
The Game of Ruru.
In this game five stones are used. They are round (potakataka) and symmetrical; often they were chipped into the desired form by means of striking them with a piece of quartz, as flakes are struck off a flint core. Old men often amused themselves by making them, as well as other toys, &c., as playthings for children, and even for elders, inasmuch as the elderly people often entered into this and other games. of these stones one was marked and styled the “hai”; it was the principal one used for throwing, and was looked upon as the leader of the game. The other four stones were termed the “kai-mahi,” or common ones.
As many as ten players would sometimes take part in this game. First the operator would take the five stones in his right hand and throw them up; then quickly reversing his hand he would catch on the back of it as many as possible of the descending stones. Some will thus be caught and some will tall on the ground, where they are allowed to lie for the present. The hai is then taken in the right hand and thrown up. While it is in the air the player snatches up one of the fallen stones with the right hand and, holding it, catches the descending hai with the same hand. This is continued until all the fallen stones are picked up. This is termed “takitahi.”
In the takirua the same process is gone through, save that two of the stones are snatched up at once.
In the taktoru, or third stage, it is the same process again, but three stones must be snatched up before catching the hai.
And in the takiwha four stones must be so snatched up. The next stage in the game is termed “poipoi.” In this a mark is made on the ground—a straight line—on either side of which one stone is laid, these two and the hai being the only ones used. The hai is taken in the right hand and thrown up; then with the same hand one of the stones by the mark—the one on the right side—is taken and thrown up; then the descending hai is caught and thrown up again with the right hand; then the other descending stone is caught with the left hand and thrown up again. The remaining stone on the ground is thrown up by the left hand and caught with the right, and so on.
The next act is termed “kŏrŏpu.” A small circle is marked on the ground, around the outside of which are ranged the hai and three of the other stones. The hai is taken in the right hand and thrown up, and before it descends the same hand must move the other three stones into the centre

of the circle, where they must be arranged so as to touch each other; the right hand then darts back to catch the descending hai, which it again throws up, and the right hand snatches up the three stones on the ground and then catches among them the descending hai, thus the right hand now holds all four stones. All motions of the koropu are performed by the right hand.
The final performance is the ruru. Three stones are laid on the ground; the hai is thrown up, then another stone is snatched and thrown up, then the descending hai is caught and thrown up again, then another stone is clutched from the ground and cast up, then the second stone is caught and thrown up again, then the hai, and so on until all the four are in use. But the hai must always be caught in the right hand and the other stones in the left.
When the common stones are lying on the ground together they touch each other, and the operator must be very careful in taking one away to throw up, for if he causes the other stone or stones to move in so doing, then he falls out of the game and another operator takes his place. It is quite a trial for the eye and hand to watch the descending stones so as not to miss catching same, and at the same time to take up one of the stones on the ground without causing any of the others which are in contact with it to move.
“When other villages hear that we are adepts at this game they will send a party over to challenge us to a game, and then interest runs high. Young men would always be eager to excel in games of all kinds, because they would then be admired by the girls.”
The term “rehia,” mentioned above, is now practically obsolete, and must be sought for in song and tradition. It is met with in Mr. White's volumes, and also occurs in the following:—
A Lament composed by Te Hou (Part only).
Ka riro i aku tamarikiKai te rehia, kai te harakoa kari hika
Ko au anake i mahue uei
Hai tiaki pa ki Hiwarau ra
He kebo koia e te ngutu poto
E whakaheke ra e te oi kau
Kei parea ki O-tarana
Kei mapu noa mai e tohe.
The seeker after the lore of the whare tapere will find some notes on the subject in the Rev. R. Taylor's “Te Ika a Maui.”
Kati.—We will now cease, inasmuch as we have exhausted our stock of notes anent the diversions of the whare tapere, as obtained from the denizens of Tuhoeland. It remains for the compilers of the future to pick up the broken threads and

evolve a more complete description of the games and amusements of old.
* * * * *
The gleaming row of fires within the whare tapere have burned low down, the Children of Toi have dispersed, as we pass out again into the morn of the twentieth century, while the sliding-door closes behind us on the whare tapere for ever.
