146 CLUB TYPES OF NUCLEAR POLYNESIA. 
tion to the east and with the Melanesians to the west. In figure 133, 
which exhibits a considerable picture of dismemberment, it may well 
be that this represents a scene very familiar to the Fijians in preparing 
such meat for the oven and the appendage represents the escape of 
the entrails. But all these instances are obscure. 
In the foregoing designs of the lower animals it has generally been 
quite a sufficient satisfaction of the artist’s plan merely to picture 
an animal or some symbol which in his community is commonly 
accepted as standing for an animal. Yet in figure 73 we have dis- 
covered the attempt to go beyond this simple statement; we recognize 
the effort to tell at least a simple story about the flying-fish and its 
aerial enemy. ‘The same holds true in the case of the designs of men. 
Many rest content with the simple presentation of something recog- 
nizable as the portrait of a gentleman, and we have noted how little 
it requires to produce a man—seven strokes in figure 130, an X with 
appendages in figure 102. 
In the actualities of life man and the verb are never very far dis- 
sociated, homo sum or other, existence involves the need to be, to do, 
or to suffer, in Lindley Murray’s arid summation of a career. Many 
of these pictures present a man and leave the rest to the imagination; 
that is, merely to be. Others are instinct with the need to do; man 
must live his active life as his spirit moves him, and we shall have no 
difficulty in discovering several pictures alert with industry of some 
sort. Yet others portray what man must suffer, wounds in some, 
death in others as penultimate in cannibal life, for there is something 
after death, and, if my interpretation be correct, we find in figure 133 
man’s destiny accomplished. 
It is interesting in these studies of childish art to pick out the element 
of vivacity. In the bird group filling the sky in figure 81 we have 
four expressionless symbols for as many birds, but in the distance we 
see another coming up on joyful wing filled with the swiftness of 
flight. So in some of these trivial figures of men we can sense the 
spirit of motion, the activity of the man doing something. In our 
figures 114 and 125 there is similar activity; we shall not go far wrong 
if we interpret it as a moment of the dance. In figures 106, 109, 110, 
113, 117, and 121 the pose indicated by the feet shows us the man step- 
ping forth about his business, whatever that may be. 
Through much of this very crude design struggles for some manner 
of expression, the episodic; it is not enough to be a man; one must do. 
In the composition of figure 136 we catch one of the needs of a race of 
hardy navigators. One may not whistle for a breeze, for the sifflation 
is tabu to men, since the gods whistle as they speak; but one may 
pray with uplifted hands, Lord, send us a fair wind. In figure 106 we 
see the bearer of burdens stepping off with his load, possibly a bunch 
of taro with their succulent stems, for that is a common sight in island 
