CoLENSO. — 0)1 a better Knoxdedge of the Maori Race. 61 



Nevertheless, -I may here observe that then* rude poetry, while mostly 

 dithyrambic aud generally destitute of what a European would term rhyme 

 and metre, wonderfully abounded in strong natural sentiment, — in pleasing 

 and suitable utterances, — and in fit, and often beautiful, imagery ; proving 

 again, even here at the Antipodes, that mere rhyme is not poetry. Indeed, 

 some of its imagery would compare with that used by the best poets of the 

 Old World, But while it was natural and simple, it was all rough, forcible, 

 telling, convincing, gushing, impassioned, affecting, — highly suited to the 

 Maori character. Very much of it was ancient, handed down orally from 

 the olden times, and often ingeniously altered and extemporized (improvised) 

 to suit the present occasion ; a knack in which the Maoris greatly ex- 

 celled. 



Some few pieces, however, have tolerably regular strophes, and many 

 possess both solo and refrain, or chorus. Often one meets with a startling 

 abruptness of transition ; very natural in lyric poetry, especially among a 

 rude and warlike people ; by the slightest modification the author's skill 

 fixes the strongest contrasts. Sometimes the maker or singer of the song 

 is both subject and object ; again, comparison would be implied with the 

 omission of the particle of comparison ; while pronouns, apparently pleo- 

 nastic, and not unfrequently omitted, would be used emphatically. Inani- 

 mate objects, as well as abstract subjects, are very commonly and naturally 

 personified in bold and highly figurative language. Many common things 

 also possess mythological names, as in their myths and legends, this alone 

 being a sign of antiquity. 



A'few of the more strikmg peculiarities of the composition of their poetry 

 may also be briefly mentioned, as I think them highly characteristic, if not 

 umique : (1) They sometimes have several consecutive lines* (three or more), 

 each line beginning with the same few words ; and this may occur three, 

 four, or five times throughout the piece. This reminds one of the alpha- 

 betical form of some of the ancient Hebrew poetry. (2) Sometimes they 

 have a single word (often an imperative or a passive verb) forming a line, 

 which is followed by two or three other such words, making so many lines, 

 agreeing in syllables and in emphasis, and almost in measure. (3) Not 

 unfrequently the first two or three sentences, or lines of the piece, are again 

 taken up at the end to form the conclusion. (4) Sometimes each line (dis- 

 tich or hemistich) of the whole song or piece ends with the same word or 

 particle. (5) And sometimes, though not frequently, the short concluding 



* Although I have used the words line and lines, yet I should also state that the 

 Maoris, in writing poetry, never confine themselves to the use of artificially written 

 poetical lines, but continue on as if writing prose ; seldom, indeed, using either stops or 

 capitals. 



