others standing outside and stooping to peer under the eaves,
like children at home about a circus. It was the Makin company,
rehearsing for the day of competition. Karaiti sat in the front row
close to the singers, where we were summoned (I suppose in honour of
Queen Victoria) to join him. A strong breathless heat reigned under the
iron roof, and the air was heavy with the scent of wreaths. The singers,
with fine mats about their loins, cocoa-nut feathers set in rings upon
their fingers, and their heads crowned with yellow leaves, sat on the
floor by companies. A varying number of soloists stood up for different
songs; and these bore the chief part in the music. But the full force of
the companies, even when not singing, contributed continuously to the
effect, and marked the ictus of the measure, mimicking, grimacing,
casting up their heads and eyes, fluttering the feathers on their
fingers, clapping hands, or beating (loud as a kettledrum) on the left
breast; the time was exquisite, the music barbarous, but full of
conscious art. I noted some devices constantly employed. A sudden
change would be introduced (I think of key) with no break of the
measure, but emphasised by a sudden heightening of the voice and a
swinging, general gesticulation. The voices of the soloists would begin
far apart in a rude discord, and gradually draw together to a unison;
which, when they had reached, they were joined and drowned by the full
chorus. The ordinary, hurried, barking, unmelodious movement of the
voices would at times be broken and glorified by a psalm-like strain of
melody, often well constructed, or seeming so by contrast. There was
much variety of measure, and towards the end of each piece, when the fun
became fast and furious, a recourse to this figure--

[Illustration]

It is difficult to conceive what fire and devilry they get into these
hammering finales; all go together, voices, hands, eyes, leaves, and
fluttering finger-rings; the chorus swings to the eye, the song throbs
on the ear; the faces are convulsed with enthusiasm and effort.

Presently the troop stood up in a body, the drums forming a half-circle
for the soloists, who were sometimes five or even more in number. The
songs that followed were highly dramatic; though I had none to give me
any explanation, I would at times make out some shadowy but decisive
outline of a plot; and I was continually reminded of certain quarrelsome
concerted scenes in grand operas at