ADDITIONS AND ORNAMENT. 147 
life, and figure 107 seems associable therewith. In figure 129 we may 
not hold meaningless the strong right hand and outstretched arm in 
contact with two figures otherwise unique; they associate with figure 
133 in the matter of dismemberment and appendages; they may repre- 
sent the gastronomic phase of some such double victory as is presented 
in figure 144. From the Fijian dictionary we collate the following 
brief vocabulary of this theme: 
bokola body of the slain re- saulaca shinbone of a bokola 
garded as food. rubbed down into a 
botoalai the body baked whole. sail needle. 
cibi dance of men when sosova to assemble to see a 
a body is brought body brought home. 
home. taube vadra neck of a bokola whose 
dele dance of women on head has been 
the same occasion. knocked off. 
derua drumbeat at the feast. vakaroi vua to call for a beam on 
dorota trunk of such a body. which to sling a 
duarua feet of such a body. bokola. 
qalita to run away with an- valekarusa the trunk of a body, 
other’s bokola. eaten first because it 
saku vakanamara a bokola with the skull- will not keep. 
cap knocked off. wate dance of women to 
the shout a-lu-tu- 
ya-é-é! 
Figure 137 depicts for us the man with his spear, a two-tined weapon 
such as is made more apparent in figure 111. In figure 142 we havea 
most interesting episode in any man’s sporting career and certainly 
entitled to such permanence of record as has befallen this club, now so 
far away from the warrior whom it glorified. Armed with the long 
spear, he not only got his man, but a bird beyond; one may doubt the 
tale, but at any rate the warrior wished it believed and was probably 
willing against all comers to support its accuracy with the same spear. 
Yet the Fijian verb cokaveituttuitaka denotes just such a double play. 
The design introduces us to the subject of perspective. It is clear that 
the transfixed man was not floating in the air when he got his wound; 
it is quite as clear that the brave warrior did not lie down to thrust his 
long weapon. It is manifest that the problem which confronted the 
artist was to portray the two-handed forward thrust of the spear. 
Regarding this as the important element, one which would be obscured 
by the trunk, he has had no hesitation in presenting the body as rotated 
through 90 degrees with the shoulder-line as an axis. I believe that we 
find the same principle of perspective operative in the triangular legs 
of two web-footed sea-birds noted earlier in this collection. 
Men with clubs are commonly portrayed. In figures 141 and 143 
we find them with a missile club in each hand. A common armament 
of the Fijian was to carry two missile clubs in one hand, a third stuck 
through his belt, and his heavy two-handed club in the free hand; this 
he laid on the ground while delivering the flight of his missiles, as he 
could do with safety, and then picked it up for the closer fighting. 
