Oóla, singing accompanied by the dance so called. To this most of the annexed specimens belong-generally in the Hamoa language.

Fucca Nuha, or the Nuha fashion of singing. This is never accompanied with dancing, and is always sung in the Tonga language. Most of their songs are descriptive of scenery, but some of these are descriptive of past events, or of places which are out of their reach, such as Bolotoo and Papalangi. The accounts they give of the latter place are ludicrous enough. The poet describes, among other things, the animals belonging to the country, stating that in the fields there are large pigs with horns, that eat grass; and, at the mood, there are houses that are pulled along by enormous birds. The women are described to be so covered with dress, that a native of Tonga, coming into a house, takes a lady for a bundle of Papalangi gnatoo (linen, &c.), and accordingly places it across his shoulder to carry it away, when, to his great amazement, the bundle jumps down and runs off. One of these songs describes the principal events that happened during Captain Cook's visit, and which, excepting a little exaggeration, is tolerably correct. Another describes the visit of Admiral d'Entrecasteaux. Another the revolution of Tonga, and the famous battle that was there fought, &c. The song in the first volume, p. 244, belongs to this class of musical composition.

Oóbe. This kind of singing is always accompanied with the fango-fango, (or nose-flute). The subjects of the song are much the same as those last described, but the style of music is different, being more monotonous and grave.

Tow álo, is never accompanied with instrumen

tal music. They are mostly short songs, sung in canoes when paddling, the strokes of the paddle being coincident with the cadence of the tune. They are very frequently sung on leaving Vavaoo, whilst paddling out of the inlet. It may not be unacceptable to give the following as an example. It is a very usual one, and expresses regret at leaving Vavaoo and its beautiful prospects, famous for the manufacture of superior toogi hea (gnatoo stained with the hea), to go to the Islands of Toofooa and Kao, noted for making coarse mats.

Oiáooé! goba mów téoo felów,

Ca toogoo Mooonga-láfa, béa mo Talów!
Goóa te hóli ger nófo; cohái ténne áloo?
Cá toogoo Vaváoo, móe mótoo lálo,
Licoo o'ne, móe Váoo-áca,

Moë Halla-vy' gi Máccapápa,
Máttalóco, mo fánga myíle,

A'na a Toótaw-i, béa Mofoóe,-
Iky' téoo too gi he hífoánga,
Jío hífo gi he felów tafánga.

Toogoo he toogi-héa a Háfooloohów

Ger vála he gnáfi-gnáfi a Tofoóa mo Káo.

Alas! we are entering upon our voyage
By leaving Mooonga-láfa and Talów!
Anxious am I to stay; who can wish to go?
Departing from Vavaoo and her neighbouring isles,
And Licoo-óne, and Váoo-áca,

The road of springs near Maccapápa,

Mattaloco and the myrtle plain,

The cave of Tootaw-i, the beach of Mofool,-
No longer can I stand upon high places,

And look downwards on the fleet of small canoes
We must leave the crimson gnatoo of Hafobloohów
To wear the coarse mats of Toofoba and Káö!

*This alludes to the Hapai islands being for the most part flat; and although Tofoba and Kao are both high islands, yet they have not such steep descents as are common at Vavaoo,

The above is a translation as literal as the sense will allow of this song. It must not, however, be taken as a specimen of the best. It is given because it is the only one of this kind that Mr Mariner is acquainted with.

Such are the names of their different kinds of songs, some of which are to be considered pieces of recitative, particularly those according to the Nuha mode. Others again have a considerable variety of tone, and approach to the character of European music: such, for example, are some of those to which we shall directly give expression according to the European system of notation.* Those who are skilled in the composition of songs and music often retire for several days to the most romantic and retired spots of Vavaoo, to indulge their poetic genius, and then return to the mooa with several new compositions, which they introduce at the first opportunity. The man who it is related in the Appendix cut off his own leg, t was very expert in the composition of humorous pieces; but a man of the name Tengé was famous for the higher order of composition; he was one of the lowest mooas belonging to Hala A'pi A'pi, but much esteemed for his abilities. He was principal instructor of one of the classes (or bands) of singers.

With regard to the following seven specimens of musical composition, it must be noticed, that the first six belong to the kind of dance called

They have no distinction of term between recitative and actual singing; they call it all hiva (to sing). This word happens to mean also the number nine.

+ See Appendix, No. II.-" Surgical skill of the Tonga Islanders.

oola, and the last to that called méë too buggi.