THE missionaries, soon after their arrival in New Zealand, became aware of the existence among the people of a traditional literature, which assumed the form of laments, songs, stories, fables, and proverbs. Portions of this literature are modern, but much of it has been recited and sung for many generations.

As many of the laments, songs, and stories referred to love, war, and superstition, several influential missionaries tried to bury them in oblivion, by describing them as heathenish compositions incompatible with Christianity. Fortunately this was impossible, for although a majority of the songs are sensual and trifling, yet in a philosophical point of view the whole literature is a valuable addition to the history of the race.

Charlemagne collected the songs recited by the Germans, some of which are as old as Tacitus. Sir George Grey, Dr. Shortland, the Rev. Mr. Taylor, Mr. C. O. Davis, and others, have done the same for the New Zealanders.

On the whole, the natives are more a singing than a poetical people, and none of their songs are epic or dramatic. Much of their poetry is lyrical, and consists

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of laboured metaphors and rapturous allusions to striking objects in nature. In it there is no reflection, no nice development of character, and little sustained tenderness or moral emotion. The terminations of the verses do not form rhymes. Each sentence is metrically arranged, and for the sake of preserving the measure words are divided. There are songs applicable to every subject, and many of them are accompanied with action, which is often a pantomimic display suited to the words. Thus in songs about the upsetting of canoes, the bodily accompaniment represents the violent action of the waves, and the means taken to keep the canoe afloat and to bail her out. In war songs the eyes glisten, the clothes are torn off, weapons are grasped, and blows struck at imaginary foes. In songs celebrating cannibal orgies the teeth are fixed in the arm. In jeering songs the tongue is protruded; laments are accompanied with tears, and love songs with sensual attitudes. Even the words of songs are made applicable to the subject, and in them we hear the swaying of trees, the whine of wrongs, the pattering of rain, and the gush of waters. The air of the tune is likewise suited to the song, being harsh in warlike songs, and doleful and plaintive in laments and love songs.

The art of narration is ill understood, and although many songs are full of imperfect hints, none contain a regular account of anything.

Passing events are described by extemporaneous songs, which are preserved, when good, after the incidents they commemorate have lost their interest. Ancient songs are often much mutilated, and the meaning of many allusions and words contained in them is forgotten. Even modern songs are translated with difficulty, from

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LAMENTS.

[PART 1.

the metaphorical language of the people. For example, the daily mode of salutation, "the good-day," or the "how do you do" of the New Zealanders is tena ra ko koe, literally, "let the sun shine on thee," or "the day is thine."

The poetry of the people may be divided into laments, love songs, war or jeering songs, and time chants.

Laments contain the highest order of the people's poetry, and the singing of such compositions resembles cathedral chanting. One or two good voices commence, but all join in the chant. Laments aim at expressing overflowing emotion, and awakening similar feelings in listeners. Iwikau's lament for his brother Te Heuheu, who was buried alive; Rangihaeta's lament for Rauparaha his chief's capture; Ruhe's lament for his son, who was hung at Auckland; and the lament for the death of Te Heu Heu, given in other parts of this work, are good specimens of a style of composition which aims at expressing the noblest species of grief. The following lament gives utterance to sorrow of a less elevated but more natural kind:

LAMENT

COMPOSED BY A YOUNG WOMAN CAPTURED AT THE ISLAND OF TUHUA, AND CARRIED AWAY TO A HIGH HILL NEAR ROTORUA, FROM WHICH SHE COULD SEE HER NATIVE PLACE.*

"My regret is not to be expressed. Tears, like a spring, gush from my eyes. I wonder what ever is Te Kaiuku + doing: he who deserted me. Now I climb upon the ridge of Mount Parahaki, whence is clear the view of the island of Tuhua. I see with regret the lofty Taumo, where dwells Tangiteruru. If I were there the shark's

* Shortland. † Her lover.

The name of a chief at Tuhua.

CHAP. IX.

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165

tooth would hang from my ear. How fine, how beautiful should I look! But see, whose ship is that tacking? Is it yours, O Hu, you husband of Pohiwa*, sailing away on the tide to Europe?

"O Toru †, pray give me some of your fine things: for beautiful are the clothes of the sea god.

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Enough of this, I must return to my rags, and to my nothing at all."

[LAMENT]

OF A BETROTHED WOMAN FOR ANOTHER MAN.

"The tears gush from my eyes,

My eyelashes are wet with tears.
But stay my tears within,

Lest you should be called mine.
Alas! I am betrothed.

It is for Te Maunu

That my love devours me.

But I may weep indeed,

Beloved one, for thee.

Like Tinirau's lament
For his favourite pet Tutunui,
Which was slain by Ngae.
Alas!" +

It will be observed from this, and the other laments referred to, which are purposely drawn from various sources, and not from my own collection, how frequently the same idea is produced, and how often men and women are compared to stars, the sun, moon, clouds, mountains, famous landing-places, birds, winds, rocks, fish, seas, tides, ancestors, Hawaiki, trees, gods, canoes, and all the more obvious objects in nature. The metre of laments is simple and short, and without any rule for rhythmical cadence but the poet's ear. The following is the captured woman's song at Tuhua in the native language:

*Pohiwa's husband was in Europe, and she, having plenty of fine clothes, was the admiration of her countrymen.

† Another name for Pohiwa.

The Rev. Mr. Taylor.

Love songs were generally sensual in spirit, although several simply beautiful ideas are contained in them; but the singing of all was accompanied with indelicate attitudes. One specimen, with a description of the accompaniment, is given.*

During the war dance, and on warlike occasions, songs were sung breathing a spirit of defiance and insult. War songs were always sung standing, but jeering songs occasionally in a sitting attitude, and invariably accompanied with the outstretched tongue. As

* See Chapter X. Part I.