MILITARY' TACTICS. 235 
plished, the signal was given, and uniting in the 
umera ia Ra , song of battle to the god of war, or 
in deafening shouts and imprecations, they rushed 
with bold and menacing impetuosity to u , or join 
in combat. Sometimes their attacks were made 
by night, but then they generally bore a rama , or 
torch. To ambuscades they seldom had recourse, 
though they occasionally adopted what was called 
the aro nee , or attack by stealth, surprising their 
enemies by an unexpected onset. 
The flags of the gods, or the emblems of the 
idols, were carried to the battle, to inspire the 
combatants with confidence, and the martial ban¬ 
ners they employed were formerly hoisted on board 
the different fleets, but more recently carried by 
the bravest of the warriors in the centre of their 
armies. Their flags were red, white, or black. 
Rude and harsh kinds of music animated the war¬ 
riors in their fleets, and since the reign of Oro 
the combatants have marched to the battle, in¬ 
spired by the sounds of the trumpet and the drum. 
Before this time, during the celestial supremacy 
of Tane and Ra, these gods were accustomed in 
action to advance before those bands of warriors 
whom they were disposed to aid, and to spread dis¬ 
may through the ranks of their enemies by waving 
their tails, which the natives supposed resembled 
the tails of comets, or the luminous appearance 
called a falling or shooting star. 
It is a singular fact, that although they left 
their images in their respective temples, no offer¬ 
ings were presented after the haumanava had been 
performed, and no sacrifice was deposited on the 
altars of any of the temples, lest the gods should 
hereby be induced to forsake the army, or remain 
behind. 
