FAREWELL
We had now been in Tonga for six weeks, and still the chiefs tarried.
But the arrival of the monthly steamer from New Zealand met the
difficulty. Through the kindly offices of my friend Captain Crawshaw,
who had frequently done good service for the British Government in
similar emergencies, the whole of the rank and fashion of the Friendly
Islands was landed on Nukualofa wharf within the week, and on May 17th
we rode to the palace to meet the House of Lords assembled in council.
I found them sitting in the dining-room on rows of chairs as at a
charity meeting. The king presided, seated on his throne at a table,
and I was provided with a chair on his left. Some of the nobles arrived
heated and late; they explained to me afterwards that they had been
turned back by the sentry at the doors, and told to go home and don
black coats, which accounted for the funereal aspect of the meeting.
The only absentees were bed-ridden; even poor old blind Tungi had been
wheeled to the palace in his bath-chair. Among the new arrivals by the
steamer was Mateialona, the most intelligent and enlightened of all
the chiefs. The son of an elder brother of the king's mother, he would
have had an earlier claim to the throne but for the bar sinister: the
influence that he would have derived from his birth and character has
been somewhat neutralised by his loyalty to the Wesleyan Church, which
made him choose exile to Fiji rather than bow the knee to the Free
Church which Mr. Baker had set up. He is now Governor of Haapai, and
whatever hope there may be of the regeneration of King George's Cabinet
is centred in him. With his portrait before the reader it is scarcely
necessary to say that he is a man of great purpose and strength of
character. The proceedings were conducted with the old-world courtesy
and decorum which is fast dying out in Tonga, except among the men of
high degree. This is not the place to describe the intricacies of our
long, but friendly contest; it is enough to say that after nightfall on
the second day of debate all the main difficulties had been overcome.
As it was so late, the king of his own motion proposed that we should
adjourn for dinner to Dr. Maclennan's house, and sign the treaty before
we separated for the night. We made a singular procession. The night
was very dark, and the king's guards hastily procured lanterns to light
their master, who, I believe, had not left the compound of his palace
to pay such a visit since his marriage. We overtook Tungi's bath-chair
in the darkness; I believe that the king would have avoided the
meeting if he had been alone, for his relations with the blind chief
were anything but cordial; but the stately manners of Tongan chiefs
came to his aid, and their complimentary speeches would have been
thought unsparing for a friendship of many years' standing. "Farewell,
Wiliame," cooed the king at parting; "I will come and drink a bowl of
kava with you." His Majesty must have been thinking of another and a
better world.
[Illustration: J. MATEIALONA
COUSIN OF THE KING AND GOVERNOR OF HAAPAI
To face page 212
]
I trembled when I thought of our kind host, who had been waiting dinner
for more than an hour, and was now to have two royal, hungry, and
uninvited guests sprung upon him. But he bore the invasion with his
usual good-nature, and set his cook to work, while Webber played the
part of David to our Saul with the piano. As soon as the cloth was
drawn we got to work. Guards crowded the verandahs; native secretaries
sat on the floor drafting amendments, which the king produced from
under the table like cards from a conjurer's hat, only to have them
gently but firmly put aside. At one in the morning we were agreed on
the main points, and the king, who had long been yawning, drove off in
his carriage, leaving the negotiation of the minor points to Fatafehi,
his father, whom he had appointed his plenipotentiary. This cleared the
air, and at half-past two, the oil in the last lamp having given out,
the treaty was signed by the light of a guttering candle. Then, and
not till then, was it discovered that the privy seal had been left at
the palace, and we had to wait until a messenger had galloped for it
on horseback. Then Fatafehi and I exchanged presents, and we were free
to go to bed. The thing that had astonished the king most was Webber's
extraordinary power of writing correctly from dictation Tongan, of
which he did not understand a word, the secret being that Tongan is
written phonetically with the Italian vowels, and that, so long as the
speaker indicates the divisions between the words, the task is not so
difficult as it sounds.
Next day we said good-bye to our kind hosts and went on board the
_Porpoise_ to prepare for our departure. Having duly appointed ten
o'clock on the morning of May 19th, 1900, for taking leave of the
king, we landed with a guard of honour of fifty men, and visited
the palace for the last time. Our reception was the same as on the
occasion of our arrival. In the presence of his ministers I gave the
king some wholesome advice, and he asked me to be the bearer of a
letter of thanks to the Queen. On leaving the palace we took our way
to the middle of the public square, where a large crowd was assembled.
The guard of honour fell in behind us and the proclamation of a
Protectorate was read in English and Tongan.
As the guard presented arms, the signalman on board, who was watching
our proceedings through a glass, gave the word, and at the pull of a
string the ship was dressed with flags from stem to stern, and the
first of twenty-one guns was fired. Then we returned on board, leaving
a sergeant of marines to serve copies of the proclamation upon the
king, the premier, the foreign consuls, and the heads of missions.
While we were getting up steam we saw flags hoisted on every flagstaff,
and a number of people came on board to take leave of us. From the
king came a note enclosing his letter to the Queen and thanking me
for all that had been done. Of the numerous native presents the most
interesting was that from my fellow-plenipotentiary, Fatafehi, who sent
a curious stone celt.[12]
As the sun set Tonga was a mere cloud upon the horizon, and the
_Porpoise_ was plunging in a heavy westerly swell. I had seen the
little kingdom in three phases--under the dictatorship of Mr. Baker in
1886, under old King George in 1891, when I was one of his ministers,
and as a British Protectorate. May the Protectorate remain purely
nominal for many years to come! That rests with the Tongans. If they
will abstain from squabbling among themselves, keep free from debt,
and govern themselves decently, there is no reason that their status
should change, though the history of little states is not reassuring.
The scattered group has been under one king as long as tradition runs;
its people have played a notable part in the history of the Pacific as
navigators, conquerors, and colonists; and I for one should be grieved
if the last native state in the Pacific should pass away.
[13] This celt measures 9-1/2 inches long by 3-3/8 inches wide in the
broadest part, made of an olive-green stone with grey longitudinal
veins, and beautifully polished. It was clear that it had come from
another part of the Pacific, for the Tongan celts are wedge-shaped,
angular, and roughly made. Sir William Macgregor, who saw it on my
return to England, at once pronounced it to be from New Guinea, and
identified the stone as belonging to the quarry that he had discovered
in Woodlark Island. All that Fatafehi could say was that it had been
for generations in his family, and if this was true, the celt might be
used as evidence of a Tongan migration from the west, for there were
no whalers or sandalwooders before 1790; but there have been Tongan
teachers working in New Guinea, and he may have been mistaken about its
age.
APPENDIX
TONGAN MUSIC
The music of the Tongans was inseparable from the dance (by which I
mean the rhythmic movements of any part of the body), and it therefore
esteemed rhythm before melody or harmony. There were two principal
forms, the _Me'e-tu'u-baki_ (dance standing up with paddles) and the
_Otuhaka_ (song, with gestures). Since the inculcation of English
hymn-singing a third form, known as the _Lakalaka_, which is music
composed by Tongans on the European model, has been introduced, and
of this the Tongans are inordinately fond. Fortunately the taste of
the older chiefs and the influence of the French missionaries have
been strong enough to preserve the old forms intact, and both the
_Me'e-tu'u-baki_ and the _Otuhaka_ are given on ceremonial occasions,
though their ultimate decay is certain.
The specimens of Polynesian music that have found their way into the
text-books are, from Mariner downward, nearly all inaccurate. Written
down by untrained musicians, they have afterwards been "faked" to bring
them into line with our notation, and (infamy of infamies) harmonised!
The visit of a composer with time on his hands and a patient
determination to record the native music faithfully, at any sacrifice
of time and temper, was an opportunity not to be neglected. Soon after
our arrival, therefore, we paid a visit to Mua, where the old music
is most cultivated, and invited the people to entertain us with the
_Lakalaka_, for we had naval officers with us, and the _Otuhaka_ is
strong meat for the uninitiated. At the close of the performance I sent
for the leader, Finease (which is Phineas), and unfolded my proposal,
which was that, for value to be received, he and a select band of
musicians of the old school should come to Nukualofa and sing without
ceasing until they had yielded up their treasures to the paper. Plainly
they thought it a fatuous proceeding, but they consented lightly, not
knowing what lay before them.
Three mornings later we were at work in the huge wooden shed which
serves Dr. Maclennan as operating-room and hospital. At the further end
lay two patients who had undergone serious operations on the previous
afternoon; what they thought of our proceedings I do not know, but I
could make a shrewd guess from the expression of the old ladies who
were nursing them. Amherst Webber sat at a deal table littered with
music-paper, with Phineas and three middle-aged ladies, all noted
singers, sitting in a row on the floor before him. He wore a harassed
air, for it soon transpired that the ladies, thinking that they knew
better than he did what he wanted, were bent on running through their
_répertoire_ without _encore_. When I explained that they would have
to sing each phrase, not twice, but perhaps forty times over, they
were at first amused and afterwards distinctly bored. Webber found it
impossible to take the music down phrase by phrase, because they were
incapable of picking up the melody where they had left it; the only way
was to make them begin each time at the beginning, and carry the score
a few notes further with every repetition. Moreover, it was discovered
that Phineas seldom sang the same phrase in exactly the same notes,
for the melody is overlaid with innumerable turns and ornaments at
the will of the singer, and these are impossible to represent in our
notation. Two hours at a time being as much as writer or singer could
stand with safety, the work took several days, but, thanks to the good
sense of Phineas and the patience of Webber, a valuable collection was
ultimately made. For the notes I am, of course, indebted to Amherst
Webber.
1. THE "ME'E-TU'U-BAKI."
A good drawing of this dance is to be found in _Cook's Voyages_, and,
as Mariner also has described it, I need say no more than that it is
performed by men, drawn up in one line or two, who perform certain
slow and stately evolutions, accompanying the music by twirling a
light wooden instrument carved in the shape of a paddle. The rhythm
is set by three large wooden drums, and a number of men sitting round
them sing the words, which consist generally of a single phrase,
endlessly reiterated. Unlike the _Otuhaka_, the _Me'e-tu'u-baki_ is not
contrapuntal, and, though a number of voices maintain one note while
the others sing the melody, it may be said to be sung in unison. To
the European ear, despite its marked character, it is indescribably
monotonous, for the words have no meaning, and the phrase is repeated
for twenty minutes at a stretch, without any variation except an
occasional _crescendo_. The native, however, regarding it as a mere
accompaniment, concentrates his attention on the dance, which, though
also monotonous to our eyes, is full of ancient grace and dignity to
his.
[Music: ME'E-TU'U-BAKI.]
2. THE "OTUHAKA."
Though it may be performed standing, the singers of the _Otuhaka_
generally sit in a single line, loaded with garlands and anointed
with scented oil. The feature of the performance is the _haka_, or
gesture-dance, for though the performers may be sitting, it is still a
dance. Head, eyes, arms, fingers, knees, and even toes all have their
part, and the precision of the gestures is extraordinary. The talent
may be said to be born in every Tongan, for you may see little mites
of eight years old shyly take their places at the end of the row and
acquit themselves without a slip. The _Otuhaka_ opens with a long and
threatening solo on the drum, consisting of the same bar insistently
repeated. After thirty bars or so the gesture dance begins in silence
to the same monotonous accompaniment, until at last, when you have
almost given up hope of anything more, the leader bursts into song, the
rhythm of the drum never varying until it quickens up towards the end.
All the performers sing; the leader takes the melody, and the chorus
the second part, for the _Otuhaka_, which are generally of the same
form, are always in two parts, and usually in rough canon. Here, too,
there is an interminable repetition of the same theme until the leader
gives the signal for a change by striking a higher note, and then the
gestures change, the time quickens, and the chorus breaks into the
_tali_, or coda, ending with a long-drawn note and a sudden dropping of
the voice down the scale, like an organ when the bellows give out. The
time is generally common or two-four, but in one of the examples given
below the time is three-eight.
In reading these examples it is to be remembered that the leader loads
his melody with turns and grace notes which are never quite the same,
and which are impossible to write down, and further, that the final
note always ends with the peculiar groan which I have described.
[Illustration: THE OTUHAKA
The two drummers sit in the middle of the semicircle
_From a photograph by J. Martin, Auckland_
To face page 222
]
[Music: OTUHAKA (1)
[Transcriber's note: Words taken from sheet music; song for two voices,
overlapping as in a round]
He nonu a tongi a tongi e a nonu a tongi
He nonu a tongi a tongi e
He nonu a tongi a tongi e a nonu a tongi
He nonu a tongi a tongi e
He nonu a tongi a tongi e a
[English translation by transcriber: The nonu tree to be carved
(repeat) Dancers miming carving? Tongan hakas are done sitting down,
with upper body movements only.] ]
[Music: OTUHAKA (2) Koe Kolo Kakala.
Tau matangi tule i he Vai
Tau matangi tule i he Vai
Tule i he Vai
Tau matangi tule i he Vai
Tau matangi tule i he fua
Tau malu
Tau matangi tule
Tau matangi tule i he Vai
[English translation by transcriber:
We have a soft wind on the water
We have a soft wind going our way
We are safe
We have a soft wind on the water
Perhaps the motions of the dancers mimicked rowing.]
]
[Music: OTUHAKA in three-eight time.]
From these examples it will be seen that the old Tongan scale is
limited to the following notes:--
[Music]
In the absence of any indication of the chord, it would be incorrect to
speak of tonic or dominant, but if we assume the key to be C minor, we
may say that the Tongans have no fifth, nor leading note, and that they
are not enamoured of the fourth. It is not that any of these intervals
are abhorrent, for, as we shall presently see, they have taken very
kindly to our notation in the _Lakalaka_, where a progression of
consecutive fifths seems to afford them peculiar delight. The character
of their music is contrapuntal and not harmonic, though in their church
music they are intensely fond of the full chord. The intonation in
singing is very nasal, and though the men were easily taught to correct
this fault in singing European music, the women are incorrigible. The
explanation offered to me by a native lady was that opening the mouth
wide while singing swelled a disfiguring vein in the throat, but I
suspect the real reason to be that which prompts them to conceal a yawn
behind the hand--namely, that it is indelicate to expose the inside of
the mouth to public gaze.
3. THE "LAKALAKA."
The only interesting feature in the _Lakalaka_ lies in the fact that
it is music composed by natives under the influence of European music.
It shows little talent or invention, and its more ambitious melodies
and crude harmonies, however spirited the performance, pall quite as
quickly as the _Otuhaka_, which has at least a weird and striking
character of its own. The composer of the _Lakalaka_ is at once poet
and dancing-master as well as composer. When the afflatus is upon him
he retires to the bush, and returns with words, music, and appropriate
gestures complete in his head, and an hour's practice suffices to make
all the boys and girls in his village perfect in their parts. Finease
Fuji was one of these, and his reputation ensured a public performance
to all his compositions. Those that become popular may endure for many
years. _Langa fale kakala_ (build a house of flowers), for example,
which is given below, is as popular a favourite now as it was when I
was in Mua in 1886. The themes are boating songs, odes to Nature and
to flowers, or laments, but never love-songs. I remember one very
pathetic lamentation of a poet named Tubou, whose theme was a term of
six months' hard labour awarded him for flirting; it attained immense
popularity on account of its pathos; indeed, I think that the pathetic
_Lakalaka_ are the most enduring. Love-songs are called _sipi_, and
they are never sung in public, being rather in the nature of sonnets
to my lady's eyebrow.
Like the _Otuhaka_, the _Lakalaka_ is in two parts, though the voices
may divide into four parts in the final chord. They are contrapuntal
in form as well as harmonic, and they are accompanied with the same
kind of gesture dance as the _Otuhaka_. The singers may either sit or
stand in one or two rows; if they stand, the men go through a sort of
dance, while the women move their heads and arms without changing their
position. The difference between the two forms lies in the scale, for
the _Lakalaka_ makes use of our scale both major and minor, with the
exception of the leading note, which is generally omitted; the melody
is more sustained, and, no drum being used in accompaniment, the rhythm
is less marked.
The European music which have been the foundation of the _Lakalaka_
are Wesleyan hymns, military band marches, and Mozart's Twelfth Mass,
which is very well done by the students of the Wesleyan College. Most
of the educated natives can read very well in the _tonic sol-fa_
notation, and they have now begun to compose a kind of choral anthem
for themselves, which is very much like the _Lakalaka_ without the
gestures. They show a great aptitude for keeping their parts, even in
complicated counterpoint. That they have a strong natural turn for
music is certain; it is the exception to find a native without a voice
and a correct ear, and if they lack originality themselves, they have
at least a very quick appreciation. I have described elsewhere[A] how
the Grand March from Tännhauser took them by storm when it was first
performed, albeit imperfectly, by the king's band.
[Music: LAKALAKA.
by FINEASE FUJI of MUA]
[12] _The Diversions of a Prime Minister._
INDEX
Abduction, 108
Adultery, the punishment for, 105
Aitutaki, 90
-- teachers, 73
Alofi, 63, 69, 82, 93, 113, 115, 147;
arrival at, 6, 10;
the cottages of, 14;
church of, 18, 35;
a council at, 23 _et seq._;
types of physiognomy at, 88
Amosa, the Samoan teacher, 77
Apia, 4
Architecture, native, 16-18
Asibeli Kubu, 160
Ata, 201, 202
-- family, the, death portent of, 197, 201
Atatá, the islet of, 152
Avatele, 72, 77, 147;
the people of, 89, 90;
the headman of, 122
Aylen, Captain, 190, 191
Baker, Shirley Waldemar, 160 _et seq._, 167, 168, 175,
181, 183, 200, 216
Bea, 194, 195
Beauty, the Tongan ideal of, 203
Bell, Mr., 67
Blue-jackets, the political influence wielded by, 124
"Broom Road," the, 106
Bubonic plague, 114
Burial customs, 50, 51
_Calliope_, H.M.S., 190
_Camden_, the, 75
_Camping and Tramping in Malaya_, H. Rathbone's, 100 (footnote)
Cannibalism, 102
Catacombs, ancient, 51
Cator, Captain, 80
Celt, a curious stone, 216
Chincha Islands, the, 81
Circumcision, the practice of, 92
Cloudy Bay, a native fight in, 131
Cook, Captain, 127, 130;
landing of, in Niué, 69, 70;
a relic of, 150, 205;
native traditions of his visit to Tonga, 206
_Cook's Voyages_, 220
Copra, trade in, 56 _et seq._;
manufacture of, 58, 61;
price of, 61;
use of, 62
Crawshaw, Captain, 211
Crime, an unknown, 113
Crime and its punishment, 103 _et seq._
Crook, Mr., 75
_Cruise of H.M.S. "Fawn," The_, 80 (footnote)
Custom, a unique, 92
Dance, a native, 119, 120
Disease, native fear of, 75, 76;
introduced by whalers, 78
Diseases of the natives, 133 _et seq._
"Dongai," 100
Duel, a mimic, 121
_Duff_, the, 75, 105
Dunedin, the Bishop of, 162
Earth, tradition of the peopling of the, 84
Eaves-dropping, 208
Elephantiasis, cases of, 176
English, Mr., 131
Entertainment, a native, 117 _et seq._
Erskine, Captain, visit of, to Niué, 77
European merchants, 209
Evil spirits, belief in, 99
_Fakafolau_, the practice of, 102
Falcon Island, 183
Fao, 86, 87
Fataaki, King, 2, 3, 35, 36 (footnote)
Fatafehi, 157, 168, 171, 182, 189, 214, 216
-- family, death portent of, 197
_Favourite_, H.M.S., 194, 195
_Fawn_, H.M.S., 80
Feletoa, fortress, 191, 193
Fiji, 94, 100;
the Mathuata province in, 95;
medical officers in, 98;
warriors of, 131;
concubitancy in, 135;
land tenure in, 138
Fijian architecture, 16, 17
Finau, George, 185, 190, 191
-- Ulukalala, 189, 191-3
Flies, swarms of, 140
Flood, Mr., 50; his store, 55
Fono, the, 37, 111, 112
Fornander, 91
French missionaries, the influence of, 218
Fujipala, 182
Futuna, 21, 22
Galiaga, King, 36 (footnote)
George Tubou I., King, 144, 158, 216
George Tubou II., King, 158
German plantations in Samoa, 3, 81
Germans in Tonga, the, 153, 172, 173
Gilbert Islands, 90
Gill, Mr., 90
Godefroy and Sons, 57
Goodenough, Commodore, 35
Graves. _See_ Burial customs
Grey, Sir George, 84
Grice Sumner, Messrs., 81
Haapai, 212; population of, 179 (footnote)
Hakupu, the headman of, 133
_Havannah_, H.M.S., 77
Hawaii, 152, 155;
the Queen of, and Tonga, 174
Hawaiian history, 91
Hayes, "Bully," 57, 79, 81-3
Head, R. H., 38, 57, 63, 64, 66, 81-3, 133, 135;
family of, 67
-- Mrs., 68
Hihifo, flying foxes at, 196;
Captain Cook's visit to, 206
Home, Captain Sir J. Everard, 190
Honolulu, the Bishop of, 162
Hood, Lieut. T. H., his visit to Niué, 65, 80
Hornets, 198
Huanaki, 86, 87
Hunga Cave, the, 190, 191
Infanticide, 102
Influenza, prevalence of, 75
_Isabel_, the, 65
_John Williams_, the, 75
Jurisdiction over foreigners, 173
Justice, native, 103 _et seq._, 107
Kaiser, the first, a portrait of, 174
Kanakubolu, 196
Kau-ulu-fonua, 20-2, 69
Kava, the use of, 95, 97
-- plant, the, cultivation of, 95
Kolovai, 200
-- family, the, death portent of, 197
_Kopega_, the, 104
Kubu, 168, 171, 202
Labour trade, the, 81
Land tenure, 136 _et seq._
Langa'iki, the deity, 93
Lavinia, the princess, 20, 159
Lawes, Frank, 9, 10, 19, 23-28, 30, 31, 53, 54,
67, 93, 97, 103, 109-12, 118, 121, 122, 135,
141, 143, 147
-- Mrs., 28; bounty of, 145, 146
-- Rev. W. G., 71, 79
Lizard, the, sanctity of, 93, 98
Lomaloma, 97
London Missionary Society, the, 9, 13, 60;
the house of, 12, 13;
influence of, 51, 52, 59, 141;
the penal code of, 105
Macgregor, Sir William, 216 (footnote)
Maclennan, Dr. Donald, 155, 156, 175, 177, 213
Maealiuaki, William, 178
Mafuike, 87
Malden Island, 81
Malofafa, 20
Mangaia, 90
Maria Bay, 196
Mariner, William, 190, 191 (footnote), 193, 218, 220
Marshall, H. J., R.N., 190
Martin, John, M.D., 191 (footnote), 193
Matapulega, the rite of, 92
Mateialona, 212
Mau'i, the deity, 84-6, 88
Measles, an epidemic of, 180
_Messenger of Peace_, the, 71
_Mildura_, H.M.S., 11 (footnote), 147
Mua, 196, 219
Murder, the punishment for, 104
Native beliefs, 94 _et seq._;
customs, 50, 51, 92, 95, 133 _et seq._;
mythology, 84;
superstitions, 51, 52;
justice, 103 _et seq._, 107;
entertainment, 117 _et seq._
Neiafu, the port of, 172, 184
New Zealand, annexation of Niué to, 45, 147;
and her dependencies, 149
Niué-Fekai, letter from chiefs of, to Queen Victoria, 1;
the inhabitants of, 3, 11;
native politics in, 9;
the architecture of, 15-18;
the church in, 16;
a tradition of the invasion of, 20 _et seq._;
the language of, 28;
institutions of, 34;
sovereignty in, 37, 38;
annexation of, to New Zealand, 45, 147;
burial customs in, 50, 51;
superstition in, 51, 52;
traders in, 56 _et seq._;
cocoanut plantations in, 57, 58;
a set of stocks in, 65;
influence of Samoan teachers in, 77;
anchorages of, 79 (footnote);
mythology of, 84;
meaning of the name, 88;
origin of the people of, 89 _et seq._;
tattooing in, 92;
a unique custom in, 92;
beliefs in, 94;
infanticide in, 102;
the tribunals of, 103 _et seq._;
the warriors of, 127, 130, 131;
want of dignity in the natives of, 129;
earth-hunger in, 138
Niuafoou, population of, 179 (footnote)
Niuatobutabu, population of, 179 (footnote)
Nukualofa, 145, 155, 158, 159, 163, 164, 194, 198, 201, 211;
plague of hornets at, 199, 200
Ofa, Princess, 159, 164;
joins the Church of England, 162, 163
Pacific Islands, the, federation of, 146
Pacific Islands Co., the, 55, 137
Pakieto, King, 36 (footnote)
Patterson, H. W., 57
Patuavalu, King, 36 (footnote)
Paula, the Samoan teacher, 77
Penal code, a, 112, 113, 178
Penalties for crimes, 108
Peniamina Nukai, 75, 78
Petitions from the natives, 206, 207
Polynesian chiefs, 170, 175
-- music, 218
Polynesians, the, 3, 165;
dignity of, 129
Population returns, 179
_Porpoise_, H.M.S., 4, 33, 117, 123, 146, 184, 215, 216;
a royal visit to, 46, 171
_Port-au-Prince_, the, 192
Pratt, Rev. G., 79
Priesthood, the, 95
Protectorates, 41 _et seq._
Pulangi Tau, the, 103, 104
Punimata, King, 36 (footnote)
Pylstaart Island, 91
Quarantine regulations, 113, 115
Ranfurly, Lord, 11 (footnote), 147
Rarotonga, 74, 105
Rathbone, H., 100
Ravenhill, Captain, 23, 39, 46, 48, 123
Relationships, 136
_Resolution_, the, 206
_Review of Reviews, The_, 210
Ross, Captain, 65
Sakaio, the Samoan teacher, 77
Samoa, 152;
German plantations in, 3, 81;
visit of John Williams to, 74;
mission school in, 74, 75, 77
"Samoa Convention, 1899," the, 4, 173
Samoan teachers, the, 77, 92, 105, 133
Samuela, the Samoan teacher, 77
Sateki, 158, 164, 169, 209, 210
Savage Island. _See_ Niué
Seddon, R. J., 146
Spearman, Lieutenant, 70
Spells, the working of, 98
Stanmore, Lord, 66
Stone of power, the, 35
Suicide, 109
Superstition, prevalence of, 51, 197, 201
Tahiti, 105
Takalaua, King, 20
Talanga, 87
_Talatala hina_, the, flowers of, 197
Tamajia, 20
Tangaloa, the deity, 84
Taufa'ahau. _See_ George Tubou II.
_Tauranga_, H.M.S., 124
Tauvu, 94
Taxes, 29
Tepá, 89
Theft, 109
Toeumu, 191
Tonga, 91, 153, 155, 172;
the protectorate over, 4, 172, 174, 215, 216;
taxes paid by labourers in, 29;
the Free Church of, 161;
the army of, 167;
the Queen of, 175;
the European colony of, 180
Tongan castaways, a colony of, 91
-- families, death portents of, 197
-- music, Appendix
Tongans, the, 173, 189;
cave of, 14, 18, 19;
burial customs of, 51, 52;
energy of, in copra-making, 59;
practice of tattooing amongst, 91;
regard of, for the English, 124 _et seq._;
their ignorance of surgery, 176;
their ideal of female beauty, 203
Tongatabu, 152;
population of, 179 (footnote)
Tongia, King, 34, 35 (footnote), 36-9, 113, 116, 128, 137, 148;
his daughter, 83;
letter from, to Queen Victoria, 151
Totemism, 93
Traders, 56 _et seq._
Treaty, the signing of a, 30, 172 _et seq._; 214
Tuapa, 9, 10, 35 (footnote), 36, 54, 55, 63, 134;
cave near, 65;
the road to, 49;
the King's palace in, 54
Tui Belehake. _See_ Fatafehi
Tui Kanakubolu, death portent of the, 197
-- Tonga, the, 88
Tuitonga, King, 2, 35, 36 (footnote)
Tukuaho, 154, 157, 158, 163
Tungi, 154, 163, 195, 212, 213
Turner, Dr., 75-7, 96, 106
_Tutunekai_, the, 146
Ugliness, the cult of, 129
Unga, 188
Utulei Point, 184
Vavau, 172, 182 _et seq._;
the native church of, 16, 18;
the German coaling-station at, 186, 187
Victoria, Queen, letter to, from native chiefs, 1;
from King Tongia, 151;
a portrait of, 23, 28;
autograph letters for, 150;
presents from the King of Tonga, 167
Webber, Mr. Amherst, 25, 203, 213, 214, 219, 220
Wesleyan missionaries, 59
Whalers, 78
Williams, John, 71-6, 127
Witchcraft, belief in, 96, 97
Women doctors, 135
Woodlark Island, 216 (footnote)[13]
PLYMOUTH
WILLIAM BRENDON AND SON, PRINTERS
[Illustration: NIUÉ OR SAVAGE ISLAND]
TRANSCRIBER'S NOTE:
Inconsistencies in the author's use of hyphens have been left
unchanged, as in the original text. Obvious printer errors have been
corrected without comment. Otherwise, the author's original spelling,
punctuation, hyphenation and use of accents have been left intact with
the following exceptions:
Page 140: The word "to" was changed to "the" in the following phrase:
"... who came off the ships were black with them,"
Page 141: The word "of" was added to "--- the peopling of these remote
spots,"