CHAPTER XV

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.

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.

[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

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,"