which is believed to free the house from <hi rend="i">tapu</hi> and render it fit for habitation. The <hi rend="i">karakia</hi> or service of prayer and charm used on these occasions were dictated to me privately by the priests, after the meetings, and it is interesting to compare the several rituals. I have also collected notes of <hi rend="i">kawa-whare</hi> ceremonials and <hi rend="i">karakia</hi> in the Taupodistrict, and chants formerly used in the South Island. A ceremony of this kind which I shall describe is worth placing on record because it preserves the ancient Maori-Polynesian ritual unspoiled by <hi rend="i">pakeha</hi> influences.</p>
          <p>I witnessed the ceremony here described in 1908 in the Tuhourangi village at Whakarewarewa. It was the <hi rend="i">taingakawa</hi> of the carved meeting-house “Wahiao”, built by Mita Taupopoki and his kinsfolk, a house richly adorned with <hi rend="i">whakairo</hi> designs without and within. <name type="person" key="name-100088">Taua Tutanekai Haerehuka</name> was the <hi rend="i">tohunga</hi> who recited the ancient rhythmic form formulae for the purpose of freeing the new house from the <hi rend="i">tapu</hi> of Tane's woods that clung to it.</p>
          <p>In the carved bargeboards on the front of the house were placed the chisels, the bone and wooden mallets and the axes and adzes used by the carvers in their work. These tools were sacred for the time being, and special <hi rend="i">karakia</hi> were pronounced over them. With a <hi rend="i">taiaha</hi> weapon in his hand, a
<pb xml:id="n135" n="131"/>
<hi rend="i">kiwi</hi>-feather cloak about him, Tutanekai advanced to the right front of the house and stood there by the side of the spiral-carved <hi rend="i">maihi</hi> or gable bargeboard. In a quick level voice he recited his charms to propitiate the spirit of the sacred forest of Tane-Mahuta. This was his opening <hi rend="i">karakia</hi>:</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t25" decls="#text-25-bibl">
              <body xml:id="t1-body-d1-d8-t25-body">
                <div xml:id="t1-body-d1-d8-t25-body-d1" type="karakia" xml:lang="mi">
                  <lg type="verse">
                    <head>
                      <hi rend="i">Ko te tuanga o te rakau ki raro:</hi>
                    </head>
                    <l><hi rend="i">Kakariki powhaitere</hi></l>
                    <l><hi rend="i">I te Wao-nui-a-Tane</hi>,</l>
                    <l><hi rend="i">I te urunga tapu</hi></l>
                    <l><hi rend="i">Kua ara, kua ara</hi></l>
                    <l><hi rend="i">A Tane ki runga</hi>;</l>
                    <l><hi rend="i">Kua kotia nga putake</hi></l>
                    <l><hi rend="i">O te rakau o te whare nei</hi>;</l>
                    <l><hi rend="i">Kua waiho atu</hi></l>
                    <l><hi rend="i">I te urunga tapu</hi>;</l>
                    <l><hi rend="i">Kua kotia nga kauru</hi></l>
                    <l><hi rend="i">O te rakau o te whare nei</hi>;</l>
                    <l><hi rend="i">Kua waiho atu</hi></l>
                    <l><hi rend="i">I te Wao-nui-a-Tane</hi>.</l>
                    <l><hi rend="i">Kua tae au</hi></l>
                    <l><hi rend="i">Ki nga pukenga</hi>,</l>
                    <l><hi rend="i">Ki nga wananga</hi>,</l>
                    <l><hi rend="i">Ki nga tauira</hi>.</l>
                    <l><hi rend="i">Patua kuru</hi>,</l>
                    <l><hi rend="i">Patua whao</hi>,</l>
                    <l><hi rend="i">Patua te toki a Tai-haruru</hi>.</l>
                    <l><hi rend="i">Kua piki hoki nei</hi></l>
                    <l><hi rend="i">Ki te maro-hukahuka-nui</hi></l>
                    <l><hi rend="i">A Tangaroa</hi>,</l>
                    <l><hi rend="i">Te ngaru ai e whati ai</hi></l>
                    <l><hi rend="i">E Nuku-tai-maroro</hi>.</l>
                    <l><hi rend="i">Kaore ko au</hi></l>
                    <l><hi rend="i">E kimi ana, e hahau ana</hi></l>
                    <l><hi rend="i">I nga uri o te whanau a Rata</hi></l>
                    <l><hi rend="i">Hai pokapoka ia Tane</hi></l>
                    <l><hi rend="i">E tu-i-i</hi>.</l>
                    <l><hi rend="i">Kaore i kitea</hi>,</l>
                    <l><hi rend="i">Kua mate noa atu</hi></l>
                    <l><hi rend="i">I te awa i Pikopiko-i-Whiti</hi>.</l>
                    <l><hi rend="i">Ma te maranga mai ai</hi></l>
                    <l><hi rend="i">Ko hiki-nuku e</hi>!</l>
                    <l><hi rend="i">Ta taua rangi</hi>!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
          <p>The translation of this invocation is as follows:</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d8-t26" decls="#text-26-bibl">
              <body xml:id="t1-body-d1-d8-t26-body">
                <div xml:id="t1-body-d1-d8-t26-body-d1" type="karakia">
                  <head>“For the felling of the Tree:</head>
                  <p>“King of the forest-birds, chief of the parakeets that guard Tane's mighty woods, Tane's sacred resting place (listen to my prayer)! Tane (the Tree) stood erect, stood erect, amidst the
<pb xml:id="n136" n="132"/>
forest shades; but now he's fallen. The trunk of Tane has been severed from the butt; the stump of the tree felled to build this house stands yonder in the sacred resting place. The branehy tree-top, the leafy head, has been cut off; it lies yonder in the Vast-Forest-of-Tane. I have performed my ceremonies of propitiation; I have appealed to the spirits of our priestly ancestors, and to the sacred ones. I have struck these timbers with mallet and chisel; I have struck them with the axe of the Sounding-Seas. I have mounted upon the great foaming girdle of the sea-god Tangaroa, the waves beaten down and divided by the canoe Nuku-tai-maroro. I am seeking, searching for the descendants of the children of Rata, to carve these timbers for me. I found them not; they were slain at the river Pikopiko-i-Whiti. O ancient ones, return and aid me on this our sacred day.”</p>
                </div>
              </body>
            </floatingText>
          </quote>
          <p>The <hi rend="i">kakariki powhaitere</hi> invoked in the first lines is the bird which is said to lead the flocks of parakeets in the forests; it is in Maori mythology the guardian of the sacred woods of Tane-mahuta. The leader of the parakeets is an <hi rend="i">ariki</hi>, “a priest and king” of the birds. The <hi rend="i">karakia</hi> appeals to the bird for its help and sanction; the ancient belief was that if the forest-creatures were not appeased by supplication and pious rites when a great tree such as a <hi rend="i">totara</hi> was felled by axe and fire, the birds and the fairies would set it up again during the night. Rata, mentioned in the chant, was a Polynesian chief and canoe-voyager who lived centuries ago in one of the islands of Polynesia, probably Upolu, in the Samoa Group; the lines alluding to Rata and his children memorise the fact that he and his people were carvers and canoe-builders.</p>
          <p>The second <hi rend="i">karakia</hi> in the ceremony was for the removal of the enchantment of the carvers' sacred implements, and of the <hi rend="i">tapu</hi> attaching to the carving of the trees into the semblance of gods and of sacred ancestors. It began:-</p>
          <p>“<hi rend="i">Takina te kawa o te whare e tu nei, he kawa tuatahi</hi>”—“Rehearse the sacred ritual of the house standing here, the first <hi rend="i">tapu</hi>-avertig spell,” and so on to the tenth <hi rend="i">kawa</hi> or charm for the lifting of the <hi rend="i">tapu</hi>. Then the chant proceeded:—“This is the
<pb xml:id="n137" n="133"/>
prayer of Maru-te-whare-aitu, of Maru-whakawhi-whia” [deified ancestors of the Arawa tribe], “the prayer of the house Hau-te-Ananui” [a great <hi rend="i">whare-maire</hi>, or sacred house of instruction for the priests, which stood in ancient times in Arorangi <hi rend="i">Pa</hi> on the eastern slopes of Mokoia Island]; and ended with these words, always used at the end of invocations of this kind:</p>
          <q>
            <lg type="verse">
              <l><hi rend="i">Whano, whano</hi>,</l>
              <l><hi rend="i">Haramai te toki</hi>,</l>
              <l><hi rend="i">Haumi e</hi>!</l>
              <l>(“Bring hither the axe, 'Tis finished!”)</l>
            </lg>
          </q>
          <p>The last two lines were repeated by the assembled people in a chorused shout. As Tutanekai recited the <hi rend="i">Kawa</hi> he struck with his <hi rend="i">taiaha</hi> the various carved slabs and posts on the front of the house.</p>
          <p>The third and final <hi rend="i">kawa</hi> was the “<hi rend="i">Ruruku o te whare</hi>,”an appeal to the gods to make the house stable and firm, to avert all accidents and ills, and make it a warm and pleasant dwelling-place. It began:—</p>
          <q>
            <lg type="verse">
              <l>
                <hi rend="i">Rukutia</hi>
              </l>
              <l>
                <hi rend="i">Rukutia nga pou tauhu</hi>
              </l>
              <l><hi rend="i">O te whare nei</hi>;</l>
              <l>
                <hi rend="i">Rukutia nga poupou</hi>
              </l>
              <l><hi rend="i">O te whare nei</hi>;</l>
              <l>
                <hi rend="i">Rukutia nga tukutuku</hi>
              </l>
              <l><hi rend="i">O te whare nei</hi>;</l>
            </lg>
          </q>
          <p>and so on invoking the gods to bind firmly and make strong and fast the various parts of the house, so that all its posts and pillars, its rafters and beams and carved slabs, its thatch and roof might stand firm and never be overturned.</p>
          <p>Then the chant proceeded in a passage of much beauty, a true house-warming prayer:</p>
          <q>
            <lg type="verse">
              <l><hi rend="i">Rukutia, rukutia</hi>,</l>
              <l><hi rend="i">Kia u, kia mau</hi>,</l>
              <l>
                <hi rend="i">Kai tae mai</hi>
              </l>
              <l>
                <hi rend="i">A te Anu-matao</hi>
              </l>
            </lg>
            <pb xml:id="n138" n="134"/>
            <lg type="verse">
              <l><hi rend="i">Ki roto i a koe—e</hi>!</l>
              <l>
                <hi rend="i">Kai ninihi atu ai</hi>
              </l>
              <l><hi rend="i">A Ua-whatu, a Ua-nganga</hi>,</l>
              <l>
                <hi rend="i">Kai whakamai hoki</hi>
              </l>
              <l><hi rend="i">A Hau-nui, a Hau-roa</hi>,</l>
              <l><hi rend="i">A Tawhiri-matea</hi>.</l>
              <l>
                <hi rend="i">Taku hiki i pai ai</hi>
              </l>
              <l>
                <hi rend="i">Mo roto ia Tane</hi>
              </l>
              <l><hi rend="i">E tu nei-i</hi>,</l>
              <l><hi rend="i">Ko Mahana</hi>,</l>
              <l>
                <hi rend="i">Ko Pu-mahana</hi>
              </l>
              <l>
                <hi rend="i">Ko Werawera</hi>
              </l>
              <l><hi rend="i">Ko Kohakoha</hi>,</l>
              <l>
                <hi rend="i">Nga tangata mo roto</hi>
              </l>
              <l><hi rend="i">I a Tane e tu nei</hi>!</l>
              <l><hi rend="i">Whano, whano</hi>,</l>
              <l><hi rend="i">Haramai te toki</hi>,</l>
              <l><hi rend="i">Eaumi e</hi>!</l>
              <l><hi rend="i">Ui e</hi>!</l>
              <l><hi rend="i">Taiki e</hi>!</l>
            </lg>
          </q>
          <p>Here the house is considered as Tane the Tree god personified. This is my translation of the invocation:</p>
          <q>
            <p>“Bind, bind together that all may be firm and steadfast, so that into thee, O Tane, may enter not the cold and stormy elements, the Frost-wind, the Great Rain, the Long Rain, the Cold Sleety Rain, the Hailstones; that thou mayst stand against the assault of the Mighty Wind, the Long-prevailing Wind, the tempests of the wind god Tawhiri-matea! May all be warm and safe within thy walls! These shall dwell therein—Warmth, Heaped-up Warmth, and Glowing Heat, Joy and Gladness, these are the people who shall dwell within Tane standing here before me! Now 'tis done! Bring hither the axe, and bind it on. Our work is o'er!”</p>
          </q>
          <p>And as Tutanekai ended, all the people cried:—</p>
          <q>
            <lg type="verse">
              <l><hi rend="i">“(Haumi—e</hi>!</l>
              <l>
                <hi rend="i">Hui—e</hi>
              </l>
              <l><hi rend="i">Taiki—e</hi>!”</l>
            </lg>
          </q>
          <p>The final act in the ceremony was the <hi rend="i">takahipaepae</hi>, treading the threshold. In accordance with immemorial custom this was done by a woman, on of <hi rend="i">ariki</hi> rank, a <hi rend="i">Ruahine</hi>, being chosen for the crossing of the door-sill, so that the house might henceforth be free to women to enter. This woman was Meré Kanea, daughter of Mita Taupopoki, and cousin of Hune, the chief carver. Tutanekai, the <hi rend="i">tohunga</hi>, accompanied her, and gave her the custom
<pb xml:id="n139" n="135"/>
ary-sacred food, a <hi rend="i">kumara</hi> which had been cooked in a <hi rend="i">tapu</hi> oven, the “fire of Ngatoro-i-rangi,” one of the boiling springs. This was finally to remove the <hi rend="i">tapu</hi> from the interior of the building, so that food might be brought into it, and that people might eat and sleep there without fear.</p>
          <p>Another <hi rend="i">kawanga-whare</hi> which I witnessed was that of the beautiful carved house “Rauru,” at Whakarewarewa, in 1900. It was remarkable because of its curious story of a fatal <hi rend="i">tapu</hi> which attached to some of the carvings, and because the two <hi rend="i">tohungas</hi> who performed the <hi rend="i">karakia</hi> both died soon after the ceremony, old Rangitahau of Taupo, in eight days, and, <name type="person" key="name-208979">Tumutara Pio</name>, of Te Teko, a little later. There was mutual jealousy, and the people say they fatally bewitched each other.</p>
          <p>
            <figure xml:id="CowYest_135a">
              <graphic url="CowYest_135a.jpg" mimeType="image/jpeg" xml:id="CowYest_135a-g"/>
              <head><hi rend="i">Pare or Korupe</hi>, above the door in a carved house. At its left end is the figure known as <hi rend="i">Manaia</hi>. This lintel carving, which was found in Taranaki, is of a primitive or archaic type not often seen in Maori art relics.</head>
            </figure>
          </p>
        </div>
      </div>
      <pb xml:id="n140" n="136"/>
      <div xml:id="t1-body-d1-d11" type="chapter">
        <head><hi rend="sc">Chapter</hi> XI.<lb/>
<hi rend="c">Moko: The Tattooing art.</hi></head>
        <p>The ancient and world-wide practice of facial and bodily adornment by means of tattooing attained its highest pitch of perfection in <name type="place" key="name-170607">New Zealand</name>. The Japanese probably are the greatest artists in the indelible decoration of the torso, back and limbs, but the Maori was pre-eminently the face-carver of mankind. The Samoans to-day retain the leg and hip tattooing which is so closely done that it has been mistaken for a garment.</p>
        <p>The Marquesans were wonderful tattooers, with a remarkable cross-bar device which gave the warrior the appearance of looking out through a prison window; but the art is almost extinct there. Long vanished, too, is the practice of tattooing the male Maori; it is the women, always more conservative than the men, whose pride in the olden <hi rend="i">ngutu</hi> and <hi rend="i">kauwae</hi> patterns—lips and chin—preserves the knowledge of an art peculiarly characteristic of the Maori race.</p>
        <p>Carving and tattooing were closely allied arts and many of the patterns in tattooing were reproduced in the chiselling and painting of the wooden carvings of ancestral heroes. The double spiral was a favourite design. A well-tattooed old Maori was quite an art gallery of admirably symmetrical devices, and the finely-cut designs of scroll work and of curves within curves on cheek and nose and forehead and chin gave an added force and barbaric dignity to the brown man's face.</p>
        <p>The tattooing expert before beginning his work carefully studied the “sitter's” features and the lines of his face and decided what part required
<pb xml:id="n141" n="137"/>
<figure xml:id="CowYest_137a"><graphic url="CowYest_137a.jpg" mimeType="image/jpeg" xml:id="CowYest_137a-g"/><head>The tattooing artist at work: A scene on the King Country frontier. [<hi rend="i">From a painting by G. Lindauer</hi>.</head></figure>
<pb xml:id="n142" n="138"/>
accentuating with <hi rend="i">moko</hi>. If the man had a weak mouth or a weak chin, the tattooer took pains to give him an aspect of strength and manly fierceness. The subject, or patient, lay down full length on a <hi rend="i">whariki</hi> or flax floor-mat, and the operator squatted behind him, with his knees supporting the subject's head. The intended pattern was lightly traced with charcoal or other material, and the artist then sea to work with his <hi rend="i">uhi</hi> or chisel—there were several of these <hi rend="i">uhi</hi> used, of various sizes. The principal chisel was a blade about two inches long, and less than half an inch of cutting edge, fastened to a small handle. This was tapped smartly with a light mallet or striker. The blood which flowed from each incision was carefully wiped away with soft flax tow, and a tiny stick was dipped in the pigment (<hi rend="i">ngarahu</hi>) and drawn along the lines. This colouring substance was soot (<hi rend="i">awe-kapara</hi>) collected in burning certain woods, sometimes from the burne resin of the <hi rend="i">kauri</hi> pine. This <hi rend="i">kauri</hi> pigment gave the tattoo a very dark colour, very much desired by the Maori warrior, who desired to look as grim and ferocious as possible. Songs were chanted, and often <hi rend="i">karakia</hi> or charms were recited during the operation. The parts operated on swelled painfull, but in a few days the bandages could be removed, and then the subject could proudly contemplate in a glass, or a pool of water, the visage adorned with the blue-black tracery, of its <hi rend="i">moko</hi>. In the old days it was more than a mere tracery; the warrior's face and limbs were literally cut into miniature trenches. It was a truly heroic adornment.</p>
        <p>The painting by Lindauer reproduced as an illustration to this chapter represents the operation of tattooing a young chief's face. The subject, or patient, is lying on a <hi rend="i">whariki</hi> or floor-mat of flax, in the front of a <hi rend="i">raupo</hi> reed <hi rend="i">wharé</hi>. His left cheek
<pb xml:id="n143" n="139"/>
has been operated upon, and his right is now being done. The <hi rend="i">tohunga</hi>, in a squatting position, holds in his left hand his small chisel, its blade dipped in the blue pigment with which the deep-cut lines are to be coloured; in his right hand is his little tapper or mallet, a flax-bound fern-stick, and between the thumb and the forefinger of the same hand is a piece of blue <hi rend="i">ngarahu</hi> or pigment. Round the little finger of the left hand is wrapped some soft flax tow; this is for the purpose of wiping away the blood. The operator, himself a well-<hi rend="i">moko</hi>'d man, is chanting his tattooing-song, bidding the patient be strong and endure the pain with a stout heart—<hi rend="i">kia kaha, kia kaha, kia manawa-nui</hi>, and so on. Of tattooing-songs there are many; the favourite one is that in which the exclamation “<hi rend="i">Hiki, hiki, Tangaroa</hi>!” occurs at regular intervals; this would seem to recognise Tangaroa, the Maori Neptune or Poseidon, as the god of the tattooing art.</p>
        <p>Sitting facing the man being operated upon is an old chief with a partly tattooed face; he too is chanting the tattooing song. The original of this figure was a veteran warrior of the Upper Waikato, by name Tupotahi, first cousin to the fighting-chief Rewi Manga Maniapoto. Tupotahi fought heroically with his tribe in the famous <hi rend="i">pa</hi> at Orakau in 1864, and was wounded there. His home was on the banks of the Puniu river—the olden <hi rend="i">aukati</hi> line, or border—not far from the township of Kihikihi, where Lindauer sketched out this picture from life.</p>
        <p>The fully tattooed Maori whose face was completely covered with lines of blue-black <hi rend="i">moko</hi> is no longer with us. In our young days in such districts as the Waikato, the Rohepotae, the Bay of Plenty and the Rotorua-Taupo country, an elderly man whose face was not more or less decorated with the chiselled engravings wrought by the <hi rend="i"><choice><orig>tohunga-ta-
<pb xml:id="n144" n="140"/>
moko</orig><reg>tohunga-ta-moko</reg></choice></hi> was almost a curiosity. Now the tattooed male Maori has all but vanished from the face of these islands. For two or three years, during which I had travelled a good deal through native districts as far north as the Ngapuhi country, I had not observed one tattooed man; all my old acquaintances with deeply-<hi rend="i">moko</hi>'d faces had passed to the Reinga-land. However, on a visit in 1921 to most of the settlements of the Urewera or Tuhoe people, I found that there were still in the land of the living several aged men—all old Hauhau warriors—whose features were well scrolled with dark lines of tattooing. Of two of these men I made careful sketches, taking pains to record any peculiarities of pattern, for purposes of comparison with designs among
<figure xml:id="CowYest_140a"><graphic url="CowYest_140a.jpg" mimeType="image/jpeg" xml:id="CowYest_140a-g"/><head>A fully tattooed Maori of the Sixties: <name key="name-400023" type="person">Tomika te Mutu</name>, Chief of Ngai-te-Rangi, Tauranga.<lb/>
[<hi rend="i">From a drawing by General G. Robley</hi></head></figure>
<pb xml:id="n145" n="141"/>
<figure xml:id="CowYest_141a"><graphic url="CowYest_141a.jpg" mimeType="image/jpeg" xml:id="CowYest_141a-g"/><head><name key="name-100226" type="person">Pokai Riwhitete</name>, of the Ngapuhi tribe, North Auckland. He was one of <name type="person" key="name-100065">Hone Heke</name>'s leading warriors, in the war of 1845.<lb/>
[<hi rend="i">From a drawing by S. Stuart, at Kaikohe</hi>, 1875</head></figure>
<pb xml:id="n146" n="142"/>
other tribes. It was with intense pleasure that I once more set eyes upon relics of the old, old art that had almost disappeared from Maori ken.</p>
        <p>The best tattooed Maori seen and sketched was Netana Whakaari, of Waimana, a chief of the Ngai-Tama and Tuhoe tribe. Netana (Nathan) was a tall, lean soldierly man, with the erect bearing of the old-time <hi rend="i">toa</hi>. His deep-set keen eyes glittered with something of the ancient fire and restlessness from under thickly tattooed brows. Like all the old men of his tribes, he was on the war-path for several years in the period 1864–71. His age was about eighty-five; an estimate based upon his statement that he was a boy so high—indicating the height of a child four or five years of age—at the time of the <name type="work" key="name-122436">Treaty of Waitangi</name>. His well-shaped rather small features were closely engraved with dark-blue lines of <hi rend="i">moko</hi> on forehead, eyebrows, nose, cheeks, lower lip and chin. The <hi rend="i">moko</hi> pattern on the chin was not easily traceable owing to the short beard. The most remarkable feature of Netana's face-engraving was the break in the two middle rows of <hi rend="i">tiwhana</hi> or bow on the forehead. This interruption in the pattern is not often seen in Maori tattooing; I can recall many instances of incomplete marking in that the curving lines are carried only a short distance up from the starting-place between the eyebrows, but it was most unusual to find them continued again after a break of an inch or two and then carried on in a symmetrical zigzag to the side of the head. I think this variation in the <hi rend="i">tiwhana</hi> lines is peculiar to the Arawa and Tuhoe and some of the Bay of Plenty people. It is to be observed in the tattooing of carved figures in the Arawa country; an example is the elaborately <hi rend="i">moko'd</hi> Hou-taiki effigy at the foot of Ngati-Whakaue's flagstaff on the <hi rend="i">marae</hi> at Ohinemutu.</p>
        <pb xml:id="n147" n="143"/>
        <p>
          <figure xml:id="CowYest_143a">
            <graphic url="CowYest_143a.jpg" mimeType="image/jpeg" xml:id="CowYest_143a-g"/>
            <head><name key="name-400391" type="person">Te Menehi</name>, of Kawhia, a King Country tattooing expert, photographed about 1880.</head>
          </figure>
        </p>
        <pb xml:id="n148" n="144"/>
        <p>Netana told me that he was tattooed before the beginning of the first Taranaki war (1860). The operation was performed at Tauarau, the principal village of Ruatoki; the artist, a <hi rend="i">tohunga-ta-moko</hi>, was a hunchback Maori. Both the <hi rend="i">uhi-toroa</hi> (albatross-bone chisels) and the <hi rend="i">rino</hi> (iron chisels) were used at that time. The operation was a <hi rend="i">tapu</hi> ceremony, and it was done preferably in the <hi rend="i">Takurua</hi>, the winter season. The artist was always well-paid; the choicest foods, such as preserved birds, were brought to his quarters. In Netana's case the work occupied about two weeks. The tattooer did not repeat any <hi rend="i">karakia</hi> as he worked, but he chanted songs during the process of engraving to distract the patient's attention from the pain and made him look pleasant (<hi rend="i">kia parekareka te tangata</hi>). The first part incised and pigmented was the <hi rend="i">rerepehi</hi>, the curving lines from nostril to chin; each cheek took a day. Next the <hi rend="i">tiwhana</hi>, the “rainbow-like” curves on the forehead over the eyebrows, were drawn; this section took two days. Then the nose was tattooed—the straight lines from bridge to tip of nose, the <hi rend="i">ngu</hi> or spiral lines on the sides near the eyes, and the <hi rend="i">poniania</hi> or spirals following the curve of the nostril. The lips and chin followed. Netana found the most painful sections of the operation were the work on the tip of the nose and the lower lip.</p>
        <p>The Maori women are more conservative than the men in respect of this facial adornment. Many hundreds, probably several thousands of women, still bear the lip and chin engraving of the tattooer's <hi rend="i">uhi. Kauwae</hi> is the term for this design, which varies slightly in various districts of the Island. The custom, is however, falling into desuetude, and the tattooing as practised nowadays is as a rule not so thorough and perdurable as that which was
<pb xml:id="n149" n="145"/>
universal twenty or thirty years ago. The <hi rend="i">kauwae</hi> of to-day is usually engraved with a row of needles instead of the steel or bone chisel, and the effect produced resembles a blue stain rather than the indelibly-incised pattern seen on the chins of the elderly women. The art is practised chiefly in the Bay of Plenty settlements, the Rotorua-Taupo country, the Waikato, and the West Coast. A skilled wood-carver is also sometimes a <hi rend="i">tohunga-takauwae</hi>, but a young woman who wishes to have her features thus permanently beautified is frequently obliged to travel a long distance to the artist's home. There is a half-caste at Te Teko who is a skilful tattooing operator, and there is another on the East Coast. Hikapuhi, an elderly woman of the Ngati-Whakaue tribe, Rotorua, was a skilful tattooer of
<figure xml:id="CowYest_145a"><graphic url="CowYest_145a.jpg" mimeType="image/jpeg" xml:id="CowYest_145a-g"/><head>Carved and tattooed figure at the foot of Hou-taiki flag-staff, Ohinemutu, Rotorua.</head></figure>
<figure xml:id="CowYest_145b"><graphic url="CowYest_145b.jpg" mimeType="image/jpeg" xml:id="CowYest_145b-g"/><head>The <hi rend="i">Kauwae</hi> tattoo and <hi rend="i">pakeha</hi> hairdressing: A Waikato lady of the Seventies.</head></figure>
<pb xml:id="n150" n="146"/>
the <hi rend="i">kauwae</hi>; she used needles set closely together. The operation of to-day is usually a mere pricking-in of blue pigment in the manner of the sailor's and the Japanese artist's tattooing. Nevertheless the ancient patterns are closely followed and the delicacy of the lyre-like design gives artistic finish to the chin of brown womanhood.</p>
        <p>There are still tattooing artists who practise the olden method of making incisions with the cutting instruments. Two years ago a <hi rend="i">tohunga-ta-kauwae</hi> tattooed many women at Waitotara and elsewhere on the West Coast with an <hi rend="i">uhi</hi> made from the wing-bone of the albatross (<hi rend="i">toroa</hi>). The tool, tapped with a stick, cut in from 1/8 inch to 1/4 inch deep, and as the blood flowed out of the wound the black pigment was forced into it. The women who underwent this painful ordeal had compensation in the knowlede that their chin adornment would be the genuine thing, the deeply-chiselled <hi rend="i">tohu</hi> of their foremothers. This <hi rend="i">tohunga</hi> tattooed thirty or forty young women at Waitotara; his fee was from £2 to £3 each, according to the artistic work required.</p>
        <p>Girls who wish to be tattooed usually have the operation of <hi rend="i">ta-kauwae</hi> performed soon after they are married. The tattoo is the adornment of the young matron. Three or four years ago an expert from the Wairarapa district visited the West Coast villages between Wanganui and Taranaki, and a number of young married women had their chins and lips tattooed. A Maori who lived near <name type="place" key="name-021363">New Plymouth</name> when asked why he had not been in the town for some little time, explained that the <hi rend="i">tohunga-ta-kauwae</hi> had been visiting his wife, and that it was his duty as the husband to sit on her feet during the process, to keep her from flinching and moving.</p>
        <pb xml:id="n151" n="147"/>
        <p>
          <figure xml:id="CowYest_147a">
            <graphic url="CowYest_147a.jpg" mimeType="image/jpeg" xml:id="CowYest_147a-g"/>
            <head>Te Waru, a tattooing expert (<hi rend="i">tohunga-ta-moko</hi>), of Ngati-Whaoa tribe, Paeroa, Rotorua, date 1900.</head>
          </figure>
        </p>
        <pb xml:id="n152" n="148"/>
        <p>The native-born <hi rend="i">pakeha</hi> New Zealander reared in the neighbourhood of Maori communities has grown up accustomed to the sight of the <hi rend="i">moko</hi>, and there are, no doubt, many like the writer who greatly regret the passing of the grand old warrior tattoo, and who regard the lingering fondness of the conservative women for the <hi rend="i">kauwae</hi> as a national trait which should be encouraged. Scientific sympathy with the perpetuation of ancient artistic craftsmanship should certainly extend to this, the most characteristic race-emblem of old Maoridom.</p>
        <p>
          <figure xml:id="CowYest_148a">
            <graphic url="CowYest_148a.jpg" mimeType="image/jpeg" xml:id="CowYest_148a-g"/>
            <head>A Ngati-Ruanui woman, Taranaki, with mako shark's-tooth ear-pendants.</head>
          </figure>
        </p>
        <p>There was another item of personal decoration, but it was rarely used; this was the <hi rend="i">mata-huna</hi> or face mask. The late Mere Ngamai, a venerable lady of Te Atiawa, who was born on Kapiti Island, told me of the <hi rend="i">mata-huna</hi> worn by her grandfather, the Puketapu (Taranaki) chief Rawiri te Motutere. Rawiri, a warrior of the early part of the nineteenth century, who died about 1860, had a very
<pb xml:id="n153" n="149"/>
light skin for a Maori—he was an <hi rend="i">urukehu</hi> or “fair-hair”—and his face was beautifully tattooed. He was very proud of his complexion and of his perfect <hi rend="i">moko</hi>, and he wore on special festive occasions, and also when travelling, to shield his face from the sun, a mask made of the thin but strong rind of the <hi rend="i">hué</hi>-gourd. This mask was tattooed exactly like the <hi rend="i">moko</hi> on his face, and it was decorated at the sides and top with black and white feathers. It was fastened at the back of his head with cords of flax. Great was the admiration at public gatherings when bold Rawiri, tall, straight, martial, paraded up and down with <hi rend="i">taiaha</hi> in hand, addressing the assemblage through the mouth-opening in his grim black-tattooed <hi rend="i">mata-huna</hi> mask waving with feathers, the wonder and delight of his fellows.</p>
        <p>
          <figure xml:id="CowYest_149a">
            <graphic url="CowYest_149a.jpg" mimeType="image/jpeg" xml:id="CowYest_149a-g"/>
            <head>[<hi rend="i">By courtesy of Auckland Museum</hi>.<lb/>
The largest Maori war-canoe in existence. The “Toki-a-Tapiri” (82 feet long, 6 feet beam), made in 1835. (See <ref target="#n155">page 151</ref>.)</head>
          </figure>
        </p>
      </div>
      <pb xml:id="n154" n="150"/>
      <div xml:id="t1-body-d1-d12" type="chapter">
        <head><hi rend="sc">Chapter</hi> XII.<lb/>
<hi rend="c">The Maori Canoe</hi>.</head>
        <div xml:id="t1-body-d1-d12-d1" type="section">
          <p>A war-canoe, hewn from a great forest tree, decorated with carved figurehead and sternpost, painted and plumed and fully equipped, was the most beautiful of all the products of Maori handicraft and technical skill. It was in the <hi rend="i">waka-taua</hi> that the native New Zealander gave fullest expression to his industry, perseverance, and mastery of line and form and artistic design. With its long and narrow hull, its gracefully sheering lines, and its high and warlike prow, the war-canoe of our Maoris is not unlike the pictures we have of the ancient Viking ships of the Norsemen. The river-canoes of to-day, and the few war-canoes preserved in museums, are very different from the fitted-together sailing-craft of the <name type="place" key="name-023279">Pacific Islands</name>. It was in <name type="place" key="name-170607">New Zealand</name> that the Polynesian sailor found far larger timbers than any he had seen in the tropic isles, and he was able to use <hi rend="i">kauri</hi> and <hi rend="i">totara</hi> trees of huge size for his <hi rend="i">waka</hi>. The British Columbia and Alaska Indians had large pines from which they carved dug-out canoes, and good sea-going craft some of these were. When the Maori ceased his deep-sea voyages he abandoned the use of the outrigger, which was not needed so much when the canoe-travelling could be done along the coast in fine weather, or on the many long rivers. The double canoe (<hi rend="i">waka-taurua</hi>) persisted longer on coast expeditions, and sometimes in the work of laying and drawing great fishing nets two large canoes were lashed together and temporarily decked across amidships, thus making a <hi rend="i">waka-taurua</hi>.</p>
          <pb xml:id="n155" n="151"/>
          <p>The principal districts in which canoes of the original type, dubbed out of whole trees, are still in use on the rivers are the Waikato, Mokau, Wanganui, Whakatane, Waitotara, Waitara and Patea Rivers, besides several lakes—Rotorua, Rotoiti, Waikare on the Waikato, and Waikaremoana. But except on the Waikato and the Wanganui new canoes are very seldom built, and those used are sometimes venerable craft dating back forty or fifty years. The usual type seen now is the <hi rend="i">waka-tiwai</hi>, the ordinary canoe chopped and adzed out of a <hi rend="i">totara</hi> or <hi rend="i">rimu</hi> or <hi rend="i">kahikatea</hi> tree, just a skilfully hollowed long log, without topsides or bow or stern adornments. Those on the Waikato, used in the annual river races at Ngaruawahia and occasionally lower down, are often of great length, slim slender craft with little freeboard. I have travelled on the Waikato in canoes of 70 and 80 feet in length, and 4 to 6 feet beam. Canoes built specially for racing have their hulls fined down, for lightness, but the ordinary canoe is thick and very solid. Four of us, two <hi rend="i">pakehas</hi> and two Maoris, once took a 30-ft. canoe from the sea up to the head of navigation on the Mokau river, a four days' paddling and poling and rapid-climbing journey. No <hi rend="i">pakeha</hi>-built craft would have stood that rough usage on the rapids and among the snags and shoals, but our strong and solid and rather heavy <hi rend="i">waka</hi> was just the thing for such an expedition along an uncleared bush waterway.</p>
          <p>The finest specimen of an old-time war-canoe in existence is the <hi rend="i">waka-taua</hi> known as “Te-Toki-a-Tapiri” (“Tapiri's Axe”), now in the Auckland War Memorial Museum on the Domain hill. This perfectly finished canoe, nearly a century old, is 82 feet in length, with an extreme beam of 6 feet. The hull, topsides and carvings are all of <hi rend="i">totara</hi> timber
<pb xml:id="n156" n="152"/>
The “Axe” would carry fully a hundred men; in fact it often carried that number of paddlers and fighting men in the days when it was in very truth a war-canoe of the Maori. The “Axe” was built by the Ngati-Kahungunu tribe, on the east coast between Napier and Gisborne, about the year 1835. It afterwards became the property of the Ngati-Teata tribe, on the Manukau Harbour, and it was seized and taken to Onehunga in 1863 by the Colonial forces which scoured the Manukau creeks for hostile war-canoes.</p>
          <p>Briefly told, this was the ancient mode of constructing a canoe. A tree having been selected to form the hull, it was cut down by relays of men armed with stone axes, and with fires set in openings in the trunk. The trunk was then cleared of its branches, and hollowed out, partly with fire, and partly by dubbing it down with stone axes. The hull having been completed, the topsides or <hi rend="i">rauawa</hi> had to be cut from two trees very nearly as large as that from which the hull was made. The shaping of these, and the fitting of them to the hull, was always a tedious work, especially if they were carved from end to end, as is the case with the “Toki-a-Tapiri.” Next, the holes had to be bored through the topsides and hull to admit the lashings which bind them together. This had to be done with a wooden drill armed with a sharp piece of quartz. Then came the carving of the figurehead and sternpost. As these were carved out of solid pieces of <hi rend="i">totara</hi> timber, and as only a small portion could be done at one time, lest the wood should split, years were often consumed before they were completed. The <hi rend="i">taumanu</hi>, or thwarts, had also to be prepared and lashed to the gunwale on each side, and the topsides and carvings had to be lashed firmly to the hull.</p>
          <pb xml:id="n157" n="153"/>
          <p>
            <figure xml:id="CowYest_153a">
              <graphic url="CowYest_153a.jpg" mimeType="image/jpeg" xml:id="CowYest_153a-g"/>
              <head>Parade of canoes at a Maori Regatta, Ngaruawahia, Waikato. [<hi rend="i">L. Hinge, photo</hi></head>
            </figure>
          </p>
          <pb xml:id="n158" n="154"/>
          <p>Modern steel tools have enormously expedited the work, but canoe-making is a craft in which hereditary skill in obtaining a perfect evenness and balance plays a large part. This native art is a branch of industry which calls for perpetuation; and perhaps the best way nowadays of encouraging the ancient handicraft of <hi rend="i">tarai-waka</hi> lies in keeping the fine sport of canoe-racing going, just as the art of handling small sailing craft is chiefly fostered nowadays by the popularity of yacht-racing.</p>
          <p>Ceremonies that are a survival of the ancient reverence for the God of the Woods are still in part observed. It was not right, in the eyes of the old-fashioned Maori, to cut down a fine forest tree, such as a <hi rend="i">totara</hi>—the best of all timbers for canoe-building and for carving—without some ceremonial to propitiate the spirit of the bush. As Tane-Mahuta is the father of the trees of the forest and author and guardian of all the birds that live in the trees, so it is well to appease him before laying axe to the feet of his tall children.</p>
          <p>Among those who have described to me the canoe-making ceremonial rites was <name type="person" key="name-207418">Kimble Bent</name>, the <hi rend="i">pakeha</hi>-Maori. On several occasions Bent witnessed the ancient ritual of the <hi rend="i">tohunga</hi> precedent to canoe-building. A large <hi rend="i">totara</hi> tree was felled on the Waitara River, North Taranaki, in the Seventies for the purpose of being dubbed into a canoe for Aperahama Ngatawa: it stood in the forest on the northern side of the Waitara, near the Taramouku Range. A <hi rend="i">tohunga</hi>, learned in forest-lore, superintended the work, and recited the prayers over the tree and over the axes used to fell it. When the first chip flew from the tree it was burned in a sacred fire which the <hi rend="i">tohunga</hi> kindled a short distance away. A <hi rend="i">kumara</hi> or sweet potato was then roasted, and after being <hi rend="i">karakia</hi>'d over by the
<pb xml:id="n159" n="155"/>
priest, it was taken to the tree and placed in the scarf from which the first chip had been cut. The purpose of this was to <hi rend="i">whakanoa</hi> or remove the <hi rend="i">tapu</hi>, the sacredness, from the tree, which now being made “common” or <hi rend="i">noa</hi>, was free to the axe of the canoe-men. The roasted <hi rend="i">kumara</hi>, now considered to to be permeated with the <hi rend="i">tapu</hi> of Tane's sacred tree, was taken to a hollow tree on the outskirts of the forest and placed within the tree, and no man could
<figure xml:id="CowYest_155a"><graphic url="CowYest_155a.jpg" mimeType="image/jpeg" xml:id="CowYest_155a-g"/><head><hi rend="i">Taurapa</hi>, sternpost of war-canoe.</head></figure>
<figure xml:id="CowYest_155b"><graphic url="CowYest_155b.jpg" mimeType="image/jpeg" xml:id="CowYest_155b-g"/><head><hi rend="i">Taurapa</hi>, sternpost, of superior carving design.</head></figure>
<pb xml:id="n160" n="156"/>
approach that place until the felling of the <hi rend="i">totara</hi> and the working of the canoe had been accomplished.</p>
          <p>In the Waikato district somewhat similar customs were observed in former days. It was usual also to place fern fronds on the stump after the tree was felled, to cover the naked wounds of Tane.</p>
          <p>In explaining some of the expressions in an ancient canoe-chant, an old Ngati-Porou man who was an expert in those matters told me that the term “<hi rend="i">whakamatautau te waka</hi>” is used to signify the first trial of a new canoe, when the <hi rend="i">tohungas</hi> scan her to see whether she sits true on the water. “<hi rend="i">Tupare kaukau</hi>,” literally to spread out the arms in swimming, is applied to the canoe at sea, parting the waves before it like a swimmer. The canoe is considered as Tane, the deity of the forest, personified, just as a carved house is. It is Tane the Sea-Rider. The threatening-looking figure on the bow, with staring eyes and arms braced stiffly back, is Tane dividing the sea before him.</p>
          <p>Some of the beautifully carved sternposts or <hi rend="i">taurapa</hi> are from six to ten feet in height. The sternpost was much higher than the figurehead, <hi rend="i">tauihu</hi>, and it stood up at nearly right angles to the hull. Many war-canoe carvings of this kind, rich with scrolled and spiralled <hi rend="i">pitau</hi> design, like very solid fretwork, are preserved in the Auckland Museum and several other Museums in the Dominion.</p>
          <p>In the Auckland district, especially around the Hauraki Gulf, the <hi rend="i">kauri</hi> pine gave the Maoris trees of immense size for their war-canoes. <name key="name-101094" type="person">Hare Hongi</name> (<name key="name-209353" type="person">Mr. H. M. Stowell</name>) says: “In the Seventies I saw on the beach near the township at Shortland, Thames, a very big canoe, the largest I have ever seen. It must have been a hundred feet in length, the beam amidships was about ten feet. It was made
<pb xml:id="n161" n="157"/>
of two great sections of <hi rend="i">kauri</hi>. Where the two halves were dovetailed together midway, the junction was caulked with <hi rend="i">hune</hi>, down or pollen of the <hi rend="i">raupo</hi>. When I saw it, it had no <hi rend="i">rauawa</hi> (washboards or topsides) and no bow or stern carvings. The <hi rend="i">waka</hi> would carry four men abreast in the middle part. It was very solid; the sides were nearly six inches thick on the upper part, and the hull would be thicker than that underneath. Such a canoe would have been very heavy to paddle; it would need sails to move it with any speed.”</p>
          <p>Hare Hongi was with the Ngati-Whatua people of the Waitemata and Kaipara, when they built the large war-canoe “Taheretikitiki” near Riverhead, on the upper waters of Auckland Harbour, more than forty years ago. This graceful <hi rend="i">waka taua</hi> was for many years the treasure of the tribe, and was kept in a <hi rend="i">raupo</hi> shed on the foreshore at Orakei, old Paul Tuhaere's pretty village, and several times it was paddled to victory in races with men-of-war cutters and with Ngapuhi and other canoes on the Waitemata. The work of carving out the <hi rend="i">kauri</hi> canoe—which is in three sections—occupied several months. Two skilled men, Paora Kawharu and another, watched the work, one for each side of the <hi rend="i">waka</hi>. These <hi rend="i">tohunga</hi>, squinting along the canoe, would say to the adze-men, “Take a little bit off here,” and so on, until the adze work was completed to their satisfaction. When at last the canoe was launched it floated as evenly and gracefully as a swan in the water. It was perfectly balanced. The making of such a canoe is expensive. Although the workers were not paid wages for their labour, the carving and fitting out of “Taheretikitiki” (“the chieftain's topknot, or crest”) cost about £1,200, expended chiefly on food for those engaged on the work. The war-canoe was given by <name type="person" key="name-150301">Paora Tuhaere</name>
<pb xml:id="n162" n="158"/>
and his people to <name type="person" key="name-124336">King Tawhiao</name> at the beginning of the Nineties, and for many years it was used as a kind of royal barge on the Waikato; it was often manned to convey distinguished visitors down the river to the Kingite headquarters village at Waahi.</p>
          <p>We who have experienced something of the native canoe life, and who have known the thrill of watching a bow-and-bow struggle between rival canoe crews in a great race, know that there is nothing to beat that thrill unless it is a desperately fought-out horse race won by a short neck. The grand Waikato and the Waitemata have seen many a splendidly exciting finish between war-canoes, all plumed and painted, with fifty paddles apiece, “tearing through the tortured water.” Canoes and crews are smaller now, but something of the olden excitement is often revived.</p>
          <p>The olden canoe-building art is one that calls for New Zealanders' support, in such places as the Waikato and Rotorua above all others. It has a background of history, poetry, and romance; it has its high artistic value; it preserves a useful river life, and its greatest value of all, perhaps, is its healthful exercise. The canoe-paddler on the Waikato, the Wanganui, and the Mokau and other waters where the <hi rend="i">waka Maori</hi> is still in use, certainly develops his shoulder and arm muscles—there is no exercise its superior, excepting only that of the oarsman on a sliding seat.</p>
          <p>Flotillas of dug-out canoes of all sizes once enlivened the Waikato from its lower reaches up to Ngaruawahia. The Waipa, too, had its scores of <hi rend="i">wakas</hi>; and from the Puniu, its historic tributary, there was canoe communication with the sea a hundred miles away. From an olden canoe landing on the Puniu, near Kihikihi township, cargoes of wheat and flour were shipped all the way to Auckland via the
<pb xml:id="n163" n="159"/>
<figure xml:id="CowYest_159a"><graphic url="CowYest_159a.jpg" mimeType="image/jpeg" xml:id="CowYest_159a-g"/><head><hi rend="sc"><name key="name-100068" type="person">Mahutu te Toko</name></hi>.<lb/>
This Waikato chief and warrior was a cousin of <name type="person" key="name-124336">King Tawhiao</name>, whom he somewhat resembled in features. He fought against the British troops in the Taranaki and Waikato wars, 1860–64. He was noted especially as an expert in all the work and lore of canoe-making.</head></figure>
<pb xml:id="n164" n="160"/>
Awaroa portage, Waiuku and Onehunga, in the days before the war, and it is said that canoe-carried bags of flour from Orakau and Kihikihi and Rangiaowhia villages of Maori agriculturists and millers were shipped as far away as California in the early Fifties. Indeed, the canoe was all-important on the Waikato right up to the day when the first paddle-steamer of the <hi rend="i">pakeha</hi> startled the riverside camps and drew the fire of Maori snipers on the Meremere ridges.</p>
          <p>Long after the war the Maori canoe was a river vehicle for <hi rend="i">pakeha</hi> travellers on special occasions. Premiers, Native Ministers and other men of importance in state affairs went up the Waipa fifty years ago in war-canoes, manned by Waikato crews, to the great meetings with <name type="person" key="name-124336">King Tawhiao</name> and his followers at Te Kopua, above the township of Alexandra, or Pirongia, as it is now. And when the son of Tawhiao and the son of <name type="person" key="name-123981">Wiremu Tamehana</name>, the King-maker, wished to do honour to <name key="name-208067" type="person">Sir John Gorst</name> when he revisited the Waikato twenty-three years ago, they brought him down from Ngaruawahia to Waahi, opposite Huntly, in a 70-ft. canoe called the “Tangi-te-Kiwi,” the canoe captain chanting the old war-time songs.</p>
          <p>Vivid before the mind's eye to-day is the picture of my old acquaintances Katipa and Te Paki, the most expert “<hi rend="i">kai-hautu</hi>” of Waikato, as they balanced themselves with perfect grace amidships in their canoes, swaying this way and that, beating time for the paddles, and urging their men to tremendous efforts, in the “Paparata,” the “Wao-nui-a-Tane,” or some other long, slim river-craft hewn out of a single tree. Those time-songs they chanted, wild, high, splendidly rhythmic “<hi rend="i">ngeri-waka</hi>” songs, are down in my notebooks, with many another boat-chant of the Maori, from the Mokau to <choice><orig>Waikare-
<pb xml:id="n165" n="161"/>
moana</orig><reg>Waikaremoana</reg></choice>, but it will be hard to reproduce in description the lilt, the fire, the wild, fierce excitement of the <hi rend="i">waka</hi> captain's calls to his crew as the great canoes surged up to the finish of a long race.</p>
          <p>The old canoe architects, such as <name type="person" key="name-170598">Te Aho-o-te-Rangi Wharepu</name>, grim, black-tattooed war-hawk of Waikato; old <name key="name-100068" type="person">Mahutu te Toko</name>; Ahuriri, of Rangiriri, and others of their like, have gone. Ahuriri I last saw busy with his caulking mallet and oakum, making water-tight the seams of that graceful craft the “Tahere-tikitiki.” He was a capital authority on everything connected with canoe-making, from the felling of the tree—<hi rend="i">totara, rimu</hi> or <hi rend="i">kahikatea</hi>—to the axe and adze work in the hollowing out and trimming, and, finally, steering the craft with forty
<figure xml:id="CowYest_161a"><graphic url="CowYest_161a.jpg" mimeType="image/jpeg" xml:id="CowYest_161a-g"/><head><name key="name-400991" type="person">Te Rauparaha</name>, Chief of Ngati-Toa, who made several great war-canoe expeditions to the South Island from Kapiti Island after his famous conquering march from the North. This sketch shows him in naval officer's uniform when he was a prisoner in the British frigate <hi rend="i">Calliope</hi>.<lb/>
[<hi rend="i">From a drawing by John Bambridge at St. John's College, Tamaki, Auckland, in</hi> 1847</head></figure>
<pb xml:id="n166" n="162"/>
or fifty paddles going. Much knowledge passed from ken with those experts who learned their trade in pre-steamer times. But much is preserved, and it will be quite possible to revive much of the olden skill and to construct and man shapely and beautiful specimens of the <hi rend="i">waka-taua</hi> of old.</p>
        </div>
        <div xml:id="t1-body-d1-d12-d2" type="section">
          <head>A Rotorua Canoe Chant.</head>
          <p>The following <hi rend="i">tuki-waka</hi> was given me by a veteran of the Arawa tribe who narrated that it was sung as a great time-song on a war-canoe expedition from Ohinemutu to Rotoiti Lake in the fighting of 1864 against the East Coast invaders. There were seven large canoes, containing about three hundred men. The captains all chanted this song together, as they swept across the lake abreast of each other:</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d12-t27" decls="#text-27-bibl">
              <body xml:id="t1-body-d1-d12-t27-body">
                <div xml:id="t1-body-d1-d12-t27-body-d1" type="tukiwaka" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">Rité, ko te rité</hi>!</l>
                    <l><hi rend="i">Te ihu takoto atu</hi>,</l>
                    <l><hi rend="i">Waenga kia hinga</hi>,</l>
                    <l><hi rend="i">Te kei akina—Aha—ha</hi>!</l>
                    <l><hi rend="i">Tera koia ko Tioriori</hi></l>
                    <l><hi rend="i">E purehurehu ana i runga ra</hi>.</l>
                    <l><hi rend="i">E aku kai kamo e wairutu nei</hi>.</l>
                    <l><hi rend="i">Tiaia, a tiaia</hi>!</l>
                    <l><hi rend="i">Toki hika toki</hi>,</l>
                    <l><hi rend="i">Toki hika toki</hi>,</l>
                  </lg>
                  <lg type="verse">
                    <l><hi rend="i">E kai ongeonge ahau ki te noho</hi>.</l>
                    <l><hi rend="i">E titiro pi au ko Honehone</hi>;</l>
                    <l><hi rend="i">Whakamau kau atu te titiro</hi></l>
                    <l><hi rend="i">Ki te wahapu ki Ohau ra</hi>;</l>
                    <l><hi rend="i">I hara mai ra koe</hi></l>
                    <l><hi rend="i">Taku ka tuku kai rau roto</hi>.</l>
                    <l><hi rend="i">Tiaia</hi>!</l>
                  </lg>
                  <lg type="verse">
                    <l><hi rend="i">Rité, ko te rité</hi>!</l>
                    <l><hi rend="i">Hūkeré ka hukeré</hi>:</l>
                    <l><hi rend="i">Ka reré—e, a ka reré</hi>,</l>
                    <l><hi rend="i">Ka reré ake te papai huruhuru</hi></l>
                    <l><hi rend="i">Ki te papa o te waka nei</hi>.</l>
                    <l><hi rend="i">Toki hika toki</hi>,</l>
                    <l><hi rend="i">Toki hika toki</hi>!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d12-t28" decls="#text-28-bibl">
              <body xml:id="t1-body-d1-d12-t28-body">
                <div xml:id="t1-body-d1-d12-t28-body-d1" type="tukiwaka">
                  <lg type="verse">
                    <head>(Translation.)</head>
                    <l>Together—all together!</l>
                    <l>Bow-paddles there, dip together;</l>
                    <l>'Midships there, keep time!</l>
                    <l>Stern-paddles, all together.</l>
                    <l>Now we're going along!</l>
                    <l>See you brightly shining star</l>
                    <l>Tioriori, flashing in the morning sky,</l>
                    <l>My eyes are dim with the heat of paddling.</l>
                    <l>Plunge in your paddles;</l>
                    <l>Dig away, dig away!</l>
                  </lg>
                  <lg type="verse">
                    <l>I weary with sitting at my paddle.</l>
                    <l>How our eyeballs wildly glare!</l>
                    <l>Steersman, straight for the Ohan River mouth</l>
                    <l>There before me lies my food—</l>
                    <l>You, my foe, food for my battle axe!</l>
                    <l>Paddle away!</l>
                  </lg>
                  <lg type="verse">
                    <l>All together, all together!</l>
                    <l>Quickly plunge your paddle blades.</l>
                    <l>How bravely fly the feathers</l>
                    <l>That deck our war canoe!</l>
                    <l>Paddle away</l>
                    <l>And away!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
          <pb xml:id="n167" n="163"/>
          <p>
            <figure xml:id="CowYest_163a">
              <graphic url="CowYest_163a.jpg" mimeType="image/jpeg" xml:id="CowYest_163a-g"/>
              <head><name key="name-400392" type="person">Kamariera Wharepapa</name>, of Mangakahia, North Auckland. With a party of other Ngapuhi chiefs he visited England in 1863, and was received by <name type="person" key="name-006178">Queen Victoria</name>. He died in 1920. The artist, who painted this portrait in the early Seventies, shows Wharepapa with the ancient style of hairdressing, adorned with <hi rend="i">huia</hi> feathers. The flax garment he is wearing is the much-valued <hi rend="i">kaitaka</hi> cloak, with <hi rend="i">taniko</hi> border.<lb/>
[<hi rend="i">From a painting by G. Lindauer</hi></head>
            </figure>
          </p>
        </div>
        <pb xml:id="n168" n="164"/>
        <div xml:id="t1-body-d1-d12-d3" type="section">
          <head>The Chant of Takitimu.</head>
          <p>There is a celebrated East Coast <hi rend="i">haka</hi> chant and chorus, frequently performed by the young men of the Ngati-Porou tribe, which embodies a portion of the ancient paddling song of the <hi rend="i">Takitimu</hi> canoe. This <hi rend="i">ngeri</hi> or <hi rend="i">takitaki-hoe-waka</hi>, six centuries old, is a capital example of the rhythmic chants, with their regular beats and frequent repetitions, in which the Maori delights. The original was chanted by the chiefs of the <hi rend="i">Takitimu</hi> on their voyage from Tahiti to <name type="place" key="name-170607">New Zealand</name>.</p>
          <p>The <hi rend="i">kai-hautu</hi> or <hi rend="i">kai-tuki-waka</hi>, the fugleman or captain, standing amidships, begins:—</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d12-t29" decls="#text-29-bibl">
              <body xml:id="t1-body-d1-d12-t29-body">
                <div xml:id="t1-body-d1-d12-t29-body-d1" type="ngeri" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">Papa te whatitiri, hikohiko te uira</hi>,</l>
                    <l><hi rend="i">I kanapu ki te rangi; ru ana te whenua</hi>.</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d12-t30" decls="#text-30-bibl">
              <body xml:id="t1-body-d1-d12-t30-body">
                <div xml:id="t1-body-d1-d12-t30-body-d1" type="ngeri">
                  <lg type="verse">
                    <head>(Translation.)</head>
                    <l>The thunder crashes, the lightning flashes,</l>
                    <l>Flashes in the heavens, and the earthquake shakes the land.</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <p>Then, waving his whalebone <hi rend="i">patu</hi> or his paddle, now on one side, now on the other, he chants:</p>
            <floatingText xml:id="t1-body-d1-d12-t31" decls="#text-29-bibl">
              <body xml:id="t1-body-d1-d12-t31-body">
                <div xml:id="t1-body-d1-d12-t31-body-d1" type="ngeri" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">He tia, he tia, he tia</hi>,</l>
                    <l><hi rend="i">He ranga, he ranga, he ranga</hi>,</l>
                    <l><hi rend="i">Whakarere iho te kakau o te hoe</hi></l>
                    <l><hi rend="i">Ko a Manini-tua, i Manini-aro</hi></l>
                  </lg>
                  <lg type="verse">
                    <l><hi rend="i">I tangi te kura, i Tangi-wiwini</hi></l>
                    <l><hi rend="i">I tangi te kura, i Tangi-wawana</hi>.</l>
                    <l><hi rend="i">Tera te haeata takiri ana mai</hi></l>
                    <l><hi rend="i">I runga o Matatera</hi></l>
                    <l><hi rend="i">Ana Whaiuru, Whaiuru, Whaiuru</hi></l>
                    <l><hi rend="i">Ana Whaiato, Whaiato, Whaiato</hi></l>
                    <l><hi rend="i">I arara tini i arara tini</hi>,</l>
                    <l><hi rend="i">I arara ri-i</hi>!</l>
                  </lg>
                  <lg type="verse">
                    <l><hi rend="i">E ko tena, tena</hi>;</l>
                    <l><hi rend="i">E ko tena, tena</hi>;</l>
                    <l><hi rend="i">E hara ko te wai o taku hoe</hi>.</l>
                    <l><hi rend="i">Ko te wai o taku hoe</hi></l>
                    <l><hi rend="i">Hei koti, hei koti, hei koti-i-i</hi>!</l>
                    <l><hi rend="i">E ka rere te rere i te waka</hi>,</l>
                    <l><hi rend="i">E kutangitangi, e kutangitangi</hi>;</l>
                    <l><hi rend="i">E kura tiwaka taua</hi>,</l>
                    <l><hi rend="i">E kura tiwaka taua</hi>!</l>
                    <l><hi rend="i">E kura wawawa wai</hi>,</l>
                    <l><hi rend="i">E kura wawawa wai-i-i</hi>!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d12-t32" decls="#text-30-bibl">
              <body xml:id="t1-body-d1-d12-t32-body">
                <div xml:id="t1-body-d1-d12-t32-body-d1" type="ngeri">
                  <lg type="verse">
                    <l>Dip lightly, dip lightly!</l>
                    <l>Now a long stroke, a long stroke!</l>
                    <l>Plunge deeply your paddles,</l>
                    <l>The paddles Manini-tua and Manini-aro</l>
                    <l>Tangi-wiwini and Tangi-wawana.</l>
                    <l>See, dawn is breaking yonder</l>
                    <l>On the peak of Matatera.</l>
                    <l>Now, Whaiuru, Whaiuru,</l>
                    <l>Now, Whaiato, Whaiato,</l>
                    <l>Now a long strong stroke!</l>
                  </lg>
                  <p rend="hang">(Here the paddlers pause while the canoe sweeps through the water under the impulse of the last stroke).</p>
                  <lg type="verse">
                    <l>Now, again, again!</l>
                    <l>Again, and again!</l>
                    <l>That was not the water from my paddle.</l>
                    <l>The water from my paddle.</l>
                    <l>Now dig in, cleave it,</l>
                    <l>A long, strong stroke!</l>
                    <l>Now we're going along,</l>
                    <l>How the canoe flies!</l>
                    <l>How fine the paddles sound</l>
                    <l>All together!</l>
                    <l>My grand canoe,</l>
                    <l>My treasured canoe,</l>
                    <l>A treasure of the waters!</l>
                  </lg>
                  <p>(A long strong stroke).</p>
                </div>
              </body>
            </floatingText>
          </quote>
        </div>
        <pb xml:id="n169" n="165"/>
        <div xml:id="t1-body-d1-d12-d4" type="section">
          <head>A Waikato River Song.</head>
          <p>This is a short specimen of the <hi rend="i">tuki-waka</hi> or time-song still heard on the Waikato river in canoe races, the chant of the <hi rend="i">kai-tuki</hi> or <hi rend="i">kai-hautu</hi>, the captain of the <hi rend="i">waka</hi>, as he gives the rhythmic
<figure xml:id="CowYest_165a"><graphic url="CowYest_165a.jpg" mimeType="image/jpeg" xml:id="CowYest_165a-g"/><head>A famous cannibal warrior: The Chief <name key="name-400009" type="person">Taraia Ngakuti</name>, head of the Ngati-Tamatera tribe, Ohinemuri, Upper Thames. Died 1871.</head></figure>
measure for the paddle-strokes and cheers on his toiling crew:</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d12-t33" decls="#text-31-bibl">
              <body xml:id="t1-body-d1-d12-t33-body">
                <div xml:id="t1-body-d1-d12-t33-body-d1" type="tukiwaka" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">Kei runga riro</hi></l>
                    <l><hi rend="i">Nga manu mohio</hi></l>
                    <l><hi rend="i">Ko Mumuhau</hi></l>
                    <l><hi rend="i">Ko Takereto</hi></l>
                    <l><hi rend="i">Tiraua ka waiho</hi></l>
                    <l><hi rend="i">Nga ki-titiro</hi>.</l>
                    <l><hi rend="i">A tena, tena</hi>!</l>
                    <l><hi rend="i">Hukere, hukere</hi>!</l>
                  </lg>
                  <pb xml:id="n170" n="166"/>
                  <lg type="verse">
                    <l><hi rend="i">Ngiha te ahi</hi></l>
                    <l><hi rend="i">Ki Maunga-tautari</hi>,</l>
                    <l><hi rend="i">Hei a Rangi-ngatata</hi>.</l>
                    <l><hi rend="i">No na no</hi>,</l>
                    <l><hi rend="i">Te huruhuru</hi></l>
                    <l><hi rend="i">Kei ana tapa</hi>.</l>
                    <l><hi rend="i">Hukere, hukere</hi>!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d12-t34" decls="#text-32-bibl">
              <body xml:id="t1-body-d1-d12-t34-body">
                <div xml:id="t1-body-d1-d12-t34-body-d1" type="tukiwaka">
                  <lg type="verse">
                    <head>(Translation.)</head>
                    <l>Above us fly</l>
                    <l>The birds of knowledge,</l>
                    <l>Mumuhau and Takereto,</l>
                    <l>Wise birds that bid us watch</l>
                    <l>The omens of the sky.</l>
                    <l>That's it, go along!</l>
                    <l>Quickly, quickly dip!</l>
                    <l>Yonder blaze the fires</l>
                    <l>On Maunga-tautari's height,</l>
                    <l>The fires of Rangi-ngatata.</l>
                    <l>See our feathers flying,</l>
                    <l>The plumes of our canoe.</l>
                    <l>Now quickly dip your blades.</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
          <p>The two birds mentioned here as “wise birds” were certain sacred birds that according to legend lived on Repanga (Cuvier Island), at the entrance to the Hauraki Gulf. They were believed to foretell the weather; that is by their cries and the manner of their flight the people knew when rain and high winds were coming.</p>
          <p>
            <figure xml:id="CowYest_166a">
              <graphic url="CowYest_166a.jpg" mimeType="image/jpeg" xml:id="CowYest_166a-g"/>
              <head>Maori Women's Canoe Race, on the Waikato River.<lb/>
[<hi rend="i">L Hinge, photo</hi>.</head>
            </figure>
          </p>
        </div>
      </div>
      <pb xml:id="n171" n="167"/>
      <div xml:id="t1-body-d1-d13" type="chapter">
        <head><hi rend="sc">Chapter</hi> XIII.<lb/>
<hi rend="c">Some Forest Lore.</hi></head>
        <div xml:id="t1-body-d1-d13-d1" type="section">
          <p>The Maori, living as he did in such intimate touch with his Mother-earth and the forest, had careful respect for the spirits of the wild, and his mind was saturated with the magic and mystery of the bush. The forest was his home, refuge, and defence; from it he drew much of his means of life. He was prone to invest the Tree with human attributes. The Mountain, the Rock, he clothed with poetic legend and with lore of <hi rend="i">tapu</hi>.</p>
          <p>A feature of the old Maori's reverence for the sylvan deities, whose material frame is the spreading forest-tree, is their habit of referring to the trees as their ancestors. Some genealogical tables trace a chief's pedigree away back into the dim past until it comes to what was regarded as the root of all things—the tree.</p>
          <p>Tane-Mahuia, the ancient Maori god of the trees, is in fact, the personification of the trees of the forest and of the birds which have their homes therein. Tane's limbs were the trees; it was with these great forest-pillars that he propped up the leaning sky. The ancient classical name for the dense forest was “Te Wao-nui-a-Tane” (“the great forest of Tane”).</p>
          <p>The olden Maori would not lightly lay hands on those noble children of Tane, towering so far above him. The affectionate strain in which Tennyson sang of his “Talking Oak” that “circled in its grain five hundred rings of years” was merged in the Maori mind in the deeper mystic feeling of awe and dread of the consequences of offending or in any way meddling with the life and sanctity of his spirit-tree.</p>
          <pb xml:id="n172" n="168"/>
          <p>All through native districts, in fact, one comes across instances of this tree-veneration, sometimes in stories, sometimes merely hints or stray allusion, William Cullen Bryant and Longfellow could have well appreciated this aspect of the Maori nature worship. Bryant, in one of his poems, expressed just the idea of a Polynesian when he speaks of strange shudderings that run through the tree's fibres when the axe is raised against it, and of the faint, dream-like, yet real existence beneath its thick, rough bark.</p>
          <p>The most ancient story pertaining to any of our trees is the legend of the origin of fire. The <hi rend="i">kaikomako</hi> tree, which usually is not more than thirty feet in height, is a famous tree and a most important one, for it was the principal wood from which the Maori obtained fire by friction before the pakeha came with his flints and steel, and later with his phosphorus matches. In mythology Mahuika, the Polynesian Pluto, who had fire in all his fingers and toes, was wheedled out of most of his wonderful fiery sparks by the demi-god Maui. To save what was left, it was thrown into the woods, and it entered into the <hi rend="i">kaikomako</hi>, the <hi rend="i">mahoe</hi>, and the <hi rend="i">totara</hi>, and it is these trees, but more particularly the <hi rend="i">kaikomako</hi>, that preserve to this day the hidden flames of Mahuika, and from which the God of Fire may be coaxed again for the use of man.</p>
          <p>The centuries-old methods of spearing and snaring the forest birds are illustrated in some curious primitive paintings in the large carved meeting-house “Te Whai-a-te-motu,” at Mataatus, in the heart of the Urewera Country. On the broad <hi rend="i">tawa</hi> rafters there are paintings in black and white, representing <hi rend="i">rata, maire, toromiro, papauma</hi>, and other trees, with quaintly-figured hunters of old in the act of killing with their long spears the <hi rend="i">koko</hi>
<pb xml:id="n173" n="169"/>
(<hi rend="i">tui</hi>), <hi rend="i">kuku</hi> (<hi rend="i">pigeon)</hi>, and <hi rend="i">kaka</hi> (parrot), which were such an important item of food in this region. On one rafter is a picture intended to represent the famous ancestor Toi, standing beside a <hi rend="i">mamaku</hi> fern-tree. The pith and tender shoots of the <hi rend="i">mamaku</hi>, and other forest products, were Toi's food, say the local Maori in explanation of the picture, hence his name, Toi-kai-rakau (Toi-the-eater of forest foods). On other rafters you see pigeons flying from tree to tree, and resting on the branches of the <hi rend="i">toromiro</hi> tree, on the berries of which they feed; a <hi rend="i">papauma</hi> tree with <hi rend="i">koko</hi>-birds in its leafy boughs; and <hi rend="i">rata</hi> with famed chiefs of old, Te
<figure xml:id="CowYest_169a"><graphic url="CowYest_169a.jpg" mimeType="image/jpeg" xml:id="CowYest_169a-g"/><head><name key="name-400393" type="person">Tukukino</name>, a warrior of the olden type; Ngati-Tamatera tribe, Ohinemuri. In his right ear he is wearing an unusual ornament, the skin and beak of the female <hi rend="i">huia</hi> bird.<lb/>
[<hi rend="i">From a painting by G. Lindauer</hi></head></figure>
<pb xml:id="n174" n="170"/>
Umu-ariki and Te Kurapa, perched in the branches with their bird-spears awaiting the approach of some unsuspecting “flapping child of Tane.”</p>
          <p>The long, slender limber spears used in killing the pigeon and the <hi rend="i">tui</hi> were still in use in the Urewera Country when I first visited that mountain region, and they were also used until recent times in the remote parts of West Taupo, where the Tuhua Ranges and other mountains were renowned for the abundance of bird life.</p>
          <p>In making the bird spears, the pole from which each was cut was scorched with fire till very dry, then it was shaped and scraped down with shell, and scorched again, and once more scraped and shaped with great care and industry, until it had been reduced to the size desired and was perfectly smooth. I have seen spears fully 30 feet in length at Ruatahuna.</p>
          <p>Snaring the forest-birds was an industry and sport combined, in which considerable technical skill as well as forest-craft was employed. The snares fixed in the tops of trees—usually <hi rend="i">rata</hi> trees—for the <hi rend="i">kaka</hi>, were ingenious contrivances consisting of a perch—usually carved—and a running noose which led down to the fowler concealed in the lower branches. There was also the <hi rend="i">kaka mokai</hi> method, in which a decoy parrot was used. This was a bird hunting practice in every bush district of <name type="place" key="name-170607">New Zealand</name>.</p>
          <p>A Maori fowler selected an open space in the forest, usually on a hill. He there prepared a screen of branches, behind which he concealed himself, after fixing a slanting rod in front of him. He slipped a bone or greenstone <hi rend="i">poria</hi> or ring over the foot of his tame <hi rend="i">kaka</hi>, used as a decoy for other <hi rend="i">kaka</hi>. A cord was attached to a smaller hole in the <hi rend="i">poria</hi>. One end of the cord was held by the fowler, and the decoy was allowed to play on the ground near the
<pb xml:id="n175" n="171"/>
slanting rod. When the cord was pulled, or gently jerked the decoy screeched. This attracted the parrots in the vicinity, which flew up to the place to investigate and alighted on the convenient rod. The fowler waited with his right hand raised against the side of his ear, the most convenient attitude for snatching downwards. When the <hi rend="i">kaka</hi> came down the rod, screeching, he was soon within reach of the hunter's hand, and the rest was quick silence for that inquisitive bird.</p>
          <p>Bushmen and settlers sometimes find small canoeehaped wooden troughs in the heart of the forest, especially on high places remote from streams. The use of these <hi rend="i">waka-whangai</hi>, or <hi rend="i">waka-manu</hi>, continued till recently in certain Maori districts. They were placed under such trees as the <hi rend="i">miro</hi>, and were filled with water. Rows of running-loop snares (<hi rend="i">héré</hi>), of flax or cabbage-tree leaves, were arranged above them, and in these snares the thirsty pigeons and <hi rend="i">tui</hi> were cautht when they flew down to drink after feeding on the <hi rend="i">miro</hi> berries or other fruits of the forest. The first bird caught was left by the side of the <hi rend="i">waka</hi> as a thank-offering to the gods.</p>
          <p>When using the long spear, usually barbed with bone, or, in these later days with iron, the hunters were careful not to allow any blood to touch their hands, in pulling out the point from the bird's body. Should the blood of “Tane's flapping children” stain the fowler's hands, the spear would lose its <hi rend="i">mana</hi> and could no longer be used with success.</p>
        </div>
        <div xml:id="t1-body-d1-d13-d2" type="section">
          <head>Bush Remedies.</head>
          <p>The Maori wise men and women were skilled in the lore of bush remedies. A great deal could be written on the native pharmacopeia. The virtues of some of the plants are becoming known to our chemists, the <hi rend="i">koromiko</hi> (veronica) for instance.
<pb xml:id="n176" n="172"/>
But the doctors and chemists have not yet discovered such plants as the little <hi rend="i">papapa</hi>. Its leaves, when the outer surface is rubbed off, are very soft to the touch, and the liquid obtained from boiling a quantity is a strong soothing and healing agent. The leaves may be applied to wounds without being subjected to any cooking process. The juice expressed from the roasted leaves of the <hi rend="i">kawakawa</hi>, or “pepper-tree” (<hi rend="i">piper excelsum</hi>) makes an excellent dressing for bad wounds; I have even heard of a case where a Maori woman was cured of what was believed to be cancer through the use of this herbal remedy applied as a dressing. Flax-root juice, applied either raw or after boiling the roots, was the favourite native cure for gunshot or bayonet wounds in the war days. The edible pith of the black ferntree or <hi rend="i">mamaku</hi> (<hi rend="i">Cyathea medullaris</hi>) makes a first rate dressing for sores and chafings. It is applied raw. The leaves of the <hi rend="i">tarata</hi> and one or two other small trees, chewed and made into a kind of paste, will quickly cure raw places on a saddle-sore horse. These are just a few of scores of bush remedies. There is a wide field for research and experiment in the healing virtues of <name type="place" key="name-170607">New Zealand</name> plants. A great deal of the bush-lore of the Maori has vanished, but there remains an abundance of useful knowledge to be gathered and turned to account by scientific enquirers.</p>
        </div>
        <div xml:id="t1-body-d1-d13-d3" type="section">
          <head>Forest Foods.</head>
          <p>Occasionally the berries of the <hi rend="i">karaka</hi> and the <hi rend="i">tawa</hi> trees are eaten. The kernel of the <hi rend="i">karaka</hi> was treated by cooking and steeping; the tree was planted in the villages and cultivations. The <hi rend="i">tawa</hi> is a highly resinous fruit, and in its raw state tastes like turpentine. No Maori would attempt to eat it untreated by drying and cooking. The native method is to split the fruit and lay it out on stones or slabs
<pb xml:id="n177" n="173"/>
to dry in the sun; this process rids it to a large extent of its turpentine flavour. Then it is cooked and pounded into cakes, or otherwise prepared according to taste. At Whakarewarewa, Rotorua, some large flat silicated rocks (<hi rend="i">papa-kahatu</hi>) are pointed out as favourite places for drying <hi rend="i">tawa</hi> berries; the place is pleasantly warmed by the subterranean heat from the geysers and boiling springs. The <hi rend="i">tawa</hi> is an oval fruit, blue in colour, and not unlike a small plum. It looks tempting, but appearances are deceptive. The drupes are only fit food for pigeons, and even these birds when cooked retain the resinous flavour if they have been feasting on the <hi rend="i">tawa</hi>.</p>
          <p>The fruit of the <hi rend="i">hinau</hi> tree, too, was eaten after much preparation. The juice of <hi rend="i">tutu</hi> fruit (<hi rend="i">tupakihi</hi> shrub) was made into a sweet drink; this was sometimes used to flavour the <hi rend="i">mamaku</hi> pith.</p>
          <p>Bush settlers learned from the Maori many bush arts. They learned to make use of certain fruits and wild vegetables. One hint learned from the Maori was the fact that <hi rend="i">pikopiko</hi>, the young curly fronds of the ground-fern, was excellent when steamed with pork and potatoes and <hi rend="i">kumara</hi> in a <hi rend="i">hāngi</hi>; it gave a flavour to the food.</p>
        </div>
        <div xml:id="t1-body-d1-d13-d4" type="section">
          <head>The Maori Sugar-tree.</head>
          <p>A whole bookful of Maori story and folk-talk could be written about that familiar object in the <name type="place" key="name-170607">New Zealand</name> landscape, the common cabbage tree, the plant of many names—the palm-lily, asphodel, <hi rend="i">cordyline australis</hi> of the botanist, the <hi rend="i">ti</hi> or <hi rend="i">whanake</hi> of the Maori. Everywhere in the back-country its tall pencil trunks dot the landscape; everywhere its long sword leaves switch and toss in the wind. And native legend twines as thickly about it as you see some of the
<pb xml:id="n178" n="174"/>
cabbage-trees in the public parks and gardens grown about with the white man's ivy.</p>
          <p>To South Island natives the <hi rend="i">ti-kouka</hi>, as it is usually called there, was something more than a landscape ornament or a shade for the tribal altar of incantation. It was their sweets tree; it supplied the sugar for which the palate pined. The early summer was the Ngai-Tahu tribe's season for sweet meats working. The name given to the cabbage-tree sugar was <hi rend="i">kauru</hi>, and the getting of <hi rend="i">kauru</hi> was the chief industry in ancient times on the Canterbury Plains during the month of November.</p>
          <p>The old men of the South Island, from Kaikoura to Otago, have given me many curiously interesting details of the <hi rend="i">kauru</hi>-working. This was the procedure as described by the late Hone Taare Tikai, of Rapaki, Lyttelton Harbour:</p>
          <p>Young cabbage-trees, four to six feet high, were selected for the process of extracting the sugar These <hi rend="i">ti-kouka</hi> were cut down close to the roots, and often also the largest roots were taken. After being cut into convenient lengths the bark and the outer wood were stripped off with small sharp axes until the heart or pith alone remained. This sappy and fibrous heart, containing the saccharine substance was then sun-dried and cooked. The roots, which contained the most sugar, required a longer treat ment than the trunk portions.</p>
          <p>The sections of <hi rend="i">ti</hi> were spread out on platforms to dry in the sun, sometimes for several weeks; them the great oven, the <hi rend="i">umu-ti</hi>, was made. This earth oven, many yards long, was prepared in the same way as the usual <hi rend="i">hāngi</hi>, or food-oven, with red-hot stones on which water was thrown to produce steam. The <hi rend="i">kauru</hi> stalks were packed in bundles in flax kits, soaked with water and laid in this oven and covered up. The cooking occupied all night; sometimes in the case of the roots the oven was left untouched
<pb xml:id="n179" n="175"/>
for about forty-eight hours. The process was attended with priestly ceremony, and the oven was <hi rend="i">tapu</hi>. This <hi rend="i">tapu</hi>, in fact, extended to the people also, for certain restrictions were observed during the steaming of the <hi rend="i">kauru</hi>. The men of the village were required to absent themselves from their wives; a breach of this was liable to bring down upon the <hi rend="i">tapu</hi>-brenkers quick punishment by club law. Such a <hi rend="i">hara</hi>, a transgression, was invariably detected, said my Maori informant. If when the oven was opened it were found that the <hi rend="i">kauru</hi> was not properly done, not cooked to the right degree, it was known that some couple had disregarded the <hi rend="i">tapu</hi> of the <hi rend="i">umu-ti</hi>, and the offenders would quickly be discovered by the <hi rend="i">tohunga</hi>. Then, unless the culprits were so powerful that they could defy the law, they would be <hi rend="i">patu</hi>'d, killed with a stone club. Such was the penalty for spoiling the tribal sweets oven.</p>
          <p>When the oven was uncovered, the kits of <hi rend="i">kauru</hi>, if properly done, were taken out and packed away. The cooking reduced the stuff to a kind of sweet flour, intermingled, however, with much woody fibre. This floury substance, which was kept for winter use, was often made into a sort of porridge by mixing it with water. Often, however, it was eaten dry, a Maori substitute for chewing gum. It was almost as dark as liquorice, except for the woody fibres, and a stick of this aboriginal liquorice was a popular sweetmeat.</p>
          <p>There were usually two cuttings of the <hi rend="i">ti</hi> tree in the year, one in late October or November, and one in March. The young <hi rend="i">ti</hi>, after being cut, would shoot up again, similarly to the <hi rend="i">korau (mamaku</hi>) fern-tree, which was cultivated by the Taranaki natives in the old days for the sake of its edible parts. The <hi rend="i">ti</hi> harvest marked the first food-gathering season of the Maori year. The March cutting would be followed by the <hi rend="i">weka</hi>-snaring
<pb xml:id="n180" n="176"/>
season (April), then the trapping of the <hi rend="i">kiore Maori</hi>, the native rat (May), and the catching of the <hi rend="i">piharau</hi> or lamprey in June.</p>
          <p>The first <hi rend="i">umu-ti</hi> workers in <name type="place" key="name-170607">New Zealand</name>, said Tikao, were the Hawea people, a dark curly-haired race from the north. They brought the knowledge of the sweet-tasting <hi rend="i">kauru</hi> with them from the tropic lands, and they taught it to succeeding generations.</p>
          <p>The <hi rend="i">umu-ti</hi> is known from end to end of Polynesia, from the Paumotus and the Gambier Islands, in the extreme east, to Fiji in the west. It is associated with the strange fire-walking ceremony. Roots somewhat similar to that of our <hi rend="i">ti</hi> were cooked in great quantities in some of the island, particularly in Raiatea, in the Society Group, which appears to have been the original seat of the fire walking rite, and in Rarotonga and Fiji, and the bare-footed passage of the priests and people over the red-hot stones seems to have been considered as giving added <hi rend="i">mana</hi> and efficiency to the cooking. And among our New Zealand Maori there are lingering remembrances of this very ancient rite of their Asiatic-Polynesian ancestors.</p>
        </div>
      </div>
      <pb xml:id="n181" n="177"/>
      <div xml:id="t1-body-d1-d14" type="chapter">
        <head><hi rend="sc">Chapter</hi> XIV<lb/>
<hi rend="c">The Fisherman's Lore.</hi></head>
        <div xml:id="t1-body-d1-d14-d1" type="section">
          <p>The Maori was, and is, a great fisherman, especially along the food-teeming east coast of the North Island from the far north to the East Cape. He often went well out to sea on his canoe expeditions after shark and <hi rend="i">hapuku</hi>, but his skill and industry were chiefly devoted to hauling the seine in near the shore. Nets of enormous size were made, and catches of huge dimensions were got in the summer months. The largest net of which I have heard was one made by old <name type="person" key="name-110523">Pokiha Taranui</name> (known to <hi rend="i">pakehas</hi> as Major Fox) and his tribe, Ngati-Pikiao, of Maketu, It was just over a mile in length; its manufacture and handling engaged the full strength of the tribe, about 400 people. It was used only once, that was at the beginning of January, 1886, to secure fish for a great meeting of the tribes. The net was taken out by canoes, and the crews encircled a vast school of <hi rend="i">kahawai</hi>. Tens of thousands of fish were taken, chiefly <hi rend="i">kahawai</hi>. In the ancient days nets of such dimensions were quite numerous along the east coast. Even in southern districts, where conditions were less favourable, the people made nets of very considerable size. I have been told by old Maoris that seines that must have been a quarter of a mile in length were used in Wellington and Lyttelton harbours.</p>
          <p>The subject of fish and fishing customs would occupy a book in itself. Here there is but space to mention some survivals of ancient practices associated with the <hi rend="i">tapu</hi> which pertained to the important business of catching fish for food. (The Maori did not kill animals, birds, or fish for the fun
<pb xml:id="n182" n="178"/>
of the thing; he was no devotee of the art of whole sale slaughter which the <hi rend="i">pakeha</hi> calls sport.)</p>
        </div>
        <div xml:id="t1-body-d1-d14-d2" type="section">
          <head>The Mauri of the Fisheries.</head>
          <p>Some of the <hi rend="i">mauri-kohatum</hi>, or stone emblems sacred to the gods of the fisheries, are preserved and are used to-day as they were centuries ago. At Taumaha, in South Taranaki, in 1921, the veteran warrior, <name type="person" key="name-100116">Tu Patea</name> te Rongo, head of the Pakakohi tribe, told me that he had two of the sacrad stones called “<hi rend="i">Nga whatu a Turi</hi>” which were brought from Hawaiki in the canoe <hi rend="i">Aotea</hi>. Thes small stones of power, rounded and hollowed, were hidden not far from his house. He made use of the when the fishing season came round. When it was time for the <hi rend="i">piharau</hi> or lamprevs. he took the <hi rend="i">marui</hi> down to the bank of the <name type="place" key="name-101205">Patea River</name>, to ensure the success of the fishing. These <hi rend="i">whatu</hi>, sacred to Tangaroa, had never been known to fail in bringing large catches if they were used with the proper forms of invocation.</p>
          <p>At the mouth of the Motu River, in the Bay of Plenty, the local people, the Whanau-a-Apanui tribe still treasure as a sacred and most potent fishing talisman a very ancient stone called “<hi rend="i">Te Whatu kura-a-Tangaroa</hi>” (“The Sacred Red Stone of Tangaroa”). It is a small carved red stone, des cribed as about two inches in length and half an inch broad, with a piece of human bone attached to it for a hook. It was brought to <name type="place" key="name-170607">New Zealand</name> by one of the canoes from Hawaiki (Tahiti) about six centuries ago, one statement I have received says the canoe <hi rend="i">Tauira</hi>. This <hi rend="i">whatu</hi> (locally called a <hi rend="i">puna</hi> in allusion to the <hi rend="i">Puna-i-Rangiriri</hi>, the legendary source of all fish) is believed to have the power attracting great shoals of fish to the Motu River tidal waters. It is the <hi rend="i">mauri</hi> of the fisheries. Great
<pb xml:id="n183" n="179"/>
quantities of the <hi rend="i">kahawai</hi> are taken at the Motu, and the Maori are careful to observe the ceremonies of thanksgiving, in recognition of the abundance of fish, the good things of the gods. Offerings of the first catches of the season are made to Tangaroa, and some of the largest of the <hi rend="i">kahawai</hi> are hung on the branches of the pohutukawa trees, near Maraenui village. The <hi rend="i">kahawai</hi> are caught with hook and line along the beach and the river-side; no bait is used;
<figure xml:id="CowYest_179a"><graphic url="CowYest_179a.jpg" mimeType="image/jpeg" xml:id="CowYest_179a-g"/><head>A <hi rend="i">tapu</hi> relic at Mokau Heads: Maoris of Ngati-Maniapoto tribe transferring the <hi rend="i">Punga-o-Tainui</hi> from the beach to the tribal burial-place. [<hi rend="i">From a photo</hi>, 1926</head></figure>
<pb xml:id="n184" n="180"/>
the hook is inlaid with glittering <hi rend="i">pawa</hi> shell, or, in these days, a brass hook takes the place of the olden lure.</p>
          <p>The <hi rend="i">Whatu-kura-a-Tangaroa</hi> is preserved as a holy relic; it is very seldom that it is revealed to public gaze by the Ringa-tu folk of Maraenui, who have it in charge.</p>
          <p>At Mokau Heads the <hi rend="i">mauri</hi> of the fisheries lay on the beach until recently. This was the historic <hi rend="i">punga</hi> or mooring stone of the canoe <hi rend="i">Tainui</hi>, which came to Mokau six centuries ago. In 1904 I saw this <hi rend="i">punga</hi> lying on the northern bank of the Mokau, below the cliffs on which the township stands. It was popularly believed that its presence there assured the abundance of fish of all kinds for which Moka in mouth was celebrated along the coast. Once it was surreptitiously taken away to Waitara by the master of a cutter, who intended selling it to a museum. The Maori declare that the fish deserted the river until the cutter-man was compelled to restore it to its ancient resting-place. In 1926 it was suggested that the relic should be transferred to the Auckland Museum for safe-keeping as an ethnological exhibit, and some of the Mokau Maori favoured this proposal. But most of the Ngati-Maniapoto objected to this manner of disposal of the sacred <hi rend="i">mauri</hi>, and accordingly a party of men one morning took a cart to the beach at low-water, loaded it with the heavy treasure—it is a smoothly-rounded boulder like an hour-glass or dumb-bell in shape and about four feet in length—and took it to the tribal cemetery, between Mokau and Awakino Heads. There it was cemented into a concrete canoe representing the <hi rend="i">Tainui</hi>, so there is no danger of anyone making off with the <hi rend="i">punga</hi> now; and from its permanent resting-place it can still look out over the fisheries it guarded, in local belief, for centuries. Our illustration on <ref target="#n183">page 179</ref> shows the natives of Mokau Heads removing the
<pb xml:id="n185" n="181"/>
<hi rend="i">mauri</hi> from the beach to the burying ground. There is a part of the beach called Te Naenae, near where the <hi rend="i">punga</hi> formerly lay; this is where the fishermen until recently placed their offerings of <hi rend="i">tamure</hi> and other fish to Tangaroa, the Maori Poseidon.</p>
        </div>
        <div xml:id="t1-body-d1-d14-d3" type="section">
          <head>Eeling Customs.</head>
          <p>When our people go out eel-fishing at night—my informant is speaking of the customs of his young days in the Ngati-Ruanui Country, Taranaki—the old man of the party, the <hi rend="i">kaumatua</hi> or <hi rend="i">tohunga</hi>, divests himself of his clothes and goes first to the river-bank. Scooping some water up in his hand he throws it into the air, crying out “<hi rend="i">E hura, e hura Tangaroa! Tenei au e tu nei</hi>.” (“Uncover thee, O Tangaroa! Behold me standing here.”) (Tangaroa, the god of the sea, is also the god of all fish, including eels). Then the <hi rend="i">kaumatua</hi> enters the water, his five-pronged <hi rend="i">matarau</hi> or eel-spear in his hand. This <hi rend="i">matarau</hi>—each of the fishing-party carries one—consists of a <hi rend="i">manuka</hi> pole about five feet long and an ingenious arrangement of prongs at the business end; these prongs, which are of the hardest part of the <hi rend="i">rimu</hi> wood, are about a foot long, hardened in the fire, and made very sharp, and fastened to the handle with <hi rend="i">kiekie</hi> fibre. The first eel transfixed by the <hi rend="i">kaumatua's matarau</hi> is hung up in a tree, as an offering to Tangaroa; it is <hi rend="i">tapu</hi> and cannot be eaten. The rest of the party are by this time in the water, and jabbing dexterously at the swarming eels. It is usual to wait until after midnight before commencing the work of spearing; the eels have then ceased to move about and are lying quiet. Torches are used in this fishing work. Eels are not cooked for food during the night's fishing; this, say the old men, will bring on rain.</p>
        </div>
        <pb xml:id="n186" n="182"/>
        <div xml:id="t1-body-d1-d14-d4" type="section">
          <head>The Lakes Fisheries.</head>
          <p>In the Rotorua-Rotoiti district the fish of the lakes were a more important source of food supply than even the food of the land. So say the old men of the Arawa. The <hi rend="i">inanga</hi> (whitebait), <hi rend="i">toitoi</hi>, and <hi rend="i">koura</hi> (crayfish), also the <hi rend="i">kakahi</hi> (shellfish) were taken in very great quantities, and consequently the fisheries were jealously guarded.</p>
          <p>The various parts of Rotorua and Rotoiti and other lakes had their names, and the boundaries of the various <hi rend="i">hapu</hi> were carefully defined by leading marks. Every yard of each of these lakes had its owners. In the principal lakes there were hundreds of <hi rend="i">tau-koura</hi> or lines of stakes to which <hi rend="i">koura</hi> nets were fastened, and every important <hi rend="i">tumu</hi> or post had its name. These posts, driven into the bed of the lake, were sometimes carved at the top into the semblance of human heads. Sometimes a <hi rend="i">rahui</hi> or close-season mark, or a post indicative that such a place was <hi rend="i">tapu</hi>, was set up; occasionally these figures had arms attached to make them look like human figures.</p>
          <p>The introduction of the <hi rend="i">pakeha</hi>'s trout to the lakes resulted in the depletion of these supplies; and in complications with the Maori over the fishing laws. The Native Land Court and the Supreme Court were appealed to to decide the long-standing question of Maori rights under the <name type="work" key="name-122436">Treaty of Waitangi</name>. The outcome was the vindication of the Maori cause.</p>
        </div>
      </div>
      <pb xml:id="n187" n="183"/>
      <div xml:id="t1-body-d1-d15" type="chapter">
        <head><hi rend="sc">Chapter</hi> XV.<lb/>
<hi rend="c">The Cultivation of the <hi rend="i">Kumara</hi>.</hi></head>
        <div xml:id="t1-body-d1-d15-d1" type="section">
          <p>When the first long clear whistling notes of the <hi rend="i">pipiwharauroa</hi>, the shining cuckoo, were heard in the groves in the spring of the year, the Maoris said to each other “Listen! The messenger of summer, the bird of Hawaiki, cries ‘<hi rend="i">Koia, koia</hi>!’ (‘Dig away!’) 'Tis time to plant the <hi rend="i">kumara</hi>.” This was in the month of October, or early in November, when the little shining cuckoo landed on these shores after its long flight from the South Sea Isles. Then the villagers made ready the ground for the reception of the sweet potato, which was grown very largely in Taranaki, as in other Maori districts. It is particularly the methods in the Ngati-Ruanui Country, Taranaki, that will be described.</p>
          <p>The ancient religious rituals were still used by <name key="name-124007" type="person">Titokowaru</name> and his people in the Sixties and Seventies, and everything connected with the planting was conducted with great ceremony, for the <hi rend="i">kumara</hi> was a sacred plant, and not to be treated lightly.</p>
          <p>It was the Maori custom to have a big “working-bee” whenever a man wished to lay down a large plot in <hi rend="i">kumara</hi>. Taiporohenui, Turangarere, and Otiaiti, in South Taranaki, were the principal places where my informant shared in the <hi rend="i">kumara</hi>-planting and harvesting. The work was carried on under the direction of skilled men in husbandry, and a <hi rend="i">tohunga</hi> always recited the prayers that were believed to ensure a bountiful crop.</p>
          <p>When the people heard that the owner of a cultivation was going to plant largely in <hi rend="i">kumara</hi>, say three or four acres, they would come in a body to help him with his planting (<hi rend="i">whakatō-kumara</hi>). Twenty or thirty, or perhaps forty, men would come
<pb xml:id="n188" n="184"/>
to <hi rend="i">ko</hi> the ground, and with them a number of women and children to plant the seed tubers and to look on. The <hi rend="i">ko</hi> was about seven feet long, sharp at the digging end, with a step or rest for the foot about a foot from the point. The top of the <hi rend="i">ko</hi> was slightly curved, and it was often carved into the form of a head, and adorned with feathers. It was also a custom of the <hi rend="i">ko</hi>-men to decorate the top of the implement, near the head, with <hi rend="i">aurei</hi>, the bone matpins formerly commonly used, crescent shaped, made from the tusks of the wild boar, whalebone, or the bones of enemies killed in battle. These <hi rend="i">aurei</hi>, sometimes six or seven to the one <hi rend="i">ko</hi>, were tied to the implement, and as all the diggers moved in unison, now to right and now to left, the <hi rend="i">aurei</hi> rattled together and made a sound pleasant to the Maori ear.</p>
          <p>When the people gathered at the <hi rend="i">maara</hi>, the cultivation plot, the priest <hi rend="i">karakia</hi>'d the field, chanting his incantations to Maru and the gods of the <hi rend="i">kumara</hi>. Then the head man of the visitors, taking his stand in one of the corners of the <hi rend="i">maara</hi>, cried in a loud chanting voice:</p>
          <q>
            <lg type="verse">
              <l>“<hi rend="i">Tenei au e tu nei, me taku ko i toku ringa. Keiwhea te tangata nana te maara? Haere mai nei</hi>!”</l>
              <l>(“Here I stand, my <hi rend="i">ko</hi> in my hand. Where is the man who owns this cultivation? Let him come here!”)</l>
            </lg>
          </q>
          <p>Then approached the owner of the field, and he showed the digging-party where he wished them to work. The diggers gathered in one corner of the field, and worked diagonally across the planting area. They had a peculiar way of advancing, <hi rend="i">ko</hi>-ing as they went. The ground had previously been prepared by being cleared of all grass and weeds and other growth, and was perfectly clean and bare for the diggers. The Taiporohenui soil did not require much digging, for it was very soft and rich, and
<pb xml:id="n189" n="185"/>
<figure xml:id="CowYest_185a"><graphic url="CowYest_185a.jpg" mimeType="image/jpeg" xml:id="CowYest_185a-g"/><head>A <hi rend="i">Kumara</hi> planting scene of the past: Diggers using the <hi rend="i">Ko</hi> preparing the ground for the <hi rend="i">Kumara</hi> seed tubers. They work in unison, to the sound of a chant.<lb/>
[<hi rend="i">From a painting by G. Lindauer</hi></head></figure>
<pb xml:id="n190" n="186"/>
easily worked. The <hi rend="i">ko</hi>-men worked across from the corner, gradually extending their front as the field opened out; and all kept time as they worked, moving the handles of the <hi rend="i">ko</hi> to the right and left alternately, as they made the holes for the reception of the seed <hi rend="i">kumara</hi>. They kept time with a choric song while they worked; all the bare backs moved as one man to the rhythm of the ancient chant, the feathers and white <hi rend="i">aurei</hi> adornments of the <hi rend="i">ko</hi>-heads dancing in the sun. The white man <name type="person" key="name-207418">Kimble Bent</name> worked with these <hi rend="i">ko</hi>-ing parties every season; he had his own carved <hi rend="i">ko</hi>, and he soon became as expert as the brown foresters with whom he lived.</p>
          <p>The holes where the <hi rend="i">kumara</hi> were planted were all made facing the east, the warm <hi rend="i">Rawhiti</hi>. Behind the <hi rend="i">ko</hi>-men came the other men and the women, each with a basket of seed-<hi rend="i">kumara</hi>. One tuber was dropped in each hole, with the “eye” or sprout end pointing to the sun rising. The diagonal rows were so designed that the sun as it travelled through the sky went “between the rows,” as the Maoris say. Unless the <hi rend="i">kumara</hi> were planted with a careful eye to the sunny aspect, one side of the lines would be warm and the other cold, and the crops would suffer. The seed-<hi rend="i">kumara</hi> were not completely buried up when they were planted. The point was left just showing out of the ground. After the planters had done their work a man went over the ground to inspect the planting, and to remedy any mistake that might have been made in putting the tubers in.</p>
          <p>Some of the seed-<hi rend="i">kumara</hi> were always planted whole. The <hi rend="i">mononehu</hi> kind was never broken; it was put in the ground whole. The <hi rend="i">kakau</hi> variety could be broken into three or four pieces and planted. The <hi rend="i">mononehu</hi> was slightly cracked in the middle; as the planters did this, all together, they cried “<hi rend="i">Tara-pana</hi>” and placed the <hi rend="i">kumara</hi> in the places prepared for them.</p>
          <pb xml:id="n191" n="187"/>
          <p>The <hi rend="i">kakau</hi>, which is a red <hi rend="i">kumara</hi>, was the principal variety grown at Taiporohenui and Turangarere in the Seventies. The <hi rend="i">mononehu</hi> and the <hi rend="i">anurangi</hi> are white kumara. The <hi rend="i">toromahoe</hi>, another variety, is also white; it is a small, very mealy kind. The <hi rend="i">waina</hi> is a large red <hi rend="i">kumara</hi>. The “<hi rend="i">merekena</hi>,” the common kind now grown, is the large American sweet-potato, the kind chiefly known to Europeans.</p>
          <p>The Ngati-Ruanui, like other tribes, observed certain customs when the <hi rend="i">kumara</hi> were about to be planted. When the <hi rend="i">maara</hi> was being prepared, no <hi rend="i">kumara</hi>—should there be any available after the seed tubers were allowed for—were permitted to be cooked. Afterwards this restriction was removed. Any residue of seed left on the side of the <hi rend="i">maara</hi> after the planting had been completed was carefully taken away and buried, and not allowed to be eaten.</p>
          <p>After the <hi rend="i">kumara</hi> had been placed in the ground it was necessary to bring up sand from the river or the seashore and mix it with the earth around the tubers. Hundreds of baskets of sand were brought up from the riverbeds at Turangarere and Taiporohenui and carefully heaped up in the little mounds which marked the resting-places of the seed-<hi rend="i">kumara</hi>.</p>
          <p>The Maori were very careful in the selection of a suitable time of the month for planting. Each night of the moon had a special name. The best time was from the 13th to the 18th day of the moon's age. On the 18th of the Maori month (<hi rend="i">marama</hi>) the moon was at its maximum fulness (<hi rend="i">rakau-nui</hi>).</p>
          <p>Then came the harvesting. When the Taranaki Maori dug up their <hi rend="i">kumara</hi> they allowed them to lie in the sun for about two hours to dry; then they arranged them in heaps, eight or ten baskets full in each heap. They were laid on beds of fern, very carefully, so as not to break the skin; then they were covered over with fern. There they lay awhile until the <hi rend="i">rua kumara</hi> or pits were ready for their
<pb xml:id="n192" n="188"/>
storage. The <hi rend="i">rua</hi>, which is a pit about four feet deep, is covered over with a sloping roof; it resembles a small house buried to the eaves when it is finished. The sides and bottom of the <hi rend="i">rua</hi> were very carefully lined with fern, and great care was exercised in packing the <hi rend="i">kumara</hi>, so that they would not be bruised or exposed to damp. A <hi rend="i">rua</hi> twelve feet long and four feet deep would hold about a hundred baskets full of <hi rend="i">kumara</hi>. The <hi rend="i">rua kumara</hi>,
<figure xml:id="CowYest_188a"><graphic url="CowYest_188a.jpg" mimeType="image/jpeg" xml:id="CowYest_188a-g"/><head><hi rend="sc"><name key="name-400394" type="person">Te Karira Ruarangi</name></hi>.<lb/>
A chief and <hi rend="i">tohunga</hi> of Pakaraka, Waitotara, West Coast, in the Sixties. He fought with his tribe, Ngarauru, against the British and Colonial troops, 1864–69.</head></figure>
<pb xml:id="n193" n="189"/>
once filled, was held as <hi rend="i">tapu</hi> until some <hi rend="i">manuhiri</hi> or visitor of importance arrived in the <hi rend="i">kainga</hi>. Then they opened it, and not until then did the people feast on those stored <hi rend="i">kumara</hi>.</p>
          <p><hi rend="i">Kao</hi>, or dried <hi rend="i">kumara</hi>, was a favourite food of the Maori when on a journey. This was the way the Ngati-Ruanui went about it. The <hi rend="i">kumara</hi> selected—perhaps thirty or forty baskets full—were first carefully scraped with fern, then they were put into large <hi rend="i">hāngi</hi> or steam-ovens in the earth, covered over in the usual way, and allowed to remain in the <hi rend="i">hāngi</hi> all night, so that they should be perfectly cooked. Next morning they were taken up and spread on stages to dry, until they became quite dry and hard. They were then put into baskets and hung up in the <hi rend="i">pataka</hi> or elevated storehouses. In this way they would keep for two years. To prepare them for eating, they were crumbled to pieces and mixed with water; the <hi rend="i">kumara</hi> are very mealy, and the sweet <hi rend="i">kao kumara</hi> is a luxury very palatable to the Maori, and almost equally agreeable to the pakeha who has tasted it.</p>
        </div>
        <div xml:id="t1-body-d1-d15-d2" type="section">
          <head>A Rotorua Planting Song.</head>
          <p>A fine rhythmic chant which was used until recently by the people of Mokoia Island, Lake Rotorua, at the planting of the <hi rend="i">kumara</hi>, was given to me by the old man Tamarangi, at the ancient cultivation ground on the Paepaerau flat. He picked up a long <hi rend="i">manuka</hi> stick, and gripping it firmly at the “should-arms” in the fashion in which the priests grasped the <hi rend="i">rapa maire</hi>, the digging implement, he recited the sacred planting song, dandling the staff to and fro, as he showed how the fields were blessed. This is my translation of Tamarangi's <hi rend="i">pihapiha-ko-kumara</hi>, as chanted for centuries past on Mokoia, beginning “<hi rend="i">Ue-uea, ue-uea te titi o te rua; kia tutangatanga te ara ki Mokoia</hi>”:—</p>
          <pb xml:id="n194" n="190"/>
          <q>
            <lg type="verse">
              <l>“Unloose the fastening of the food-pit;</l>
              <l>Let the way to Mokoia be open.</l>
              <l>How many backs are bending to my song!</l>
              <l>O give me breath</l>
              <l>To outstrip mine enemies.</l>
              <l>The earth is shaken,</l>
              <l>The Rainbow-god appears.</l>
              <l>O plant the seed, whose tendrils stretch</l>
              <l>Hither from distant lands,</l>
              <l>From far Waeroti,</l>
              <l>From Waerota,<note xml:id="fn1-190" n="*"><p>Waeroti and Waerota are ancient names for the islands in the Pacific whence the Maoris brought the <hi rend="i">kumara</hi> and the <hi rend="i">hue</hi> (gourd). <hi rend="i">Kuru</hi> (or <hi rend="i">Kulu</hi>) is the general Polynesian name for the bread-fruit, which the Maoris found would not grow in <name type="place" key="name-170607">New Zealand</name>. Reference is made to the Maori belief in magic incantations which could cause a cloud to arise to obscure a person from his enemies, and to the mystical practice called “<hi rend="i">tupé-tané</hi>,” in which a warrior pursuing a fleeing foe, repeated prayers to “<hi rend="i">tupé</hi>” his enemy, that is to cause his footsteps to be slow so that he might be overtaken. On the other hand the person pursued “<hi rend="i">hoa</hi>”-d his own footsteps with the appropriate formula so that he might be swift in flight and elude his enemy.</p></note></l>
              <l>Our fathers' Island homes.</l>
              <l>Though we have not here</l>
              <l>The fruit of the <hi rend="i">kuru</hi>,</l>
              <l>Spread out, abundant, is the produce of the food-vine.</l>
              <l>May a strange cloud</l>
              <l>Obscure the foeman's eyes,</l>
              <l>And guard the children of the soil.</l>
              <l>Deprive mine enemies of strength,</l>
              <l>Hinder their war-like steps!</l>
              <l>'Tis a magic cloud</l>
              <l>That guards me from the foe.”</l>
            </lg>
          </q>
          <p>And all the planters join in the loud chorus-shout,</p>
          <q>
            <lg type="verse">
              <l>“<hi rend="i">I-i-a-a</hi>!”</l>
            </lg>
          </q>
          <p>The opening words in this chant, “<hi rend="i">Ue-uea, Ue-uea, te titi o te rua</hi>,” refer to the loosening of the wooden pin which closes the door of the pit in which the seed <hi rend="i">kumara</hi> are kept, so that the door may be opened, and the <hi rend="i">kumara</hi> served out to the planting-party. In former days not only the Maori on the island but also the tribes living on the mainland invoked the help of the sacred carved stone image “Matuatonga,” the <hi rend="i">mauri</hi> of the cultivations, when planting their seed-<hi rend="i">kumara</hi>, and performed ceremonies to ensure a plentiful crop. When the season comes
<pb xml:id="n195" n="191"/>
each year for the planting of the <hi rend="i">kumara</hi> each tribe sent a number of its tubers across to the Mokoia, so that they might be taken to the shrine of the <hi rend="i">atua</hi> and there touch “Matua-tonga,” while the priests recited the necessary <hi rend="i">karakia</hi> to preserve the plantations from harm and send a bountiful harvest. The expression in the chant, “<hi rend="i">Kia tutangatanga te ara ki Mokoia</hi>” is an allusion to this olden custom of taking the seed-tubers across to the Island so that they might absorb some of the <hi rend="i">mana-tapu</hi> of this Ceres of Maori Land.</p>
          <p>The Rotorua Maori have over forty names for different kinds of the <hi rend="i">kumara</hi>. The only old Maori varieties now cultivated there are the <hi rend="i">toromahoe, hutihuti</hi>, and <hi rend="i">pehu</hi>. The <hi rend="i">kumara</hi> grown which were introduced by Europeans are known as the <hi rend="i">waina</hi> (a red tuber) and <hi rend="i">kai-pakeha</hi> (white). The <hi rend="i">hutihuti</hi> is regarded as the best.</p>
          <p>Maoris of the Urewera tribe informed me that in the Upper Valley of the Waimana, near Tauwharenikau, there is a large and remarkable rimu-pine, the top of which was shaped as a store-house for food. It is called “<hi rend="i">Te whata-kao a Rongo-mai-pawa</hi>.” In this tree store the chief Rongomai used to keep his stock of <hi rend="i">kao</hi> or dried <hi rend="i">kumara</hi>. Maori when on a journey often took a small quantity of <hi rend="i">kao</hi> stowed away in the folds of their <hi rend="i">tatua</hi> or flax waist-belts. This <hi rend="i">kao</hi>, mixed with water, was a favourite food, very sweet and satisfying.</p>
        </div>
      </div>
      <pb xml:id="n196" n="192"/>
      <div xml:id="t1-body-d1-d16" type="chapter">
        <head><hi rend="sc">Chapter</hi> XVI.<lb/>
<hi rend="c">Kawhia Felix</hi>.<lb/>
<hi rend="sc">A Picture of the Past</hi>.</head>
        <p>In the sun-warmed front of a fern-tree and <hi rend="i">nikau</hi>- thatched house on the bank of the Waiharakeke River, on the south side of the many-armed Kawhia Harbour, the ancient dame Ngarongo-Herehere Rangitawa sat placidly smoking her morning pipe of powerful <hi rend="i">torori</hi>. Before her the tidal river wound in a shining loop about a cliffy elevation, where fern and bush clothed in a mat of peace the trenched lines of an olden fort. Ngarongo's thoughts roved far back; she could remember her childhood's life of more than eighty years ago. Her pipe finished, she spoke to her kinsman Raureti te Huia from the Waipa, of the things he wished to hear, the tale of Kawhia as it was in the days before the war, and the daily life of the people. He set them down faithfully in Maori, and I translate from his MS., sent on to me soon afterwards, this clear and perfect description of the happy and industrious period that came to a tragic end when the wars of the early Sixties began.</p>
        <p>My Ngati-Maniapoto friend's narrative begins with a little picture of good old Ngarongo. She is large of body, he says, with a broad, kindly face rather darker than most Maori; her hair curls in ringlets, her chin and lips are blue-tattooed in the <hi rend="i">kauwae</hi> pattern.</p>
        <p>“In my small girlhood,” said Ngarongo, “I lived at Te Arapukatea; that was my birthplace; and most of my life I have lived on this south side of Kawhia Harbour, and all this country and all these streams and bays I know, aye, and all the <hi rend="i">pipi</hi> banks in the harbour, and all the fishing places. As I grew
<pb xml:id="n197" n="193"/>
up I learned all the things that made up the work of the Maori woman, and most of all I learned how to help supply our home with food. The waters of Kawhia Harbour were our chief food supply—they were waters of abundance. I shall enumerate the parts where we obtained our <hi rend="i">kai-mataitai</hi>, the food of the salt waters.</p>
        <q>
          <p>“The <hi rend="i">pipi</hi> shellfish was one of our most abundant foods; our <hi rend="i">hapu's</hi> ground was Taaoro yonder; the kind of <hi rend="i">pipi</hi> found there was the <hi rend="i">kokota</hi>. There was another cockle called the <hi rend="i">pipi hungangi</hi>; this was very plentiful, and for it we worked the sand-banks and tide-washed flats at Tuhingara, Toreparu, Otaroi, Hakaha, Te Wharau, Tahunaroa, Te Maire, and other places. For the <hi rend="i">pupu</hi> shellfish we worked Tarapikau and other banks. Another food was the <hi rend="i">tuna</hi>, the eel. We had many eel weirs, too, but my food-gathering was chiefly on the seashore and in the estuaries. There were many places where we hauled the nets for fish of the sea; we had landing-places for <hi rend="i">tamure</hi> (snapper), and <hi rend="i">mango</hi> (shark) at Te Umuroa, at Te Maire, at Ohau, at Whangamumu, and many other beaches, where we brought the hauls ashore and split the fish up and hung them in long lines to dry in the sun. There was the <hi rend="i">patiki</hi>, too, the flounder.</p>
          <p>“It was most pleasant work, that fishing of old. There were three places in particular where our <hi rend="i">hapu</hi> brought its catches of sharks and dogfish ashore; they were Ngawhakauruhanga, Ohau, and Purakau. We had special places where we fished for <hi rend="i">moki</hi> (cod) and for the <hi rend="i">koiro</hi> (conger-eel), and there was also a place where the <hi rend="i">whai</hi> (stingaree) abounded. That was at Koutu-kowhai. There was, too, small fresh-water fish called the <hi rend="i">mohi-mohi</hi>, and there was an appointed place for taking it.</p>
          <p>“Our best time for catching fish of all kinds was from November to March, when the north and
<pb xml:id="n198" n="194"/>
north-east winds blew and the weather was pleasant and warm. That was when the nets were drawn. All the people were engaged in this work, and great numbers of fish were sun-dried for winter food.</p>
          <p>“And there was, too, the spearing of flounder by torchlight at night. My son, that was a delightful occupation, the <hi rend="i">rama patiki</hi>. There were certain nights when these <hi rend="i">patiki</hi> were plentiful on the sand-banks, and that was when we got great numbers of them by means of torch and spear.</p>
          <p>“Then later in the year we turned to the land for our food. We went into the forests, we climbed the mountains, we snared and speared the birds of the bush. There was that range called Paeroa; that was where we set many <hi rend="i">wai-tuhi</hi>, which were wooden canoe-like troughs, or sometimes hollows in prostrate logs, which we filled with water; over these we arranged flax and cabbage tree nooses in which the pigeon and other birds would be caught as they came down to drink after feeding on the berries. All along the Paeroa Range (which is south yonder towards Kinohaku) we had these <hi rend="i">wai-tuhi</hi>. The forest was full of food for the birds: the fruit of the <hi rend="i">miro</hi>, the <hi rend="i">hinau</hi>, the <hi rend="i">mangeo</hi>, was in exceeding abundance. Many of us were busy in the season of birds in the work of snaring (<hi rend="i">takiri</hi>) the <hi rend="i">tui</hi>, and also the <hi rend="i">kokomako</hi> (bell-bird); the best place for catching those birds was on the <hi rend="i">poroporo</hi> shrubs, which were covered with delicious fruit for the birds. A woman could often take as many as a hundred birds in a day's work, from morning till dark.</p>
          <p>“Also we took many <hi rend="i">titi</hi> (the petrel called muttonbird). The best place for killing the <hi rend="i">titi</hi> was at Te Rau-o-te-huia. The work was done at night. Fires were made at places over which the <hi rend="i">titi</hi> flew, and these attracted the birds, which came flying low, and were killed with sticks by the people around
<pb xml:id="n199" n="195"/>
<figure xml:id="CowYest_195a"><graphic url="CowYest_195a.jpg" mimeType="image/jpeg" xml:id="CowYest_195a-g"/><head><hi rend="sc">A Diehard Chieftainess</hi>.<lb/><name key="name-400395" type="person">Mere Kuru</name>, of Ngati-Tamatera tribe, Ohinemuri This vigorous and determined dame of the Upper Thames, a near relative of the celebrated warrior Taraia, for some years strongly opposed the opening of the Ohinemuri goldfields to the <hi rend="i">pakeha</hi>. She and her cousin Te Hira finally gave way in 1875.<lb/>
[<hi rend="i">Portrait by G. Lindauer</hi>, 1875</head></figure>
<pb xml:id="n200" n="196"/>
the fires. There was a season when these birds were abundant and in the right condition for killing.</p>
          <p>“Other foods of our people, which we got at various times, were fern root, the pith of the <hi rend="i">mamaku</hi> fern-tree, and the large berries of the <hi rend="i">hinau</hi> and <hi rend="i">tawa</hi> trees; these were dried and treated in various ways. And then, too, we had foods of the <hi rend="i">pakeha</hi> kind in great abundance. Kawhia was a most fruitful place. We had apples, peaches, figs, pears, and grapes. We sent the best of the fruit away to Auckland and sold it. We had our own small vessels (schooners and cutters) in those days before the war.</p>
          <p>“I remember the vessels our people had in our part of Kawhia. There was the <hi rend="i">Aotearoa</hi>; she was owned and sailed by Paiaka. There was the <hi rend="i">Nepukaneha</hi> (Nebuchadnezzar), which was Hone te One's vessel. These craft traded to Onehunga, and they carried much produce from Kawhia. We shipped in them wheat and maize, fruit, pigs, pumpkins, vegetable marrows, and dressed flax. Many <hi rend="i">hapu</hi> were concerned in this trade; we all shipped cargo for sale to the <hi rend="i">pakeha</hi>, and all was done agreeably; there were no quarrels among the people over trade.</p>
          <p>“At Ahuahu there was a large settlement, and there lived our missionaries, one after the other. Te Waitere (the <name key="name-209615" type="person">Rev. John Whiteley</name>, killed at Pukearuhe in 1869) lived there; after him came Te Tatana (Rev. Turton) and Henare too [‘Henare’ was the Rev. Schnackenberg]. It was there that I was married to Rangitawa; that was two years before the war began in Taranaki, and Rangi and the other men of Kawhia went away to fight there (1860).</p>
          <p>“That was how we lived here in Kawhia in the days of our youth. We were always employed and there was no trouble; we lived happily there, in the midst of abundance, and then when the war began our troubles came.</p>
          <pb xml:id="n201" n="197"/>
          <p>“<name type="person" key="name-100080">Rewi Maniapoto</name> came out from Kihikihi and Te Kopua on his way to Taranaki with a war party. He came to Ahuahu and the tribes of Kawhia assembled and joined him and they all marched off for the south by way of Marokopa. Their first battle was at Puke-ta-kauere, on the Waitara; they defeated the Queen's soldiers there. But I need not tell of all the fighting that followed. It stopped our accustomed industry on the shores of Kawhia. All the old work in which the whole of the people shared stood still.</p>
          <p>
            <figure xml:id="CowYest_197a">
              <graphic url="CowYest_197a.jpg" mimeType="image/jpeg" xml:id="CowYest_197a-g"/>
              <head><name key="name-400396" type="person">Pikirakau</name> (“The Tree-climber”) a warrior woman of South Taranaki, who fought on the Government side in the Sixties.<lb/>
[<hi rend="i">From the painting by G. Lindauer</hi></head>
            </figure>
          </p>
          <pb xml:id="n202" n="198"/>
          <p>“No more wheat or maize was grown, no flax-scraping was done, and the trading vessels lay deserted at anchor, for there was no one to man them. The soil was not cultivated, the flourmill wheels ceased to turn. The winds wailed over a deserted Kawhia, when the men, young and old, had girded themselves with the belt of war and gripped their guns and other weapons of war and marched away. Only the feeble old men and the women and children were left here. And when those who were left returned after the wars it was a different life at Kawhia.”</p>
        </q>
        <p>
          <figure xml:id="CowYest_198a">
            <graphic url="CowYest_198a.jpg" mimeType="image/jpeg" xml:id="CowYest_198a-g"/>
            <head>Maketu, Kawhia Harbour. The landing-place of the Tainui Canoe.</head>
          </figure>
        </p>
      </div>
      <pb xml:id="n203" n="199"/>
      <div xml:id="t1-body-d1-d17" type="chapter">
        <head><hi rend="sc">Chapter</hi> XVII.<lb/>
<hi rend="c">Amusements of The Maori</hi>.</head>
        <div xml:id="t1-body-d1-d17-d1" type="section">
          <p>In the old-time Maori <hi rend="i">kainga</hi> there was no lack of what may be called indoor games, for the diversion of the community in long evenings and in wet and stormy weather when the people were disinclined to venture abroad. Chief among the amusements in the <hi rend="i">whare-tāperé</hi>, the hall of pleasure and song, were the <hi rend="i">poi</hi> action song and the <hi rend="i">haka</hi> dance. In the <hi rend="i">poi</hi> the girls of the village delighted the people with dexterous rhythmic ball-whisk and tap-tapping of which the eye never tired, to the music of pretty and harmonious chants. The <hi rend="i">poi</hi> is as charming to eye and ear as ever it was, though the <hi rend="i">rangi</hi> or airs have become modernised and the Hawaiian ukulele has become the favourite instrument of musical accompaniment. The action song, as it should be called rather than dance, is infinite in its variety. In some <hi rend="i">poi</hi> performances the girls imitate the action of paddling a canoe; others are descriptive of the fluttering of wild birds and the pretty fantail; many are a series of lissome beautifully-timed swinging of the “tiny ball on end of string” to the sound of melodious and plaintive love songs. Some are rather mournful <hi rend="i">waiatas</hi>, chants of affection and longing; again there are ditties gay and sometimes Rabelaisian of words. The poetry of the <hi rend="i">poi</hi> is quite a branch of Maori folk-lore—mostly unwritten—in itself. The Arawa have a special facility in the composition of little lilting poems for this greatly favoured amusement; Ngati-Porou and Ngati-Kahungunu, too, have their resourceful poets, and they have skill in adapting <hi rend="i">pakeha</hi> tunes to the needs of the dance.</p>
          <pb xml:id="n204" n="200"/>
          <p>In Taranaki I have watched and listened to <hi rend="i">poi</hi> acts of a quality differing greatly from the action-songs of other tribes. When I stayed at Parihaka one night the venerable <name type="person" key="name-100311">Te Whiti</name>, the one-time renowned prophet and leader of the Maori national party, invited me to accompany him to his meeting-hall and see his <hi rend="i">poi</hi> parties rehearse their songs and dances for the coming March assemblage of the faithful. The women and girls, numbering about thirty, wore a profusion of white feathers—the <hi rend="i">raukura</hi>, <name type="person" key="name-100311">Te Whiti</name>'s badge—in their dark glossy hair. They gave one <hi rend="i">poi</hi> after another, some with long strings, an art requiring great skill and precision; they chanted and swung the <hi rend="i">poi</hi>, and swayed their supple forms for nearly two hours; and the earnestness and fire with which they chanted their songs made it seem more like a sacred religious ceremony than anything else. And that indeed was what it was; the <hi rend="i">poi</hi> chants were legendary, historical, and ritualistic; they recited the coming of the Taranaki people's ancestors from Hawaiki in the traditional canoes, they described the grievances of the Maori under <hi rend="i">pakeha</hi> rule, the tragedy of the war, the <choice><orig>con-
<hi><figure xml:id="CowYest_200a"><graphic url="CowYest_200a.jpg" mimeType="image/jpeg" xml:id="CowYest_200a-g"/><head>A party of <hi rend="i">poi</hi> dancers, welcoming visitors to the meeting-house at Manukorihi, Waitara, North Taranaki.</head></figure></hi>
<pb xml:id="n205" n="201"/>
fiscation</orig><reg>confiscation</reg></choice> of the land, and they embodied some of the figurative utterances and cryptic “sayings” in which <name type="person" key="name-100311">Te Whiti</name> delighted. One long chant, as the grey old prophet told me, was one of his speeches or sermons delivered to the gathering on the Parihaka <hi rend="i">marae</hi>. There was something almost fierce about the delivery of this kind of <hi rend="i">poi</hi>, and the flashing black eyes, the tossing feathers, the high wild chant, combined to give a thrill to it all that the ordinary <hi rend="i">poi</hi> of the Maori amusement halls does not hold. <name type="person" key="name-100311">Te Whiti</name>'s spirit has passed to the Reinga, but the old chants are not forgotten, and the <hi rend="i">raukura</hi> still on occasion is proudly worn by the Taranaki <hi rend="i">poi</hi> parties as they toss and twirl the rap-rapping ball of <hi rend="i">raupo</hi>, and raise the wild melodies again.</p>
          <p>This is one of the legend-poems chanted by the Taranaki <hi rend="i">poi</hi> women; it is a paddling song traditionally handed down for six centuries, the chant of the chief of <hi rend="i">Aotea</hi> canoe to his crew on the voyage from Raiatea Island, in the Eastern Pacific, to <name type="place" key="name-170607">New Zealand</name>:—</p>
          <quote>
            <floatingText xml:id="t1-body-d1-d12-t35" decls="#text-33-bibl">
              <body xml:id="t1-body-d1-d12-t35-body">
                <div xml:id="t1-body-d1-d12-t35-body-d1" type="ngeri" xml:lang="mi">
                  <lg type="verse">
                    <l><hi rend="i">Ko Aotea te waka</hi>,</l>
                    <l><hi rend="i">Ko Turi tangata ki runga</hi>,</l>
                    <l><hi rend="i">Ko te Roku-o-whiti te hoe</hi>.</l>
                    <l><hi rend="i">Piri papa te hoe</hi>!</l>
                    <l><hi rend="i">Awhi papa te hoe</hi>!</l>
                    <l><hi rend="i">Toitu te hoe</hi>!</l>
                    <l><hi rend="i">Toirere te hoe</hi>!</l>
                    <l><hi rend="i">Toi mahuta te hoe</hi>!</l>
                    <l><hi rend="i">Toi hapakapa te hoe</hi></l>
                    <l><hi rend="i">Kai runga te rangi</hi>.</l>
                    <l><hi rend="i">Ko te hoe nawai</hi>?</l>
                    <l><hi rend="i">Ko te hoe na te Kahu-nunui</hi>;</l>
                    <l><hi rend="i">Ko te hoe nawai</hi>?</l>
                    <l><hi rend="i">Te hoe na te Kahu-roroa</hi>.</l>
                    <l><hi rend="i">Ko te hoe nawai</hi>?</l>
                    <l><hi rend="i">Ko te hoe no Rangi-nui-e-tu-nui</hi>.</l>
                    <l><hi rend="i">Tena te waka</hi>,</l>
                    <l><hi rend="i">Ka tau ki Tipua-o-te-Rangi</hi>,</l>
                    <l><hi rend="i">Ki Tawhito-o-te-Rangi</hi>,</l>
                    <l><hi rend="i">Nga turanga whetu o Rehua</hi>.</l>
                    <l><hi rend="i">Hapai ake au</hi></l>
                    <l><hi rend="i">I te kakau o taku hoe</hi>,</l>
                  </lg>
                  <pb xml:id="n206" n="202"/>
                  <lg type="verse">
                    <l><hi rend="i">I te Roku-o-whiti</hi>.</l>
                    <l><hi rend="i">Whiti patato, rere patato</hi>,</l>
                    <l><hi rend="i">Mama patato</hi>.</l>
                    <l><hi rend="i">Te riakanga, te hapainga</hi>,</l>
                    <l><hi rend="i">Te komotanga, te kumenga</hi>,</l>
                    <l><hi rend="i">Te riponga, te awenga</hi></l>
                    <l><hi rend="i">A te puehutanga</hi></l>
                    <l><hi rend="i">O te wai o taku hoe nei</hi>.</l>
                    <l><hi rend="i">Kei te rangi, hikitia</hi>!</l>
                    <l><hi rend="i">Kei te rangi, hapainga</hi>,</l>
                    <l><hi rend="i">Kei te aweawe nui no Tu</hi>.</l>
                    <l><hi rend="i">Tena te ara ka totohe nui</hi>,</l>
                    <l><hi rend="i">Ko te ara o tenei Ariki</hi>,</l>
                    <l><hi rend="i">Ko te ara o tenei matua iwi</hi>,</l>
                    <l><hi rend="i">Ko te ara o Rangi-nui-e-tu-nei</hi>,</l>
                    <l><hi rend="i">Nguaha te kakau o taku hoe nei</hi>,</l>
                    <l><hi rend="i">Ko Kautu-ki-te-Rangi</hi>.</l>
                    <l><hi rend="i">Ki te rangi, hikitia</hi>;</l>
                    <l><hi rend="i">Ki te rangi, hapainga</hi>;</l>
                    <l><hi rend="i">Ki te rangi tutorona atu</hi>,</l>
                    <l><hi rend="i">Ki te rangi tutorona, mai</hi>.</l>
                    <l><hi rend="i">Ki te rangi tu te ihi</hi>,</l>
                    <l><hi rend="i">Ki te rangi tu te koko</hi>,</l>
                    <l><hi rend="i">Tu te mana, tu te tapu</hi>,</l>
                    <l><hi rend="i">E tapu tena te ara</hi>,</l>
                    <l><hi rend="i">Ka totohe te ara</hi></l>
                    <l><hi rend="i">O Tane-matohe-nuku</hi>,</l>
                    <l><hi rend="i">Te ara o Tane-matohe-rangi</hi>,</l>
                    <l><hi rend="i">Ko te ara o te Kahu-nunui</hi>,</l>
                    <l><hi rend="i">Ko te ara o te Kahu-roroa</hi>,</l>
                    <l><hi rend="i">Ko te ara o tenei Ariki</hi>,</l>
                    <l><hi rend="i">Ko te ara o tenei tauira</hi>,</l>
                    <l><hi rend="i">Tawhi kia Rehua</hi>,</l>
                    <l><hi rend="i">Ki uta mai, te ao marama</hi>;</l>
                    <l><hi rend="i">E Rongo-ma-Tane</hi>,</l>
                    <l><hi rend="i">Whakairihia</hi>!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
            <floatingText xml:id="t1-body-d1-d12-t36" decls="#text-34-bibl">
              <body xml:id="t1-body-d1-d12-t36-body">
                <div xml:id="t1-body-d1-d12-t36-body-d1" type="ngeri">
                  <lg type="verse">
                    <head>(Translation.)</head>
                    <l>Aotea is the Canoe,</l>
                    <l>And Turi is the Chief.</l>
                    <l>The Roku-o-whiti is the Paddle.</l>
                    <l>Behold my paddle!</l>
                    <l>It is laid by the canoe-side,</l>
                    <l>Held close to the canoe-side.</l>
                    <l>Now 'tis raised on high—the paddle!</l>
                    <l>Poised for the plunge—the paddle!</l>
                    <l>We spring forward!</l>
                    <l>Now, it leaps and flashes—the paddle</l>
                    <l>It quivers like a bird's wing</l>
                    <l>This paddle of mine!</l>
                    <l>This paddle—whence came it?</l>
                    <l>It came from the Kahu-nunui,</l>
                    <l>From the Kahu-roroa,</l>
                    <l>It came from the Great-Sky-above-us.</l>
                    <l>Now the course of the canoe rests</l>
                    <l>On the Sacred Place of Heaven,</l>
                    <l>The dwelling of the Ancient Ones</l>
                    <l>Beneath the star-god Rehua's eye.</l>
                    <l>See! I raise on high</l>
                    <l>The handle of my paddle,</l>
                    <l>Te Roku-o-whiti.</l>
                    <l>I raise it—how it flies and flashes!</l>
                    <l>Ha! the outward lift and the dashing,</l>
                    <l>The quick thrust in and the backward sweep</l>
                    <l>The swishing, the swirling eddies,</l>
                    <l>The boiling white wake</l>
                    <l>And the spray that flies from my paddle!</l>
                    <l>Lift up</l>
                    <l>The paddle to the sky above,</l>
                    <l>To the great expanse of Tu,</l>
                    <l>There before us lies our ocean-path,</l>
                    <l>The path of strife and tumult,</l>
                    <l>The pathway of this chief,</l>
                    <l>The danger-roadway of this crew;</l>
                    <l>'Tis the road of the Great-Sky-above-us,</l>
                    <l>Here is my paddle,</l>
                    <l>Kautu-ki-te-rangi;</l>
                    <l>To the heavens raise it;</l>
                    <l>To the heavens lift it;</l>
                    <l>To the sky far drawn out,</l>
                    <l>To the horizon that lies before us,</l>
                    <l>To the heavens, sacred and mighty.</l>
                    <l>Before us lies our ocean-way,</l>
                    <l>The path of the sacred canoe, the child</l>
                    <l>Of Tane, who severed Earth from Sky.</l>
                    <l>The path of the Kahu-nunui, the Kahu-roroa,</l>
                    <l>The pathway of this chief, this priest.</l>
                    <l>In Rehua is our trust,</l>
                    <l>Through him we'll reach the Land of Light.</l>
                    <l>O Rongo and Tane!</l>
                    <l>We raise our offerings!</l>
                  </lg>
                </div>
              </body>
            </floatingText>
          </quote>
          <p>At the final word “<hi rend="i">Whakairihia</hi>!” the dancers raise their twirling <hi rend="i">poi</hi> balls above their heads at arm's length; this is in imitation of the olden custom of the priests in lifting up the first-fruits offering of <hi rend="i">kumara</hi> to Rongo, the god of cultivated foods. Rongo and Tane ranked high in the Maori pantheon. Rehua, another <hi rend="i">atua</hi> mentioned in the chant, dwelt, according to ancient belief, in the tenth or highest
<pb xml:id="n207" n="203"/>
heaven; he was a beneficent deity. Rehua is also the name of the star Sirius.</p>
        </div>
        <div xml:id="t1-body-d1-d17-d2" type="section">
          <head>Games Ancient and Modern.</head>
          <p>In these days the games of cards, billiards, and other fascinating pastimes introduced by the <hi rend="i">pakeha</hi> have displaced most of the old Maori village games, and the foxtrot and the infinite variety of weird dance-hall contortions are a feature of the social gatherings in the <hi rend="i">kainga</hi>. Maori string orchestras and Maori choirs delight many a <hi rend="i">pakeha</hi> audience as well as their own folk with their perfect expression of the soul of music.</p>
          <p>
            <figure xml:id="CowYest_203a">
              <graphic url="CowYest_203a.jpg" mimeType="image/jpeg" xml:id="CowYest_203a-g"/>
              <head>Waikato half-caste girl, in dancing costume, old style, in <hi rend="i">wharepuni</hi> entertainments.</head>
            </figure>
          </p>
          <pb xml:id="n208" n="204"/>
          <p>At Rotorua an endeavour was made some years ago to revive some of the old Maori games which had almost been forgotten, and some of these amusements are now reproduced in the popular entertainments given by the tribesfolk of Ohinemutu and Whakarewarewa. One of these interesting games of other days is the <hi rend="i">titi-torea</hi> (originally <hi rend="i">titi-to-uré</hi>), in which short sticks are thrown with bewildering deftness from player to player, to the accompaniment of a lively rhythmic chant. An example of these songs may be heard on the gramophone now. Another game is <hi rend="i">matimati</hi>, played with the open hands by two people sitting opposite each other; it is a trial of mental and manual quickness.</p>
        </div>
        <div xml:id="t1-body-d1-d17-d3" type="section">
          <head>Top-Spinners of the Arawa.</head>
          <p>Two members of the Arawa tribe who took a particular pleasure in reviving the games of the past, once the example had been set them by Mr. Bennett, excellent minister of the <name type="organisation" key="name-100249">Maori Mission Church</name>—now the Right Rev. <name type="person" key="name-207413">F. A. Bennett</name>, the first Maori Bishop of Aotearoa—were my old acquaintances, the late Kiwi te Amohau and <name type="person" key="name-123991">Te Wheoro</name>, of Ohinemutu. In particular they delighted to show how the Maori played tops. The game of top-spinning was in olden days a great sport of the Maori, and not of the children, but of the elders, the <hi rend="i">kaumatua</hi>. These tops (<hi rend="i">potaka</hi>) were usually made of <hi rend="i">matai</hi> wood, and were six or eight inches high, but there were others carved out of the very hard and heavy black <hi rend="i">kara</hi> stone. The tops are used in two games or contests—(1) <hi rend="i">Potaka-tākiri</hi>, or whipping-tops, and (2) <hi rend="i">potaka whawhai</hi>, or fighting-tops. There is also the <hi rend="i">potaka-piki</hi>, or climbing-top game, in which the top is made to climb a string, but this, said Kiwi and <name type="person" key="name-123991">Te Wheoro</name>, was learned from the Europeans. The <hi rend="i">potaka-tākiri</hi> is a trial
<pb xml:id="n209" n="205"/>
of strength and skill and endurance. There was an old Native track called the Ariki-roa, leading through the manuka scrub from Ohinemutu for about half a mile to the lakeside near Sulphur Bay, passing through what is now the European town of Rotorua and the Sanatorium Grounds, and this was a favourite top-whipping route. The contestants would whip their <hi rend="i">potakas</hi> along the whole length; it was a trial of skill in keeping the tops going.</p>
          <p>The <hi rend="i">potaka-whawhai</hi> is an even more strenuous diversion, in which each Maori, with a whip of flax, drives his top against the others, and the clashes rouse the spectators to a great pitch of excitement, as first one and then the other warrior-top seems to deliver the hardest blow. Sometimes both recoil from the battle knocked out, and the top-owners themselves end the contest as hot and tired as if they had been engaged in a <hi rend="i">haka</hi>.</p>
          <p>Kiwi and his old friend <name type="person" key="name-123991">Te Wheoro</name> often gave exhibitions of the <hi rend="i">potaka-whawhai</hi>, and it was amusing to see those two grave deacons of the church, stripped to the waist, dashing at their wooden tops and lashing them against each other with yells of excitement, like a brace of boys at school.</p>
        </div>
        <div xml:id="t1-body-d1-d17-d4" type="section">
          <head>The Whai.</head>
          <p>Another very ancient game, but a more sedate one, of which <name type="person" key="name-123991">Te Wheoro</name> was the teacher at Ohinemutu, is the <hi rend="i">whai</hi>, done with flax string, in which curious designs are worked out. Some of these string games represent episodes in Maori-Polynesian mythology and history; as for instance Te Moana-nui-a-Kiwa (the <name type="place" key="name-160032">Pacific Ocean</name>) and the morning star, which was the guide and guardian of the <hi rend="i">Arawa</hi> canoe, and again Maui and his brothers; and there is a ladder-like design intended to represent the Aratiatia Rapids, on the Waikato River.
<pb xml:id="n210" n="206"/>
One which never fails to amuse Maori audiences is the <hi rend="i">whai-mouti</hi>, worked out by two persons facing each other. In this the string is made to imitate two marionette-like figures making jerky bows to one another.</p>
          <p>
            <figure xml:id="CowYest_206a">
              <graphic url="CowYest_206a.jpg" mimeType="image/jpeg" xml:id="CowYest_206a-g"/>
              <head>A woman of the Ngati-Maru tribe, Hauraki, wearing a greenstone neck-pendant known as <hi rend="i">pekapeka</hi>, intended to represent the New Zealand bat, after which it is called.</head>
            </figure>
          </p>
        </div>
        <div xml:id="t1-body-d1-d17-d5" type="section">
          <head>The Moari.</head>
          <p>A picturesque sport of the Maori which one would like to see revived now that so much attention is being given to restoring some of the old-time customs and arts of the people is the game of the <hi rend="i">moari</hi> or <hi rend="i">morere</hi>, a kind of maypole and swing combined. This <hi rend="i">moari</hi> was usually a tree which grew in a convenient place over a river-pool or a quiet bay; sometimes on a bank overlooking a slope or a terrace some distance removed from the water. In the
<pb xml:id="n211" n="207"/>
latter case the people on the ropes swung right round to the place from which they started. Usually the ropes were fastened to a kind of revolving cap, so that they would not be twisted. The <hi rend="i">moari</hi> on the waterside gave splendid sport, for all the players at a shout from their leader let go and plunged into the water.</p>
          <p>Old Matuha, an Arawa veteran, recited to me a <hi rend="i">moari</hi>-pole <hi rend="i">pao</hi> or chant which he had sung often and often in his far-away youth on Mokoia Island, in Lake Rotorua. There was a very handsome girl there in those days, said Matuha, and her name was Tatai. She was the daughter of the chief Nini, who lived in Pukurahi <hi rend="i">pa</hi>, on the eastern slope of Mokoia. Her father made a <hi rend="i">moari</hi> for her diversion in this way: There was a <hi rend="i">rewarewa</hi> tree growing in a slanting position on a grassy bank at the <hi rend="i">pa</hi>. It was a tall limber tree; it had the elastic quality which made it just the thing for a <hi rend="i">moari</hi>. It was stripped of its branches, and eight flax ropes were fastened to its head, just below a tuft of leaves left on its tip. Each player had a rope and the jolly party swung far out with the impetus given by a short run and leap off the bank; and the maid Tatai flew out the farthest of them all.</p>
          <p>“This,” said the whitebeard, “was the <hi rend="i">pao</hi> Tatai chanted, as we stood there each with a rope:</p>
          <q>
            <lg type="verse">
              <l>“ ‘<hi rend="i">E Nini e!</hi></l>
              <l><hi rend="i">Whakaarahia a Kiri-hauhunga</hi>,</l>
              <l><hi rend="i">Kia rere atu</hi>,</l>
              <l><hi rend="i">Ko ahau ko Tatai</hi>,</l>
              <l><hi rend="i">I te taura whakawaho</hi>,</l>
              <l><hi rend="i">Kai te pehipehi</hi></l>
              <l><hi rend="i">Nga wharau</hi></l>
              <l><hi rend="i">I maunawa e-i!</hi></l>
              <l><hi rend="i">Karawhiua!</hi>’ ”</l>
            </lg>
            <lg type="verse">
              <head>(Translation.)</head>
              <l>“ ‘O Nini O!</l>
              <l>Here stands your swinging-tree,</l>
              <l>Made for our merry sport,</l>
              <l>Your tree called Frosty-skin.</l>
              <l>Here am I, Tatai,</l>
              <l>Grasping the outer rope.</l>
              <l>See how our happy players</l>
              <l>Bend down the lofty tree!</l>
              <l>Now off we go,</l>
              <l>Whirling round and round our tree.’ ”</l>
            </lg>
          </q>
          <p>At the final word “<hi rend="i">Karawhiua!</hi>” the beauty of the <hi rend="i">kainga</hi> led off, and a charming picture indeed she
<pb xml:id="n212" n="208"/>
must have made, her long black tresses flying behind her, a brief waist-mat her only garment. “Ah,” said eighty-year-old Matuha, “she was a pretty girl, Tatai. There are none like her around us here to-day!”</p>
          <p>
            <figure xml:id="CowYest_208a">
              <graphic url="CowYest_208a.jpg" mimeType="image/jpeg" xml:id="CowYest_208a-g"/>
              <head>The <hi rend="i">Moari</hi>.<lb/>
[<hi rend="i">From a sketch by G. F. Angas</hi>.</head>
            </figure>
          </p>
          <p>A popular Lakeland diversion allied to the sport of the <hi rend="i">Moari</hi> was that known as <hi rend="i">rerenga-wai</hi>, or “flying into the water.” At many Rotorua lakeside villages trees, chiefly <hi rend="i">pohutukawa</hi>, which extended long branches horizontally out over the water, were made use of as diving-boards. A limb of the tree would be stripped of its twigs, the upper side adzed
<pb xml:id="n213" n="209"/>
down and smoothed, and the end of the branch ornamented with carving. One Rotorua <hi rend="i">rakau-rerenga-wai</hi> was that which stood on the banks of the Waiteti stream, overhanging a deep pool. On summer days, when the waters of the streams and lakes glistened so invitingly, the young people of the village gathered by the water-side for the sport of the <hi rend="i">rerenga-wai</hi>. Throwing off their garments, the young men and girls stood out along the elastic tree spring-board, holding each other's hands, and sang in chorus a lively song, then plunged into the water. This is a specimen of the diving songs:</p>
          <p>
            <figure xml:id="CowYest_209a">
              <graphic url="CowYest_209a.jpg" mimeType="image/jpeg" xml:id="CowYest_209a-g"/>
              <head>An Arawa Woman, Rotorua.<lb/>
[<hi rend="i">From a photo. by Allen Hutchinson</hi>.</head>
            </figure>
          </p>
          <q>
            <lg type="verse" xml:lang="mi">
              <l><hi rend="i">Te koko e rere atu ra ra</hi>,</l>
              <l><hi rend="i">E rere ra i Puke-whanake</hi>,</l>
              <l><hi rend="i">Ki te kawe-korero</hi></l>
              <l><hi rend="i">Kia Te Iripapa</hi>;</l>
              <l><hi rend="i">Kaore e hoki-i</hi>.</l>
              <l><hi rend="i">Ka tu au i te rahui whakairoiro</hi></l>
              <l><hi rend="i">Na Tokoahu</hi>.</l>
              <l><hi rend="i">Kai te ruhi noa</hi>,</l>
              <l><hi rend="i">Kai te ngenge noa</hi>,</l>
              <l><hi rend="i">Ta te raumatihanga</hi>.</l>
              <l><hi rend="i">Po-o-o ki roto wai</hi></l>
              <l>
                <hi rend="i">Ruhi ai!</hi>
              </l>
            </lg>
            <lg type="verse">
              <head>(Translation.)</head>
              <l>See yonder <hi rend="i">tui</hi>-bird that flies</l>
              <l>O'er the slopes of the Palm-tree Hill;</l>
              <l>'Tis a little messenger</l>
              <l>Carrying tales to Iripapa.</l>
              <l>It flies away, and won't return.</l>
              <l>Here I stand</l>
              <l>On Tokoahu's carven tree;</l>
              <l>Here I stand</l>
              <l>Weary of the summer's heat,</l>
              <l>So into the water I'll go!</l>
            </lg>
          </q>
        </div>
        <pb xml:id="n214" n="210"/>
        <div xml:id="t1-body-d1-d17-d6" type="section">
          <head>The Sailing-Leaf.</head>
          <p>The pastime of the <hi rend="i">koki</hi>, or <hi rend="i">koke</hi>, was one of which the Rotorua and neighbouring tribes were particularly fond. Nearly half way up the precipitous face of Matawhaura, where that forested mountain juts out like a wall over the deep waters of Lake Rotoiti, there is a bare bluff called Pakipaki, to which a steep track leads from the canoe landing below, and on which in former times a little fortified <hi rend="i">pa</hi> stood. Here the young people amused themselves with the game of the darting leaf. They gathered the large leaves of the <hi rend="i">wharangi</hi> plant (<hi rend="i">Brachyclottis repanda</hi>) which are dark green on the upper and white on the under side. These were attached to a light stem of some strong grass, and tails or streamers (<hi rend="i">hihi</hi>) were added, made of <hi rend="i">wiwi</hi> or other reeds or rushes, sometimes two or three feet in length. Then the leaves were held up and balanced in the hand, and after repeating a song in chorus the players darted them out over the lake, each striving to cast his <hi rend="i">rau-wharangi</hi> farthest. If there was a fair wind blowing, the leaves with their dancing <hi rend="i">hihi</hi> were carried for considerable distances. This is the song which the players chanted as they held their sailing-leaves aloft, a chant often heard at the present day among the Maoris of the Rotoiti villages:—</p>
          <q>
            <lg type="verse" xml:lang="mi">
              <l><hi rend="i">Ma tiki koki ki runga</hi>,</l>
              <l><hi rend="i">E tae ra koe</hi></l>
              <l><hi rend="i">Ki wai-o-rikiriki</hi>,</l>
              <l><hi rend="i">Ki wai-o-rakaraka</hi>,</l>
              <l><hi rend="i">Te piho o te rangi</hi>.</l>
              <l><hi rend="i">Hoki hoki hoki mai, hoki!</hi></l>
            </lg>
            <lg type="verse">
              <head>(Translation.)</head>
              <l>Sail away, my leaf on high,</l>
              <l>Sail thou o'er the waters far,</l>
              <l>Fly up to the sky, and then</l>
              <l>Come, come back to me again.</l>
            </lg>
          </q>
        </div>
      </div>
      <pb xml:id="n215" n="211"/>
      <div xml:id="t1-body-d1-d18" type="chapter">
        <head><hi rend="sc">Chapter</hi> XVIII.<lb/>
<hi rend="c">Some Folk-Stories.</hi></head>
        <div xml:id="t1-body-d1-d18-d1" type="section">
          <p>Night after night in the social <hi rend="i">wharepuni</hi>, the tales of old were told until every person in the community was acquainted with the folk-lore and bushlore and fairy legends of the tribe. The Maori's belief in the unseen and the supernatural is deep-rooted, and is intensified by life in a forest country. The bush-dwelling tribes like the Urewera are full of singular beliefs that are a reflex of the vast untrimmed wilderness in which they live.</p>
          <p>Many a blue and misty mountain was an enchanted place, the bower of the fairies, the <hi rend="i">Patu-paiarehe</hi>. Mount Pirongia, in the Waikato, is one of these, the fabled abode of fairies, who, it is said, took a malicious delight in making periodical nocturnal excursions to the homes of the plains-dwelling Maori and carrying off their wives. In the dark moonless nights the lone Maori eel-fisher out on the Waipa banks would hear them singing their fairy songs, and would take good care that his torch did not go out, for fairies fear the fire of mortals. Another famous fairy-mountain is Ngongotaha, near to Lake Rotorua. When the mists hang low on the ferny flanks of Ngongotaha, say the old Maoris, the <hi rend="i">Patu-paiarehe</hi> are abroad, and it is not wise to go up there pig-hunting on such a day. The fairies were sometimes heard singing their fairy <hi rend="i">hakas</hi>. The elder people say that long ago their fathers heard these dance songs chanted high up on the mountain, on still calm days when fog enveloped the upper parts of the range.</p>
        </div>
        <pb xml:id="n216" n="212"/>
        <div xml:id="t1-body-d1-d18-d2" type="section">
          <head><hi rend="sc">Te Rii and the Enchanted Forest</hi>.</head>
          <p>One night as the people of a little tribe on the Upper Waitara River, in Taranaki, sat smoking their pipes around the fire in the <hi rend="i">wharepuni</hi>, the rambling white man who was camped with them asked Hakopa, the chief, to tell him of the fairy people of the bush, of whom he had heard much but whom he had never had the fortune, good or ill, to encounter in all his wanderings.</p>
          <p>“Friend,” said the old man, “the <hi rend="i">Patu-paiarehe</hi> are still a numerous people in this land, and their dwellings are the great bunches and bushes of <hi rend="i">kiekie</hi> and <hi rend="i">kowharawhara</hi> which you see growing in the forks of the forest trees. They live ever in the forest, and you may pass their homes a hundred times and never see them, yet they are still there, as I myself well know, for I have seen them in the night and heard them singing their fairy songs.”</p>
          <p>“And I, too, have heard the <hi rend="i">Patu-paiarehe</hi>, and I do not wish to hear them again.”</p>
          <p>It was Te Rii, the Red-head, who broke in on old Hakopa's explanation of the habits and customs of the <hi rend="i">Patu-paiarehe</hi>.</p>
          <p>Te Rii was a Ngati-Maru man, a bearded middle aged fellow with a shaggy head of hair that had the fair coppery tinge called <hi rend="i">urukehu</hi>.</p>
          <p>He had lived nearly all his life in the bush country of the Upper Waitara, and talk of the fairies and the woods set him story-telling. He handed his pipe to his neighbour at the fireside, a young woman, who put it in her mouth and sucked at it.</p>
          <p>“It was up on the ridge of hills called the Pae-Patupaiarehe that I fell in with the fairies,” said Te Rii. “This ridge of rough mountainous land is covered everywhere with thick forest. It lies away on the upper part of this Waitara River, not far
<pb xml:id="n217" n="213"/>
from Purangi village. The bush there is full of birds, and it is a grand place for the fruit of the <hi rend="i">kiekie</hi>, but there is a peculiar thing about the <hi rend="i">kiekie</hi> there—the fruit is quite red inside, instead of being white as it is elsewhere. This is because it is the food of the fairies; and if we go there for that fruit we shall have to propitiate them with a <hi rend="i">karakia</hi>, else things may perhaps not go well with us.</p>
          <q>
            <p>“Immediately a stranger, a Maori or a <hi rend="i">pakeha</hi> of this outer world enters those <hi rend="i">tapu</hi> forests his presence is detected by the fairies, and they will sometimes play strange tricks on him. He will perhaps hear a strange wild woman's voice calling, thin and high, our Maori cry of welcome to visitors: ‘<hi rend="i">Haere-mai e te manuhiri tuarangi</hi>,’ and so on, but when he follows in the direction whence the invitation came, he will find no one—it was the phantom voice of the <hi rend="i">Patu-paiarehe</hi>.</p>
            <p>“Now, some years ago, I went up to the Pae-Patupaiarehe hunting the wild pig. Up near the top of the forest range I killed a pig, and after cleaning it I strapped it on my back, with bands of flax over each shoulder, and started to return to my camp in the bush below. The country was all ridges and gullies—so, like the fingers of my hand—and everywhere the trees, and ferns and shrubs grew thickly and were tied together with vines and <hi rend="i">kareao</hi>, and the fairy flax, the <hi rend="i">kowharawhara</hi>, grew in great bunches of long leaves in the tree-forks. I walked on and on, and scrambled through the gullies and up and down steep banks, and after travelling a long time I suddenly came on the very place where I had killed the pig. I had lost my way. I started off again, and walked and walked, with my <hi rend="i">pikau</hi> of dead <hi rend="i">poaka</hi> on my back getting heavier and heavier. At last, after I had travelled a great way, seeing nothing but the trees around me, I found myself
<pb xml:id="n218" n="214"/>
back at the same place again! <hi rend="i">Aue</hi>! It was witchcraft or something very like it, I thought. I began to be in great fear of the fairy forest, but it was now very nearly dark, and I could not travel out of it by night. So I camped where I was, and kindled a fire with my flint and steel to keep myself warm and frighten the <hi rend="i">Patu-paiarehe</hi> and the <hi rend="i">Maero</hi> away. And I lay down by the fire and kept it going till late. I had thought to stay awake all night, for fear of the fairies, but I was very weary, and I fell to sleep.</p>
            <p>“Nothing harmed me in my sleeping. When I rose in the morning, and I was about to strap my <hi rend="i">pikau</hi> of meat on my back, I saw a stick lying on the ground in front of me. Just as my eyes lighted on it, I saw it move. <hi rend="i">Aué! He rakau tipua</hi>! An enchanted stick! I started forward and seized it.”</p>
            <p>“<hi rend="i">E—ē</hi>! but that was brave of you, Red-head,” said one of the women, taking her short black pipe from between her tattooed lips.</p>
            <p>“<hi rend="i">Ae pea</hi>!” (“Yes! perhaps it was”) said Te Rii modestly. “Anyhow, I took hold of the stick. As soon as I grasped it I felt it move and draw me away. I did not let go though I knew there was wizardry in it, but it was daylight now, and I did not feel as much fear as in the black night. I retained hold of one end of the stick and it drew me on and away; the fairies had hold of the other end, though I could see no one. I left my pig lying on the ground; the stick would not wait for me to take it, and I thought it best to leave it there as a peace-offering to the spirits of the bush. The stick led me down out of the forest and set me on the homeward path, and then it vanished. And as I left the forest of enchantment I heard a voice call after me, a thin voice from the shadows of the bush,</p>
            <p>“ ‘Go, and beware! Do not come into these forests of ours again!’ ”</p>
          </q>
        </div>
        <pb xml:id="n219" n="215"/>
        <div xml:id="t1-body-d1-d18-d3" type="section">
          <head>Omens, Tipua and Taniwha.</head>
          <p>Every Maori tribe has its omen-mountain, where lightning flashing in a peculiar manner, particularly in fine calm weather, is read as an omen of death or misfortune. In Waikato and most other districts these mountains are called <hi rend="i">maunga-hikonga-uira</hi>—“peaks where lightning flashes”; in the Urewera country they are known as <hi rend="i">rua-koha</hi>; in the Lakes district as <hi rend="i">rua-kanapa</hi>. A noted <hi rend="i">rua-kanapa</hi> in the Lakes Country is Matawhaura mountain, at the eastern end of Rotoiti; lightning flashes darting downwards from immediately above this peak are interpreted as an omen of death for members of the Ngati-Pikiao tribe, of Rotoiti. Elsewhere, Moehau, or Cape Colville, Rangitoto (the King Country range), Pirongia, Wharepuhunga, Taupiri, are such peaks of omen. Rangitoto is the lightning mountain of the Ngati-Matakore tribe, of the Rohepotae. When lightning flashes straight downwards on that range a chief of the tribe will die.</p>
          <p>Te Kauwae—“The Jaw”—the bold ridge, bare of trees, which stretches out from Ngongotaha mountain towards Lake Rotorua, and ends in a steep rock-strewn and fern-clad bluff, sloping abruptly to the plain close to the railway line, is a lightning-mountain of great <hi rend="i">mana</hi>. It is regarded by the Arawa as a place of omen, and it is <hi rend="i">tapu</hi> because of the fact that in the rocky caves and recesses on its face lie the bones of many generations of the people. It was Ngati-Whakaue's burial-place, and it is their <hi rend="i">rua-kanapa</hi>. The portents are read thus: When two flashes of lightning are seen, in fine weather, in quick succession like the opening and closing of one's hand, above the Kauwae Bluff, then a <hi rend="i">rangatira-taitamariki</hi>, a young chief of the tribe will quickly die. Should three or more bright flashes be seen in quick succession, a <hi rend="i">rangatira kaumatua</hi>,
<pb xml:id="n220" n="216"/>
an aged man, is called for by the gods, and will presently pass to the Reinga-land.</p>
          <p>When a high chief of the Ngati-Whakaue, Petera te Pukuatua, died at Otaki in 1906, this lightning portent was seen, say the Ohinemutu people. It was a calm still evening, and the people were gathered in the <hi rend="i">marae</hi> in front of Tama-te-kapua, the carved meeting-house, after the evening meal. Suddenly, some of them saw four bright flashes of lightning in quick succession, just above the sacred mountain.</p>
          <p>“<hi rend="i">Aue</hi>!” they cried, “<hi rend="i">he aha tera! Ka mate he rangatira</hi>!” (“Alas! What is that? A chief will die!”)</p>
          <p>There was much anxious speculation that night as to whom the <hi rend="i">tohu-aitua</hi> indicated. Next morning it was explained. A telegram arrived from the South announcing the death of Petera, who, although the head-chief of Ohinemutu, had lived for several years near Otaki, where he had married a Ngati-Toa woman. The old <hi rend="i">rangatira</hi> had left his people and his land, but when at last his spirit left his body it returned to his tribe, say the Maoris, and above the sacred mountain of his homeland it announced its passing by the lightning flashes that all might know, and then it flitted northward on its way to the Leaping-place-of-Souls, the Rerenga-wairua, at the far Land's End.</p>
          <p>Strange tales are told about enchanted trees and demon-haunted logs, which sail uncannily about the lakes and rivers, plunging along like the Flying Dutchman, head to wind. Said Nga-Mahanga, of the Ngati-Pikiao tribe, Rotoiti:—</p>
          <q>
            <p>“In my younger days there was an enchanted tree, a sacred <hi rend="i">taniwha</hi>-log, which used to drift about this lake, Rotoiti. Its name was Mataura. It had originally been a <hi rend="i">pou-tau-koura</hi>, that is a post to which the crayfish nets were fastened or stretched
<pb xml:id="n221" n="217"/>
for fishing; it stood on the east side of Pateko Islet, the side facing Tapuwaeharuru village, but it broke adrift and went sailing about the lake, and it was regarded as a <hi rend="i">taniwha</hi>. Its owner was one Kahu-Pukatea, of the Waitaha tribe, and he alone could approach it. It was a <hi rend="i">tohu-aitua</hi>, an evil omen, to see it at close quarters, should one be out in a canoe; it usually appeared to the people only as a harbinger of misfortune or death. Should you see it in a year when war prevailed, it was a sign that there would shortly be a battle in which many lives would be lost. Should you see it in a <hi rend="i">tau-aio</hi>, that is, a year of peace and quietness, it was an omen of misfortune to your tribe in the form of a fatal visitation of sickness or of deaths caused by witchcraft. It was seen floating about, with its head raised above water, in the year of the great fight at Te Ranga, near Tauranga [in the year 1864] when the white soldiers so terribly defeated the Maoris and shot and bayoneted many of the Ngaiterangi and also the Ngati-Pikiao of this district, and the Ngati-Rangiwewehi of Rotorua.”</p>
          </q>
          <p>Another eccentric timber-<hi rend="i">taniwha</hi> that used to go cruising round Rotoiti was a <hi rend="i">totara</hi>-log called “Te Upoko-o-Huraki-tai” (“Huraki-tai's Head”). It was a <hi rend="i">rakau-tipua</hi>, a magic tree. It would go sailing about the lake, with a broken branch at one end sticking up above the water, and sometimes when it appeared at Tapuwae-haruru, at the eastern end of the lake, the people would go out to it and would recite <hi rend="i">karakia</hi> or charms to propitiate the spirit which inhabited it and would adorn its branching head with feathers, as if it were a living person.</p>
          <p>A kind of Maori banshee was—and perhaps still is—the enchanted log Rangiriri, which, when I last heard of it, lay stranded below Dargaville, on the Northern Wairoa River. Rangiriri is a <hi rend="i">rakau tipua</hi>,
<pb xml:id="n222" n="218"/>
a demon-tree. It is a log of <hi rend="i">totara</hi>, whose erratic cruises up and down the river were looked on by the Ngati-Whatua natives with superstitious dread. Rangiriri used to play some queer pranks on the Wairoa. He would sometimes run into a raft of logs and break it up for sheer mischief. He would be seen steering straight up the river, with his wooden tail sticking up, right against the ebb-tide, or he would take a run down stream in spite of the fact that a strong flood-tide was setting in his teeth. That sort of thing invested him with supernatural attributes. Often, again, a bird, a <hi rend="i">kukupa</hi> (pigeon), or a <hi rend="i">kawau</hi> (shag)—the bird of ill-omen—would be seen perched silently on the log as it ploughed its ghostly way through the yellow waters of the Wairoa. That was a sign that never failed. It told the riverside people that some one of their headmen was soon to die. As fateful and significant an omen as the down-flashing of the summer forked-lightning on the sacred peak of Tutamoe was the appearance of that demon-log at a <hi rend="i">kainga</hi> on the river-bank. When Rangiriri left his bed on the muddy shores and went nosing up the river, it would not be long before the <hi rend="i">tangi's</hi> mournful wail was raised along the Wairoa.</p>
          <p>This and other folk-tales of the Wairoa were told me by the chief Te Rore Taoho. He was a wizened grey old fellow, wearing a shark's-tooth pendant in each ear. Squatting beside him in his weatherboard house by the Kaihu's banks, was another veteran, the tattooed, saturnine Hapeta. And the tales came forth of the <hi rend="i">Taniwha</hi> of the Kaipara and Wairoa. There were <hi rend="i">taniwha</hi> and demons of land and water haunting all this district, said the old men, in the days that are past. From the Kaipara Heads right up the Wairoa and the Kaihu, these dragons held
<pb xml:id="n223" n="219"/>
sway. The high clay and sandy hills at the mouth of the Kaipara were once the homes of powerful sea-gods. If a canoe and its crew disappeared there, was it not the work of the water-monster, who raised the angry waves and drew the dug-out and paddlers down into his awful maw? <hi rend="i">Koia ano!</hi> These <hi rend="i">taniwha</hi> must certainly be propitiated if the mariner is to live. And when <hi rend="i">pakeha</hi> ships go to pieces on the Kaipara Heads shoals, who shall say that it is not the work of the <hi rend="i">taniwha</hi>?</p>
          <p>The great dragon of the Kaipara was Pokopoko (apparently a deified or <hi rend="i">taniwha</hi>-fied hero of olden days) who dwelt in a cave under a half-tide rock at the western head of the Kaipara River, close to which the white man's steamers pass. Not far away is Shelly Beach, a native settlement, and in its vicinity are the vestiges of a cliff on which once stood the great Okāka Pa. This was Pokopoko's hunting-ground. Here he was wont to assemble his army of sea-monsters, of gambolling <hi rend="i">taniwha</hi> and <hi rend="i">marakihau</hi>; they would gather here and perform their singular evolutions before the dread cavernous eyes of their sea-lord. And he would place his sacred brand on their backs, a mark in <hi rend="i">kokowai</hi> (red ochre), and the wonderful inspection parade of the Maori Tritons would be dismissed. The only <hi rend="i">taniwha</hi>, say the Northerners, who would not bow before Pokopoko and submit to the sea-god's earmark were Niua and Arai-te-uru, who now dwell under the Heads of Hokianga Harbour. Possibly the sea-creatures of Pokopoko's marine parade were a school of blackfish, or of porpoises, or a herd of the vanished sea-lions, which would readily become <hi rend="i">taniwha</hi> to any Maori of a reasonably imaginative mind.</p>
          <p>Seven generations ago Pokopoko destroyed the Okaka <hi rend="i">Pa</hi> and all its inhabitants. A <hi rend="i">tohunga</hi> named
<pb xml:id="n224" n="220"/>
Mawe, who cherished a grudge against the Ngati-Whatua people of the Kaipara, journeyed here from the <name type="place" key="name-100221">Bay of Islands</name> and invoked the assistance of the Lord of the <hi rend="i">Taniwha</hi>. He performed his <hi rend="i">makutu</hi> ceremonies and repeated his incantations, and called upon Pokopoko to rise and destroy the <hi rend="i">Pa</hi> which stood on the cliff-top. And the monster, responding, roused himself in his salt-sea cave, hung with waving masses of kelp. He raised his voice like the rolling of thunder, and burrowed under the cliffface, and the winds and the waves came at Pokopoko's call, and lightnings flashed and thunder crashed, and in the turmoil of the elements the <hi rend="i">Pa</hi> collapsed, the hill crumbled, tottered and crashed down into the furious surf, carrying with it the people and their dwellings. All perished, and what a feast was Pokopoko's when Okāka fell!</p>
        </div>
        <div xml:id="t1-body-d1-d18-d4" type="section">
          <head><hi rend="sc">A Tale of “Matakite.”</hi></head>
          <p>The belief in <hi rend="i">matakité</hi> or the gift of second-sight is universal amongst the Maoris. Those <hi rend="i">pakehas</hi> who have lived much with the natives and understand them do not deride <hi rend="i">matakité</hi>.</p>
          <p>The following story illustrates the belief that dreams are often warnings from the spirit-world:—</p>
          <p>About two hundred yards out in Rotorua Lake from the headland of Kawaha, there was a carved <hi rend="i">totara</hi> pole, driven into the bed of the lake. To this post, which was known as Te Purewa, the <hi rend="i">koura</hi> (crayfish)-catchers of old used to fasten the lines of their nets. Over a century ago a woman named Tōna, while sleeping in her house at Ohinemutu, had a strange dream in which this <hi rend="i">pou-totara</hi> was concerned. She dreamt that she heard the carved post Te Purewa calling to her and singing a mournful song; and as she listened she caught the words of
<pb xml:id="n225" n="221"/>
the song. These are the words the singing tree uttered:</p>
          <q>
            <lg type="verse" xml:lang="mi">
              <l><hi rend="i">Kaore te aroha i au</hi></l>
              <l><hi rend="i">Ki Mokoia ra e,</hi></l>
              <l><hi rend="i">E tu kau noa ra</hi></l>
              <l><hi rend="i">Ki Rotorua moana,</hi></l>
              <l><hi rend="i">E tere noa mai ra.</hi></l>
              <l><hi rend="i">Ka ngaro te tangata,</hi></l>
              <l><hi rend="i">Ka memene ki tawhiti,</hi></l>
              <l><hi rend="i">Ka nui i au te aroha</hi></l>
              <l><hi rend="i">I—i—i!</hi></l>
            </lg>
            <lg type="verse">
              <head>(Translation.)</head>
              <l>Alas! my grief</l>
              <l>For Mokoia's isle,</l>
              <l>Standing desolate yonder</l>
              <l>In the sea of Rotorua,</l>
              <l>Whose waters drift lonely to and fro.</l>
              <l>Lost are the people,</l>
              <l>Dispersed and driven far away.</l>
              <l>Sorrow wells high within my heart,</l>
              <l>Alas!</l>
            </lg>
          </q>
          <p>In the morning Tōna told her dream to the assembled people, and repeated the ominous words of the singing <hi rend="i">totara</hi>. This dream was interpreted as a <hi rend="i">matakité</hi>, a prophetic communication from the spirit-world, and a <hi rend="i">tohu-maté</hi>, an omen of disaster and death. The people of Rotorua were indeed at that time near to disaster and death, for <name type="person" key="name-208266">Hongi Hika</name> with his musket-armed warriors, was even then preparing to set sail with his canoe-fleet for the Bay of Plenty, on his way to invade Rotorua. The dream was verified, for in three moons from the time Te Purewa's warning voice was heard by Tōna's <hi rend="i">wairua</hi>, the Ngapuhi under Hongi had assaulted and captured Mokoia Island and slaughtered great numbers of the Arawa.</p>
        </div>
      </div>
      <pb xml:id="n226" n="222"/>
      <div xml:id="t1-body-d1-d19" type="chapter">
        <head><hi rend="sc">Chapter</hi> XIX.<lb/>
<hi rend="c">The Shrine of an <hi rend="i">Atua</hi></hi></head>
        <p>Old Rangiriri took his pipe and tobacco and box of matches out of his pocket and laid them on the ground beside a flax bush. “Now,” he said, “we shall enter the <hi rend="i">urupa</hi>, the sacred burial-place of my tribe, and view the Whetengu <hi rend="i">pa</hi>. And should you have tobacco or pipe with you, it will be well to leave them here with mine, for it is not right to contaminate sacred places with anything of that sort. Perhaps the <hi rend="i">tapu</hi> might not have any influence over you, because you are a <hi rend="i">pakeha</hi>, but it certainly would smite me were I to violate it by taking tobacco, which is food, into the shrine of the gods.”</p>
        <p>We had dismounted and tethered our horses to the shrubs on the crest of a long ridge, the Tihi-o-Tonga (“Pinnacle of the South”), which swells gently up from the plains of Rotorua and falls precipitously on the southern side to a wooded valley. South of this sudden cliffy break, the valley stretches away for two or three miles, then rises again into wild and bold volcanic country, the forested ranges of Paewhenua and the cone of Haparangi. On the crest of the Tihi-o-Tonga are the fern-grown walls of an ancient <hi rend="i">pa</hi>, long deserted and abandoned to wild Nature, to the flax and fern and the black-berried <hi rend="i">tutu</hi> thickets. From the shadowy woods below came the song of the <hi rend="i">tui</hi>, now like a flute and again ringing like a bell.</p>
        <p>To this lonely beautiful spot, the blue lake of Rotorua spread out to the north, and many a misty purple peak cutting the skyline to the south, Rangiriri had brought us to see one of the most sacred
<pb xml:id="n227" n="223"/>
spots of the Arawa country, the holy of holies of his <hi rend="i">hapu</hi>, the carved stone goddess Horoirangi and the <hi rend="i">tuāhu</hi> of the pagan priests. He was the last keeper of these relics of his tribe.</p>
        <p>
          <figure xml:id="CowYest_223a">
            <graphic url="CowYest_223a.jpg" mimeType="image/jpeg" xml:id="CowYest_223a-g"/>
            <head>Rangiriri.<lb/>
[<hi rend="i">From a photo</hi>.</head>
          </figure>
        </p>
        <p>Within the green ramparts of the old <hi rend="i">pa</hi>, on the edge of the cliff, was a clear space, surrounded by a low bank. This was the site of the sacred <hi rend="i">tuahu</hi> of the priests who once dwelt in the <hi rend="i">pa</hi>, the place where the images of certain of the tribal gods were kept, and where the operation of cutting the chiefs' hair with flakes of <hi rend="i">matā-tuhua</hi> or obsidian—a semireligious ceremony—was performed by the priests.
<pb xml:id="n228" n="224"/>
To the east, and occupying the highest part of the ancient village, was the <hi rend="i">urupa</hi>, the burial-place. The bones of the dead had been removed, but the <hi rend="i">tapu</hi> of the tribe's departed ones, long gathered to their Earth-Mother, still clung to the sacred hill-top.</p>
        <p>“I was born in this pa,” said Rangiriri, “and my grandfather was buried here. My grandfather was a <hi rend="i">tohunga</hi>, and he taught me many prayers and sacred ceremonies, and now I alone am left of all the men of my <hi rend="i">hapu</hi> who know the history of this sacred spot and who possess the knowledge necessary to avert the evils of the <hi rend="i">tapu</hi>. Let us rest awhile on this <hi rend="i">taumata</hi> in the sunshine and view the land, and I will tell you the story of this hill-fort, Te Whetengu, before we descend the path which is called The Steps-Carved-by-Tutanekai, and look upon the stone face of my goddess Horoirangi.”</p>
        <p>And Rangiriri, a small-built wiry veteran who had carried rifle and tomahawk on many a wild forest trail in the campaigns against the Hauhaus, told of the building of this <hi rend="i">pa</hi> by his ancestor Paiaka. This Paiaka was a chief of the Ngati-Uenukukopako section of the Arawa tribe, and he lived between two and three hundred years ago. Paiaka named his hilltop-hold Te Whetengu, but when, after his day, it was occupied for a time by Tutanekai—the young chief of Mokoia Island for whose sake Hinemoa swam Rotorua Lake—it was called Te Pa-Arakari-a-Tutanekai (“The Fort-where-the-Path-was-Carved-by Tutanekai”) because he had steps cut down the cliff face from his <hi rend="i">pa</hi> to the bush below and to the spot where the images of the gods reposed. Tutanekai and his <hi rend="i">hapu</hi>, the Ngati-Tuara, had come to the Tihi-o-Tonga for the purpose of growing <hi rend="i">kumara</hi> in the rich warm volcanic soil of these uplands—where their descendants raised fine crops of wheat fifty years ago—and of snaring and spearing the birds in the woods below.</p>
        <pb xml:id="n229" n="225"/>
        <p>We descended the shrub-hung cliff by a slippery row of roughly-cut steps, hacked out with stone axes from the soft rock two centuries ago. Twenty feet below the edge of the cliff we came face to face with the carven <hi rend="i">atua</hi> in a recess sheltered by the cliff-wall and shrubs and ferns. A sphinx-like little effigy in stone looked out at us from the cliff on the right. It was a relief carving in the semblance of a human figure, with out-turned knees, its hands held in front of it. The figure was about two feet in height and about ten inches wide. It was covered with a smooth coat of beautiful red moss and a little <hi rend="i">aku</hi> forestvine that had grown up across it added to its appearance of great age. It was a perfectly preserved little figure except for its nose, part of which had been irreverently chipped off, but the friendly moss had endeavoured to repair the injury done by man. Rangiriri said that a Waikato and Ngati-Maru warparty, which passed through here a century ago on an expedition to Lake Taupo, wrought the damage, but that the gods squared accounts with the raiders for their sacrilege. They were defeated at the Motu-o-Puhi <hi rend="i">Pa</hi>, on Lake Roto-a-Ira, by Ngati-Tuwharetoa, and lost many men.</p>
        <p>It was a beautiful little object, this <hi rend="i">atua</hi>, sacred as “Odin's mossy stone of power,” contemplating us silently from the wall of its <hi rend="i">tapu</hi> grotto. How many a wild savage scene it had looked out upon since it was first carven with obsidian axes from the rocky cliff! For here came the cannibal war-parties, headed by their leaf-girded priest with his offering, a human heart, and here rose the chant to Tu, the Angry-Eyed, the deity of war and blood.</p>
        <p>Just opposite the carved figure and close to the foot of the stone stairway was a cave-like opening, a recess cut in the face of the cliff, about four feet deep, and the same width inside; the mouth was
<pb xml:id="n230" n="226"/>
<figure xml:id="CowYest_226a"><graphic url="CowYest_226a.jpg" mimeType="image/jpeg" xml:id="CowYest_226a-g"/><head>Image of the goddess Horoirangi, carved on the cliff at Tihi-o-Tonga, Rotorua.<lb/>
<hi rend="i">From a sketch by James McDonald</hi>, 1909</head></figure>
<pb xml:id="n231" n="227"/>
much smaller, about twelve inches by fifteen inches; the sides were squared and shaped as if a wooden door once closed it. This <hi rend="i">rua</hi> or cave, Rangiriri said, was the sacred <hi rend="i">pataka</hi>, or storehouse of the gods, and in it was kept the image of the great wargod of the Arawa tribe, Maru-te-whare-aitu.</p>
        <p>The stone-carven figure, said Rangiriri, represented the goddess Horoirangi, who was a deified ancestress of the Ngati-Uenukukopako tribe, a clan of the Arawa. It was carved out of the rock three hundred years ago, long before the steps known as the Ara-kari were cut. The image was the <hi rend="i">mauri</hi> or emblem which ensured the fertility of the land about the <hi rend="i">pa</hi>, and enabled the tribe to hold that land (“<hi rend="i">hei pupuri te mana o te whenua, hei pupuri te kaha o te tangata</hi>,” as Rangiriri put it), and it was also the guardian spirit which preserved the wild birds and fruits in which the surrounding forest abounded. At certain times sacred food was offered to the image by the <hi rend="i">Ruwahine</hi> or priestess of the <hi rend="i">pa</hi>, and incantations were recited before it. The firstfruits of the <hi rend="i">kumara</hi> harvest, and the first birds taken in snaring or spearing expeditions for <hi rend="i">koko (tui), kaka</hi> parrots, <hi rend="i">kuku</hi> (pigeons), and <hi rend="i">korimako</hi> (bell-birds), and other “wing-flapping children of Tiki” were also laid at Horoirangi's feet. After the sacred feasts were held, any remnant of food was carefully buried in the earth at the <hi rend="i">tuāhu</hi> or altar; it must not be left to be eaten by those not entitled to do so, for it was <hi rend="i">tapu</hi>, nor allowed to lie where any enemy could get it, for by its means he could <hi rend="i">makutu</hi> or fatally bewitch the tribe.”</p>
        <p>The original Horoirangi, Rangiriri explained, was a <hi rend="i">wahine-atua</hi>, or deified woman, who was the wife of Taharangi, the younger brother of the chief Whakaue, who lived about three hundred and fifty years ago. But there was also a Polynesian goddess
<pb xml:id="n232" n="228"/>
of that name, invoked by the ancestors of the Arawa tribe before the canoe migration from the islands of the Eastern Pacific to <name type="place" key="name-170607">New Zealand</name>.</p>
        <p>And there was the story of the moss-fringed cavestorehouse. “The name of that <hi rend="i">pataka</hi> or <hi rend="i">rua</hi>,” said our <hi rend="i">tohunga</hi>, “is Pata-tō-rangi. In it my people kept the exceedingly sacred symbol of Maru, our god of war. This symbol was a lock of human hair, which was enclosed in a <hi rend="i">waka</hi> or wooden box hewn out of a block of <hi rend="i">totara</hi>. The box had a lid fitted to it, and was wrapped round with <hi rend="i">rimu</hi> bark, and with <hi rend="i">aka</hi>, forest vines. The priests came here to invoke Maru in time of war, and repeated the prayers when the war-party was about to set out; and here after a battle human flesh was brought, often the heart of the first of the enemy slain in the fight, and offered as food to the image of Maru. This manflesh (<hi rend="i">kiki-tangata</hi>) was placed in the <hi rend="i">pataka</hi> alongside the receptacle in which Maru lay.”</p>
        <p>The <hi rend="i">pataka</hi> where the offerings from many a cannibal fight were laid is now empty. Maru has disappeared. Many years ago Rangiriri and another man of <hi rend="i">tohunga</hi> rank removed the <hi rend="i">waka-atua</hi> and its sacred relic from the shrine and concealed it in a cave below. The other <hi rend="i">tohunga</hi> was dead, and Rangiriri alone of all his tribe knew the hidingplace of the war-god. This was as well, for he alone in his <hi rend="i">hapu</hi> had the knowledge of the <hi rend="i">karakia</hi> necessary to avert the <hi rend="i">tapu's</hi> spell.<note xml:id="fn1-228" n="*"><p>Rangiriri died at Tarewa, Rotorua, in 1929. Some years after we visited the Pa-Arakari he chopped out the image of Horoirangi from the cliff with an axe—fortunately without damaging it—for fear it would be stolen by Rotorua curio-hunters, and it is now in the Auckland Museum.</p></note></p>
        <p>There is another venerated relic in these secret places of the Tihi-o-Tonga. Down in the forest below us was a sacred stone, a <hi rend="i">tuapa</hi> or <hi rend="i">pae-manu</hi>, re sorted to in former times by bird-hunters of the Pa-Arakari. A practice of the Maori birding
<pb xml:id="n233" n="229"/>
parties and one to be observed to this day in some native districts was the use of a <hi rend="i">pépé</hi> or call-leaf. This leaf, often of the <hi rend="i">raurekau</hi> shrub, is held between the lips, and a peculiar cry or whistle is made which quickly attracts the <hi rend="i">kaka</hi> and other inquisitive birds to the spot where the hunter is in hiding. The leaf used in the <hi rend="i">pépé</hi> method of bird-killing was first of all laid on the sacred stone so that it might imbibe the <hi rend="i">mana</hi> or power of the <hi rend="i">mauri</hi>, the emblem which stood for the productiveness of the forests, the birds, and fruits. Offerings of <hi rend="i">miro</hi> and other berries of the woods and also of the birds caught were laid before the <hi rend="i">mauri</hi> by the hunters, with appropriate prayers.</p>
      </div>
      <pb xml:id="n234" n="230"/>
      <div xml:id="t1-body-d1-d20" type="chapter">
        <head><hi rend="sc">Chapter</hi> XX.<lb/>
<hi rend="c">The Maori in War</hi>.</head>
        <div xml:id="t1-body-d1-d20-d1" type="section">
          <p>The Maori did not march out on the war-path without careful observance of the ceremony and ritual pertaining to the service of <hi rend="i">Tu</hi>, the god of battle. The <hi rend="i">Niu</hi>, the sacred divining rods, had to be cast, the oracles consulted, and the warriors sprinkled and hardened for the path of strife and death. Old warriors of the cannibal era have described to me the priestly preliminaries to fighting expeditions, the reading of the omens, the ceremonies to weaken the enemy and draw their spirits into one's hands (<hi rend="i">kukume ai nga wairua</hi>).</p>
          <p>“Sometimes,” said a venerable man of the Ngati-Whakaue, Rotorua. “when an expedition of blood was proposed, we would see on the horizon, in the direction of our enemy's country, a strange red glow as of a great fire. That was the <hi rend="i">ahi-papakura</hi>; it was a sign of success for us and of disaster for our foes. If a rainbow, which was the <hi rend="i">aria</hi> or visible form of the god Uenuku, appeared on high in the rear of our war-party, it was a good omen. But if it spanned the path by which we were to go, on our front, it was a warning, a portent of likely defeat, and we would not march away until a more favourable day came.”</p>
          <p>As in the Iliad and in the great Hindu epics, warriors in battle could conceal themselves in magic mists to escape their foes. Charms to this end are called <hi rend="i">huna</hi> (literally “to hide”). The following is a specimen of such a spell, recited by an old</p>
          <pb xml:id="n235" n="231"/>
          <p>Arawa warrior, who himself professed to have found it of service in bush-fighting aforetime:</p>
          <q>
            <lg type="verse" xml:lang="mi">
              <l><hi rend="i">Pungawerewere, heiheia mai aku mata</hi>,</l>
              <l><hi rend="i">Popokorua, heiheia mai aku mata</hi>.</l>
              <l><hi rend="i">E Moko e</hi>!</l>
              <l><hi rend="i">Tu mai ki waho</hi></l>
              <l><hi rend="i">Moku to taua rua</hi>.</l>
              <l><hi rend="i">Titiro ki runga</hi>,</l>
              <l><hi rend="i">Titiro ki raro</hi>,</l>
              <l><hi rend="i">Titiro ki whenua noa atu</hi>.</l>
            </lg>
            <lg type="verse">
              <head>(Translation.)</head>
              <l>Spiders, hide my face;</l>
              <l>Ants, obscure me from the foe;</l>
              <l>O 'Moko,</l>
              <l>Come forth from out thy pit,</l>
              <l>And let me enter it.</l>
              <l>Search all around,</l>
              <l>Gaze up and down,</l>
              <l>See nothing but the empty land.</l>
            </lg>
          </q>
          <p>Here he appealed to the spiders to weave their webs across the path by which he had gone, and to the ants (“<hi rend="i">he iwi i roto i te whenua</hi>,” “a people of the earth”) to hide him in the ground with them. “Moko” is a contraction of the name Ruaimoko, the god of the Underworld.</p>
        </div>
        <div xml:id="t1-body-d1-d20-d2" type="section">
          <head>“Great Pilgrims of Tu.”</head>
          <p>The return of the warriors from an expedition was attended by much priestly ritual, for the <hi rend="i">tapu</hi> of blood must be removed before they could mingle with their people again. On Mokoia Island, Lake Rotorua, the venerable Tamati Hapimana described to me on the sacred beach of Matariki the thrilling scenes of other days when the great war-canoes came dashing up to the shore from the Ohau or Lake Rotoiti, home from a campaign. The blanket-kilted sage, bare-footed and bare-headed, his long white locks floating in the breeze, stood on the pumice-sands, a twig of willow in his hand, and showed how the high priest Unuaho greeted the returning warriors.</p>
          <p>“As the war-canoes drew near,” he said, “the <hi rend="i">tohunga</hi> stood on this spot, naked save for a girdle of leaves, and waved a leafy branch—as I wave this
<pb xml:id="n236" n="232"/>
willow-bough—and cried in a loud chanting voice to the men of battle:</p>
          <q>
            <lg type="verse">
              <l>“‘<hi rend="i">I haere mai i whea</hi>?</l>
              <l><hi rend="i">Tē-ere, Tē-ere tēre-nui na Tu</hi>?’</l>
              <l>(‘Whence come ye,</l>
              <l>Great Company of Tu?’)</l>
            </lg>
          </q>
          <p>“And the war-priests standing amidships chanted in reply, while the canoes lay off the shore:</p>
          <q>
            <lg type="verse">
              <l>“‘<hi rend="i">I haere mai i uta</hi>,</l>
              <l><hi rend="i">I haere mai i tai</hi>,</l>
              <l><hi rend="i">I haere mai i te</hi></l>
              <l><hi rend="i">Tu parekura</hi>—</l>
              <l><hi rend="i">Tē-ere, tē-ere, tēre nui o Tu</hi>.’</l>
              <l>(‘We come from the land,</l>
              <l>We come from the sea,</l>
              <l>We come from the battle-field of Tu—</l>
              <l>Pilgrims, great pilgrims of Tu.’)</l>
            </lg>
          </q>
          <p>“Then the priest on the shore cried:</p>
          <q>
            <lg type="verse">
              <l>“‘Whence come ye,</l>
              <l>Great travellers from Whiro?’<note xml:id="fn1-232" n="*"><p>Whiro, the god of evil and darkness and violent deeds.</p></note></l>
            </lg>
          </q>
          <p>and the warrior-priests answered:</p>
          <q>
            <lg type="verse">
              <l>“‘We come from above,</l>
              <l>We come from below,</l>
              <l>We come from the seeking-out,</l>
              <l>The searching—</l>
              <l>Pilgrims, great pilgrims of Whiro.”’</l>
            </lg>
          </q>
          <p>Then, said Tamati, the soldiers would leap naked into the shallow water and remain there until the high priest had performed the ceremonies to remove the <hi rend="i">tapu</hi> of blood which had been imposed on them when they went forth to fight. And the great <hi rend="i">tohunga</hi>, dandling to and fro a sacred offering from
<pb xml:id="n237" n="233"/>
the field of battle, the emblem of the slain, to the Maori gods of war, would chant:</p>
          <q>
            <lg type="verse">
              <l><hi rend="i">Hikitia mai taua kai</hi>,</l>
              <l><hi rend="i">Hapainga mai taua kai</hi>,</l>
              <l><hi rend="i">Ki runga rangi taua kai</hi>.</l>
              <l><hi rend="i">Kia kai mai Rongomai</hi>,</l>
              <l><hi rend="i">Heke iho i te rangi—taua kai</hi>.</l>
              <l>(Raise up the food,</l>
              <l>Lift up the food,</l>
              <l>Raise up to the heavens that food.</l>
              <l>Come and eat, Rongomai;</l>
              <l>Descend from the heavens—that food.)</l>
            </lg>
          </q>
          <p>Then the warriors were free to greet their wives and children again, the <hi rend="i">tapu</hi> safely lifted.</p>
        </div>
      </div>
      <pb xml:id="n238" n="234"/>
      <div xml:id="t1-body-d1-d21" type="chapter">
        <head><hi rend="sc">Chapter</hi> XXI.<lb/>
<hi rend="c">The Pole of Spears: A Tale of Old Rotoiti</hi>.</head>
        <argument>
          <p>[The following tradition of a Lakeland war episode is given as a typical example of the innumerable legends of intertribal strife, and of the resourcefulness and military skill of the Maori warrior.]</p>
        </argument>
        <p>On the southern coast of Lake Rotoiti, opposite the little burial-island Pateko, is the steep woody headland or <hi rend="i">matarae</hi> known as Ngarehu; behind it is a deep gully, and then rises the cliffy hill Paehinahina (“ridge covered with <hi rend="i">hinahina</hi> trees”). This hill is the site of a celebrated fort of ancient times, a <hi rend="i">pa</hi> which occupied a very strong position. On three sides it was defended by cliffs; the only entrance, or <hi rend="i">kuwaha</hi>, was on the south side, where the approach was along a narrow ridge. The spot was an excellent one for a fortified village, for any canoes on the lake could be seen while yet a long way off, and the cliffy walls made the <hi rend="i">pa</hi> impregnable against a sudden assault. It was captured, however, on one occasion in a remarkable fashion.</p>
        <p>One day, a hundred and fifty years ago, a small company of Ngati-Pikiao warriors filed out from the gateway of Pae-hinahina <hi rend="i">Pa</hi>, and took the narrow trail through the forest and over the <hi rend="i">manuka</hi>-clothed hills southward. “They went out to eat men,” said the old Rotoiti man who told the story, “they hungered for <hi rend="i">kiko-tangata</hi>, the sweet flesh of man.” The cannibal meat-hunters marched along until they reached the vicinity of the stream called Waimatā—“Obsidian Creek”—under the western
<pb xml:id="n239" n="235"/>
bluffs of Moerangi hill. Here the war trail intersected the track which led from Roto-kakahi through the Pareuru Valley to Whakarewarewa and Rotorua.</p>
        <p>Here the scout out ahead crept back and reported that there were three people in sight, coming along the track from Roto-kakahi. The “meat” was walking into the trap. The Ngati-Pikiao <hi rend="i">taua</hi> sank to the earth instantly, then their leader posted them ready for the deed of blood, half the <hi rend="i">taua</hi> on one side of the track and half on the other. The ambush laid, the man-hunters waited for their prey.</p>
        <p>The three travellers were a chief named Torekāhe and his sisters, young women named Uakura and Ngarehu. Torekāhe was the chief of Ngati-te-Whetu, on Motu-tawa, the island in Roto-kakahi.</p>
        <p>Suddenly Torekāhe's quick eye noticed something moving a moment in the low <hi rend="i">manuka</hi> shrubbery just ahead. It looked like a spear projecting above the bushes. Then he heard a sound of a breaking branch close by the track, and he caught a glimpse of a feather head-plume. He knew that he had walked right into an ambush. Torekāhe, death's hand is at your throat!</p>
        <p>The chief of Motu-tawa divined instantly that he could not save his sisters, and that it would be marvellous if he succeeded in escaping himself. He turned, and exclaiming, “It is death!” he quickly pressed his face to the faces of his sisters in succession, in the greeting of the <hi rend="i">hongi</hi>, the touching of noses—his last farewell.</p>
        <p>The next moment with a terrible war-cry the Ngati-Pikiao men leaped from their hiding-places. Torekāhe sprang to one side of the track and made a feint at the enemy with his <hi rend="i">taiaha</hi>, then like lightning he faced about, and leaping to the other
<pb xml:id="n240" n="236"/>
side charged through his adversaries. He reached a near-by hill brow, and he cried to Ngati-Pikiao:</p>
        <q>
          <p>“<hi rend="i">Haere, e hoki! E kore ahau e mau ia koutou; he manu honenga ahau no te pae</hi>!”</p>
          <p>(“Go, return whence you came! I shall not be caught by you; I have escaped like a bird from the snare set for it!”)</p>
        </q>
        <p>Then, as he expected, he saw his sisters killed. Each was felled with a blow on the head from a <hi rend="i">patu</hi>. Their heads were hacked off with the sharp-edged stone weapons, and held up and waved in derision at Torekāhe on the hill above. And the brother cried his <hi rend="i">poroporoaki</hi>, his parting message to the unheeding ears:</p>
        <q>
          <p>“<hi rend="i">Aku tuahine e! Haere, haere! Mo korua te tai awatea, moku te tai po</hi>!”</p>
          <p>(“My sisters! Farewell, Farewell! Go you on the tide that ebbs in the light of day; I shall follow you on the evening tide!”)</p>
        </q>
        <p>And Torekāhe turned and spread the news of invasion and murder. And the savages of Pae-hinahina, bearing the bodies of their victims with them, hurried back to Rotoiti.</p>
        <p>Torekāhe speedily raised an armed force, a hundred and seventy men. He himself had his <hi rend="i">matua</hi> or company of seventy men, (<hi rend="i">hokowhitu</hi>) the pick of his tribe, Ngati-Te-Whetu. The remaining hundred men, from Motu-tawa, Te Puia (Whakarewarewa), Owhatiura, and other <hi rend="i">pas</hi> of the Tuhourangi tribe and kindred <hi rend="i">hapus</hi>, were under the command of his comrade Te Rangikotua. The force marched by way of Rotokawa and Tikitere, and reached the shores of Rotoiti close to the place where the hot sulphur spring Manupirua bubbles up under its overhanging <hi rend="i">pohutukawa</hi> tree. Thence they travelled along the coastline until at night they reached a bay not very far from Pae-hinahina and lay in ambush there, having ascertained from a man who lived by the lakeside that a party of fishermen from the fort would shortly come down to draw their seine for <hi rend="i">inanga</hi> (whitebait).</p>
        <pb xml:id="n241" n="237"/>
        <p>Early in the morning the men of Ngati-Pikiao came in their canoes, and sweeping their long fine-meshed net of flax round the shoals of the <hi rend="i">inanga</hi>, drew the ends in to the beach. Then Torekāhe's warriors rushed down and seized the net as it was being dragged ashore, and played <hi rend="i">patu</hi> and spear on their astonished enemies. The fishermen were defeated; a number were killed, and the rest fled in their canoes, and spread the alarm at Pae-hinahina. Ngati-Pikiao gathered within their strong cliff-top stockade and waited the shock of war.</p>
        <p>The <hi rend="i">pa</hi> was too well defended to carry by a <hi rend="i">coup-de-main</hi>. Torekāhe and his comrade Te Rangikotua had, therefore, to set their wits to work.</p>
        <p>The assailing war-column was divided into two parties. Te Rangikotua's hundred men formed the <hi rend="i">matua</hi> to make the frontal attack, while Torekāhe remained in hiding, awaiting an opportunity to scale the walls secretly at the flanks or the rear of the <hi rend="i">pa</hi>. The main body therefore advanced boldly, and with much defiant yelling and war-dancing took up a position on the ridge leading to the <hi rend="i">kuwaha</hi> or front gateway of the fort.</p>
        <p>The occupants of the hill stockade, seeing no other enemies than those who thus openly invested them, concluded that the hundred men of Te Rangikotua were their only assailants, and all the eyes of the <hi rend="i">pa</hi> were for the warriors on their front.</p>
        <p>A dark moonless night helped Torekāhe's scheme. He reconnoitred the position in a small canoe, and returning to his hidden <hi rend="i">hokowhitu</hi>, led them to the north-eastern side of the <hi rend="i">pa</hi>. Here they crouched, concealed from view by the vegetation and the cliffs.</p>
        <p>Torekāhe had observed that on this side of the <hi rend="i">pa</hi> a large <hi rend="i">pohutukawa</hi> tree grew just on the cliff-top; some of its branches stretched far out towards
<pb xml:id="n242" n="238"/>
the lake. Under this tree he posted his men. The <hi rend="i">pa</hi> was full of excitement of war that night—watch-fires blazing, war-trumpets braying, chiefs shouting speeches of encouragement and instruction to their men. The watchmen, perched aloft in the <hi rend="i">puhara</hi> or slender tower-like balconies that rose above the palisades, chanted at intervals their high songs of battle. On the woody ridge burned the camp fires of Te Rangikotua.</p>
        <p>Torekāhe instructed his followers to take a number of their spears and splice them firmly together with flax cords so as to form a long pole the height of the cliff above them. This was done, and then to the end of the long limber pole was tied a large wooden hook. The pole was carefully raised, and the warriors grappled with the hook one of the branches of the overhanging <hi rend="i">pohutukawa</hi>.</p>
        <p>Making sure that the hold was secure, the daring chief climbed the pole of spears, hauling himself up hand over hand until he reached the tree, and drew himself up safely on the bough to which the hook was attached. He crawled cautiously along the branch and down into the <hi rend="i">pa</hi>, into the nest of his enemies.</p>
        <p>Quite close to the huge knotty butt of the <hi rend="i">pohutukawa</hi>, a small hut stood by itself. Just at the entrance of this <hi rend="i">whare</hi> lay an old man asleep. Alongside him was a partly plaited flax rope; it was intended for one of the hauling ropes of a <hi rend="i">kupenga</hi>, or fishing-net. Torekāhe drew his stone <hi rend="i">patu</hi> from his flax waist-belt and swiftly dealt the man a death-blow. Then, tying the rope to the body, he lowered it down to his men below. It was the <hi rend="i">mata-ika</hi>, the “first fish” slain.</p>
        <p>Dawn was approaching, and the sentinels on the stockade were chanting their songs to the morning stars. Torekāhe made fast his end of the flax rope
<pb xml:id="n243" n="239"/>
to the <hi rend="i">pohutukawa</hi>, and his men quietly ascended one by one, assisting themselves by toe-holds on the cliff-face.</p>
        <p>Now the daring leader raised his voice in a loud sentinel-song or <hi rend="i">Whakaaraara-pa</hi>. The people of the <hi rend="i">pa</hi> thought he was one of their own sentries.</p>
        <p>This, translated, is part of his song, an “All's-well” chant to Tariao and Kopu, the first and morning stars:</p>
        <q>
          <lg type="verse">
            <l>This is the pa!</l>
            <l>These the high palisades,</l>
            <l>Bound with the forest vines.</l>
            <l>And here within am I</l>
            <l>Singing my song.</l>
            <l>Shine brightly, O Tariao!</l>
            <l>Let fear seize on our foes,</l>
            <l>Death's fateful harbinger</l>
            <l>Howl fearful in their ears,</l>
            <l>Ngahue's red-toothed dog—</l>
            <l>“<hi rend="i">Moo-oo-i! Au-u-u</hi>!”</l>
          </lg>
          <lg type="verse">
            <l>Keen blows the western wind,</l>
            <l>Wafting a sound of war.</l>
            <l>Aid us, shades of our sires,</l>
            <l>Ahi-koriki, Rongotaha!</l>
            <l>Here on the watch am I,</l>
            <l><hi rend="i">E-ē! I aha-ha</hi>!</l>
          </lg>
          <lg type="verse">
            <l>Wakeful on watch am I,</l>
            <l>Ready to rush to the fray,</l>
            <l>Charge on the thickets of spears!</l>
            <l><hi rend="i">E-ē! I aha-ha</hi>!</l>
          </lg>
          <lg type="verse">
            <l>Keen for the conflict are we,</l>
            <l>Hot for the slaying of men,</l>
            <l>Hungry for eating of men!</l>
            <l>Like a <hi rend="i">ngarara</hi> monster our host—</l>
            <l>Lo! the murderous sweep of its tail!</l>
            <l>The snapping, the foam of its jaws!</l>
            <l>Kopu beams forth in the sky,</l>
            <l>Here on the watch am I,</l>
            <l><hi rend="i">E-ē! I aha-ha</hi>!</l>
          </lg>
        </q>
        <p>There was a pause, and then a sentinel in another part of the <hi rend="i">pa</hi>, all unknowing of the fact that the singer who had just ended his loud chant was an enemy, lifted up his voice in a song of his own.
<pb xml:id="n244" n="240"/>
When he had ended, Torekāhe sang a second watch-song; and then when grey dawn was just approaching, and it was necessary to give the pre-arranged signal for the assault, he chanted loudly his third <hi rend="i">whakaaraara</hi>. These were the words:</p>
        <q>
          <lg type="verse" xml:lang="mi">
            <l><hi rend="i">Te ahi ra ra</hi>,</l>
            <l><hi rend="i">Te ahi ra ra</hi>,</l>
            <l><hi rend="i">Tahia ki uta</hi>,</l>
            <l rend="pad-left"><hi rend="i">Tahia</hi>!</l>
            <l><hi rend="i">Ko au kai tai</hi>,</l>
            <l rend="pad-left"><hi rend="i">E-e-i</hi>!</l>
            <l rend="pad-left"><hi rend="i">Aha-ha</hi>-!</l>
          </lg>
        </q>
        <p>In this chant Torekāhe addressed his comrades as “The fires burning yonder,” and warned them to gather on the land side and sweep down on the <hi rend="i">pa</hi>. “Sweep it!” he cried, “Here am I by the waterside.”</p>
        <p>In another moment Te Rangikotua had given his men the order to charge—“Kokiritia!” and they dashed with fury at the stockade of their foes.</p>
        <p>The garrison rushed to defend the main gateway and the stockade. Then Torekāhe, in the rear, made his attack. In the resultant confusion, the front <hi rend="i">matua</hi> swarmed into the fort, hacking their way through and over the stockades and gateways, and joined with their cliff-climbing comrades in the work of slaughter. Pae-hinahina fell. Many of its garrison went into the ovens of the conquerors, and many others were made slaves; and thus quickly did Torekāhe avenge the slaying of his sisters by the cannibals of Ngati-Pikiao.</p>
      </div>
      <pb xml:id="n245" n="241"/>
      <div xml:id="t1-body-d1-d22" type="chapter">
        <head><hi rend="sc">Chapter</hi> XXII.<lb/>
<hi rend="c">The <hi rend="i">Tangi</hi></hi>.</head>
        <epigraph>
          <lg type="verse">
            <l>“I saw the lightning's glare</l>
            <l>Upon the peak of Taupiri;</l>
            <l>There the thousands of thy people sleep</l>
            <l>Their last long sleep;</l>
            <l>They rest forever on the</l>
            <l>Plains of Tangirau.”</l>
            <byline rend="right">—<hi rend="i">A Waikato Lament</hi>.</byline>
          </lg>
        </epigraph>
        <p>When sorrow smites the people, when loved ones are seized by the hand of the Unseen and hurried away in the <hi rend="i">Waka o Aitua</hi>, the Canoe of Death, then the soul of the Maori is bared, and the primal grief-note, the coronach of the <hi rend="i">tangi</hi>, sounds through the stricken <hi rend="i">kainga</hi>. It is at a <hi rend="i">tangihanga</hi>, a funeral gathering, that one sees something of the real Maori. Old customs are revived, brown nose is pressed to nose, and the orations over the dead are rich in song, in proverb, and in touching symbol and imagery.</p>
        <p>A greatly stirring and dramatic <hi rend="i">tangihanga</hi> which I witnessed was the funeral gathering of tribes held at Taupiri, on the Waikato River, in October, 1894, over the remains of <name type="person" key="name-124336">King Tawhiao</name>, the son of the famous Potatau te Wherowhero. Here were seen for the last time on such a scale some thrilling pictures of old Maoridom. The <hi rend="i">tangihanga</hi> carried to some of us more than a lamentation over the dead chief; it was the crying for the final passing away of the restless ancient order, for with tattooed grim old Tawhiao there died too the forty-year-old dream of a Maori kingdom.</p>
        <p>Taupiri was a fitting spot for the great <hi rend="i">tangi-hanga</hi>; it is the famous burial-place of Waikato chieftains. Above the Waikato River rises the wooded peak of Taupiri, creased with many a deep
<pb xml:id="n246" n="242"/>
green gully. The Waikato, which in ages past cut out a channel for itself through the mountain ranges, takes a splendid sweeping bend through the gorge; it is here a quarter of a mile wide, swift, strong, but glassy-smooth. Weeping-willows dip their soft trailers in the water on either side and as far as one can see up and down the shining river. Immediately above the rail-line is a green foothill of the Taupiri range, its sides trenched in the lines of an ancient fort, its summit crowned with a white-painted enclosure. This is the sacred burying ground, the aristocratic Waikato <hi rend="i">wahi-tapu</hi>. Taupiri is a “<hi rend="i">maunga-hikonga-uira</hi>,” a “lightning-mountain,” a peak of solemn omen. If lightning flashed downwards repeatedly immediately over the sacred peak, it was regarded as a portent of the death of some chieftain of Waikato.</p>
        <p>At this great <hi rend="i">tangi</hi> over the remains of Tawhiao, the crying of the dead monarch to the Maori Spiritland, there were at least three thousand Maoris present, belonging to some thirty tribes from all parts of the “Fish of Maui.” Long thatched <hi rend="i">nikau</hi> and <hi rend="i">raupo whares</hi> were built by the hosts—the Waikato tribes proper—for the accommodation of the army of visitors; there were hundreds of tents pitched, and immense quantities of food—pork and beef, potatoes, fish, dried eels, shellfish, and <hi rend="i">pakeha</hi> bread—were provided to feed the multitude. The smoke from scores of <hi rend="i">hāngi</hi>, the primitive earth-ovens, rose into the air night and morning. There was daily to be seen the pretty ceremonial of the <hi rend="i">Tuku-hai</hi>, the formal presentation of cooked food in little round flax baskets to the guests, with the accompaniment of dance and song; there were almost continual performances of the <hi rend="i">haka</hi> and <hi rend="i">powhiri</hi> of greeting; and the military parades of the past were revived in honour of the sacred dead.</p>
        <pb xml:id="n247" n="243"/>
        <p>One picture stands out before all others in the many-coloured panorama that passes before the mind's eye as I recall the stirring week at Tawhiao's <hi rend="i">tangi</hi>. This was the reception of the old King's body as it was borne into the Waikato camp from Para wera, on the King Country border-line, after a long pilgrimage through the Upper Waikato. Close on a thousand people of the Ngati-Maniapoto, Ngati-Raukawa, Ngati-Haua, and other up-country tribes reverently escorted the remains; more than two thousand of Waikato, swayed by the intensest feeling, awaited them here on the Taupiri river-side.</p>
        <p>The people wore the universal sign of mourning —sprays of green willow or of <hi rend="i">koromiko</hi> (veronica), or the trailing creepers of the lycopodium fern—wreathed round their heads and over their shoulders. Guns and Maori weapons of wood and stone were in every hand, and here and there a sword—a trophy of the war. Flags of bright colour and curious design flapped at half-mast in the centre of the <hi rend="i">marae</hi>, the campus. Some hundreds of Waikato men, under their chiefs, were drawn up in soldierly formation just inside the fence of the <hi rend="i">marae</hi> enclosure; the ranks ten or twelve deep, all stripped to a waist-garment—shawl, blanket, or mat; feathers in hair—the <hi rend="i">huia</hi> plume and the feathers of the albatross, the pigeon or the wild goose; all were armed with rifles or double-barrel guns and had cartridge pouches strapped round them.</p>
        <p>The long cortege of the Upper Waikato men wound in sight round a turn in the road, with a Maori band at their head playing the <hi rend="i">pakeha</hi> “Dead March.” Behind the band came the coffin enclosing Tawhiao's body, borne by sixteen half-naked brown figures. Beside his father's remains walked Mahuta, the new King. Then marched the armed men of the
<pb xml:id="n248" n="244"/>
King Country, in fighting costume, a brown battalion three to four hundred strong, their only garments a shawl or sheet round the loins, hair dressed with feathers, cartridge-belts round their bare shoulders, ammunition-pouches at their waists. All carried guns, and, as they slowly advanced, they fired their rifles and fowling-pieces loaded with blank. Eight deep came the soldiery, led on by Arakatera Rongowhitiao, a big black-bearded Ngati-Raukawa chief, stripped to a waist-sheet, quivering a glistening whale-bone <hi rend="i">méré</hi> in his hand. Then came the rest of the procession, hundreds of natives with their heads and bodies wreathed and entwined with green leaves and nodding branchlets.</p>
        <p>Volleys of musketry, then single and irregular shots, were fired, continually, both by the oncoming host and the waiting Waikato; a hum of lamentation rose on the heavy air; the gunpowder smoke hung around the wailing throngs; and all the time on the green hill under the dark shoulder of Taupiri puffs of smoke were seen and reports like cannon were heard, waking the mountain echoes. It was the Maoris at the burial-place exploding dynamite round the open grave.</p>
        <p>The sorrowful procession, every man and woman marching with head bowed in grief, slowly approached the entrance to the camp. The hundreds, of Waikato, silent now as death, were massed some eighty yards inside the enclosure, the armed men in front with their guns at the port. As the sacred dead was borne through the gate, the Waikatos bowed their heads low three times and at the same time the colours on the tall flagstaff were dipped. On trod with measured step, painful and slow, the visiting host, crying in the inexpressibly sad monotone of the <hi rend="i">tangi</hi>. Waikato slowly retired a few
<pb xml:id="n249" n="245"/>
paces and once more bowed to the ground. Then they raised their three hundred guns and fired a thundering volley of blank cartridge.</p>
        <p>Now came Waikato's great song and dance of greeting and of grief. Led by a furiously gesticulating captain, they roared out with one voice their chant for the home-bringing of the King. To the song they kept time with their gun-dance, bending to the ground as one man until the muzzles nearly touched the earth, holding the firearms near the breech, and then giving a sudden spring upright with their weapons raised at arms'-length above their heads. To the right they faced, then to the left, then up and down, like a marvellous machine.</p>
        <p>The lament they sang was called “<hi rend="i">Te Taniwha o te Rua</hi>” (“The Dragon of the Cave”), likening the departed chief's spirit to a great <hi rend="i">taniwha</hi> or godlike being. They chanted, as they leaped in the wardance, six hundred bare feet slapping the ground as one, guns flashing and eyes rolling, this dirge for their dead <hi rend="i">Ariki</hi>:</p>
        <quote>
          <floatingText xml:id="t1-body-d1-d22-t37" decls="#text-35-bibl">
            <body xml:id="t1-body-d1-d22-t37-body">
              <div xml:id="t1-body-d1-d22-t37-body-d1" type="waiata" xml:lang="mi">
                <lg type="verse">
                  <l><hi rend="i">Ka hua ahau ki te whatitiri</hi></l>
                  <l><hi rend="i">E whakatupuru nei</hi></l>
                  <l><hi rend="i">Runga te rangi</hi>;</l>
                  <l><hi rend="i">Kaore ko te unuhanga</hi></l>
                  <l><hi rend="i">O te Taniwha i te rua</hi>.</l>
                  <l><hi rend="i">Aue! Aue! Aue!</hi></l>
                  <l><hi rend="i">Te mamae i au!</hi></l>
                </lg>
                <lg type="verse">
                  <l><hi rend="i">Ka ngaue Mokau</hi>,</l>
                  <l><hi rend="i">Ka ngaue Tamaki</hi>;</l>
                  <l><hi rend="i">Ka ru te whenua</hi>;</l>
                  <l><hi rend="i">Ka mate te marama</hi>;</l>
                  <l><hi rend="i">Ka taka te whetu o te rangi</hi>;</l>
                  <l><hi rend="i">Ka ara Waikato i te rua</hi>.</l>
                  <l><hi rend="i">Aue! Aue! Aue! Taukiri ē!</hi></l>
                </lg>
              </div>
            </body>
          </floatingText>
          <floatingText xml:id="t1-body-d1-d12-t38" decls="#text-36-bibl">
            <body xml:id="t1-body-d1-d12-t38-body">
              <div xml:id="t1-body-d1-d12-t38-body-d1" type="waiata">
                <lg type="verse">
                  <head>(Translation.)</head>
                  <l>I hear the thunder crashing,</l>
                  <l>Rumbling o'er me in the sky,</l>
                  <l>Heaven's sign for the mighty dead;</l>
                  <l>The Taniwha leaps forth from his cave.</l>
                  <l>Alas! Alas! Alas! My grief!</l>
                </lg>
                <lg type="verse">
                  <l>From Mokau unto Tamaki</l>
                  <l>The earthquake shakes the land;</l>
                  <l>The moon has disappeared;</l>
                  <l>The stars fall from the heavens.</l>
                  <l>'Tis Waikato rising from the deep.</l>
                  <l>Alas! Alas! Alas! My woe!</l>
                </lg>
              </div>
            </body>
          </floatingText>
        </quote>
        <pb xml:id="n250" n="246"/>
        <p>Then the wild <hi rend="i">waiata</hi> changed and they chanted all together:</p>
        <q>
          <lg type="verse">
            <l>Waikato's waters</l>
            <l>Lie lonely before me;</l>
            <l>Waikato tribesmen</l>
            <l>Weep long for the lost one.</l>
            <l>Ah me, Ah me!</l>
          </lg>
          <lg type="verse">
            <l>Alas, O Tupu!</l>
            <l>Where is your <hi rend="i">Ariki</hi>?</l>
            <l>Lo, he stands there above you,</l>
            <l>At the shrine of our fathers.</l>
            <l>But below we wail sadly;</l>
            <l>Like rain our tears fall fast,</l>
            <l>We weep for the Chieftain.</l>
            <l>Ah me, Ah me!</l>
          </lg>
        </q>
        <p>The mighty chorus, “<hi rend="i">Aue! Aue! Aue! Te mamae i au</hi>,” was chanted with a terrible heart-piercing intensity of expression, the very soul of grief. The death of a great chief was associated in Maori ideas, as indicated in this chant, with convulsions of nature, the quaking of the land, the lightning flashing above the tribal burial hills, and the thunder rolling along the mountain peaks.</p>
        <p>The roaring chorus rang out far across the wide river and was sent back by the listening hills, and before the echoes had time to die away they were roused again by volleys of musketry. Both the armies joined in the fusillade, the men reloading with blank as fast as they could push the cartridges in and blaze away into the air.</p>
        <p>The coffin was borne to the foot of the flagstaff, and there it was at last at rest, enshrouded in soft feather cloaks and fine flax mats. The Upper Waikato men, when the Lower Waikato soldiers fell back on the main body, replied with rifle firing and with a song of their own, raising a thunderous chorus that might have been heard for miles around,
<pb xml:id="n251" n="247"/>
and with an earth-shaking simultaneous stamp of hundreds of feet.</p>
        <p>Then came the general <hi rend="i">tangi</hi>, the “keening” for the dead chieftain. The visiting tribes, who had brought in the body from the south, maintained their position thirty or forty yards away, allowing Waikato proper to gather round the coffin. The Waikato formed a crescent under the colours, the armed men on the right, the green-garlanded women on the left. Some of the women had bared themselves to the waist, and wore weeping-willows and ferns entwined about their shoulders and bosoms. In former times they would have scarified their faces and arms and breasts with sharp shells or flakes of obsidian. The air was full of the inarticulate hum of grief. The people sat with their heads bowed, some of them with their blankets or mats over their faces. Through the dull moan of grief that came like the noise of distant surf on the seashore there rose now and then a more piercing note, a woman's ecstasy of sorrow. A body of the mourners raised a dirge, and for a while the general lamentations ceased while the tattooed grey warrior Whitiora te Kumete, Tawhiao's cousin, welcomed the visiting tribes, pacing quickly to and fro, spear-tongued <hi rend="i">taiaha</hi> in hand, as he cried his greetings.</p>
        <p>Now the whole of Waikato leaped into the action of the war-dance, and again shouted with one voice their <hi rend="i">tangi</hi> song, “<hi rend="i">Te Taniwha o te Rua</hi>,” sweeping their firearms to right and left, up above their heads and low to the ground, and all treading the resounding earth as one. When they had ended, the visiting Maoris—Ngati-Maniapoto, Ngati-Haua, and the Upper Waikato clans—fired volleys; and again the
<pb xml:id="n252" n="248"/>
puffs of smoke were seen on the funeral hill, and the boom as of cannon came down the wind.</p>
        <p>Then came more rousing songs and funeral dirges from the mournfully excited multitude, punctuated by rifle cracks; and the “greeting of the bones” was closed by the chanting by all Waikato of the grand old song of welcome, “Kumea mai te Waka,” with its long-drawn far-echoing refrain:</p>
        <q>
          <lg type="verse">
            <l><hi rend="i">Toia mai te waka ki te urunga</hi>,</l>
            <l><hi rend="i">Ki te moenga—te waka ē</hi>.”</l>
            <l>(“Haul up the canoe to its pillow,</l>
            <l>To its sleeping place—the canoe.”</l>
          </lg>
        </q>
        <p>And so came the King of Waikato to his home pillow, to his last bed in the midst of his people.</p>
        <p>
          <figure xml:id="CowYest_248a">
            <graphic url="CowYest_248a.jpg" mimeType="image/jpeg" xml:id="CowYest_248a-g"/>
            <head>One of the Waikato war-dances at Tawhiao's <hi rend="i">Tangihanga</hi>.</head>
          </figure>
        </p>
      </div>
      <pb xml:id="n253" n="249"/>
      <div xml:id="t1-body-d1-d23" type="chapter">
        <head><hi rend="sc">Chapter</hi> XXIII.<lb/>
<hi rend="c">An Economic Survey.</hi></head>
        <p>When Colonel Wakefield, the leader of the New Zealand Company's pioneer settlement expedition to <name type="place" key="name-170607">New Zealand</name>, came to these shores ninety years ago he formed the opinion that the Maoris were destined to furnish the necessary supply of labour for the white nation-builders; but he appeared to regard them as chiefly useful as hewers of wood and carriers of burdens. Certainly they were most helpful in those capacities for a long time, but Wakefield presently had reason to revise his first impression. The Maori, considering himself quite as good as the <hi rend="i">pakeha</hi> in all essentials, and, for one thing, a better fighter, was not disposed to become a meek toiler for the white immigrants. He furnished much of the labour for pioneering work; he supplied, too, much of the produce of <name type="place" key="name-170607">New Zealand</name> that went overseas. No better axemen than the Maori ever felled a tree. Hundreds of cargoes of great <hi rend="i">kauri</hi> spars, the chief export of the country in the early days, were loaded in Maori bays, where every part of the work from cutting and squaring the timber to hauling it out and towing it off to the ships for foreign parts was done by the native communities directed by their chiefs. In later times, the <hi rend="i">pakeha</hi> settlers depended very largely on their Maori neighbours for the necessary help in draining, fencing, forest-clearing, road-making and other work indispensable to the production of wealth from the soil. As shearers the natives, on the East Coast in particular, cannot be bettered. Many a sheep-station to-day would be hard put to it for competent men at shearing time if it were not for the Maori workers.</p>
        <pb xml:id="n254" n="250"/>
        <p>In every branch of country labour, skilled and unskilled, the native of the soil has a useful place. But with it all he maintains his independence. Though economic pressure in these hard commercial days dictates the necessity for wage-earning, the Maori is not disposed to work at uncongenial occupations. His tastes and heredity incline him naturally to the country life, which is indeed the only healthy life for the great majority of the race. The land and the sea: the Maori is a natural sailor, and there was a time when scores of small craft trading around our coasts were owned and manned wholly by natives.</p>
        <p>The ideal to be kept in mind, in considering the future of the race, is the settlement of every family on its own sufficient farm-land, a section which shall be inalienable, a home in perpetuity. The position, however, is that the area of usable land still under Maori ownership, is not sufficient to enable all those who wish to farm to be provided with sections on which they can make a living. The State purchase of native lands has been carried to a point at which it must cease, indeed it has outrun all reasonable bounds, all consideration for the present and future welfare of the race. The official ambition of every Native Minister of the earlier days, up to within the last generation or so, was to acquire as much native land as possible through the operations of the Land Purchase branch of his department. This policy, following upon the confiscation—“<hi rend="i">muru-whenua</hi>”—of the territory of so-called rebels in the wars, has brought economic ruin to some tribes. The problem now is to undo, so far as it can be undone, the mistakes of the past, and by a judicious system of settlement, reinforced by all the facilities in finance and in technical help which the State extends to <hi rend="i">pakeha</hi> farmers, to build up contented, prosperous native communities, each family on its own defined
<pb xml:id="n255" n="251"/>
piece of land, with adequate provision for the settlement of the children of the now steadily increasing race.</p>
        <p>* * * *</p>
        <p>Some disquieting aspects of native life present sociological and economic probles. One feature directly due to the landless condition of many Maori people has aroused so much concern among enlightened natives and <hi rend="i">pakeha</hi> friends of the race that it was made the subject of an official investigation by a Government Committee during 1929. This was the association of Maori girls with Chinese market-gardeners in the Auckland suburbs and other districts. An excellent body of the younger natives, the Akarana Maori Association, was the first to draw attention to the position. There were 54 Maori girls employed by Chinese in and around Auckland, and during the past two years probably 150 had been employed. The debasing miscegenation resulting from this, greatly concerned the Association. The cohabitation of the girls with Chinese was a scandalous condition which many thought should be ended either by absolute prohibition of female labour in Chinese gardens or by forbidding the further immigration of Chinese into <name type="place" key="name-170607">New Zealand</name>. A solution, however, seemed rather difficult to find, but upon one thing all were agreed—this degrading association of young Maori womahood with the undersirable Oriental must be stopped. Economic reasons are largely responsible, the want of land on which native families can decently be maintained, and the lack of country employment; there is also the taste for the pleasures and excitements of town life that is not peculiar to the Maori. <name key="name-208832" type="person">Sir Apirana Ngata</name>, Native Minister, discussing the position, said the best course would be so to improve the social and economic conditions of these girls that it would be made impossible to desire to be employed in Chinese
<pb xml:id="n256" n="252"/>
gardens. The Government investigating committee's report recommended strict control of living conditions in market gardens, and the prohibition of the employment of Maori females under 21 years of age in gardens controlled by Asiatics, except under suitable supervision. The committee suggested various steps having for their object the independent settlement of Maoris on the land—the education of the natives for agricultural pursuits, setting aside areas for farmlets, the revival of native arts and crafts, and arrangements for marketing the output, and for the domestic training of Maori girls.</p>
        <p>At the enquiry the Akarana Maori Association produced figures showing that in three years 45 half-caste children, of which Chinese were the fathers, had been born to 27 Maori girls, and that 17 other girls employed in Chinese gardens had returned to their homes <hi rend="i">enceinte</hi>.</p>
        <p>Not alone with Chinese does this sex-and-labour association exist. The steady influx of Indians, chiefly Hindus, who originally came to Fiji as labour on the plantations is a further source of racial pollution. In the King Country especially the Indian element is strong, and it seems to be no one's business to make a stand against it. The most effective method undoubtedly would be to prohibit absolutely the immigration of Asiatics, whose presence in <name type="place" key="name-170607">New Zealand</name> is a curse from every point of view, economic and sociological.</p>
        <p>The Maori drift from the country to the towns has been a subject of investigation. A census compiled during 1929 by the Akarana Maori Association showed that there were 805 Maori people living in Auckland City and its environs; of these only 182 were living as members of native communities, as follows: Orakei village 60, Mangere 41, Pukaki 22 (both these places are on Manukau Harbour), Takapuna 41, Northcote 18. There were 124 living in the
<pb xml:id="n257" n="253"/>
city and 247 in the suburbs, making 553; to these had to be added 252 half-castes and quarter-castes, living as Europeans in the same area. Besides these there were several hundreds of eighth-caste and lesser degrees of Maori blood resident in the city and suburbs, but these were not taken into account. The figures compiled showed that the sexes were well-balanced. Of the 553 Maoris living in their own village communities or in city and suburbs 154 adults were males and 167 were females. There were 163 males and 164 females in employment; of these 69 females and 8 males were working for Chinese. Most of the other men were employed in general labouring work.</p>
        <p>A complete stocktaking of the Maori race and a survey of the surrounding economic conditions has been initiated by the new Native Minister, <name key="name-208832" type="person">Sir Apirana Ngata</name>. Such a survey, which is being carried out by officers of the Native Department, is an essential preliminary to a systematised movement for the bettering of native conditions of living.</p>
        <p>The problem of living is less complicated in the remoter districts where the people live in conditions more nearly approximating to the primitive state. Here they have a range of the food supplies to which they have been accustomed from olden times. As an example of this, I quote the account of a contribution of <hi rend="i">kai</hi> which a party of twenty Maoris took with them from Marokopa, on the west coast south of Kawhia Harbour, when they entrained at <name type="place" key="name-120142">Te Kuiti</name> for Ngaruawahia on a visit of ceremony to Te Puea and her Waikato people at the opening of a new meeting-hall and model village. The food, which filled two railway trucks, consisted of 2 2/1 tons of potatoes, a large bullock, 3 pigs, 2 casks preserved pork, 500 large smoked eels, 4 sacks of sea-eggs (<hi rend="i">kina</hi>), 1 sack of <hi rend="i">pawa</hi> (a large shellfish), 22 small bags of <hi rend="i">karaka</hi> berries, 2 sacks of watermelons, and
<pb xml:id="n258" n="254"/>
several sacks of <hi rend="i">kumara</hi>, onions and marrows. Also, as presents for their hosts, the visitors took twenty handsomely-woven flax mats (<hi rend="i">whariki</hi>), made by the women as floor coverings for the new carved house. This list of products of land and sea and of native industry indicates a healthy, natural condition of life, a semi-communal state of existence, self-contained and largely independent of outside resources.</p>
        <p>* * * * *</p>
        <p>Reference has been made in the opening chapters to the excellent results of the co-operative sheepfarming enterprise in the territory of the Ngati-Poru tribe. A further proof of Maori capacity for sustained effort on modern industrial lines is the success of the Ngati-Porou Dairy Factory, owned by a tribal company, with <name key="name-208832" type="person">Sir Apirana Ngata</name> as chairman of directors. This factory, at Ruatorea, near the East Cape, produced during the 1928–1929 season 285 tons of high-graded butter. The great majority of the suppliers are Maori; several <hi rend="i">pakeha</hi> settlers took an interest in it from the beginning and their co-operation and practical advice greatly heartened and helped the native beginners in the industry. The company was wisely managed from the beginning. It bought for its suppliers herds of good-grade cows, most of them from Taranaki, and many purebred Jersey bulls, and during the first season supplies were drawn from about 1000 cows. It is a model dairy factory, this Ruatorea establishment, and it is of very great economic value to the coast tribes by providing them with monthly cash returns for their industry.</p>
        <p>At Tikitiki, East Cape district, a large co-operative store is run entirely by members of the Ngati-Porou tribe.</p>
        <p>In the eastern part of the Bay of Plenty, the chief focus of native industry and modern <choice><orig>com-
<pb xml:id="n259" n="255"/>
mercial</orig><reg>commercial</reg></choice> enterprise is at Te Kaha, where the Whanau-a-Apanui tribe has a co-operative dairy factory, built in 1925. This factory has served a very use ful purpose in encouraging the families along the coast towards Cape Runaway in habits of industry and in demonstrating the profitable returns of steady work. The butter-making establishment (which is situated in a beautiful bay about 40 miles north-east of Opotiki town) began operations with 15 suppliers, and the first season's output was 10 tons. The dairy herds and the output quickly increased, until the suppliers numbered 43 and the manufacture of butter 35 1/2 tons; and there is a further increase every season. The usefulness of such a means of transmuting grass into gold is attested by the transformed condition of much of the country on the coast between Omaio and Cape Runaway.</p>
        <p>In another district there is a dairy factory at Ruatoki, in the Whakatane Valley, which is largely supplied by the Urewera land-owners.</p>
        <p>In the Wairoa (Hawke's Bay) and adjacent districts there are many native dairy-farmers, with modern plants, drawing their power from the Waikaremoana hydro-electric works.</p>
        <p>In North Auckland, from the Kaipara Country up to the Rarawa and Aopouri districts of the Far North, the Maori is gradually developing a more settled industrial life now that kauri-gum digging and timber-working are no longer the all-absorbing occupations that they were a generation or two ago. In spite of all their difficulties with land titles and in the financing of farming operations, many communities have turned to cultivation and dairying as steady means of livelihood, with benefit to health and pocket and to the moral stamina of the race. On farms of about 20,000 acres in the aggregate, about 7000 cows were being milked by these tribes, according to recent estimates. During the 1927–28
<pb xml:id="n260" n="256"/>
season some 550 northern Maoris supplied butter-fat totalling nearly 750,000 lb. to the various factories.</p>
        <p>The Tokerau Native Land Board has carried out most helpful work in the north, on the initiative of its president, <name type="person" key="name-207211">Judge Acheson</name>. A dairying settlement has been established at Te Kao, near Parengarenga, North Cape district, and the Board assists the farmers to develop their holdings. There is similar activity at Whatuwhiwhi (Doubtless Bay), Whangape, Whangaroa, and other districts.</p>
        <p>In Taranaki, where political and land troubles so long hampered farming development, the Maori is exhibiting an excellent spirit of progress and a fine capacity for steady work. Here the testimony of a <hi rend="i">pakeha</hi> dairy-factory proprietor must be quoted. Mr. T. L. Joll, of Okaiawa, on the Waimate Plains, recently described the Maori dairy farmers of his district, the Ngati-Ruanui tribe, as “a decided success.” They were keen, he said, and ready to adopt improved methods. They regarded the work as light, and they were naturally early risers. Maori suppliers always delivered their milk to the factories before the Europeans. The Maori did not trust to luck any more than the <hi rend="i">pakeha</hi> in regard to the provision of food for stock. He grew and stored winter food and generally took an interest in the good condition of his stock. The manager of a factory in the Manawatu district bore similar testimony to the satisfactory character of native suppliers as dairy farmers.</p>
        <p>Wheat-growing, long ago a profitable native industry, has been revived this year in the large Ratana settlement, Lower Rangitikei. Here the religious leader Ratana and his people have put several hundreds of acres under wheat.</p>
        <p>In the Arawa Country, extending from Rotorua to the Bay of Plenty, the revival of farming industry and its direction into modern avenues have given
<pb xml:id="n261" n="257"/>
new life and hope to many of the people. Here the Arawa District Trust Board, which has an income of £6000 per annum as the result of the settlement of the Lakes title after long litigation, has given an excellent lead and is in fact the salvation of the Lakes Country Maori. The Board, which is composed entirely of Maori members, has acquired several considerable blocks of good land in the Rotorua, Rotoiti and Maketu districts, and is farming these on the community system. This is a beginning; the ideal aimed at is to establish all those who are likely to be a success in farming on sections or in community groups where they will have an opportunity to win a comfortable, independent living in a congenial occupation. Tobacco culture, on the community system, has been established at Te Koutu, Owhata, and other places on the shores of Lake Rotorua, and at Maketu and <name type="place" key="name-120106">Te Puke</name> and elsewhere in the district, under the expert guidance of a Government instructor. Those interested in this branch of agriculture expect that in a few years the tobacco crop will return at least £20,000 per annum to the Arawa people.</p>
        <p>In the Waikato Country conditions have been most unsatisfactory, even distressing, for many years, chiefly because of land grievances. Waikato, as a people, were most harshly treated by the Governments of sixty years ago and more, in revenge for the war against the Queen's authority. It was called punishment for rebellion; in point of fact the war developed into a campaign to acquire Maori land for white settlers. The arbitrary confiscation of the best part of the Waikato lands embittered the tribes, and deadened their desire for progress. The Royal Commission which sat in 1928 to investigate these grievances and similar troubles in Taranaki modified the severe judgment of the Sixties. It recommended the payment of certain annual
<pb xml:id="n262" n="258"/>
sums in compensation, and it expressed the opinion that provision should be made for landless Maoris. In Taranaki, where the Maori cause was fully vindicated by the Commission, a payment of £5000 per annum was recommended; for Waikato the annual sum suggested was £3000. <name key="name-208832" type="person">Sir Apirana Ngata</name>, in commenting on the findings of the Commission, said that even if it meant the expenditure of a capital sum of £250,000 in a final settlement of these land problems, it would be a small item by comparison with the psychological conversion of the Maori people and the establishment of the backward sections of the race on a satisfactory basis for development as an industrial people.</p>
        <p>In a considerable measure, the drift to the unhealthy labour and moral conditions of town life, can be stayed, so far as the South Auckland Maoris are concerned, by a readjustment of the position with regard to land occupations. It seems urgently necessary that the State should devote a large area of suitable land, in the Lower Waikato, Hauraki and other districts, to the purpose of settling landless families and <hi rend="i">hapus</hi>, and providing capital on loan for stocking and development purposes. The Akarana Maori Association has suggested that such prospective native settlements should be classified in this way: (<hi rend="i">a</hi>) Areas for occupation as farmlets suitable for those heads of families who do not possess special ability as farmers or capital for larger operations; (<hi rend="i">b</hi>) areas for occupation as dairy farms, starting in a small way, with possibilities of development; (<hi rend="i">c</hi>) areas for cattle and sheep-raising. It is also suggested that a native afforestation scheme should be embarked upon. There is sound wisdom in these proposals; it remains for the State to make a start in giving them practical effect.</p>
        <p>The Maori needs a helping and guiding hand in the endeavour to keep pace with the <hi rend="i">pakeha</hi> in this
<pb xml:id="n263" n="259"/>
commercial age, and especially in the matter of finance. Here the Native branch of the Public Trust Office can widen its sphere of usefulness. The Maori, with his generous spendthrift nature, cannot conserve his money resources with the forethought of the <hi rend="i">pakeha</hi>. An example of his inborn tendency to make swift use of the good things the gods provide was the squandering in recent years of the money received from the sale of the Orakei block of land, on the south shore of Auckland Harbour. The members of a small tribe, the Ngati-Whatua, after long negotiations, were induced to sell the land, through the Government, for the purpose of a site for a model residential suburb of Auckland. The price paid was £80,000, in cash. In a year or so little remained of that fortune but a few motor cars and the memory of a grand burst of pleasure-seeking. The remnant of Ngati-Whatua who dissipated that £80,000 live in a dilapidated hamlet on the <hi rend="i">papa-kainga</hi> (the village site) on the beach flat in Okahu, a drab degeneration from the pretty <hi rend="i">kainga</hi>, with its neat thatched <hi rend="i">whares</hi> and its fruit groves and <hi rend="i">kumara</hi> gardens, that stood there in old <name type="person" key="name-150301">Paora Tuhaere</name>'s patriarchal time forty years ago. Had the State authorities held, say, half of the purchase money in trust for a period and helped the people with advice as to means of employing it for their economic benefit, the ex-owners of Orakei would be a happier and more comfortable community to-day.</p>
        <p>To sum up in a few words, the problem of a new life for the Maori can be solved by providing sufficient land and financing the stocking and development of that land. The Maori is entitled, at the very least, to as helpful a hand as that which the State extends to <hi rend="i">pakeha</hi> settlers from overseas. He is our own first settler; that he can hold his own with the most advanced <hi rend="i">pakeha</hi> farmer, given fair opportunities, has already been demonstrated.
<pb xml:id="n264" n="260"/>
Recent legislation makes provision for financial assistance to dairy farmers and other native settlers, out of a special development fund. The State can do much in this way, but equally needful is a broadly sympathetic spirit in the <hi rend="i">pakeha</hi> community, a general effort to set the Maori on the solid ground of successful farming industry.</p>
        <p>
          <figure xml:id="CowYest_260a">
            <graphic url="CowYest_260a.jpg" mimeType="image/jpeg" xml:id="CowYest_260a-g"/>
            <head>A Chief of Ngati-Hau, at Taumarunui, in the Rohepotae, 1883.</head>
          </figure>
        </p>
      </div>
    </body>
    <pb xml:id="n265" n="261"/>
    <back xml:id="t1-back">
      <div xml:id="t1-back-d1" type="appendix">
        <head><hi rend="c">Appendix</hi>.<lb/><hi rend="c">The Pao-Miere Ritual</hi>.</head>
        <div xml:id="t1-back-d1-d1" type="section">
          <head><hi rend="i">Karakia</hi> to Slay Sorcerers.<lb/>
(Pages <ref target="#n86">82</ref>–<ref target="#n87">83</ref>.)</head>
          <p>The following is a complete translation of the series of <hi rend="i">karakia</hi> used by the priests of the Paomiere religious cult, in the King Country, for the purpose of causing the death of <hi rend="i">tohunga makutu</hi>, the practitioners of witchcraft. These incantations form part of the olden lore of the “black art” as preserved by some of the elders of Ngati-Maniapoto:</p>
        </div>
        <div xml:id="t1-back-d1-d1-d1" type="section">
          <head>(1)</head>
          <p>The spell beginning with the words “<hi rend="i">He po tenei, e rua nga po</hi>”:</p>
          <q>
            <p>“This is the Night, the two-fold Night [invoking the powers of darkness]. One power is the head, one is the body; the upper one his arms (to climb with), the lower one his legs (to walk with). These thoughts are uttered so that we may discover the cause of death and sickness. It is witchcraft, it is the life-destroying invocation of the powers of earth and sky.”</p>
          </q>
        </div>
        <div xml:id="t1-back-d1-d1-d2" type="section">
          <head>(2)</head>
          <p>The <hi rend="i">karakia</hi> beginning: “<hi rend="i">Ko wai ka hua e tangi koe ki ahau</hi>?” (a spell to return the sorcerer's <hi rend="i">makutu</hi> to the source whence it came):</p>
          <q>
            <p>“Who knows that you will lament for me?—That you will eat of my liver, that you will consume my lungs [deprive me of breath]? Let the fish be ripped up in the Night, slashed in the daylight [invoking the forces of darkness and light]. I also have that weapon [the life-destroying spells], the spear wherewith to pierce you, to thrust through your belly, to penetrate your now defenceless body. Vainly the soul of your evil gods shall strive against my power.”</p>
          </q>
          <pb xml:id="n266" n="262"/>
        </div>
        <div xml:id="t1-back-d1-d1-d3" type="section">
          <head>(3)</head>
          <p>The final death-dealing <hi rend="i">karakia</hi>, beginning with the words:</p>
          <q>
            <lg type="verse">
              <l>“<hi rend="i">Pokia i runga, pokia i raro</hi>;</l>
              <l><hi rend="i">He ahi, he huhunu, he puratoke”</hi>:</l>
            </lg>
            <p>“Swarm upon him, O spirits from the sky; swarm upon him, O spirits of the earth! Let the mystic fires consume him; let him be cast to the place of the glow-worms. Let him be as a mussel, a water-sleeping mussel beneath an overhanging rock! That Death may gather him up as shellfish are gathered up. He sways and staggers, he is in the midst of fire and smoke. He is squeezed, tightly gripped, then released, shrunken, powerless. Seize the head of the worker of witchcraft! Thrust his head to the ground; let his legs wave to and fro! May he be dried up within and without, reduced to nothing. Let him go to the deep pit, let him be scattered and destroyed, as a floor clean-swept. Let him be cast to the deepest darkness, to the darkness utter and perpetual!</p>
            <p>“Cry to your father, cry to your mother! Let your lips be drawn back from your teeth, your eyes wildly glare! You are cast to the night, into the pit. Thrust him down, O Rangi [Sky]; immerse him in the depths, O Papa [Earth]! Let him not appear again in the light of this world… . Darkness of death envelops you! The sun of life shines forth on me!”</p>
          </q>
          <p>For explanations of many cryptic terms and allusions in this series of <hi rend="i">karakia</hi> used in the arts of wizardry I am indebted to Haré Hongi, high authority on the Maori language and its peculiar idioms and esoteric expressions.</p>
          <p>(See Maori originals, <ref target="#t1-body-d1-d6">Chapter VI</ref>.)</p>
        </div>
      </div>
      <pb xml:id="n267" n="263"/>
      <div xml:id="t1-back-d2" type="index">
        <head><hi rend="c">Index</hi></head>
        <div xml:id="t1-back-d2-d1" type="section">
          <head>A</head>
          <list type="simple">
            <item>
              <p><name key="name-207211" type="person">Acheson, Judge</name>, <ref target="#n260">256</ref></p>
            </item>
            <item>
              <p>Agriculture, <ref target="#n17">13</ref>, <ref target="#n19">15</ref>, <ref target="#n21">17</ref>–<ref target="#n26">22</ref>, <ref target="#n187">183</ref>–<ref target="#n195">191</ref>, <ref target="#n254">250</ref>, <ref target="#n258">254</ref>–<ref target="#n264">260</ref></p>
            </item>
            <item>
              <p>Akarana Maori Association, <ref target="#n255">251</ref>, <ref target="#n256">252</ref></p>
            </item>
            <item>
              <p>Alaskan Indians and the Polynesians, <ref target="#n38">34</ref></p>
            </item>
            <item>
              <p>Amusements in the <hi rend="i">kainga</hi>, <ref target="#n203">199</ref>–<ref target="#n214">210</ref></p>
            </item>
            <item>
              <p>Ancient tribes in <name type="place" key="name-170607">New Zealand</name>, <ref target="#n41">37</ref></p>
            </item>
            <item>
              <p><hi rend="i">Aotea</hi> canoe, paddling chant, <ref target="#n205">201</ref>–<ref target="#n206">202</ref></p>
            </item>
            <item>
              <p>Aphorisms and proverbs, <ref target="#n114">110</ref>–<ref target="#n117">113</ref></p>
            </item>
            <item>
              <p>Arab traits in Maori race, <ref target="#n31">27</ref>, <ref target="#n34">30</ref>–<ref target="#n41">37</ref></p>
            </item>
            <item>
              <p>Arawa carving experts, <ref target="#n119">115</ref></p>
            </item>
            <item>
              <p>Artcraft, <ref target="#n118">114</ref>–<ref target="#n133">129</ref></p>
            </item>
            <item>
              <p><hi rend="i">Atahu</hi> (love charm), <ref target="#n104">100</ref></p>
            </item>
            <item>
              <p><hi rend="i">Atua</hi>, names of, <ref target="#n57">53</ref>, <ref target="#n64">60</ref>, <ref target="#n65">61</ref>, <ref target="#n72">68</ref></p>
            </item>
            <item>
              <p><name key="name-101640" type="person">Atua Wera, Te</name>, <ref target="#n72">68</ref></p>
            </item>
            <item>
              <p>Awhiorangi, the sacred axe, <ref target="#n79">75</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d2" type="section">
          <head>B</head>
          <list type="simple">
            <item>
              <p>Beveridge Reef, <ref target="#n52">48</ref></p>
            </item>
            <item>
              <p>Bird-spearing and snaring, <ref target="#n172">168</ref>–<ref target="#n175">171</ref></p>
            </item>
            <item>
              <p><name key="name-202886" type="person">Buck, Dr. P.</name> (<name type="person" key="name-202886">Te Rangihiroa</name>) <ref target="#n8">4</ref></p>
            </item>
            <item>
              <p>Bush remedies, <ref target="#n175">171</ref>–<ref target="#n176">172</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d3" type="section">
          <head>C</head>
          <list type="simple">
            <item>
              <p>Cabbage-tree (<hi rend="i">ti-kouka</hi>), sugar from, <ref target="#n177">173</ref>–<ref target="#n180">176</ref></p>
            </item>
            <item>
              <p>Canoe-making, <ref target="#n154">150</ref>–<ref target="#n166">162</ref></p>
            </item>
            <item>
              <p>Canoe, Polynesian sailing, <ref target="#n44">40</ref>–<ref target="#n52">48</ref></p>
            </item>
            <item>
              <p>Canopus (Autahi), <ref target="#n91">87</ref>, <ref target="#n92">88</ref>, <ref target="#n93">89</ref></p>
            </item>
            <item>
              <p>Carved houses, <ref target="#n118">114</ref>–<ref target="#n139">135</ref></p>
            </item>
            <item>
              <p>Casualties, Maori (Great War), <ref target="#n14">10</ref></p>
            </item>
            <item>
              <p>Caucasian origin of Maori, <ref target="#n30">26</ref></p>
            </item>
            <item>
              <p>Census, Maori, <ref target="#n11">7</ref>–<ref target="#n12">8</ref></p>
            </item>
            <item>
              <p>Chinese cohabiting with Maori women, <ref target="#n255">251</ref>–<ref target="#n256">252</ref></p>
            </item>
            <item>
              <p>Church at Ohinemutu, carvings in, <ref target="#n122">118</ref></p>
            </item>
            <item>
              <p>Co-operative dairy factories, <ref target="#n24">20</ref>–<ref target="#n25">21</ref>, <ref target="#n258">254</ref>–<ref target="#n260">256</ref></p>
            </item>
            <item>
              <p>Co-operative farming, <ref target="#n24">20</ref>, <ref target="#n258">254</ref>–<ref target="#n260">256</ref></p>
            </item>
            <item>
              <p>Cosmogony, Maori, <ref target="#n53">49</ref>–<ref target="#n62">58</ref></p>
            </item>
            <item>
              <p><name key="name-102574" type="person">Crozet</name>, French navigator, <ref target="#n32">28</ref>–<ref target="#n34">30</ref></p>
            </item>
            <item>
              <p>Culture of the Maori, <ref target="#n16">12</ref>–<ref target="#n17">13</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d4" type="section">
          <head>D</head>
          <list type="simple">
            <item>
              <p>Doctors to Maori race, <ref target="#n8">4</ref>, <ref target="#n10">6</ref>, <ref target="#n11">7</ref></p>
            </item>
            <item>
              <p>Dairy-farming and factories, <ref target="#n24">20</ref>, <ref target="#n258">254</ref>–<ref target="#n260">256</ref></p>
            </item>
            <item>
              <p>Dirges, <ref target="#n107">103</ref>–<ref target="#n113">109</ref>, <ref target="#n249">245</ref>–<ref target="#n250">246</ref></p>
            </item>
            <item>
              <p>Drift of Maori to the towns, <ref target="#n255">251</ref>–<ref target="#n257">253</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d5" type="section">
          <head>E</head>
          <list type="simple">
            <item>
              <p>Economic survey of Maori people, <ref target="#n253">249</ref>–<ref target="#n264">260</ref></p>
            </item>
            <item>
              <p>Eel-fishing customs, <ref target="#n185">181</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d6" type="section">
          <head>F</head>
          <list type="simple">
            <item>
              <p>Fairy legends, <ref target="#n215">211</ref>–<ref target="#n218">214</ref></p>
            </item>
            <item>
              <p>Farmer, the Maori, <ref target="#n17">13</ref>, <ref target="#n22">18</ref>–<ref target="#n26">22</ref>, <ref target="#n253">249</ref>–<ref target="#n264">260</ref></p>
            </item>
            <item>
              <p>Fisheries, Rotorua lakes, <ref target="#n186">182</ref></p>
            </item>
            <item>
              <p>Fishing customs, <ref target="#n181">177</ref>–<ref target="#n186">182</ref></p>
            </item>
            <item>
              <p>Fishing-nets, great size of, <ref target="#n181">177</ref></p>
            </item>
            <item>
              <p>Feeding <hi rend="i">tohunga</hi> under <hi rend="i">tapu</hi>, <ref target="#n76">72</ref>–<ref target="#n77">73</ref></p>
            </item>
            <item>
              <p>Fiji (Whiti, or Viti), <ref target="#n34">30</ref>, <ref target="#n41">37</ref></p>
            </item>
            <item>
              <p><name key="name-207965" type="person">Fletcher, Rev. H. J.</name>, <ref target="#n88">84</ref></p>
            </item>
            <item>
              <p>Forest foods, <ref target="#n176">172</ref>–<ref target="#n177">173</ref></p>
            </item>
            <item>
              <p>Forts of the Maori, <ref target="#n17">13</ref>, <ref target="#n18">14</ref></p>
            </item>
            <item>
              <p>Forest lore, <ref target="#n171">167</ref>–<ref target="#n180">176</ref></p>
            </item>
            <item>
              <p>Foods of the Maori, <ref target="#n172">168</ref>, <ref target="#n173">169</ref>–<ref target="#n175">171</ref>, <ref target="#n176">172</ref>–<ref target="#n180">176</ref>, <ref target="#n181">177</ref>–<ref target="#n186">182</ref>, <ref target="#n187">183</ref>–<ref target="#n195">191</ref>, <ref target="#n196">192</ref>–<ref target="#n202">198</ref>, <ref target="#n257">253</ref></p>
            </item>
            <item>
              <p>Funeral chants, <ref target="#n107">103</ref>–<ref target="#n113">109</ref>, <ref target="#n249">245</ref>–<ref target="#n250">246</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d7" type="section">
          <head>G</head>
          <list type="simple">
            <item>
              <p>Gallipoli, Maoris' service on, <ref target="#n14">10</ref></p>
            </item>
            <item>
              <p>Genius of the race, <ref target="#n16">12</ref></p>
            </item>
            <item>
              <p>Gods of the Maori, <ref target="#n57">53</ref>, <ref target="#n58">54</ref>, <ref target="#n59">55</ref>, <ref target="#n64">60</ref>, <ref target="#n65">61</ref>, <ref target="#n66">62</ref>, <ref target="#n226">222</ref>–<ref target="#n232">228</ref>, <ref target="#n234">230</ref>–<ref target="#n237">233</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d8" type="section">
          <head>H</head>
          <list type="simple">
            <item>
              <p><name key="name-101094" type="person">Hare Hongi</name>, <ref target="#n88">84</ref>, <ref target="#n116">112</ref>, <ref target="#n160">156</ref>, <ref target="#n161">157</ref>, <ref target="#n266">262</ref></p>
            </item>
            <item>
              <p><name key="name-400379" type="person">Haupapa-o-Tane</name>, of Tuhua Country, <ref target="#n59">55</ref></p>
            </item>
            <item>
              <p><hi rend="i">Hau</hi>, <ref target="#n7">3</ref></p>
            </item>
            <item>
              <p>Hawaiki, traditions of and migrations from, <ref target="#n27">23</ref>–<ref target="#n52">48</ref></p>
            </item>
            <item>
              <p>Hair regarded as sacred, <ref target="#n75">71</ref></p>
            </item>
            <pb xml:id="n268" n="264"/>
            <item>
              <p>Hawea, ancient South Island tribe, <ref target="#n42">38</ref></p>
            </item>
            <item>
              <p>Health of the Maori, <ref target="#n7">3</ref>–<ref target="#n11">7</ref></p>
            </item>
            <item>
              <p>Hinemoa, flute song for, <ref target="#n100">96</ref>–<ref target="#n101">97</ref></p>
            </item>
            <item>
              <p>Horoirangi, stone carving of goddess, <ref target="#n226">222</ref>–<ref target="#n233">229</ref></p>
            </item>
            <item>
              <p>House-opening ritual, <ref target="#n133">129</ref>–<ref target="#n139">135</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d9" type="section">
          <head>I</head>
          <list type="simple">
            <item>
              <p>India, and Maori-Polynesian origins, <ref target="#n30">26</ref>, <ref target="#n31">27</ref>, <ref target="#n39">35</ref></p>
            </item>
            <item>
              <p>Indians and Maori women, <ref target="#n256">252</ref></p>
            </item>
            <item>
              <p>Io, the supreme power, <ref target="#n38">34</ref>, <ref target="#n56">52</ref>, <ref target="#n58">54</ref>, <ref target="#n59">55</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d10" type="section">
          <head>K</head>
          <list type="simple">
            <item>
              <p><hi rend="i">Karakia</hi> (priestly ritual, recitals and prayers), <ref target="#n53">49</ref>, <ref target="#n56">52</ref>, <ref target="#n57">53</ref>, <ref target="#n72">68</ref>, <ref target="#n81">77</ref>, <ref target="#n84">80</ref>–<ref target="#n87">83</ref>, <ref target="#n96">92</ref>, <ref target="#n133">129</ref>–<ref target="#n139">135</ref>, <ref target="#n158">154</ref>–<ref target="#n159">155</ref>, <ref target="#n188">184</ref>, <ref target="#n193">189</ref>–<ref target="#n194">190</ref>, <ref target="#n235">231</ref>–<ref target="#n237">233</ref></p>
            </item>
            <item>
              <p><hi rend="i">Kaka</hi> parrot-snaring, <ref target="#n174">170</ref>–<ref target="#n175">171</ref></p>
            </item>
            <item>
              <p><hi rend="i">Kao</hi> (dried <hi rend="i">kumara</hi>), <ref target="#n193">189</ref>, <ref target="#n195">191</ref></p>
            </item>
            <item>
              <p><hi rend="i">Kauru</hi>, sugar-tree (cabbage-tree), <ref target="#n177">173</ref>–<ref target="#n180">176</ref></p>
            </item>
            <item>
              <p><hi rend="i">Kauwae</hi> (women's tattoo), <ref target="#n148">144</ref>–<ref target="#n152">148</ref></p>
            </item>
            <item>
              <p><hi rend="i">Kawanga-whare</hi> (house-opening ceremonies), <ref target="#n124">120</ref>, <ref target="#n133">129</ref>–<ref target="#n139">135</ref></p>
            </item>
            <item>
              <p>Kawhia, fisheries in, <ref target="#n196">192</ref>–<ref target="#n198">194</ref></p>
            </item>
            <item>
              <p>Kawhia, Maori life at, <ref target="#n196">192</ref>–<ref target="#n202">198</ref></p>
            </item>
            <item>
              <p>Kermadec Islands, <ref target="#n51">47</ref></p>
            </item>
            <item>
              <p>Kiwa, Ocean of, <ref target="#n50">46</ref></p>
            </item>
            <item>
              <p><hi rend="i">Ko</hi>, digging implement, <ref target="#n188">184</ref>–<ref target="#n190">186</ref></p>
            </item>
            <item>
              <p><hi rend="i">Koauau</hi> (nose-flute) and song, <ref target="#n100">96</ref>–<ref target="#n102">98</ref></p>
            </item>
            <item>
              <p><hi rend="i">Kohamo</hi>, sacred greenstone, <ref target="#n79">75</ref>–<ref target="#n80">76</ref></p>
            </item>
            <item>
              <p><name key="name-100152" type="person">Kooti, Te</name>, <ref target="#n66">62</ref></p>
            </item>
            <item>
              <p>Kōpu, planet, <ref target="#n88">84</ref>, <ref target="#n89">85</ref>, <ref target="#n90">86</ref></p>
            </item>
            <item>
              <p>Korotangi, carved stone bird, <ref target="#n79">75</ref></p>
            </item>
            <item>
              <p><hi rend="i">Kuaka</hi> (godwit), <ref target="#n51">47</ref></p>
            </item>
            <item>
              <p><hi rend="i">Kumara</hi>, cultivation of, <ref target="#n187">183</ref>–<ref target="#n195">191</ref></p>
            </item>
            <item>
              <p><hi rend="i">Kumara</hi> planting chant, Mokoia Island, <ref target="#n193">189</ref>–<ref target="#n195">191</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d11" type="section">
          <head>L</head>
          <list type="simple">
            <item>
              <p>Labour in pioneering work, Maori, <ref target="#n253">249</ref></p>
            </item>
            <item>
              <p>Land, confiscation of, <ref target="#n254">250</ref>, <ref target="#n261">257</ref></p>
            </item>
            <item>
              <p>Land, excessive Govt. purchases of, <ref target="#n254">250</ref></p>
            </item>
            <item>
              <p>Land, total area of Maori, <ref target="#n21">17</ref></p>
            </item>
            <item>
              <p>Land, wanted for Maori farmers, <ref target="#n21">17</ref>, <ref target="#n22">18</ref>, <ref target="#n254">250</ref>, <ref target="#n262">258</ref></p>
            </item>
            <item>
              <p>Lightning-omen mountains, <ref target="#n219">215</ref>–<ref target="#n220">216</ref></p>
            </item>
            <item>
              <p>Love songs, <ref target="#n98">94</ref>–<ref target="#n105">101</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d12" type="section">
          <head>M</head>
          <list type="simple">
            <item>
              <p>Maahu-Tonga, the Southern Cross, <ref target="#n50">46</ref>, <ref target="#n90">86</ref></p>
            </item>
            <item>
              <p>Mahuta family, <ref target="#n80">76</ref></p>
            </item>
            <item>
              <p>Magellan Clouds, <ref target="#n93">89</ref></p>
            </item>
            <item>
              <p><hi rend="i">Makutu</hi> (witchcraft), explanation of, <ref target="#n81">77</ref>–<ref target="#n87">83</ref>, <ref target="#n265">261</ref>–<ref target="#n266">262</ref></p>
            </item>
            <item>
              <p><hi rend="i">Manaia</hi>, <ref target="#n132">128</ref>–<ref target="#n133">129</ref></p>
            </item>
            <item>
              <p><hi rend="i">Mata-huna</hi> (face-mask), <ref target="#n152">148</ref>–<ref target="#n153">149</ref></p>
            </item>
            <item>
              <p><hi rend="i">Matakité</hi> (second-sight) <ref target="#n224">220</ref>–<ref target="#n225">221</ref></p>
            </item>
            <item>
              <p><hi rend="i">Matariki</hi> (the Pleiades), <ref target="#n89">85</ref>–<ref target="#n90">86</ref></p>
            </item>
            <item>
              <p><hi rend="i">Matimati</hi> game, <ref target="#n208">204</ref></p>
            </item>
            <item>
              <p><hi rend="i">Mauri</hi> (soul-force), <ref target="#n62">58</ref>, <ref target="#n63">59</ref></p>
            </item>
            <item>
              <p><hi rend="i">Mauri-kohatu</hi> (fertilising emblems), <ref target="#n63">59</ref>, <ref target="#n231">227</ref>, <ref target="#n233">229</ref></p>
            </item>
            <item>
              <p>Military engineering skill, <ref target="#n18">14</ref></p>
            </item>
            <item>
              <p>Miru, goddess of death, <ref target="#n110">106</ref>–<ref target="#n111">107</ref></p>
            </item>
            <item>
              <p><hi rend="i">Moari</hi>, swing-tree or pole, <ref target="#n210">206</ref>–<ref target="#n211">207</ref></p>
            </item>
            <item>
              <p><hi rend="i">Moko</hi> (tattooing), <ref target="#n140">136</ref>–<ref target="#n153">149</ref></p>
            </item>
            <item>
              <p>Mokoia Island, Rotorua, <ref target="#n193">189</ref>–<ref target="#n195">191</ref>, <ref target="#n225">221</ref>, <ref target="#n235">231</ref>–<ref target="#n237">233</ref></p>
            </item>
            <item>
              <p>Moriori, or Mai-oriori, race, <ref target="#n12">8</ref>, <ref target="#n14">10</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d13" type="section">
          <head>N</head>
          <list type="simple">
            <item>
              <p><name key="name-102583" type="person">Nelson, C. E.</name>, <ref target="#n34">30</ref>–<ref target="#n40">36</ref></p>
            </item>
            <item>
              <p><name key="name-207081" type="organisation">Ngai-Tahu</name> tribe, <ref target="#n43">39</ref></p>
            </item>
            <item>
              <p><name key="name-150005" type="organisation">Ngapuhi</name> tribe, <ref target="#n32">28</ref>–<ref target="#n33">29</ref></p>
            </item>
            <item>
              <p><name key="name-207089" type="organisation">Ngati-Porou</name> tribe, <ref target="#n22">18</ref>–<ref target="#n26">22</ref>, <ref target="#n258">254</ref></p>
            </item>
            <item>
              <p><name key="name-100110" type="organisation">Ngati-Ruanui</name> tribe, <ref target="#n187">183</ref>–<ref target="#n193">189</ref>, <ref target="#n260">256</ref></p>
            </item>
            <item>
              <p>Nakahi, Te (religious cult), <ref target="#n72">68</ref></p>
            </item>
            <item>
              <p><name key="name-208832" type="person">Ngata, Sir Apirana</name>, <ref target="#n23">19</ref>, <ref target="#n257">253</ref>, <ref target="#n258">254</ref>, <ref target="#n262">258</ref></p>
            </item>
            <item>
              <p><hi rend="i">Ngeri-waka</hi> (canoe chants), <ref target="#n164">160</ref>–<ref target="#n170">166</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d14" type="section">
          <head>O</head>
          <list type="simple">
            <item>
              <p>Origin of Maori-Polynesian race, <ref target="#n27">23</ref>–<ref target="#n43">39</ref></p>
            </item>
            <item>
              <p>Orion's Belt, <ref target="#n93">89</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d15" type="section">
          <head>P</head>
          <list type="simple">
            <item>
              <p>Paddling chants, <ref target="#n106">102</ref>, <ref target="#n166">162</ref>–<ref target="#n170">166</ref></p>
            </item>
            <item>
              <p>Pae-hinahina Pa, Rotoiti, <ref target="#n238">234</ref>–<ref target="#n244">240</ref></p>
            </item>
            <item>
              <p>Paeko, proverb of, <ref target="#n116">112</ref></p>
            </item>
            <item>
              <p><hi rend="i">Pao-miere</hi>, religious cult, <ref target="#n84">80</ref>–<ref target="#n87">83</ref>, <ref target="#n265">261</ref>–<ref target="#n266">262</ref></p>
            </item>
            <pb xml:id="n269" n="265"/>
            <item>
              <p>Parearau, star, <ref target="#n94">90</ref></p>
            </item>
            <item>
              <p><name key="name-400380" type="person">Patara te Ngungukai</name>, the bonescraper, <ref target="#n78">74</ref></p>
            </item>
            <item>
              <p><name key="name-100066" type="person">Patara te Tuhi</name>, <ref target="#n9">5</ref></p>
            </item>
            <item>
              <p><hi rend="i">Patu-paiarehe</hi> (fairy people), stories of, <ref target="#n215">211</ref>–<ref target="#n218">214</ref></p>
            </item>
            <item>
              <p>Pikopiko-i-whiti, <ref target="#n28">24</ref>, <ref target="#n78">74</ref></p>
            </item>
            <item>
              <p>Pioneer Battalion, Maori, <ref target="#n14">10</ref></p>
            </item>
            <item>
              <p>Pleiades, constellation (Matariki), <ref target="#n89">85</ref>, <ref target="#n90">86</ref></p>
            </item>
            <item>
              <p>Poetry of the Maori, <ref target="#n95">91</ref>–<ref target="#n113">109</ref></p>
            </item>
            <item>
              <p><hi rend="i">Poi</hi> action song, <ref target="#n203">199</ref>–<ref target="#n206">202</ref></p>
            </item>
            <item>
              <p>Pomare (Ngati-Mutunga chief) <ref target="#n14">10</ref></p>
            </item>
            <item>
              <p><name key="name-140961" type="person">Pomare, Sir Maui</name>, <ref target="#n8">4</ref>–<ref target="#n11">7</ref></p>
            </item>
            <item>
              <p>Population, Maori and half-caste, <ref target="#n11">7</ref>, <ref target="#n12">8</ref></p>
            </item>
            <item>
              <p><name key="name-100276" type="person">Potatau Te Wherowhero</name>, <ref target="#n76">72</ref></p>
            </item>
            <item>
              <p>Proverbial sayings, <ref target="#n114">110</ref>–<ref target="#n117">113</ref></p>
            </item>
            <item>
              <p><hi rend="i">Punga-o-Tainui</hi>, mooring stone, <ref target="#n183">179</ref>–<ref target="#n184">180</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d16" type="section">
          <head>R</head>
          <list type="simple">
            <item>
              <p>Racial pollution, <ref target="#n255">251</ref>–<ref target="#n256">252</ref></p>
            </item>
            <item>
              <p>Rafter painting patterns, <ref target="#n172">168</ref>, <ref target="#n173">169</ref></p>
            </item>
            <item>
              <p>Rainbow god, <ref target="#n89">85</ref>, <ref target="#n234">230</ref></p>
            </item>
            <item>
              <p>Rakapa's love songs, <ref target="#n103">99</ref>–<ref target="#n104">100</ref></p>
            </item>
            <item>
              <p>Rapuwai, ancient tribe, <ref target="#n42">38</ref></p>
            </item>
            <item>
              <p>Rarotonga, <ref target="#n52">48</ref></p>
            </item>
            <item>
              <p><name key="name-209045" type="person">Ratana</name>, religious healer, <ref target="#n67">63</ref>, <ref target="#n68">64</ref>, <ref target="#n260">256</ref></p>
            </item>
            <item>
              <p><name key="name-400991" type="person">Rauparaha, Te</name>, <ref target="#n165">161</ref></p>
            </item>
            <item>
              <p>Religion, of the ancient Maori, <ref target="#n53">49</ref>–<ref target="#n66">62</ref></p>
            </item>
            <item>
              <p>Religions of the modern Maori, <ref target="#n67">63</ref>–<ref target="#n72">68</ref></p>
            </item>
            <item>
              <p><hi rend="i">Rerenga-wai</hi> song, <ref target="#n213">209</ref></p>
            </item>
            <item>
              <p><name key="name-100080" type="person">Rewi Maniapoto</name>, <ref target="#n201">197</ref></p>
            </item>
            <item>
              <p>Ringatu faith, <ref target="#n67">63</ref>, <ref target="#n68">64</ref>, <ref target="#n70">66</ref></p>
            </item>
            <item>
              <p>Rivers <hi rend="i">tapu</hi>'d, <ref target="#n74">70</ref>–<ref target="#n75">71</ref></p>
            </item>
            <item>
              <p>Rongomai, the god, <ref target="#n65">61</ref>, <ref target="#n237">233</ref></p>
            </item>
            <item>
              <p>Ruatorea butter factory, <ref target="#n25">21</ref>, <ref target="#n258">254</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d17" type="section">
          <head>S</head>
          <list type="simple">
            <item>
              <p>Sailors, Polynesian, <ref target="#n34">30</ref>, <ref target="#n40">36</ref>, <ref target="#n41">37</ref>, <ref target="#n44">40</ref>–<ref target="#n52">48</ref></p>
            </item>
            <item>
              <p>Sailors, Maori coastwise, <ref target="#n200">196</ref>, <ref target="#n254">250</ref></p>
            </item>
            <item>
              <p>Samoa, <ref target="#n29">25</ref>, <ref target="#n30">26</ref>, <ref target="#n34">30</ref></p>
            </item>
            <item>
              <p>Sari Bair, Maoris in battle of, <ref target="#n14">10</ref></p>
            </item>
            <item>
              <p>Sea-Arabs, <ref target="#n40">36</ref>, <ref target="#n41">37</ref></p>
            </item>
            <item>
              <p>Sea-fish under <hi rend="i">tapu</hi>, <ref target="#n74">70</ref></p>
            </item>
            <item>
              <p>Sheep-farming, <ref target="#n22">18</ref>, <ref target="#n24">20</ref>, <ref target="#n25">21</ref>, <ref target="#n26">22</ref></p>
            </item>
            <item>
              <p>Sentry's chant, <ref target="#n107">103</ref>, <ref target="#n243">239</ref></p>
            </item>
            <item>
              <p>Snares for birds, <ref target="#n174">170</ref>–<ref target="#n175">171</ref></p>
            </item>
            <item>
              <p>Spears, bird-killing, <ref target="#n174">170</ref>–<ref target="#n175">171</ref></p>
            </item>
            <item>
              <p>Songs and chants, <ref target="#n44">40</ref>, <ref target="#n62">58</ref>, <ref target="#n95">91</ref>–<ref target="#n113">109</ref>, <ref target="#n166">162</ref>, <ref target="#n168">164</ref>, <ref target="#n169">165</ref>–<ref target="#n170">166</ref>, <ref target="#n193">189</ref>–<ref target="#n194">190</ref>, <ref target="#n205">201</ref>, <ref target="#n206">202</ref>, <ref target="#n211">207</ref>, <ref target="#n213">209</ref>, <ref target="#n214">210</ref>, <ref target="#n225">221</ref>, <ref target="#n236">232</ref>, <ref target="#n237">233</ref>, <ref target="#n243">239</ref>, <ref target="#n249">245</ref>, <ref target="#n250">246</ref></p>
            </item>
            <item>
              <p>Southern Cross, <ref target="#n50">46</ref>, <ref target="#n90">86</ref>, <ref target="#n91">87</ref>, <ref target="#n92">88</ref></p>
            </item>
            <item>
              <p>Spiral design in Maori art, <ref target="#n128">124</ref>–<ref target="#n130">126</ref></p>
            </item>
            <item>
              <p>Stars and star lore, <ref target="#n88">84</ref>–<ref target="#n94">90</ref></p>
            </item>
            <item>
              <p>Sugar-tree (<hi rend="i">ti-kouka, kauru</hi>, cabbage tree), <ref target="#n177">173</ref>–<ref target="#n180">176</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d18" type="section">
          <head>T</head>
          <list type="simple">
            <item>
              <p>“Taheretikitiki,” war-canoe, <ref target="#n161">157</ref>–<ref target="#n162">158</ref></p>
            </item>
            <item>
              <p>“Takitimu” canoe, <ref target="#n44">40</ref></p>
            </item>
            <item>
              <p>Tahiti, Tawhiti, <ref target="#n27">23</ref></p>
            </item>
            <item>
              <p>Tane, god of man, <ref target="#n48">44</ref></p>
            </item>
            <item>
              <p>Tane-Mahuta, god of the forest, <ref target="#n48">44</ref></p>
            </item>
            <item>
              <p>“Tane-Whirinaki,” carved house, Waioeka, <ref target="#n126">122</ref></p>
            </item>
            <item>
              <p>Tangaroa, god of the ocean and of fish, <ref target="#n48">44</ref></p>
            </item>
            <item>
              <p><hi rend="i">Tangi</hi> chants, <ref target="#n107">103</ref>–<ref target="#n113">109</ref>, <ref target="#n249">245</ref>–<ref target="#n250">246</ref></p>
            </item>
            <item>
              <p><hi rend="i">Tangi</hi> over <name key="name-124336" type="person">King Tawhiao</name>, <ref target="#n245">241</ref>–<ref target="#n252">248</ref></p>
            </item>
            <item>
              <p><hi rend="i">Taniwha</hi> stories, <ref target="#n220">216</ref>–<ref target="#n224">220</ref></p>
            </item>
            <item>
              <p><hi rend="i">Tapu</hi>, explanation of, <ref target="#n73">69</ref>–<ref target="#n80">76</ref></p>
            </item>
            <item>
              <p>Tattooing (<hi rend="i">moko</hi>), <ref target="#n140">136</ref>–<ref target="#n153">149</ref></p>
            </item>
            <item>
              <p><name key="name-400010" type="place">Taupiri</name>, sacred mountain and burial place, <ref target="#n245">241</ref>–<ref target="#n252">248</ref></p>
            </item>
            <item>
              <p>Telepathic powers of Maori, <ref target="#n73">69</ref></p>
            </item>
            <item>
              <p>Three-fingered hand in Maori art, <ref target="#n130">126</ref>–<ref target="#n132">128</ref></p>
            </item>
            <item>
              <p>Tihi-o-Tonga, Rotorua, <ref target="#n226">222</ref>–<ref target="#n233">229</ref></p>
            </item>
            <item>
              <p>Tiki, first human being, <ref target="#n57">53</ref>, <ref target="#n62">58</ref></p>
            </item>
            <item>
              <p><hi rend="i">Tiki</hi>, greenstone, <ref target="#n61">57</ref>, <ref target="#n62">58</ref></p>
            </item>
            <item>
              <p><hi rend="i">Titi-torea</hi> game, <ref target="#n208">204</ref></p>
            </item>
            <item>
              <p>“Toki-a-Tapiri,” war-canoe, <ref target="#n153">149</ref>, <ref target="#n155">151</ref>–<ref target="#n156">152</ref></p>
            </item>
            <item>
              <p>Top-spinning, <ref target="#n208">204</ref>–<ref target="#n209">205</ref></p>
            </item>
            <item>
              <p>Tobacco-growing, <ref target="#n26">22</ref>, <ref target="#n261">257</ref></p>
            </item>
            <item>
              <p><hi rend="i">Tohunga</hi>, the, <ref target="#n54">50</ref>, <ref target="#n55">51</ref>, <ref target="#n62">58</ref>, <ref target="#n64">60</ref>, <ref target="#n66">62</ref>, <ref target="#n71">67</ref>, <ref target="#n72">68</ref>, <ref target="#n73">69</ref>, <ref target="#n74">70</ref>, <ref target="#n75">71</ref>, <ref target="#n76">72</ref>, <ref target="#n77">73</ref>, <ref target="#n78">74</ref>, <ref target="#n81">77</ref>, <ref target="#n84">80</ref>–<ref target="#n87">83</ref>, <ref target="#n103">99</ref>, <ref target="#n124">120</ref>, <ref target="#n126">122</ref>, <ref target="#n134">130</ref>–<ref target="#n139">135</ref>, <ref target="#n158">154</ref>, <ref target="#n188">184</ref>, <ref target="#n192">188</ref>, <ref target="#n193">189</ref></p>
            </item>
            <item>
              <p><hi rend="i">Tu</hi>, god of war, <ref target="#n234">230</ref>, <ref target="#n236">232</ref></p>
            </item>
            <item>
              <p><hi rend="i">Tuahu</hi> (altar, holy place), <ref target="#n64">60</ref>, <ref target="#n227">223</ref></p>
            </item>
            <item>
              <p><name key="name-400381" type="person">Tuhoto Ariki</name>, the <hi rend="i">tohunga</hi>, <ref target="#n75">71</ref></p>
            </item>
            <item>
              <p>Twelve heavens, names of, <ref target="#n60">56</ref></p>
            </item>
            <item>
              <p><name key="name-400382" type="person">Tumakoha</name>, Arawa <hi rend="i">tohunga</hi> and poet, <ref target="#n55">51</ref>, <ref target="#n103">99</ref></p>
            </item>
            <pb xml:id="n270" n="266"/>
            <item>
              <p>Tutanekai, of Mokoia Island, <ref target="#n100">96</ref>–<ref target="#n101">97</ref></p>
            </item>
            <item>
              <p><name key="name-400383" type="person">Tutanekai Haerehuka</name>, <ref target="#n134">130</ref>–<ref target="#n139">135</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d19" type="section">
          <head>U</head>
          <list type="simple">
            <item>
              <p>Uenuku, the deity, <ref target="#n50">46</ref>, <ref target="#n65">61</ref></p>
            </item>
            <item>
              <p><hi rend="i">Umu-ti</hi> (<hi rend="i">kauru</hi>-cooking oven), <ref target="#n178">174</ref>–<ref target="#n180">176</ref></p>
            </item>
            <item>
              <p><name key="name-100099" type="organisation">Urewera</name> tribe, <ref target="#n32">28</ref>, <ref target="#n65">61</ref>, <ref target="#n68">64</ref>, <ref target="#n78">74</ref>, <ref target="#n127">123</ref>, <ref target="#n144">140</ref>, <ref target="#n172">168</ref>, <ref target="#n174">170</ref>, <ref target="#n259">255</ref></p>
            </item>
            <item>
              <p><hi rend="i">Urukehu</hi> (ruddy-haired strain in race), <ref target="#n32">28</ref>, <ref target="#n33">29</ref>, <ref target="#n152">148</ref>–<ref target="#n153">149</ref>, <ref target="#n216">212</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d20" type="section">
          <head>V</head>
          <list type="simple">
            <item>
              <p>Voyages of Polynesian crews to <name type="place" key="name-170607">New Zealand</name>, <ref target="#n44">40</ref>–<ref target="#n52">48</ref></p>
            </item>
          </list>
        </div>
        <div xml:id="t1-back-d2-d21" type="section">
          <head>W</head>
          <list type="simple">
            <item>
              <p>Waeroti, Waerota (traditional islands), <ref target="#n28">24</ref>, <ref target="#n194">190</ref></p>
            </item>
            <item>
              <p>Waikato River, canoes on, <ref target="#n155">151</ref>–<ref target="#n170">166</ref></p>
            </item>
            <item>
              <p>Waitaha, ancient tribe, <ref target="#n42">38</ref></p>
            </item>
            <item>
              <p>War customs and ceremonies, <ref target="#n234">230</ref>–<ref target="#n237">233</ref></p>
            </item>
            <item>
              <p>War, Maoris in the Great, <ref target="#n14">10</ref>, <ref target="#n16">12</ref></p>
            </item>
            <item>
              <p>War, <name key="name-100065" type="person">Hone Heke</name>'s, <ref target="#n15">11</ref>, <ref target="#n18">14</ref></p>
            </item>
            <item>
              <p>War, Waikato, <ref target="#n261">257</ref></p>
            </item>
            <item>
              <p><hi rend="i">Whai</hi>, string game, <ref target="#n209">205</ref>–<ref target="#n210">206</ref></p>
            </item>
            <item>
              <p>Wawau (Vavau Island), <ref target="#n28">24</ref></p>
            </item>
            <item>
              <p>“Whai-a-te-Motu, Te,” carved house, <ref target="#n127">123</ref>–<ref target="#n128">124</ref>, <ref target="#n172">168</ref>–<ref target="#n173">169</ref></p>
            </item>
            <item>
              <p><name key="name-130486" type="organisation">Whanau-a-Apanui</name> tribe's dairy factory, <ref target="#n259">255</ref></p>
            </item>
            <item>
              <p><hi rend="i">Whare-kura</hi> (<hi rend="i">whare-wananga</hi>, or <hi rend="i">whare-maire</hi>), <ref target="#n73">69</ref></p>
            </item>
            <item>
              <p><hi rend="i">Whare-whakairo</hi> (carved house), <ref target="#n120">116</ref>, <ref target="#n122">118</ref>–<ref target="#n139">135</ref></p>
            </item>
            <item>
              <p>Wheat-growing, <ref target="#n19">15</ref>, <ref target="#n260">256</ref></p>
            </item>
            <item>
              <p>Whiowhio (“spirit - whistlings”), <ref target="#n72">68</ref></p>
            </item>
            <item>
              <p><name key="name-100311" type="person">Whiti, Te</name>, <ref target="#n68">64</ref>, <ref target="#n204">200</ref>–<ref target="#n205">201</ref></p>
            </item>
            <item>
              <p><name key="name-134231" type="person">Whitiora te Kumete</name>, <ref target="#n115">111</ref></p>
            </item>
            <item>
              <p>Witchcraft (<hi rend="i">makutu</hi>), <ref target="#n81">77</ref>–<ref target="#n87">83</ref>, <ref target="#n265">261</ref>–<ref target="#n266">262</ref></p>
            </item>
          </list>
        </div>
      </div>
      <pb xml:id="n271"/>
      <pb xml:id="n272"/>
    </back>
  </text>
</TEI>