THE ARTS OF THE CLUB. a 
the successive phrases one says: ‘‘Saving the grace of thee, the tufuga 
who is the lord, the tufuga who rages in wrath, the tufuga who shows 
loving-kindness; saving the grace of thee, the craft of the tufuga.” 
The club-workers are an hereditary class, yet in the complexity of 
the family of the Pacific islanders fresh blood may be brought in by 
the exercise of the custom of adoption. They are as close as a medieval 
trade-guild; they are as strong as a union in the labor trades. No 
man may make a club save one of their guild; none may use a club 
unless they have made it; even they carry out the principle of the 
closed shop to such an extent that battle has been declined because of 
the improper presence of a bludgeon which had not yet received the 
touch of the club-worker’s art. The beginning of the modern history 
of Samoa is the onfall of Matamatamé when the Samoans drove out 
the oppressors, and the Matamatamé fight begins in the act of a brave 
lad who stole the mooring-pole of the canoe of the king of the Tongans, 
wrought it into a club with mana or cosmic might, and put the foe to 
flight. Hailed for his victory by his vanquished enemy in the lay— 
‘ua malie toa! Well done, fighter! 
‘ua malie tau! Well done, fight! 
this lad Savea became the first of the Malietoa, and the Malietoa 
might has always remained bound up with the tufuga honors of 
Safotulafai. 3 
The clubwright’s crait is essentially conditioned by the material in 
which he works and by the tools with which he works. Each of these 
conditions needs such careful record as is possible to one who has 
seen the workers at their work and has received information at the 
first hand about their various problems. 
The only material used for the clubs of Nuclear Polynesia in the 
present period is wood. In none of the traditions does any word sug- 
gest a reference to the use of stone or shell in this type of implement. 
Yet in distal sites of the later Tongafiti culture there is frequent use of 
stone alone, as among the Maori the stone club mere, and the stone in 
a wooden haft patupatu. In some of the types here under considera- 
tion it is hoped to demonstrate an interesting peculiarity of the asso- 
ciation of wood and stone in evolution. Several dense and straight- 
grained timbers are employed; the principal reliance is set upon the 
very heavy and almost indestructible Casuarina equisetifolia, and in 
the Samoan pautoa and the Fijian utoninokonoko the club names alike 
signify the heart of ironwood. 
-In getting out the rough lumber the clubwright must pay particular 
~ attention to that which will save him as much as possible of the labor 
of blocking out the pattern. Branches serve as material for clubs of 
the billet type in its smaller sizes, for the staff, for the talavalu, and for 
the coconut-stalk type. The branch and crotch with a part of the 
