the mapara wood, as in the tattooing of the human body. This figure is usually about 18 in. in length; a portion of the timber projects below the legs, in order to serve as a hand-hold. The arms are loose, being merely semi-attached to the figure by means of strings which pass through holes in the shoulders of the figure and are secured to the upper parts of the loose arms. The two strings are fastened together behind the figure. The operator held the figure in one hand by grasping the hand-hold base or projection. In the other he held the cord, which, being pulled taut, caused the arms of the figure to be gripped firmly to the shoulders, and were thus made to assume different positions, both in front or both extended backwards, or one extended in front and one behind. At the same time the arms were made to quiver as in a real haka à la Maori, the movement being imparted thereto by the hand of the operator. A specimen may be seen in the Auckland Museum. We give two oriori karetao, songs chaunted while putting the figure through its paces:—

Kohine, kohine
Tutara koikoi tara ra
Wheterotero koi arai ake
To marutuna, to maru wehi.

The following is an oriori karetao composed by Hokina for a karetao known as “Tukemata-o-rangi”:—

E rua aku mate, he kauwhau pakihore
Whakatau rawa atu te aro mai ki ahau
Pau te whakatau, he tangata rakau mai
Me whakahinga te whare a Pohe, a Uhia
Koinei kahu tai moana
Whakaeke i waho ra, he kahuhu waiarangi
Tapoto ki to ringa, me ko tahuna—e
Hei rakau a tungatunga turanga riri
A te koroua i te ao o te tonga
Hoki mai ki muri ra
Kia hoaia atu te maro o Tawhaki
…. i runga o Te Inaki
Tapuitia mai na taumata—e
…. ka pae roto Te Papuni
Ki te iwi ka ngaro
Na to tupuna ra, nana i oro i te whenua
E tama—e! Tenei ou tupuna kai te morehu noa
A mana e ui mai—e ahu ana ki hea?
Horo te ki atu—he mate ka tuatini no to papa
E moe tonu mai rara roto Waihau
Ma wai e whakaara te mea ka oti atu
E tama—e!