A BOOK OF THE BEGINNINGS
NOTES TO SECTION 22
[1] [Lubbock, The Origin of Civilisation and the Primitive Condition of Man. p. 524. The following 12 entries have all been derived from this source, Massey merely copies the table in Lubbock.]
[2] [Travels in Southern Africa.]
[3] [A Grammar and Vocabulary of the Namaqua Hottentot Language.]
[4] [Wilson, A Grammar of the Mpongwe Language with Vocabularies by the Missionaries of the ABCFM, Gaboon Mission, Western Africa.]
[5] [Polyglotta Africana.]
[6] ['For America, the Makah dialect, given by Mr. Swan in the Smithsonian Contributions for 1869.' From Lubbock, op. cit., p. 524 ]
[7] [TES, 56.]
[8] [Archives of Aboriginal Knowledge.]
[9] [Diccionario da lingua Tupy.]
[10] [Narrative of the Voyage of the Rattlesnake.]
[11] [Letters and Extracts from the Addresses and Occasional Writings of J.B. Jukes.]
[12] [An Account of the Natives of the Tonga Islands.]
[13] [Travels in New Zealand.]
[14] [Dalton, Ethnology of Bengal.]
[15] [Williams, Fiji and the Fijians, vol. 1, p. 229. 'The seer also is known in Fiji. He sits listening to the applicant's wishes, and then, closing his eyes on earthly things, describes to the inquirer the scenes of the future which pass before his vision. These generally consist of burning houses, fleeing warriors, bloody plains, or death-stricken sick ones, as the case may require. A similar personage is the taro, "ask,'' who sits with his knee up and his foot resting on the heel, with a stick placed in a line with the middle of it. Without being told the object of the visit, he states whether his presentiment is good or evil, and then is informed of the matter inquired after, and proceeds to apply his impressions about it in detail. There is also the dautadra, or professional dreamer, who receives a present on communicating his revelations to the parties concerned, whether they tell of good or evil, and who seldom happens to dream about any one who cannot pay well. Some believe that a good present often averts the evil of a bad dream.']
[16] [Gill, Myths and Songs from the South Pacific, ch. 14. See p. 317.]
[17] [Fornander, An Account of the Polynesian Race, vol. 1, p. 17. 'Among the Hawaiian names for the south occur those ancient ones of Lisso and Lepo. The former signifies "blue, black, or dark," and hence "the deep water in the ocean; the latter is synonymous with 'Moana,' the deep, open ocean." But there is no land to the north of the present Hawaiian islands, within reach or ken, that could have suggested those other names as epithets or synonyms for the north only: the "Moana-lipo," the dark fathomless ocean, approaches them, not on the south only, but on every side. Nor were these names acquired or adopted while the Hawaiians yet lived in some of the southern groups of the Pacific, for the situation and surroundings of none of these would justify such designations for either north or south. Those names, therefore, refer to a period when the Polynesians occupied the Asiatic Archipelago, and probably lands further west, with the Indian Ocean as their "Moana-lipo," their "dark, unbounded sea," their southern quarter of the heavens, Kuana-Upo, their south; and with lands of various names all along their northern horizon.']
[18] [Horapollo, Hieroglyphica, bk. 1. 68. 'To express sunrise they depict the TWO EYES OF A CROCODILE, because of the whole body of the animal its eyes glare conspicuously from the deep.']
[19] [Tylor, Researches into the Early History, p. 150. See p. 179.]
[20] [Source.]
[21] [Smith, Papyrus d'Harris. Cited in Birch, Dictionary of Hieroglyphics, p. 416.]
[22] [Rit. ch. 42. 'The spine of the Osiris is in shape of that of Pasht.' Birch's tr. Cf. Renouf.]
[23] [Rit. ch. 30. 'My heart was my mother—my heart
was my mother—my heart was my being on
earth, placed within me, returned to me by the Chief Gods, placing me before the
Gods, nor did it make [show] weakness to me before the Great God, Lord of the
West, Hail, this heart of the Osiris, Lord of the West! hail, the lungs! Hail,
ye Chief Gods dwelling in the locks placed on their sceptre! Say ye, Excellent
is the Osiris, give him to Nahab. When I have been assembled in the region of
the Great Quarter, the greatest of the heaven. I flourish on earth, I never die
in the West, I flourish as a Spirit there for ever.
Said over a scarabaeus of hard stone. Cause it to be washed with gold, and
placed within the heart of a person. Make a phylactery anointed with oil, say
over it with magic: My heart is my mother, my heart in my transformations.'
Birch's tr. Cf. Renouf.]
[24] [Myths and Songs from the South Pacific, ch. 2. See p. 28.]
[25] [Rit. ch. 129. 'Said over the figure painted in the picture on a slip of clean papyrus, by the point of a felspar polisher, on a yellow ground [scented water], and placed on a person's knees: "He is not detained, he goes to the boat of the Sun at sunset daily. Thoth clothes him when he comes out in fine linen." Paint him in good style in the boat of the Sun, also by the point of a felspar polisher; tell him to wrap up the slip having sealed the book in it[?] "The Osiris having set up the tat and prepared the buckle, proceeds wherever he likes. The mouth is welcome, says Thoth to the Sun, the ... has been welcome to its master Ra." Replies Thoth: "Clothed is his soul when it comes forth, going to the boat of the Sun. The body is to remain in its place."' Birch's tr. Cf. Renouf.]
[26] [Gill, Myths and Songs from the South Pacific, ch. 14. See p. 326.]
[27] [Tylor, Researches into the Early History, p. 229. See p. 234.]
[28] [Myths and Songs from the South Pacific, ch. 12. See p. 272.]
[29] [Ibid. See p. 282.]
[30] [Bleek, Reynard the Fox in South Africa, p. 90.]
[31] [Tylor, Researches into the Early History, p. 192. See p. 202.]
[32] [Bonwick, Daily Life and Origin of the Tasmanians, p. 193. 'On the Murray the precious stone is known as Eatto or Maako. The Encounter Bay tribe place their Mokani, or charm-stone, between two bound sticks; with the sharp edge they operate to the injury of males, and the blunt part of females. The Tasmanians called the secret stone, according to the Rev. T. Dove, by the name of Leeka, but the southern dialect had it Heka.']
[33] [Taylor, Te Ika a Maui,
(2nd ed.), pp. 31-2. 'In New Zealand Sir G. Grey, the governor, made the
discovery of a curious relic of antiquity on the small island of Mokoia, in the
middle of Rotoraa Lake. This was formerly an extremely sacred spot, where their
most venerated objects were preserved. Daring his visit there in 1866 he found
two old priests still keeping guard over them. Knowing the interest the Governor
took in everything relating to the past history of their race, and probably to
ingratiate themselves with him, they took him to the island, and to his surprise
showed him the site of an ancient temple, clearly marked by flax plants, an
oblong square in shape, with a curious recess in the end, the furthest removed
from the entrance. Into this adytum the old priests went, and there removing a
few inches of the soil disclosed a well executed idol of stone, as large as
life; it was represented in a sitting posture, with the elbows resting on the
knees, the legs crossed, and the face looking upwards. This idol the Governor
stated was a fac-simile of one presented to him on a former occasion by the
natives of the same part, only of much smaller size, yet apparently of a similar
kind of stone, a species of porphyry, both probably brought by their ancestors
when they first came to the island. Their traditions state, that when they left
Hawaiki they took their gods with them, of those the most celebrated were five
brought by Kiuwai and Hangaroa, two of which called Ihwngaru and Itypaoa were in
existence unto a very late date. The Ihungaru was a lock of human hair, twisted
with a rope of auie, made from the paper mulberry bark, and kept in a
house built of wood brought from Hawaiki and thatched with the mange-mange. This
fell into the hands of Hongi and the Ngapuhi tribe when they stormed the Mokoia
Pa in 1823, where it was preserved; thence it was carried to an eminence on the
main land overlooking the lake, where the victors chopped it to pieces with
their tomahawks, that it might no longer be a palladium to their enemies. Of the
Itupaoa no description was preserved; it was kept with the former at Mokoia, but
was secreted by the priests, as was supposed some where on the Horapore range.
It is therefore highly probable that the statue which was disinterred by the
priests for the Governor to see, was this identical one of the Itnpaoa, which,
doubtless, from its size and weight, could not be easily carried to any
distance, especially when the surrounding country was already in the enemy^s
hands, therefore its custodians would naturally bury it on the spot, and there
it remained for forty-three years, until the Governor's visit, which was the
signal for its hahunga or disinterment.
The poor old priests not content with showing the Governor the statue, likewise
took him to the spot where Tuorangi, the great Rotorua giant was interred;
there also removing a little soil, they disclosed a stone coffer or cist, eight
and a half feet long, formed by flagstones, with a cover of the same, which had
sloping sides like the roof of a house, with the ridge on the top curiously
sculptured. Until a few years ago, there were sculptured stones remaining which
marked the boundaries of the Mara or Kumara ground of Turi at Patea, and these
being regarded as idols by a Wesleyan catechist stationed there, were therefore
broken in pieces.']
[34] [As above note.]
[35] [Rit. ch. 142. 'Sole type (?) in the roofed House.' Birch's tr. Cf. Renouf.]
[36] [Fragments.?]
[37] [Leemans, (Monumens Égyptiens Portant des Légendes Royales?), votive mummy case in bronze.]
[38] [Gill, Myths and Songs from the South Pacific, ch. 5. See p. 77.]
[39] [Ibid., ch. 9. See p. 205, note 91.]
[40] [Ibid., ch. 9. See p. 204.]
[41] [Ibid. See plate, p. 122.]
[42] [Taylor, Te Ika a Maui, p. 346. 'Te Rahu, or Sewaka-triku-tvka.—The first game presenting this similarity, is that of flying the kite, and it is remarkable that their name appears to be drawn from the same object as ours: the kite is the old term for the hawk, and the name hihu is also that for the same kind of predaceous bird hovering over its quarry, from whence doubtless the identity of thought arose; their figure, though differing from ours, is generally a rough imitation of the bird, with its great outspread wings; these kites are frequently made of largo dimensions from ranpo leaves, a kind of sedge, neatly sewn together, and kept in shape by a slight frame-work; the string is most expeditiously formed, and lengthened at pleasure, being merely the split loaves of the flax plant: this is a very favourite amusement.']
[43] [McLennan, 'The Worship of Plants and Animals,' FR, 1870, 216, footnote. 'An instructive fact is that in Fiji two gods, who will naturally hereafter turn men-gods, lay claim to the Hawk.']
[44] [Williams, Fiji and the Fijians, vol. 1, p. 219. 'Nearly every Chief has a god in whom he puts special trust; and a few are of opinion that their god follows them wherever they go. Different classes have their own tutelary deities. Rokova and Bokola are trusted in by the carpenters, and Roko Voua and Vosavakandua by the fishermen. The same deity is worshipped in different places by different names. Eatu Maimbtjlu of Mbau is known at Somosomo as Eatu Levu, and on Vanuambalavu and other places as Mai Wakolotu.']
[45] [Te Ika a Maui, p. 363. 'He morere.—He moari.—This is a lofty pole, generally erected near a river, from the top of which about a dozen ropes are attached; the parties who use it take hold of them, and swing round, going over the precipice, and, whilst doing so, sometimes let go, falling into the water; occasionally serious accidents have thus occurred by striking the bank.']
[46] [Source.]
[47] [Collins, An Account of
the English Colony in New South Wales, vol. p. 364. 'They now
commenced their preparations for striking out the tooth. The first subject they
took out was a boy of about ten years of age: he was seated on the shoulders of
another native who sat on the grass, as appears in this Plate.
The bone was now produced which had been pretended to be taken from the stomach
of the native the preceding evening; this, being made very sharp and fine at one
end, was used for lancing the gum, and but for some such precaution it would
have been impossible to have got out the tooth without breaking the jaw-bone. A
throwing-stick was now to be cut about eight or ten inches from the end; and to
effect this, much ceremony was used. The stick was laid upon a tree, and three
attempts to hit it were made before it was struck. The wood being very hard, and
the instrument a bad tomahawk, it took several blows to divide it; but three
feints were constantly made before each stroke. When the gum was properly
prepared, the operation began; the smallest end of the stick was applied as high
up on the tooth as the gum would admit of, while the operator stood ready with a
large stone apparently to drive the tooth down the throat of his patient. Here
their attention to the number three was again manifest; no stroke was actually
made until the operator had thrice attempted to hit the throwing-stick.']
[48] [Originum Libri Viginti.?]
[49] [Taylor, Te Ika a Maui, p. 347. 'Ke wax, or maui.—Cat's-cradles is a game very similar to ours, but the cord is made to assume many more forms, and these are said to be different scenes in their mythology, such as Hine-nni-te-po, mother night bringing forth her progeny, Mara and the gods, and Maui fishing up the land, men, canoes, houses, &c., are also represented. Some state that Maoi invented this game.']
[50] [Shortt, Tribes on the Neilgherries, quoted by Marshall, A Phrenologist Among the Todas, p. 47. 'They—the women—however, mark or tattoo portions of the body, terming it Gurtu. Dr. Shortt has recorded these marks so carefully, that I cannot do better than quote his own words: 'The women,' he writes, 'are tattooed about the arms, chest, and legs in the following manner: Three semi-circles of dots on the outer side of each arm, each semicircle containing nine points; a double row of dots across the upper part of the chest, about an inch below the clavicle, each row consisting of thirty-six points, about the eighth of an inch apart, the rows themselves being one inch distant from each other. Those on the arms have an intervening space of two inches; two rows, containing eight or nine points each, on the shoulders, commencing in front where the lines on the chest terminate, and extending backwards to a point on a level with the superior semicircle on the arm; a solitary dot in the centre of the chin; two circular lines of dots on each leg, the upper circle containing twenty-five and the lower only twenty dots; and a row across the dorsum of each foot, numbering from nine to eleven points. The terminal point of each row is marked by a ring, the interlinear points being simple dots, frequently taking the form of squares.']
[51] [TES, new series, 3, 230, 1865. 'In New Holland, Australia, the aborigines, during their spring festival, shout and sing, as they dance round a pit which is "so dug and decorated with bushes as to represent the private parts of a female: as they dance they carry the spear before them to simulate priapus, every gesture is obscene."' I have used the quote in Scott, Phallic Worship, p. 99.]
[52] ['The secret to be divulged to the novice was in almost all cases simply something of a phallic nature. Davis, who had been admitted for fourteen years to the mysteries of the tribe, does not scruple to say that such an occasion was "merely a ceremony for the purpose of passing a lad into a certain state of manhood, and to show him how to act with a woman."' From Bonwick, Daily Life and Origin of the Tasmanians, p. 201, who gives no source.]
[53] [Gen. 15:5. 'And he brought him forth abroad, and said, Look now toward heaven, and tell the stars, if thou be able to number them: and he said unto him, So shall thy seed be.']
[54] [Bonwick, Daily Life and Origin of the Tasmanians, p. 201. 'A seal of admission was bestowed. With some tribes it was circumcision. With others it was the sponsors giving a new and sacred name, never to be divulged but in the presence of the chosen. With others a white stone was given, never to be shown to women. After the gift, entreaties and threats were used to induce the lad if possible to yield the treasure: he was expected to hold fast A girdle of human hair was sometimes given them. Even where circumcision was not enjoined, the youth was subjected to the forcible extraction of hair from the pubes. A pubic covering was worn by others. Cicatrices were made then upon the flesh. Arms of men were given, with instructions as to hunting and war.']
[55] [Angas, Savage Life and Scenes in Australia and New Zealand, vol. 2, pp. 216-24.]
[56] [Ibid., vol. 1, p. 99. 'The scrub natives, who are called Wirramayo, and occupy the vast scrub country to the north-west of this part of the Murray, have a different method of initiating the boys into the privileges of manhood. The boy is brought by an old man to the encampment, and laid ujion his back, with an opossum-skin bag put over his face, and five fires are lighted around him, each being composed of three firesticks, placed together in a triangle. The wittoo icittoo (a mysterious instrument, formed of an oval piece of wood, fastened to a string of human hair) is then whirled round, with great rapidity, over the fires, producing a loud roaring sound, which they consider has the effect of keeping away the evil spirits. With a sharp flint, the old man cuts off the foreskin, and places it on the third finger of the boy's left hand, who then gets up, and with another native, selected for the purpose, goes away into the hills, to avoid the sight of women for some time. No women are allowed to be present at this rite.']
[57] [As above note.]
[58] [Ibid., vol. 1, p. 113.'Before the young men can be admitted into the privileges and distinctions of manhood, they are compelled to undergo three distinct stages or ceremonies of initiation. At the age of twelve or fifteen, the boys are removed to a place apart from the women, whom they are not permitted to see, and then blindfolded. The men who accompany them set up a loud shout of herri, herri, herri! swinging round the witarna, a mysterious instrument used in incantations; and then proceed to blacken the boys' faces, enjoining them to whisper. For several months the boys remain in this first stage, with blackened faces, and continuing to whisper, until released; when they are again permitted to speak aloud. The place where the whisperers (now called Warrara) have been thus initiated, is carefully avoided by the women and children.']
[60] [H. G. Robley wrote an interesting study on the art of tattooing in Maori culture. See his Moko, The Art and History of Maori Tattooing, Chapman and Hall, London, 1896.]
[61] [Lubbock, The Origin of Civilisation, p. 65, 'Head of a New Zealander.']
[62] [Gill, Myths and Songs from the South Pacific, ch. 6. See p. 95.]
[63] [Ibid., ch. 6. See p. 95.]
[64] [Source.]
[65] [Taylor, Te Ika a
Maui, or, New Zealand and its Inhabitants, p. 147. Unable to trace,
but see p. 103: 'Another office of the priest was that of the moko mokai,
or embalming of the heads of relatives, which was likewise the office of the
Egyptian physicians and priests. This union of the two seems to have pervaded
the whole heathen world; it is preserved by the Red Indian in the name of the
medicine man who attended to the bodily and spiritual health of the people.'
Ibid., p. 324. 'Connected with tattooing, was the art of embalming. This
was done in order that great warriors might show the heads of all the
distinguished chiefs they had killed; but this art was not employed for that
purpose alone; it enabled them to preserve the heads of those who were dear to
them, and to keep these remembrances of beloved objects ever near; it was no
uncommon thing to embalm in this way the head of a beloved wife or child.
To prepare them for drying was called pati palci, or popo, which
signifies taking out the brain; they were then subjected to repeated steamings
in the oven; after each steaming, the heads were carefully wiped with the
flowers of the kakaho, or reed, and every portion of flesh and brain was
removed; a small thin manuka stick was inserted between the skin and bone
of the nose to preserve its form; when this process was ended, they were dried
in the sun, and afterwards exposed to the smoke of their houses; one of the
first things was to extract the eyes, fill the sockets with flax, and then sew
the lids together. These heads, thus prepared, seemed to be exempt from the
attack of insects, being thoroughly impregnated with pyroligneous acid.']
[66] [Traditions and
Superstitions of the New Zealanders, p. 232. 'WHANGAI-HAU.
Hikitia mai taua kai,
Ki runga te rangi taua kai.
Kia kai mai Ihu-ngaro.
Kongo mai.
Heke iho i te rangi.
Taua kai.
A CHARM CALLED "FEED-WIND."
Raise up (or dance in the arras as an infant) that food,
Raise up to the sky that food.
Come and eat, Invisible-nose,
Come and hearken.
Descend from the sky,
That food.' P. 136 of 2nd ed.]
[67] [Dieffenbach, Travels in New Zealand, vol. 2, p. 361. 'Hakari a feast of peace where presents of fish are brought by the visitors; also birds' eggs, roe of a fish, seed of anything.']
[68] [Leslie, The Early Races of Scotland and their Monuments, vol. 2, pl. 57.]
[69] [Mitchell, Past in the Present, p. 239.]
[70] [An Account of the Voyages Undertaken by the Order of His Present Majesty for Making Discoveries in the Southern Hemisphere, and Successively Performed by Commodore Byron, Captain Wallis, Captain Cartenet, and Captain Cook, Ed., Hawkesworth, (1775 ed.), vol. 2, p. 21. 'At this place we saw a very singular curiosity: it was the figure of a man constructed of basket work, rudely made, but not ill designed; it was something more than seven feet high, and rather too bulky in proportion to its height. The wicker skeleton was completely covered with feathers, which were white where the skin was to appear, and black in the parts which it is their custom to paint or slain, and upon the head, where there was to be a representation of hair; upon the head also were four protuberances, three in front, and one behind, which we should have called horns, but which the Indians dignified with the name of Tate Ete, little men. The image was called Manioe, and was said to be the only one of the kind in Otaheite. They attempted to give us an explanation of its use and design, but we had not then acquired enough of their language to understand them. We learned, however, afterwards, that it was a representation of Mauwe, one of their Eatuas, or gods of the second class.']
[71] [Gill, Life in the Southern Isles, p. 289.]
[72] [I can find no ref. to this war-canoe in Herodotus, who does not even mention Ptah.]
[73] [Gill, Myths and Songs from the South Pacific, ch. 7. See p. 118.]
[75] [Khordah-Avesta, 26. 10, 45. 'Whose eight (?) friends sit spying for Mithra on all heights, on all watch-towers, spying out the Mithra-liars, beholding those, remembering those who formerly lied to Mithra, watching the paths of those for whom the Mithra-liars desire, the evil, who openly slay the pure.' Bleeck's tr., vol. 3, p. 62.]
[76] [Gill, Myths and Songs from the South Pacific, ch. 1. See p. 8.]
[77] [An Account of the Polynesian Race, vol. p. 4. 'From what I have been able to glean of the old Javanese annals, and of their ancient language, the Kawi, I am led to believe that of the two words, which in the present Malay tongue signify an island "Nusa" and "Pulo" the former is by far the older, and obtained exclusively before the latter was introduced by the comparatively modern Malays.']
[78] [Ibid., vol. 1, pp. 14-5. 'Baba, an island south of the Banda group, Indian Archipelago. Kepa, a land on Kauai, Hawaiian group, refers itself to Tepa, a village on the above mentioned island of Baba.']
[79] [Gill, Myths and Songs from the South Pacific, ch. 4. See p. 51.]
[80] [Vorlesungen über die Finnische Mythologie.]
[81] [Finnisch Mythologie, p. 57. 'The following passage is from a Mongol wedding-song to the personified Fire, 'Mother Ut, Queen of Fire, thou who art made from the elm that grows on the mountain-tops of Changgai-Chan and Burchatu-Chan, thou who didst come forth when heaven and earth divided, didst come forth from the footsteps of Mother Earth, and wast formed by the King of Gods. Mother Ut, whose father is the hard steel, whose mother is the flint, whose ancestors are the elm-trees, whose shining reaches to the sky and pervades the earth. Goddess Ut, we bring thee yellow oil for offering, and a white wether with yellow head, thou who hast a manly son, a beauteous daughter-in-law, bright daughters. To thee, Mother Ut, who ever lookest upward, we bring brandy in bowls, and fat in both hands. Give prosperity to the King's son (the bridegroom), to the King's daughter (the bride), and to all the people!' Quoted in Tylor, Primitive Culture, vol. 2, p. 254.']
[82] [Fornander, An Account
of the Polynesian Race, vol. 1, p. 73. 'The rows of stars of Kane,
The stars in the firmament,
The stars that have been fastened up,
Fast, fast, on the surface of the heaven of Kane,
And the wandering stars,
The tabued stars of Kane,
The moving stars of Kane;
Innumerable are the stars;
The large stars,
The little stars,
The red stars of Kane. infinite space!
The great Moon of Kane,
The great Sun of Kane,
Moving, floating,
Set moving about in the great space of Kane.
The great Earth of Kane,
The Earth Kapakapaua of Kane,
The Earth that Kane set in motion,
Moving are the stars, moving is the moon,
Moving is the great Earth of Kane.']
[83] [Backhouse, Narrative of a Visit to the Australian Colonies, p. 55. From Tylor, Researches into the Early History of Mankind, p. 1. See p. 6.]
[84] [Unable to trace.]
[85] [Gill, Myths and Songs from the South Pacific, ch. 4. See p. 71.]
[86] [Rit. ch. 88. 'I am the Crocodile who dwells in victories. I am the Crocodile whose soul comes from men. I am the Crocodile whose soul comes from men, I am the Crocodile leading away by stealth, I am the great fish of Horus, the great one in Kam-ur. I am the person dancing in S'Khem [or Kam, the shrine].' Birch's tr. Massey has erred here. quoting wrong ch. no.]
[87] [Gill, Myths and Songs from the South Pacific, ch. 4. See p. 59.]
[88] [Ibid., ch. 4. See p. 60.]
[89] [Turner, Nineteen Years in Polynesia, p. 245. 'The Samoans have no consecutive tales of these early times; but we give the disjointed fragments as we find them. They say, that of old the heavens fell down, and that people had to crawl about like the lower animals. After a time, the arrow-root and another similar plant pushed up the heavens. The place where these plants grew is still pointed out, and called the Te'enga-langi, or heaven-pushing place. But the heads of the people continued to knock on the skies. One day, a woman was passing along who had been drawing water. A man came up to her, and said, that he would push up the heavens, if she would give him some water to drink. "Push them up first," she replied. He pushed them up. "Will that do?" said he. "No; a little further." He sent them up higher still, and then she handed him her cocoa-nut shell water-bottle. Another account says, that a person named Tiitii pushed up the heavens; and the hollow places in a rock, nearly six feet long, are pointed out as his footprints.']
[90] [Rit. ch. 154. 'The blows are where the bodies of Horus are, I knew the name of the
box—Utensu is the name, or ... offerings—the
foot and the sole of the foot of the Lion-Gods.' Birch's tr. Cf.
Renouf.
See also BB 1:96.]
[91] [Rit. ch. 130. 'Hail to ye, Feet! The God has grown hard with the mysteries of his hand, the God dissipates the extremities [?] of Seb by light.' Birch's tr. Cf. Renouf.]
[92] [Rit. ch. 125. 'I have crossed by the Northern fields of the palm tree. Explain what thou hast seen there. It is the footstep and the sole.' Birch's tr. Cf. Renouf.]
[93] [Burgess, Sûrya Siddhanta, 14.8. 'Between these are, in each case, two entrances (sankranti); from the intermediateness of the entrance are to be known the two feet of Vishnu.']
[94] [Gill,
Myths and Songs from the South Pacific, ch.
4. See p. 63.
Grey,
Polynesian Mythology, and Ancient Traditional History of the New Zealand Race,
p. 35. 'The young hero, Maui, had not been long at home with his brothers
when he began to think, that it was too soon after the rising of the sun that it
became night again, and that the sun again sank down below the horizon, every
day, every day; in the same manner the days appeared too short to him. So at
last, one day he said to his brothers, "Let us now catch the sun in a noose, so
that we may compel him to move more slowly, in order that mankind may have long
days to labour in to procure subsistence for themselves;" but they answered him,
"Why, no man could approach it on account of its warmth, and the fierceness of
its heat;" but the young hero said to them, "Have you not seen the multitude of
things I have already achieved? Did not you see me change myself into the
likeness of every bird of the forest; you and I equally had the aspect and
appearance of men, yet I by my enchantments changed suddenly from the appearance
of a man and became a bird, and then, continuing to change my form, I resembled
this bird or that bird, one after the other, until I had by degrees transformed
myself into every bird in the world, small or great; and did I not after all
this again assume the form of a man? [This he did soon after he was born, and it
was after that he snared the sun.] Therefore, as for that feat, oh, my brothers,
the changing myself into birds, I accomplished it by enchantments, and I will by
the same means accomplish also this other thing which I have in my mind.'' When
his brothers heard this, they consented on his persuasions to aid him in the
conquest of the sun.'
Tylor, Researches into the Early History of Mankind,
p. 333. See p. 352.]
[95] [Tylor, Primitive Culture, vol. 1, p. 338. 'English readers from its introduction into the poem of Hiawatha. In another version, the tale is told of the Little Monedo of the Ojibwas, who also corresponds with the New Zealand Maui in being the Sun-Catcher; among his various prodigies, he is swallowed by the great fish, and cut out again by his sister.' Citing Schoolcraft, Archives of Aboriginal Knowledge, vol. 3, p. 318, and his Algic Researches, vol. 1, pp. 135-44.]
[96] [Grey, Polynesian
Mythology, and Ancient Traditional History of the New Zealand Race, p.
38. 'The young hero held in his hand his enchanted weapon, the jaw-bone
of his ancestress—of Muri-ranga-whenua, and
said to his brothers: 'Mind now, keep yourselves hid, and do not go showing
yourselves foolishly to the sun; if you do, you will frighten him; but wait
patiently until his head and fore-legs have got well into the snare, then I will
shout out; haul away as hard as you can on the ropes on both sides, and then
I'll rush out and attack him, but do you keep your ropes tight for a good long
time (while I attack him), until he is nearly dead, when we will let him go; but
mind, now, my brothers, do not let him move you to pity with his shrieks and
screams.'
At last the sun came rising up out of his place, like a fire spreading far and
wide over the mountains and forests; he rises up, his head passes through the
noose, and it takes in more and more of his body, until his fore-paws pass
through; then were pulled tight the ropes, and the monster began to struggle and
roll himself about, whilst the snare jerked backwards and forwards as he
struggled. Ah! was not he held fast in the ropes of his enemies!
Then forth rushed that bold hero, Mau-tikitiki-o-Taranga, with his enchanted
weapon. Alas! the sun screams aloud; he roars; Maui strikes him fiercely with
many blows; they hold him for a long time, at last they let him go, and then
weak from wounds the sun crept along its course. Then was learnt by men the
second name of the sun, for in its agony the sun screamed out: 'Why am I thus
smitten by you! oh, man! do you know what you are doing? Why should you wish to
kill Tama-nui-te-Ra? Thus was learnt his second name. At last they let him go.
Oh, then, Tama-nui-te-Ra went very slowly and feebly on his course.'
See also Tylor, Primitive Culture, vol. 1, p. 343. 'The New Zealand myth
of Maui, mixed as it may be with other fancies, is in its most striking features
the story of Day and Night. The story of the Sun's birth from the ocean is thus
told. There were five brothers, all called Maui, and it was the youngest Maui
who had been thrown into the sea by Taranga his mother, and rescued by his
ancestor Tama-nui-ki-te-Rangi, Great-Man-in-Heaven, who took him to his house,
and hung him in the roof. Then is given in fanciful personality the tale of the
vanishing of Night at dawn. One night, when Taranga came home, she found little
Maui with his brothers, and when she knew her last-born, the child of her old
age, she took him to sleep with her, as she had been used to take the other
Mauis his brothers, before they were grown up. But the little Maui grew vexed
and suspicious, when he found that every morning his mother rose at dawn and
disappeared from the house in a moment, not to return till nightfall. So one
night he crept out and stopped every crevice in the wooden window and the
doorway, that the day might not shine into the house; then broke the faint light
of early dawn, and then the sun rose and mounted into the heavens, but Taranga
slept on, for she knew not it was broad day outside. At last she sprang up,
pulled out the stopping of the chinks, and fled in dismay. Then Maui saw her
plunge into a hole in the ground and disappear, and thus he found the deep
cavern by which his mother went down below the earth as each night departed.
After this, follows the episode of Maui's visit to his ancestress
Muri-ranga-whenua, at that western Land's End where Maori souls descend into the
subterranean region of the dead. She sniffs as he comes towards her, and
distends herself to devour him, but when she has sniffed round from south by
east to north, she smells his coming by the western breeze, and so knows that he
is a descendant of hers. He asks for her wondrous jawbone, she gives it to him,
and it is his weapon in his next exploit when he catches the sun, Tama-nui-te-Ra,
Great-Man-Sun, in the noose, and wounds him and makes him go slowly. With a
fishhook pointed with the miraculous jawbone, and smeared with his own blood for
bait, Maui next performs his most famous feat of fishing up New Zealand, still
called Te-Ika-a-Maui, the fish of Maui.']
[97] [Turner, Nineteen Years in Polynesia, p. 470. 'The Savage Islanders worship the spirits of their ancestors. They say that, a long time ago, they paid religious homage to an image which had legs like a man, but in the time of a great epidemic, and thinking the sickness was caused by the idol, they broke it in pieces, and threw it away. They dispose of the dead by setting them adrift out to sea in a canoe, or by laying the body on a pile of stones in the bush, and covering it over with cocoa-nut leaves. After a time the bones are gathered, and deposited in family caves or vaults. The women singe off the hair of their heads, as a token of mourning, on the death of their husbands. They have a subterranean region, called Maui, for the spirits of the departed, but their favourite place is the land of Sina (Seena) in the skies. They say there is "no night there;" and here again we have a fragment of the long-lost theology.']
[98] [Chabas, 'The Magic
Papyrus,' RP, 10,
135. See p. 140, 2, 5.
Pierret, Essai sur la mythologie égyptienne, p.
31.]
[99] [Gill, Myths and Songs from the South Pacific, ch. 4. See p. 66.]
[101] [Ibid., ch. 4. pp. 68-9.]
[102] [Grey, Polynesian
Mythology, and Ancient Traditional History of the New Zealand Race,
pp. 88-9. 'At last, Rupe thought that he could clean and beautify, in some
respects, Rehua's dwelling for him, so he made two wooden shovels for his work,
one of which he called Tahitahia, and the other Rake-rakea, and with them he
quite cleansed and purified Rehua's court-yard. He then added a building to
Rehua's dwelling, but fixing one of the beams of it badly, Rehua's son,
Kaitangata, was one day killed from hanging on to this beam, which giving way
and springing back, he was thrown down and died, and his blood running about
over part of the heavens, stained them, and formed what we now call a ruddiness
in the sky; when, therefore, a red and ruddy tinge is seen in the heavens, men
say, "Ah! Kaitangata stained the heavens with his blood."
Rupe's first name was Maui-mua; it was after he was transformed into a bird that
he took the name of Rupe.']
[103] [Gill, Myths and Songs from the South Pacific, ch. 4. p. 63.]
[105] [Ibid., ch. 7. See p. 143.]
[106] [Hieroglyphica, bk. 1.58. 'To signify an impossibility, they represent A MAN'S FEET WALKING ON THE WATER; or when they would signify the same thing differently, they delineate A HEADLESS MAN WALKING. And since these are both impossibilities, they have with good reason selected them for this purpose.']
[107] [Gill, Life in the Southern Isles, p. ?.]
[108] [Myths and Songs from the South Pacific, ch. 8. See p. 135.]
[109] [Histories, bk. 2.47. 'The pig is regarded among
them as an unclean animal, so much so that if a man in passing accidentally
touch a pig, he instantly hurries to the river, and plunges in with all his
clothes on. Hence, too, the swineherds, notwithstanding that they are of pure
Egyptian blood, are forbidden to enter into any of the temples, which are open
to all other Egyptians; and further, no one will give his daughter in marriage
to a swineherd, or take a wife from among them, so that the swineherds are
forced to intermarry among themselves. They do not offer swine in sacrifice to
any of their gods, excepting Bacchus and the Moon, whom they honour in this way
at the same time, sacrificing pigs to both of them at the same full moon, and
afterwards eating of the flesh. There is a reason alleged by them for their
detestation of swine at all other seasons, and their use of them at this
festival, with which I am well acquainted, but which I do not think it proper to
mention. The following is the mode in which they sacrifice the swine to the
Moon: As soon as the victim is slain, the tip of the tail, the spleen, and the
caul are put together, and having been covered with all the fat that has been
found in the animal's belly, are straightway burnt. The remainder of the flesh
is eaten on the same day that the sacrifice is offered, which is the day of the
full moon: at any other time they would not so much as taste it. The poorer
sort, who cannot afford live pigs, form pigs of dough, which they bake and offer
in sacrifice.' Tr., Rawlinson.
'The pig is accounted by the Egyptians an abominable animal; and first,
if any of them in passing by touch a pig, he goes into the river and dips
himself forthwith in the water together with his garments; and then too
swineherds, though they be native Egyptians, unlike all others do not enter any
of the temples in Egypt, nor is anyone willing to give his daughter in marriage
to one of them or to take a wife from among them; but the swineherds both give
in marriage to one another and take from one another. Now to the other gods the
Egyptians do not think it right to sacrifice swine; but to the Moon and to
Dionysos alone at the same time and on the same full-moon they sacrifice swine,
and then eat their flesh: and as to the reason why, when they abominate swine at
all their other feasts, they sacrifice them at this, there is a story told by
the Egyptians; and this story I know, but it is not a seemly one for me to tell.
Now the sacrifice of the swine to the Moon is performed as follows: when the
priest has slain the victim, he puts together the end of the tail and the spleen
and the caul, and covers them up with the whole of the fat of the animal which
is about the paunch, and then he offers them with fire; and the rest of the
flesh they eat on that day of full moon upon which they have held the sacrifice,
but on any day after this they will not taste of it: the poor however among them
by reason of the scantiness of their means shape pigs of dough and having baked
them they offer these as a sacrifice.' Tr., Macauley.]
[110] [Iconographie Chrétienne, p. 546. 'This fearful image of Satan, is presiding over an assembly of demons who deliberate on the birth of Merlin, by whose means they proposed to repair the injury which the devil had sustained through Christ, by his death and descent into hell. I am indebted to the friendship of M. Paulin Paris, Member of the Institute, and Conservateur of the Bibliotheque Royale, for my acquaintance with this remarkable miniature, which was communicated to me by him. "We say," certain of the Christian artists,"because it must be confessed that the influence of the two-visaged Janus, the classic Janus bifrons," continued in force during the whole middle ages. It is with two faces, not three, that he is constantly figured in various places; particularly in the western porches of the Cathedrals of Chartres, of Strasbourg, and of Amiens, and in the Abbey of St. Denis. A man with two heads and one single body is seen seated at a table covered with food; one face is sad and bearded, the other gay, beardless, and youthful. The bearded head represents the year which is about to close, the thirty-first of December; the youthful head is a personification of the opening year, the first of January. The old head is placed next the empty side of the table; he has consumed all his provisions: before the young head, on the contrary, are several loaves, and dishes, and the servant, a little child, appeals to be bringing others. This child is an additional personification of the coming year; it completes the youthful head of Janus.' Eng. tr., vol. 2, p. 24.]
[111] [Rit. ch. 80. 'I have united Sut in the upper houses, through the old man with him. I am the Woman, the orb in the darkness. I have brought my orb to the darkness; it is changed into light.' Birch's tr. Cf. Renouf.]
[112] [Fornander, An Account of the Polynesian Race, vol. 1, p. 45. 'In the Polynesian Pantheon there are not many gods whose names can be directly traced to a Cushite origin. I find, however, Oro, Olo, or Koro, as differently pronounced. He was a grand and important deity among the Southern Polynesians. He was the war-god of the Society group, the terrible, exacting human sacrifices. He is said by some to have been the brother of "Tane" or "Kane," whose worship in that group he seems to have in a great measure superseded; by others he is said to be not one of the gods who sprang from night (mai ka Po mat), or existed during the primal chaos or darkness, but was the son of the mighty and wondrous Taaroa or Tangaloa, the Demiurgas of some of the southern groups. His name is probably of Cushite origin. We have the Egyptian Hor, the son of Osiris and Isis, the conqueror of Typhon and the "God of Victory."']
[113] [Gill, Myths and Songs from the South Pacific, ch. 6. See p. 100.]
[114] [Histories, bk. 2.156. 'This, as I have said, was
what astonished me the most, of all the things that were actually to be seen
about the temple. The next greatest marvel was the island called Chemmis. This
island lies in the middle of a broad and deep lake close by the temple, and the
natives declare that it floats. For my own part I did not see it float, or even
move; and I wondered greatly, when they told me concerning it, whether there be
really such a thing as a floating island. It has a grand temple of Apollo built
upon it, in which are three distinct altars. Palm-trees grow on it in great
abundance, and many other trees, some of which bear fruit, while others are
barren. The Egyptians tell the following story in connection with this island,
to explain the way in which it first came to float: "In former times, when the
isle was still fixed and motionless, Latona, one of the eight gods of the first
order, who dwelt in the city of Buto, where now she has her oracle, received
Apollo as a sacred charge from Isis, and saved him by hiding him in what is now
called the floating island. Typhon meanwhile was searching everywhere in hopes
of finding the child of Osiris." (According to the Egyptians, Apollo and Diana
are the children of Bacchus and Isis; while Latona is their nurse and their
preserver. They call Apollo, in their language, Horus; Ceres they call Isis;
Diana, Bubastis. From this Egyptian tradition, and from no other, it must have
been that Æschylus, the son of Euphorion, took the idea, which is found in none
of the earlier poets, of making Diana the daughter of Ceres.) The island,
therefore, in consequence of this event, was first made to float. Such at least
is the account which the Egyptians give.' Tr., Rawlinson.
'This house then of all the things that were to be seen by me in that
temple is the most marvellous, and among those which come next is the island
called Chemmis. This is situated in a deep and broad lake by the side of the
temple at Buto, and it is said by the Egyptians that this island is a floating
island. I myself did not see it either floating about or moved from its place,
and I feel surprise at hearing of it, wondering if it be indeed a floating
island. In this island of which I speak there is a great temple-house of Apollo,
and three several altars are set up within, and there are planted in the island
many palm-trees and other trees, both bearing fruit and not bearing fruit. And
the Egyptians, when they say that it is floating, add this story, namely that in
this island, which formerly was not floating, Leto, being one of the eight gods
who came into existence first, and dwelling in the city of Buto where she has
this Oracle, received Apollo from Isis as a charge and preserved him, concealing
him in the island which is said now to be a floating island, at that time when
Typhon came after him seeking everywhere and desiring to find the son of Osiris.
Now they say that Apollo and Artemis are children of Dionysos and of Isis, and
that Leto became their nurse and preserver; and in the Egyptian tongue Apollo is
Oros, Demeter is Isis, and Artemis is Bubastis. From this story and from no
other Æschylus the son of Euphorion took this which I shall say, wherein he
differs from all the preceding poets; he represented namely that Artemis was the
daughter of Demeter. For this reason then, they say, it became a floating
island. Such is the story which they tell.' Tr., Macauley.]
[115] [Gill, Myths and Songs from the South Pacific, ch. 11. See p. 256, note 120.]
[116] [Ibid., ch. 6. See p. 101.]
[117] [Gill, Life in the Southern Isles, p. 278.]
[119] [Ridley, Nat., 29/10/74, 521, remarking on Lubbock,
The Origin of Civilisation, p. 205.
See also ibid., p. 214. 'Mr. Ridley, indeed, in an interesting ' Report on
'Australian Languages and Traditions,' states that they have a traditional
belief in one supreme Creator. called Baiamai, but he admits that most of the
witnesses who were examined before the select Committee, appointed by the
Legislative Council of Victoria in 1858 to report on the Aborigines, 'gave it as
their opinion 'that the natives had no religious ideas.' It appears moreover
from a subsequent remark, that Baiamai only possessed 'traces' of the 'three
attributes of the God of the Bible—viz. Eternity, Omnipotence, and
Goodness.' Citing JAI, 1872, 257.]
[120] [Rit. ch. 87. 'I am the Serpent [Ba-ta], Sou1 of the earth, whose length is years, laid out and born daily. I am the Soul of the earth in the parts of the earth. I am laid out and born, decay and become young daily.' Birch's tr. Cf. Renouf.]
[121] [Gill, Life in the Southern Isles, p. 95.]
[122] [Taylor, Te Ika a Maui, or, New Zealand and its Inhabitants, p. 131. Wrong p. no. Unable to trace.]
[123] [Gill, Myths and Songs from the South Pacific, ch. 7. See p. 133.]
[124] [Taylor, Te Ika a Maui, or, New Zealand and its Inhabitants, p. 24. 'Amenti, a cave in Hades, according to Egyptian mythology, is the same with Ameto in the Maori mythology. Painting the body red seems to have been a general practice amongst the ancient Egyptians, as well as the Maori.']
[125] [Gill, Life in the Southern Isles, p. 161.]
[127] [Gill, Myths and Songs from the South Pacific, ch. 8. See pp. 157-8.]
[128] [Rit. ch. 131. 'The Sun is
shining on that night. Every one of his servants is living [among] the servants
of Thoth. He gives a crown to Horus on that night. The Osiris delights while he
is one of the same. His enemies have been corrected with the arrows of the
Osiris, the servant of the Sun, receiving his sustenance. He has come to thee,
big father, oh Sun! He has followed Shu, he has saluted the crown, he has taken
the place of the Bull enveloped in the plait which belongs to the road of the
Sun, when [in] his splendour. He has chased that chief everywhere in the
horizon. The Crowns stop him. Thy soul, oh the Osiris, is carried after thee:
thy soul is supported by ... thy victory and thy terrors.
The Sun has issued his commands in heaven. Oh thou Great God in the East of the
heaven! thou proceedest to the bark of the Sun as a divine hawk of time. He has
issued his commands, he strikes with his sceptre in his boat or bark. The Osiris
goes to thy boat. He is towed in pace to the happy West. Tum speaks to him.
Say thou who hast gone, oh Serpent of millions of years!—millions
of years in length, in the quarter of the region of the great winds, the pool of
millions of years. All the other Gods return to all places—stretching
to where is the road belonging to him—millions
of years are following to him. The road is of fire, they whirl in fire behind
him.' Birch's tr. Cf.
Renouf.]
[129] [Gill, Myths and Songs from the South Pacific, ch. 8. See p. 167.]
[130] [Rit. ch. 146. 'I have anointed myself with red wax. I have provided myself with the leg-bone of a red bird, and a dog's head.' Birch's tr. Cf. Renouf.]
[131] [Rit. ch. 146. Cf. Renouf.]
[132] [Gill, Myths and Songs from the South Pacific, ch. 8. See p. 156.]
[133] [Ibid. See p. 169.]
[134] [Rit. ch. 125. 'I have crossed by the Northern fields of the palm tree.' Birch's tr. Cf. Renouf.]
[135] [Rit. ch. 125. Cf. Renouf.]
[136] [Rit. ch. 130. 'The Osiris does not walk in the Valley of Darkness, he does not go in the Pool of the Damned. He is not in the fissure [trap] a moment.' Birch's tr. Cf. Renouf.]
[137] [Rit. ch. 17. 'Oh, Lord of the Great Abode, Chief of the Gods! save thou the Osiris from the God whose face is in the [shape of] a dog, with the eyebrows of men; he lives off the fallen at the angle of the Pool of Fire, eating the body and digesting the heart, spitting out the bodies.' Birch's tr. Cf. Renouf.]
[138] [Rit. ch. 78. '[They say to me,] Do not thou come cutting down his cap in the house, [within] the darkness, pursuing the Great Squatter who hides to do like the Gods have done to them; listening to words, the words of the types and beings in the service of Osiris.' Birch's tr. Cf. Renouf.]
[139] [Rit. ch. 149. 'Oh Father of the Gods, Mother of the Gods in Hades! save ye the Osiris from every thing, from all evil deriders, or pollution, from all evil liers in wait, from the wicked netting of the dead [deficient] Gods, Spirits, quick or dead! on that day announce the words on that night, on that fifteenth-day festival, on that year when it occurs.' Birch's tr. Cf. Renouf.]
[140] [Rit. ch. 17. 'I do not sit in fear [the nets] of them.' Birch's tr. Cf. Renouf.]
[141] [Rit. ch. 154. 'Oh! seeing with his face, the prevailers, chief of the born that is, fathers or their fathers, catching the birds flying on the waters! Do not catch your equals or fellows with your nets, [nor] catch in them, walking away from earth. They reach to heaven, they stretch to earth. The Osiris comes forth and breaks them [when they are stretched]. I have come forth from Tattu, the Osiris there; the hawk laments my name. Make ye the poles, [?] placed to net. He says to the God Ameni, [Hidden] or I have made men to fly with wings. Ameni says to him, I know the ... the chief belonging to thee, or I tie him belonging to the South, the chief, to thee. [?] It is the stick which is in the hand of Isis, cutting that which is in it; it is the knife [?] of Osiris or the name of their catcher is Harana kaf shat, [over the pursuit of blows]. The blows are where the bodies of Horus are, I knew the name of the box—Utensu is the name, or ... offerings—the foot and the sole of the foot of the Lion-Gods. I know the [name of the] rope of the fowlers; which is in it the work of Tum. I knew the name of their fish over the vipers or the hands of its monster stopping the ... of ... am. I knew the names of your arms. The arms are those of Bent-arm, those of the Great God listening to words in Annu [Heliopolis] the night of the Festival of the 15th of the month.' Birch's tr. Cf. Renouf.]
[142] [As above, 'Vignette—Deceased walking away from a Net.' From the BM, Papyrus 9900.]
[143] [Williams, Fiji and the Fijians, vol. 1, p. 205. 'The following contains the native reason why "death takes us before we are ready or old." Between Kasavu and Nanutha, off the south-east coast of Vanua Levu, is a small island, which, in the people's imagination, bears resemblance to a canoe, and on this the souls in those parts pass over the river of death. The island lies parallel with the main, the reason assigned for which is as follows. When first brought there, the commander ordered it to be run with its bows on the shore, that the passengers might board it in good order,—the aged first, and so on down to the children. This arrangement was set aside by others, who said that it should rather lie "broadside on," that all ages might come on board indiscriminately. And so it was.']
[144] [In Gill, Myths and Songs from the South Pacific, pref. See p. xiv.]
[145] [Ibid., ch. 1. See p. 16.]
[146] [Aethiopian History, extracted from Proclus, on Plato's Timaeus. 'That such and so great an island formerly existed, is recorded by some of the historians who have treated of the concerns of the outward sea. For they say, that in their times there were seven islands situated in that sea, which were sacred to Proserpine (Persephone), and three others of an immense magnitude, one of which was consecrated to Pluto, another to Ammon, and the one that was situated between them to Poseidon.' In Cory, Ancient Fragments, p. 171.]
[147] [Gill, Myths and Songs from the South Pacific, ch. 1. See p. 4.]
[148] [Ibid., ch. 7. See p. 125.]
[149] [Fornander, An Account of the Polynesian Race, vol. 1, p. 78. 'The Aina wai Akua, a Kane, or, as it is more generally called in the legends, Aina wai-ola a Kane, "the living water of Kane," is frequently referred to in the Hawaiian folk-lore. According to traditions this spring of life, or living water, was a running stream or overflowing spring, attached to or enclosed in a pond." It was beautifully transparent and clear. Its banks were splendid. It had three outlets; one for Ku, one for Kane, and one for Lono and through these outlets the fish entered in the pond. If the fish of the pond were thrown on the ground or on the fire, they did not die; and if a man had been killed and was afterwards sprinkled over with this water, he did soon come to life again." In the famous legend of "Aukele- nui-a-Iku" the hero visits "Kalana i Hau-ola" and, by the aid of his patron god, obtains water from this fountain of life, wherewith he resuscitated his brothers who had been killed a long time before.']
[150] [Hieroglyphica, bk. 1. 21. 'To signify the rising of the Nile, which they call in the Egyptian language NOUN, and which, when interpreted, signifies New, they sometimes pourtray a LION, and sometimes THREE LARGE WATERPOTS, and at other times HEAVEN AND EARTH GUSHING FORTH WITH WATER. And they depict a LION, because when the sun is in Leo it augments the rising of the Nile, so that oftentimes while the sun remains in that sign of the zodiac, half of the new water [Noun, the entire inundation?] is supplied; and hence it is, that those who anciently presided over the sacred works, have made the spouts [?] and passages of the sacred fountains in the form of lions. Wherefore, even to this day in prayer for an abundant inundation - - - - - - - - - And they depict THREE WATERPOTS, or HEAVEN AND EARTH GUSHING FORTH WITH WATER, because they make a waterpot like a heart having a tongue,—like a heart, because in their opinion the heart is the ruling member of the body, as the Nile is the ruler of Egypt, and like [a heart with?] a tongue, because it is always in a state of humidity, and they call it the producer of existence. And they depict three waterpots, and neither more nor less, because according to them there is a triple cause of the inundation. And they depict one for the Egyptian soil, as being of itself productive of water; and another for the ocean, for at the period of the inundation, water flows up from it into Egypt; and the third to symbolise the rains which prevail in the southern parts of Ethiopia at the time of the rising of the Nile. Now that Egypt generates the water, we may deduce from this, that in the rest of the earth the inundations of the rivers take place in the winter, and are caused by frequent rains; but the country of the Egyptians alone, inasmuch as it is situated in the middle of the habitable world, like that part of the eye, which is called the pupil, of itself causes the rising of the Nile in summer.' See also BB 1:32 for other refs to this verse.]
[151] [Fornander, An
Account of the Polynesian Race, vol. 1, p. 78. 'Pali-uli, hidden land
of Kane,
Land in Kalana i Hau-ola,
In Kahiki-ku, in Kapakapa-ua a Kane,
Land with springs of water, fat and moist,
Land greatly enjoyed by the god."
"Pali-uli, aina huna a Kane,
ka aina i Kalana i Hau-ola,
Kahikiku, I Kapakapa-ua a Kane,
ka aina i kumu, i lali,
ka aina ai nui a ke Akua."']
[152] [Gill, Life in the Southern Isles, p. 27.]
[153] [Ibid.]
[154] [An
Account of the Polynesian Race, vol. 1, p. 25. 'The Hawaiians
considered themselves as emigrants, not as autochthones, of the Hawaii of which
the legend speaks.
But there are three of the Polynesian groups, the Hawaiian, the Samoan, and the
Tongan, having each an island whose name, with a slight dialectical difference,
is precisely the same Hawa-ii and each one claiming for itself the honour of
having been the first peopled and first named in the Pacific. Yet all concur,
however, in pointing to the far-west as the birthplace of their ancestors, or
the abode of their gods. In the far west, therefore, beyond the Pacific, we must
look for the original "Hawa" or "Hawa-ii," after which they named their new
abodes in the various quarters of the Pacific. And here the legend, to which I
have already referred, gives another landmark which, in a peculiar manner,
points out the direction in which to look for the special and primary "Hawa"
which the Polynesians so fondly remembered. The name of that wandering chief,
who is said to have discovered the Hawaiian islands and first settled upon them,
is not only Hawaii-loa, "the great burning Hawa," but his name is also
repeatedly given as Tee Kowa o Hawa-ii, "the straits of the great burning Hawa."
If, as I think, there is sufficient ground for identifying the Polynesian Hawa-ii
with Jawa in the Asiatic Archipel, then this "Kowa-o-Hawa-ii" can be no other
than the Straits of Sunda, or a personified remembrance of them.
The Polynesian mind had also another mode of expressing this vague remembrance
of a far off home. In many, if not most of the groups, the Moku-Huna or
Aina-Huna-a-Kane, "the hidden, concealed land of Kane," was as much a reality as
the existence of Kane himself. This land of plenty and bliss would occasionally
loom up in the far off western horizon to the sight of the gifted and faithful.
In the Hawaiian traditions its situation was vaguely indicated to be in a
north-westerly direction from the group or the particular island of the
beholder, and though firmly believed in, yet the belief seldom stimulated to
action.']
[155] [UHDP, 2, 230.]
[156] [The Library, bk. 1, see p. 33.]
[157] ['Among the Egyptians there is a certain tablet called the Old Chronicle, containing thirty dynasties in 113 descents, during the long period of 36,525 years. The first series of princes was that of the Auritae; the second was that of the Mestraeans; the third of the Egyptians.' In Cory, Ancient Fragments, p. 136.]
[158] [Shortland, Traditions and Superstitions of the New Zealanders, p. 290. 'The primary divisions into which we have separated the entire population of New Zealand—at any rate the three principal divisions, formed respectively by the tribes descended from the crews of Tainui, Te Araiua, and Te Mata-atua—are sometimes designated by the term Waka (canoe), in reference to their reputed origin from the crews of different canoes. The term Iwi, commonly translated Tribe, applies also to those primary divisions, but more generally to their larger subdivisions: smaller sub-divisions being called Hapu. Thus, each Waka contains more or less Iwi, and each Iwi more or less Hapu. It will be as well to indicate the way in which these subdivisions have originated. The distinguishing names of Iwi and Hapu are gene-rally taken from ancestors.']
[159] [Birch, 'The Tablet of Antefaa
II,' appendix, TSBA,
4:1, 195. 'The following letters from Mr. A. D. Bartlett, F.Z.S., were read at
the meeting, and ordered to be printed after the paper by Dr. Birch:—
"Zoological Society's Gardens,
"Regent's Park, London, N.W.,
''February 20, 1875.
"Dear Sir,
"In reply to your note, I consider the figure of the dog A closely resembles the
Dalmatian Hound in form, and probably the Gazelle Hounds are descendants of this
breed. B well represents a dog found iu the North of China, barely
distinguishable from the Esquimaux, which may be regarded as half wolf. We have
also the Wild Dog of Australia (the Dingo), not in any respect different in form
or general character from the figure B. The form of C is doubtless that of the
Mastiff; and D appears to be a smaller and probably a pet house dog; it appears
to have had its ears cropped," Yours faithfully,
"A. D, BARTLETT."
"W. R. Cooper, Esq., F.A.S.,
"Secretary to the Society of Biblical Archaeology"
"Zoological Society's Gardens,
"Regent's Park, London, N.W.,
''March 8, 1875.
"Dear Sir,
"In reply to your letter of this day, you have my permission to use the remarks
I made upon the subject of the dogs in any way you may think proper. I am glad
to hear of the 'Dog of the White Antelope.' Last year I was in Hamburgh on the
arrival of a large collection of living animals from Africa, in which collection
were many Gazelles and other Antelopes, together with 16 or more Giraffes. With
this large lot were many attendants, who brought with them two of the dogs used
for the capture of the Gazelles and other of the Antelope ; these dogs are in
form like the one figured on your paper.
"Yours faithfully,
"A. D. BARTLETT."
"W. R. Cooper, Esq., F.R.A.S."']
[160] [Baldwin, Ancient America, p. 290. 'One quadrangular tower, about forty feet high, is very remarkable. The forest around them is dense and gloomy; the canals are broken and choked with man groves." Not more than 500 people now inhabit these islands; their tradition is, that an ancient city formerly stood around this harbor, mostly on Lele, occupied by a powerful people whom they call "Anut," and who had large vessels, in which they made long voyages east and west, "many moons" being required for one of these voyages.']
[161] [Taylor, Te Ika a Maui, or, New Zealand and its Inhabitants, (2nd ed.), p. 702.]
[162] [Source.]
[163] [Horapollo, Hieroglyphica, bk. 1.3. 'When they would represent a year, they delineate ISIS, i.e. a woman. By the same symbol they also represent the goddess. Now Isis is with them a star, called in Egyptian, Sothis, but in Greek Astrocyon, [the Dog' star]; which seems also to preside over the other stars, inasmuch as it sometimes rises greater, and at other times less; sometimes brighter, and at other times not so; and moreover, because according to the rising of this star we shew all the events of the ensuing year: therefore not without reason do they call the year Isis. When they would represent the year otherwise, they delineate a PALM TREE [BRANCH], because of all others this tree alone at each renovation of the moon produces one additional branch, so that in twelve branches the year is completed.']
[164] [Rit. ch. 80. 'I have made the Eye of Horus when it was not coming on the festival of the 15th day. I am the Woman, an orb of light in the darkness. I have brought my orb to darkness; it is changed into light.' Birch's tr. Cf. Renouf.]
[165] [Source.]
[166] [Source.]
