he head with hatchets, wailing and showing other
demonstrations of grief. Small houses are erected over the vaults. All the
burial-places are either fenced round or surrounded by a low wall of coral
stones, and have a very clean, neat, and regular appearance.

"I observed that nearly the whole of the natives whom I had seen, were
deficient in the joints of the little finger of the left hand, and some of
both; some of the first joint only, others two, and many the whole of both
fingers. On inquiry, I found that a joint is chopped off on any occasion
of the illness or death of a relation or chief, as a propitiatory offering
to the Spirit. There is a curious analogy between this custom and one
related by Mr. Burchell as existing among the Bushmen tribe in Southern
Africa, and performed for similar superstitious reasons to express grief
for the loss of relations.

"Near this place was the Hufanga, or place of refuge, in which a person in
danger of being put to death is in safety as long as he remains there; on
looking in the enclosure, it was only a place gravelled over, in which was
a small house and some trees planted."[1]

[1] United Service Journal, Jan. 1832.

* * * * *

THE SELECTOR; AND LITERARY NOTICES OF _NEW WORKS_.

FRANCIS THE FIRST.

_An Historical Drama. By Frances Ann Kemble_.

This extraordinary production has awakened an interest in the dramatic and
literary world, scarcely equalled in our times. We know of its fortune
upon the stage by report only; but, from our acquaintance with the
requisites of the acting drama, we should conceive its permanence will be
more problematical in the theatre than in the closet; and considering the
conditions upon which dramatic fame is now attainable, we think the clever
authoress will not have reason to regret these inequalities of success.
That Miss Kemble's tragedy possesses points to be made, and passages that
will _tell_ on the stage, cannot be denied; but its interest for
representation requires to be concentrated; it "wants a hero, an uncommon
thing." It is well observed in the _Quarterly Review_, (by the way, the
only notice yet taken of the tragedy, that merits attention,) that "the
piece is crowded with characters of the greatest variety, all of
considerable importance in the piece, engaged in the most striking
situations, and contributing essentially to the main design. Instead of
that simple unity of interest, from w