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.

Oiáooć! goóa mów téoo felów,

Ca toogoo Móoonga-láfa, béa mo Talów!
Goóa te hóli ger nófo; cohái ténne áloo?
Cá toógoo Vaváoo, móe mótoo lálo,

Lícoo o'ne, móe Váoo-áca,

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

A'na a Toótaw-i, béa Mofoбe,-
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 Kao.

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 Mofood,

No longer can I stand upon high places, *

And look downwards on the fleet of small canoes-
We must leave the crimson gnatoo of Hafoóloohów
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, † 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."

oolu, and the last to that called méë too baggi. In respect of the oola it must be farther noticed, that it has two species of music, the one called hiva, and the other langi. The hiva approaches in its nature to recitative, is given without dancing, and serves as an introduction or overture to the langi, which is accompanied with dancing, and commences the moment the hiva has ceased. The hiva, however, is repeated several times ad libitum; but when the langi is about to commence, and the hiva to cease, the latter is generally ended with a sort of flourish difficult to describe, but in a louder tone of voice, and very abruptly, as if significant of a sudden rush or assault. The first specimen of the hiva here given admits of being thus ended, the other does not. The langi may also be repeated ad libitum, and may even be changed from one specimen into another. Thus much for the oola. The last specimen belongs to the dance called Méë too buggi, which has no hiva to introduce it, but commences at once with dancing; it may also be repeated ad libitum. What is here given is, however, only part of a specimen of the mee too buggi. The words of all these songs are in the Hamoa language, and are not understood, except the last, which mixture of Hamoa and Tonga. no words, they are forgotten. quoted as a Tonga song in the Quarterly Review, No. XXXIII. p. 34, we can make no sense of; it is perhaps Hamoa, or more probably Nuha lan

guage.

appears to be a Where there are The little piece

Every time the longi is repeated, the time is to be quickened, till at length it becomes exceedingly animated.