Part 2 (1/2)

Without flocks and herds or domestic fowls, theirs was the constant toil of the cultivator. Their taro and their k.u.mara fields had to be dug, and dug thoroughly with wooden spades. Long-handled and pointed at the end, these implements resembled stilts with a cross-bar about eighteen inches from the ground on which the digger's foot rested. Two men worked them together. The women did not dig the fields, but theirs was the labour almost as severe of carrying on their backs the heavy baskets of gravel to scatter over the soil of the plantations.

Almost the only staple article of Maori vegetable food which grew wild and profusely was the fern or bracken _(pteris aquilina_ var.

_esculenta_), which indeed was found on every hill and moor and in every glade, at any rate in the North Island. But the preparation of the fibrous root was tedious, calling as it did for various processes of drying and pounding.

Fis.h.i.+ng involved not only the catching of fish, but the manufacture of seine nets, sometimes half a mile long, of eel-weirs, lines made of the fibre of the native flax, and of fish-hooks of bone or tough crooked wood barbed with human bone. The human skeleton was also laid under contribution for the material of skewers, needles and flutes.

The infinite patience and delicacy requisite in their bird-snaring and spearing are almost beyond the conception of the civilized townsmen untrained in wood-craft. To begin with, they had to make the slender bird spears, thirty feet long, out of the light wood of the _tawa_ tree. A single tree could provide no more than two spears, and the making of them--with stone tools of course--took many months. Think of the dexterity, coolness and stealth required to manage such a weapon in a jungle so dense and tangled that white sportsmen often find a difficulty in handling their guns there! The silent adroitness needed to approach and spear the wild parrot or wood-pigeon without stirring the branch of a tree would alone require a long apprentices.h.i.+p to wood-craft.

Maori house-building showed a knowledge of architecture decidedly above that of the builders of Kaffir kraals, to say nothing of the lairs of the Australian blacks. The poorest huts were definitely planned and securely built. The shape was oblong, the walls low, the roof high pitched and disproportionately large, though not so much so as in some of the South Sea Islands. The framework was of the durable totara-wood, the lining of reeds, the outside of dried rushes. At the end turned to the suns.h.i.+ne was a kind of verandah, on to which opened the solitary door and window, both low and small. The floor was usually sunk below ground, and Maori builders knew of no such thing as a chimney. Though neither cooking nor eating was done in their dwelling-houses, and offal of all kinds was carefully kept at a decent distance, the atmosphere in their dim, stifling interiors was as a rule unendurable by White noses and lungs. Even their largest tribal or meeting halls had but the one door and window; the Maori mind seemed as incapable of adding thereto, as of constructing more than one room under a single roof. On the other hand, the dyed patterns on the reed wainscoting, and the carvings on the posts, lintel and boards, showed real beauty and a true sense of line and curve.

Still less reason is there to find fault with their canoes, the larger of which were not only strangely picturesque, but, urged by as many as a hundred paddles, flew through the water at a fine speed, or under sail made long coasting voyages in seas that are pacific only in name.

To the carving on these crafts the savage artists added decoration by red ochre, strips of dyed flax, gay feathers and mother-o'-pearl. Both the building of the canoes and their adornment entailed long months of labour. So did the dressing of the fibre of the flax and palm-lily, and the weaving therefrom of ”mats” or mantles, and of kirtles. Yet the making of such ordinary clothing was simple indeed compared to the manufacture of a chief's full dress mat of _kiwi_ feathers. The soft, hairy-looking plumage of the _kiwi_ (apteryx) is so fine, each feather so minute, that one mantle would occupy a first-rate artist for two years. Many of these mantles, whether of flax, feathers or dog-skin, were quaintly beautiful as well as warm and waterproof.

Nor did Maori skill confine itself to ornamenting the clothing of man. The human skin supplied a fresh and peculiar field for durable decoration. This branch of art, that of Moko or tattooing, they carried to a grotesque perfection. Among the many legends concerning their demi-G.o.d Maui, a certain story tells how he showed them the way to tattoo by puncturing the muzzle of a dog, whence dogs went with black muzzles as men see them now. For many generations the patterns cut and p.r.i.c.ked on the human face and body were faithful imitations of what were believed to be Maui's designs. They were composed of straight lines, angles, and cross-cuts. Later the hero Mataora taught a more graceful style which dealt in curves, spirals, volutes and scroll-work. Apart from legend it is a matter of reasonable cert.i.tude that the Maoris brought tattooing with them from Polynesia. Their marking instruments were virtually the same as those of their tropical cousins; both, for instance, before the iron age of the nineteenth century, often used the wing-bones of sea-birds to make their tiny chisels. Both observed the law of _tapu_ under which the male patients, while undergoing the process of puncturing, were sacred, immensely to their own inconvenience, for they had to dwell apart, and might not even touch food with their hands. As to the source of the peculiar patterns used by the New Zealanders, they probably have some relation with the admirable wood-carving before mentioned. Either the Moko artists copied the style of the skilful carvers of panels, door-posts, clubs, and the figure-heads on the prows of canoes, or the wood-carvers borrowed and reproduced the lines and curves of the Moko.

The inspiration of the patterns, whether on wood or skin, may be found in the spirals of sea-sh.e.l.ls, the tracery on the skin of lizards and the bark of trees, and even, it may be, in the curious fluting and natural scroll-work on the tall cliffs of the calcareous clay called _papa_.

But, however the Moko artist learned his designs, he was a painstaking and conscientious craftsman in imprinting them on his subject. No black-and-white draughtsman of our time, no wood-cutter, etcher, or line-engraver, worked with slower deliberation. The outlines were first drawn with charcoal or red ochre. Thus was the accuracy of curve and scroll-work ensured. Then, inch by inch, the lines were cut or p.r.i.c.ked out on the quivering, but unflinching, human copper-plate.

The blood was wiped away and the _narahu_ (blue dye) infused. In the course of weeks, months, or years, as leisure, wealth, or endurance permitted, the work was completed. In no other society did the artist have his patron so completely at his mercy. Not only was a Moko expert of true ability a rarity for whose services there was always an ”effective demand,” but, if not well paid for his labours, the tattooer could make his sitter suffer in more ways than one. He could adroitly increase the acute anguish which had, as a point of honour, to be endured without cry or complaint; or he could coolly bungle the execution of the design, or leave it unfinished, and betake himself to a more generous customer. A well-known tattooing chant deals with the subject entirely from the artist's standpoint, and emphasises the business principles upon which he went to work. It was this song that Alfred Domett (Robert Browning's Waring) must have had in his mind when, in his New Zealand poem, he thus described the Moko on the face of the chief Tangi-Moana:--

”And finer, closer spirals of dark blue Were never seen than in his cheek's tattoo; Fine as if engine turned those cheeks declared No cost to fee the artist had been spared; That many a basket of good maize had made That craftsman careful how he tapped his blade, And many a greenstone trinket had been given To get his chisel-flint so deftly driven.”

When, however, the slow and costly agony was over, the owner of an unusually well-executed face became a superior person. He united in himself the virtues and vices of a chieftain of high degree (shown by the elaborateness of his face pattern), of a tribal dandy, of a brave man able to endure pain, of the owner of a unique picture, and of an acknowledged art critic. In the rigid-looking mask, moreover, which had now taken the place of his natural face were certain lines by which any one of his fellow-tribesmen could identify him living or dead. In this way the heads of Maori chiefs have been recognised even in the gla.s.s cases of museums. On some of the earlier deeds and agreements between White and Maori, a chief would sign or make his mark by means of a rough reproduction of his special Moko.

The Maori _pas_ or stockaded and intrenched villages, usually perched on cliffs and jutting points overhanging river or sea, were defended by a double palisade, the outer fence of stout stakes, the inner of high solid trunks. Between them was a shallow ditch. Platforms as much as forty feet high supplied coigns of vantage for the look-out.

Thence, too, darts and stones could be hurled at the besiegers. With the help of a throwing-stick, or rather whip, wooden spears could be thrown in the sieges more than a hundred yards. Ignorant of the bow-and-arrow and the boomerang, the Maoris knew and used the sling.

With it red-hot stones would be hurled over the palisades, among the rush-thatched huts of an a.s.saulted village, a stratagem all the more difficult to cope with as Maori _pas_ seldom contained wells or springs of water. The courage and cunning developed in the almost incessant tribal feuds were extraordinary. Competent observers thought the Maoris of two generations ago the most warlike and ferocious race on earth. Though not seldom guilty of wild cruelty to enemies, they did not make a business of cold-blooded torture after the devilish fas.h.i.+on of the North American Indians. Chivalrous on occasion, they would sometimes send warning to the foe, naming the day of an intended attack, and abide thereby. They would supply a starving garrison with provisions in order that an impending conflict might be a fair trial of strength. War was to them something more dignified than a mere lawless struggle. It was a solemn game to be played according to rules as rigidly laid down and often as honourably adhered to as in the international cricket and football matches of Englishmen and Australians.

As is so often the case with fighting races capable of cruelty, they were strictly courteous in their intercourse with strangers. Indeed, their code of manners to visitors was so exact and elaborate as to leave an impression of artificiality. No party of wayfarers would approach a _pa_ without giving formal notice. When the strangers were received, they had the best of everything, and the hosts, who saw that they were abundantly supplied, had too much delicacy to watch them eat. Maori breeding went so far as to avoid in converse words or topics likely to be disagreeable to their hearers.

Their feeling for beauty was shown not merely in their art, but in selecting the sites of dwelling-places, and in a fondness for shady shrubs and trees about their huts and for the forest-flowers. The natural images and similes so common in their wild, abrupt, unrhymed chants and songs showed how closely they watched and sympathised with nature. The h.o.a.r-frost, which vanishes with the sunrise, stood with them for ephemeral fame. Rank without power was ”a fountain without water.” The rus.h.i.+ng stream reminded the Maori singer, as it did the Mantuan, of the remorseless current of life and human fate.

”But who can check life's stream?

Or turn its waters back?

'Tis past,”

cried a father mourning for his dead son. In another lament a grieving mother is compared to the drooping fronds of the tree-fern. The maiden keeping tryst bids the light fleecy cloudlets, which in New Zealand so often scud across the sky before the sea-wind, to be messengers to her laggard gallant.

”The sun grows dim and hastes away As a woman from the scene of battle,”

says the lament for a dead chief.[1] The very names given to hills, lakes, and rivers will be witnesses in future days of the poetic instinct of the Maori--perhaps the last destined to remain in his land. Such names are the expressive Wai-orongo-mai (Hear me, ye waters!); Puke-aruhe (ferny hill); Wai-rarapa (glittering water); Maunga-tapu (sacred mount); Ao-rere (flying cloud). Last, but not least, there is the lordly Ao-rangi (Cloud in the heavens), over which we have plastered the plain and practical ”Mount Cook.”

[Footnote 1: The Maori is deeply imbued with the poetry of the woods.

His commonest phraseology shows it. 'The month when the pohutu-kawa flowers'; 'the season when the kowhai is in bloom'; so he punctuates time. And the years that are gone he softly names' dead leaves!'--HAY, _Brighter Britain_.]

Many of the Maori chiefs were, and some even now are, masterly rhetoricians. The bent of the race was always strongly to controversy and discussion. Their ignorance of any description of writing made them cultivate debate. Their complacent indifference to time made deliberative a.s.sembly a prolonged, never-wearying joy. The chiefs met in council like Homer's heroes--the commons sitting round and muttering guttural applause or dissent. The speeches abounded in short sententious utterances, in proverbs, poetic allusions and metaphors borrowed from legends. The Maori orator dealt in quotations as freely as the author of the _Anatomy of Melancholy_, and his hearers caught them with as much relish as that of a House of Commons of Georgian days enjoying an apt pa.s.sage from the cla.s.sics. Draped in kilt and mantle, with spear or carved staff of office in the right hand, the speakers were manly and dignified figures. The fire and force of their rhetoric were not only aided by graceful gesture but were set out in a language worthy of the eloquent. If we cannot say of the Maori tongue as Gibbon said of Greek, that it ”can give a soul to the objects of sense and a body to the abstractions of philosophy,” we can at any rate claim for it that it is a musical and vigorous speech. Full of vowel-sounds, entirely without sibilants, but rich in guttural and chest notes, it may be made at will to sound liquid or virile, soft or ringing.

The seamy side of Maori life, as of all savage life, was patent to the most unimaginative observer. The traveller found it not easy to dwell on the dignity, poetry and bravery of a race which contemned was.h.i.+ng, and lived, for the most part, in noisome hovels. A chief might be an orator and skilled captain, but, squatting on the ground, smeared with oil, daubed with red ochre and grimly tattooed, he probably impressed the white visitor chiefly as an example of dirt and covetousness. The traveller might be hospitably entertained in a _pa_ the gate of which was decorated with the smoke-dried heads of slain enemies by a host whose dress might include a necklace of human teeth,[1] the owner of which he had helped to eat. Though a cannibal feast was a rare orgie, putrid food was a common dainty. Without the cringing manner of the Oriental, the Maori had his full share of deceitfulness. Elaborate treachery is constantly met with in the accounts of their wars. If adultery was rare, chast.i.ty among the single women was rarer still.