MYTHS AND SONGS FROM THE SOUTH PACIFIC NOTES

1 "So, on the I2th of August, we made the steep ascent to the village of Namgea, and from there to a very unpleasant jhula, which crosses the foaming torrent of the Sutlej. In this part of the Himalaya, and, indeed, on to Kashmir, these bridges are constructed of twigs, chiefly from birch trees or bushes, twisted together. Two thick ropes of these twigs, about the size of a man's thigh, or a little larger, are stretched across the river, at a distance of about six to four feet from each other, and a similar rope runs between them, three or four feet lower, being connected with the upper ropes by more slender ropes, also usually of birch twigs twisted together, but sometimes of grass, and occurring at an interval of about five feet from each other. The unpleasantness of a jhi'da is that the passenger has no proper hold of the upper ropes, which are too thick and rough to be grasped by the hand ; and that, at the extremities, they are so far apart that it is difficult to have any hold of both at the same time; while the danger is increased by the bend or hang of the jhula, which is much lower in the middle than at its ends. He has also to stoop painfully in order to move along it, and it is seldom safe for him to rest his feet on the lower rope, except where it is supported from the upper ropes by the transverse ones. To fall into the raging torrent underneath would be almost certain destruction. The high wind which usually prevails in the Himalaya during the day, makes the whole structure swing about frightfully. In the middle of the bridge there is a cross-bar of wood (to keep the two upper ropes separate) which has to be stepped over; and it is not customary to repair a jhula until some one falls through it, and so gives practical demonstration that it is in rather a rotten condition."—Andrew WILSON, "The Abode of Snow," p. 197.

3 Rig-Veda-Sanhita, The Sacred Hymns of the Brahmans. Translated by F. Max Muller. Vol. i. Hymns to the Maruts, or the Storm-Gods. London, Trubner and Co. 1869.

6 Roe = thread-worm. The idea is of a quivering, slender, wormdike point, at which existence begins, i.e. the extremity of the thread-worm.

9 At Ngatangna, Rarotonga, there is an islet, covered with cocoa-nut trees, so named. This is, of course, a modern identification. The "Sacred Isle" is supposed to be in the shades.

11 It was from The-thin-land that Potai sagely conjectured that Captain Cook had come. "Era, e te matakeinanga, no raro i Te-papa-rairai i Vatea" = "Surtly, friends, he has climbed up from The-thin-land, the home of Vatea.'' How? By breaking through the solid sides of the vast cocoa-nut shell.

13 Papa could boast of father and mother, but the children of Vari were simply moulded out of bits of her own body. An allusion is intended to the belief that the three original tribes are descended from the three illegitimate sons of Tevaki.

14 As a matter of fact, however, Vari and Vatea had no altars and no separate worship; but the grandchildren of Vari had.

16 On Rarotonga only the reeking head of the victim was offered to Tangaroa, their tutelar divinity: the body might be devoured by the captors. On Mangaia the whole body was laid upon the altar.

18 These maraes were planted with callophylla inophylla, etc., etc., which, untouched by the hand of man from generation to generation, threw a sacred gloom over the mysteries of idol-worship. The trees were accounted sacred, not for their own sake, but on account of the place where they grew.

19 At Atiu Te-rongo, = the Rongo, the Rongo of Mangaia, was represented as a son of Tangaroa. At Raiata Oro was in like manner regarded as a son of the great Tangaroa, At Samoa Longo is represented as the so7i of Tangaroa by Sina.

20 The word is often used as equivalent to "deadly hate:" "Kua noo Rongo i roto" = "Rongo [i.e. deadly hate) fills his heart;" in allusion to his being the author of bloodshed and war.

21 That these children of Tavake were Kongo's is attested by the well-known couplet:—

22 The Hervey Group consists of seven inhabited islets. Each is supposed to be the body, or outward form, to which a spirit, bearing a distinct name, located in Avaiki, belongs.

BODY.	SPIRIT.
1. Rarotonga = Western Tonga, i.e. in loving memory of Western Tonga, or Tonga tapu.	1. Tumutevarovaro = echo. Offspring of the god Rongo!
2. Auau = terraced (The later name, Mangaia, means peace. Mangaia-Nui-Neneva = Mangaia-monstrously-big).	2. Akatautika = well-poised.
3. Aitutaki = God-led.	3. Araura = fragrant wreaths for dancing.
4. Atiu = eldest-born (name of first settler).	4. Enua-manu = land of birds.
5. Mauki = land of Uki (the first inhabitant).	5. Akatoka = stony. Some say Te-rae o-te-pau = the lip of the drum.
6. Mitiaro = face of the ocean.	6. Nukuroa = vast host.
7. Manuae = home of birds.	7. Enua-Kura = land-of red-parrot-feathers.

It is said that the "spirit" name of Tahiti is "Iti," i.e. "iti nga" = sun-rising. Tahiti simply means "east," or "sun-rising," from hiti (our iti) to "rise:" ta being causative. That island was known in the Hervey Group by the name Iti or "east: " it is only of late years the full name Tahiti has become familiar.

23 Yet the great Vatea possessed no marae, had no wooden or stone representation, nor was any worship ever paid to him.

27 The "Ruanuku" of Mangaian mythology is the "Uanuku" of Rarotonga. Uanuku is represented by their " wise men " as the eldest son of Tangiia. "Motoro" signifies "to approach to (a woman);" so that it is equivalent to έρως, in the sense of libido. He was so called by his father Tangiia, in allusion to his own passionate love for his wife Moetuma. Tangiia in his wanderings married two Mauke girls, Moetuma, and her younger sister Puatara.

28 The sacred men assert that this is the reason why att (hibiscus) comes also to mean "reign," or "rule."

31 Whilst their gods were nearly all malicious, some being more mischievous than others, the Hervey Islanders had not the idea of one supreme evil spirit corresponding to our Satan.

32 Throughout the islands each member of the family has a separate food-basket, so that if hungry at night he should only take his own share, and not encroach upon his neighbour's.

40 Manihiki, Rakaanga, and Tongareva are situated about 600 miles north of Rarotonga.

44 Literally, "Here are we, Ina's avini and paoro, from which mortals—i.e. Mangaians—derive their tattooing.'' "Te tatau a Kongo,"— i.e. "the tattooing of Kongo," as opposed to that of Ina,—means the bloody marks inflicted by spears in war.

46 The Sacred Isle is here confounded with Aitutaki, both lands apparently lying in the vast unknown.

48 Every return of March shoals of bream (ature) find their way to Atua-Koro. The name of Tinirau's daughter is Ature. Of course there is a play upon the name of the beautiful silvery fish which every year visits that part, and that only, of the island, as if the sister and her attendants were paying a visit to the chosen home of her brother Koro.

49 Tane = husband, or the generative principle in nature. Tane is equivalent to בעל. Innumerable modifications of this dance-loving god were worshipped throughout eastern Polynesia.

50 It is an interesting fact, of which thieves do not fail to avail themselves in seasons of scarcity, that it is quite practicable to husk the hardest cocoa-nut and pierce the eyelet upon the point of the closed sheath referred to, without descending to the ground. Ordinarily a sharp stake is fixed in the earth near the foot of the tree for the purpose of husking the nuts that are thrown down; but nature has provided a sharp-pointed stake at the top of the tree, where the nuts grow, and the climber finds a sure foothold for cases of emergency.

51 The writer, in company with the Rev. J. Chalmers, once explored Aitu-mamaoa for half a mile, until the torches were nearly burnt out and the roof necessitated a creeping posture. About midway a running stream crossed our path. We sung a number of hymns, and were delighted to hear, at a great height above our heads in utter darkness, a most perfect echo—as if an unseen choir were singing in perfect unison with our torch-lit company.

52 On Mangaia this popular game was practised by men, the women being spectators; or by women, the men being spectators: never by men and women together, as in some islands.

53 Areuna is on the south of the island, and is regarded as the ancient home of the priests of Motoro, who swayed Mangaia—as priests first, and afterwards as chiefs—down to the establishment of Christianity. The early part of this myth may serve to explain why in heathenism all illegitimate children were designated "tamariki na te Atua," i.e. children of the gods.

54 A hill on the east of Mangaia is so named, in memory of Ake's visit to the island.

55 Kites were either egg-shaped, cup-shaped, or bird-shaped. As the latter were more difficult to make, they were scarce, and greatly admired by the childish old men who delighted to fly them on the hill-tops of Mangaia.

56 There can be no doubt that most kinds of fish do sleep, or remain in a sort of torpor, during the night. Not so predatory fish, sharks, etc., etc.

57 "Tu" is a shortened form of ''Tu-metua,'' Slick-by-the-parent, who lives in the lowest department of Avaiki with the great mother Vari, in silence, but with intelligence. Here it merely expresses the great depth from which the fairy clambers up.

59 One of the three primary stationary spirits bears this name, but must be distinguished from this buried giant.

63 A possible meaning of this name is "Tu-(bathed)-in-the-Light-of-Heaven." I prefer that given in the text.

65 The dead, if buried at all, were buried with the feet towards the setting sun, on account of this ancient solar worship.

66 The rocks encircling the island and near the sea were the home of the vanquished in battle, too often hunted or starved to death; also the temporary home of these exile spirits.

67 The difference is merely as to the mode of access to the shades,—whether by following the setting sun, or by climbing on a branch of the mysterious bua tree. In either case the END of all who die a natural death is to be cooked and eaten by Miru, her children and followers.

68 Hence the proverb in regard to the dying, "Ka ei i roto i te kupenga tini mata varu" = "Will be caught in the net of innumerable meshes,'' i.e. the net of Akaanga. It is curious that the proverb should outlive the faith on which it was founded.

69 Some "wise men" will have it that these spirits live again after passing through the intestines of Miru and her followers.

72 At Mangaia "Tukaitaua" was of a malevolent disposition, the first violent death being due to his prowess. Tukaitaua taught the world the art of war.

73 The oven in daily use in each household, and particularly the monster Ovens in which it was the office of the tribe of Tane to cook ti roots (dracoena terminalis), were said to have been derived from Miru's original oven in Hades.

74 The reference is to the tribe of Tane, twice treacherously destroyed by their foes in the fires of their own ovens.

75 Miru is charged by the chorus to prepare the intoxicating cup in order to stupefy her intended victims. She is represented as building up a vast oven of ti roots of all kinds for a feast; but Miru's ti roots are human souls! (The song is not quite complete.)

77 The allegorical character of this interesting myth is evident from the names. Veetini means all-separating; Tueva, mourner; Manga, food, in allusion to the custom of offering food to the dead. Tiki signifies fetched: if a person dies, his spirit is said to be "fetched."

78 Since the establishment of Christianity this extravagant mode of mourning for the dead, with the single exception of the bad-smelling "pakoko," has been discontinued.

79 Tautiti was supposed to be present at the particular dance of which he was the originator. As soon as it was over, he returned to the shades.

81 Wherever the body might be buried, the spirits of the dead assembled at Vairorongo, facing the setting sun, to await the proper period for their departure. "Iva" (Nukuhiva) I have rendered "spirit-land"—its true meaning here.

82 The north-west and south-west are known as "spirit-winds." It is fabled that the latter restored Veetini to his friends. Perchance it will restore Vera to his sorrowing parents. Mautara, the grandfather of Vera, was dead at the period (more than a century ago) when this song was composed. The name of the illustrious chief is put for Ngara, his youngest son, then "lord of Mangaia."

83 Ngake was one of the three first slain, inconsistently represented as traversing the ocean.

84 In the original a second name [Maautaramea] is substituted for Veetini, which I have dropped.

85 Vera's spirit is actually starting. The canoe is on the outer edge of the reef ready to cleave the billows. See that the outrigger is well secured, or the voyager will certainly be drowned. What the outrigger is to the canoe, the god is to the soul. Without this necessary aid, tread not this treacherous ocean-path.

89 "Like Tueva's of old." "Like Tiki's." The former was the father, the latter the lovely sister, of the mythical Veetini.
The feast was "all dry," because it was ill prepared, and lay exposed for an entire day at the entrance to the gloomy cave "Auraka." At nightfall the food was wrapped up in native cloth and thrown down to the corpse.

90 "Evil spirits," more literally, "bright evil spirits;" but brightness is in our ideas associated with goodness. These "Du inferi" at night became luminous; not so the unfortunate human spirits that go down to their abode. Yet these spirits are supposed to linger a while about the cave where their dead bodies had been thrown; the period for their final departure to the shades not having come.

91 The reference is to the "Momoo," a beautiful but small species of the blackbird, which has a pleasing note. It was then regarded as the incarnation of the god "Alod,'' who delights to secrete men and things. "Momoo" is strictly "the Moo-bird." This bird is caught with extreme difficulty, being very expert in hiding itself in rat holes, tufts of grass, etc. Its eyes are fiery red. When the Pakoko tribe went on a murdering expedition, this blackbird was supposed, if propitious, to lead the way by a ball of fire lighting up the path of warriors. These pretty birds were regarded as suitable food for the dead, i.e. for dwellers in the "po" = darkness, on account of their blackness. Hence the appropriateness of crabs and black beetles as diet for the ghosts; besides, crabs, beetles, and worms bore into the soil, or crawl about in caves where the dead lie.

92 This and the subsequent "laments" are given without the solos and choruses being marked off. With the aid of the preceding specimens, the reader virill easily see how they were actually chanted.

93 Referring to the ancient home of the tribe of Tane at "Iti" (Tahiti), or "the sun-rising." The "ancestral marae" where her remains were laid was expressly selected (being due east) with an eye to this circumstance.

94 It is hoped that the great beauty of this damsel will induce the dread Miru to forego her horrid repast, and in its stead adopt her as her daughter-in-law.

95 Near the sea, on the western part of this island, is a cave called "Kauava," where some families of ghosts loved to congregate. In this neighbourhood a house had been set up for the special accommodation of this distinguished spirit. But it is now hopelessly decayed, i.e. she is about to descend finally to nether-world. Ghosts from this cave, when the coral tree blossomed, took their departure by leaping from a rock in the Mission premises to a smaller one on the inner part of the reef; thence to the outer edge of the reef; and then tripping over the ocean, like Veetini, disappeared with the sun in nether-world. Although these disembodied spirits avoid the fragrant but fatal bua tree, they cannot escape Miru, mistress of the shades.

96 The night Mourua (Kavoro) was slain, Turuare, the most beloved of his three wives, and her little son Taingarue, were with him in the fishing hut on the beach which they temporarily occupied. The father feared lest his little boy should be struck, but he escaped unhurt. Not so the mother of Taingarue, who bravely stripped off her own clothing in order to break the force of the blows aimed at her husband. For a time she was successful; but, despite the efforts of this heroic woman, Mourua fell, the wife's arm being broken in the fray.
Upon the retirement of the exultant party of Potai, the elder son of Mourua came to Turuare's help. The body of the slain warrior was laboriously carried by a very circuitous route, so as to escape observation, to a gorge called Imogo, half a mile from the scene of murder. In performing this last office of love, the son had at first only the aid of Turuare, who was herself suffering from the anguish of a broken arm; but afterwards friends arrived from the interior. A grave was speedily dug with their iron-wood spades, and the body of Mourua, wrapped in several folds of native cloth, was laid in the grave. Instead of filling it with earth, it was merely covered with a large stone, so as to elude the notice of his foes.
It happened that the women of that part of the island, when employed in collecting candle-nuts, availed themselves of this large stone for shelling them.
The family felt so sure that Mourua must be dreadfully annoyed by the incessant noises over his head, that they disinterred the body; which, although in an advanced state of decay, was re-anointed with fragrant oil and re-invested with fine white cloth. In a few days it was borne across the island to Tamarua, and finally thrown down the deep and gloomy chasm—Raupa. A night or two after, one of the sons had a dream, in which Mourua reproached his relatives for the bad treatment he had received at their hands, for no sooner had his body reached the bottom of Raupa, where so many of his own victims had been so unceremoniously hurled at different times, than the slain rose up, and most vigorously pummelled his bones until they became intolerably sore!
However, it was too late to remove him again. The motive for letting the corpse down Raupa was to prevent its falling into the hands of his numerous living enemies.

98 "Nekaia" was the eldest daughter of Mourua, whose husband, Uanuku, composed this death-lament for his warlike father-in-law. Their son "Patiatoa," or "Tiki," is adjured to take under his protection his young relative Taingarue. Patiatoa (= pierced-with-a-spear) died of measles in 1854, at an advanced age. Not long before his death, he was admitted to the Church upon a profession of his attachment to Christ. I well recollect his bent and venerable figure the day he came to be a candidate. He was a priest, and a special depository of all the lore of idol- worship. He was a "koroma-tua," or instnictor of kings—a peculiarly sacred office. It was a striking homage to Christianity to see this aged man give the lie to all that had given him rank and fame amongst his countrymen during a long life, and when past the ordinary term of human life, come and sit humbly at the feet of Jesus. But when the Sabbath came for Patiatoa to partake of the tokens of His Saviour's dying love for the first time, he was too weak to walk so far. His sons extemporized a platform of a number of green branches, and carried the aged disciple to the foot of the pulpit, where he received the ordinance of the Lord's Supper for the first and last time in his long eventful life.
The "second offshoot" is called "a surprise" (unuunu rako), on account of its great length, and because the weeping is continuous. The fact is, the song evinces blank, hopeless sorrow and tears from the beginning to the end. One of Vera's laments also contains a verse or two of "surprise."

99 "Pukukare" was older than the "pet Kourapapa." A deceased young sister is "the third" referred to in this song, which pertains to the " death-talk of Kourapapa."

100 Riuvaka was a worshipper of Tane. Hence the praises of his deity are celebrated throughout this "Introductory Song." Kirikovi was supreme temporal chief of Mangaia at the date of the discovery of the island by Captain Cook, in 1777.
The "parent Tane," was "Tane-papa-kai," i.e. Tafte-piler-up-of-food, son of Papa.

101 Shaving the head was one way of mourning for the dead. Tane glories in having occasioned this mourning. This is a reference to Tane-Ngakiau, or Tane-striving-for-power, from Iti (Tahiti), who was believed to kill people prematurely, by devouring their souls. Of course, their bodies, however strong and healthy formerly, quickly faded and died after this!

102 The dance was specially under the patronage of Tane. Hence the big drum used on the occasion is called ''the voice of Tane."

103 The peerless daughters never failed to honour the fetes of Tane with their presence. Like mortals, they will come attired with sweet-scented flowers and myrtle sprigs. It is pretended that the fairy toilet is nearly complete; the dance must for very shame lead off without delay.

104 The night of the 26th of each month was sacred to Tane; the night following to Rongo.

106 In the native language "ta-para," or blanched: Europeans would say " ripened."

107 A detestable colour in the eyes of a Hervey Islander. Tangaroa's own hair was of the objectionable light yellow.

108 The black and yellow lizards hide during the day in the caves supposed to be the high-road to spirit-land; whereas the common green variety suns itself all the day on the leaves and grass.

110 The three sorts of "kava " known in this world are but offshoots from the original root.

111 A deluge-myth is inserted in a forthcoming popular volume, entitled "Life in the Southern Seas."

114 Oraka, i.e. "Auraka," the dreadful chasm down which the dead were thrown: here, "the gates of Hades."

115 The root only of the piper-mythisticiiin is chewed to make the stupefying drink. But Minims own original plant, of enormous size, in the shades is narcotic even to its branches. The inebriate spirits are helplessly carried to the fatal oven, and are cooked. Ngaru alone defeats her cruel arts.

116 Ngaru = wave: a play on the name is intended, as well as a reference to his first exploit.

117 "Iti," an abbreviation for "Itikau," the name of a famous resort for lovers on the west of the island.

120 The graceful "Tautiti" dance stands opposed to the "Crab," in which the side movements of that fish are most disagreeably imitated. Dances always took place by moonlight.

125 Each fete has its distinctive symbolism. In Captain Cook's song, "caulking" is appropriately introduced : in this the employments of peace, as contrasting with those of war. The "burdens" were bundles of long bamboos, suitable for fishing-rods. These furnished employment for men in time of peace. "The cloth-beating mallet" was intended to illustrate the work of industrious wives. This could not be pursued with safety in time of war, as the far-reaching sounds would only guide the murderer to his prey. At this fete, however, men beat mimic cloth-boards. These fairies were acted—one coming from either end, met in the middle.

126 Mautara's true name was Rongoimua, but it has been entirely dropped in later years in favour of the nickname "Mautara," because he took to the cannibal ways of that outcast.

127 Translated by the writer with a number of clan songs, but not yet published.

128 The first house on Mangaia was built by Rauvaru at Tamarua, who slept in it as soon as it was finished, the long thatch ends hanging loosely down. A heavy shower of rain fell, causing the thatch to lie smoothly.
Now Rangi greatly admired this new invention of house-building; but thought he could improve upon what Rauvaru had accomplished. He therefore descended to the shades (Avaiki), to pay a visit to his grandfather Rongo, who presented him with a wonderful axe, the handle and all being of stone in one piece, and withal very sharp. During the rain Rangi came up unobserved from the shades, and trimmed the thatch of Rauvaru's house all round. Great was the astonishment of the owner in the morning to see what an improvement had been effected by an unseen friend during the peltering storm. The magic-axe of Rangi, named Ruateatonga, became the envy of men and the gods too. When Rangi died, it disappeared for ever.

129 "Tane-of-royal-face" is the name of the axe-god, identified with the clever Mangaian method of securing ordinary stone axes to wooden handles. This valuable knowledge was introduced by Una from Tahiti (or Iti). These axes were equally valuable for felling trees and men. It is made to stand for the veritable axe which slew Kaukare and others.

130 Ruru died a natural death ; but being on his mother's side descended from Kaukare, an animated description of that warrior's cruel end is introduced, with a natural cry for vengeance which was but too truly answered not long afterwards.

131 The Tongan tribe introduced the iron-wood tree, and first made spears out of its timber. The god "Turanga" (now in the Missionary Museum) is put for the tribe.

132 As Ruru did not die a warrior's death, his spirit necessarily enters the domains of cruel Miru.

133 Tiairi is the warrior's paradise, in which the clan of Tane is supposed to have a large share, most of them having died a violent death. The reference is introduced to distract attention from the dismal fate of all who fall into the clutches of Miru.

134 This is a sort of comedy. The performers now divide themselves into two bands, alternately addressing each other. At length two men, calling themselves mice, actually climb a pandanus tree well-laden with ripe fruit, and squeak ! Showers of nuts are scattered over the performers to their great amusement.
The "eva," or "dirge properly so called," was always performed by day; usually in the early morning.
The "irave," "papaka," and "tupa" are well-known varieties of the land-crab.

137 = "He whose delight it is to fight" (tu = stand; kai = eat; tau= battle.)

138 Until lately was shown the hole in the coral reef where "The-man-of-the-long-string " tied this end of the enormous ball of string! The bit of rock is now destroyed.

141 This prayer, and the "Prayer for Peace" on p. 299, are of unknown antiquity.

143 The Bible phrase, "the peace of God,'' is rendered "te au o te Atua" = "the rule and consequent peace of God."

144 Hence the native name for "Missionary," Orometua, meaning literally, "a wise man, or instructor." "Orometua" is Tahitian for "Koromatua."

148 Ngutuku was an expert fisherman ; hence the reference to his daily avocations in this and the following stanza.

149 By a refinement of cruelty only possible to heathenism, the bearers of the sacrifice address the weeping children in the words, "Your father is being borne to the altar." Muare, the only son of the victim, did not follow the corpse, as he would have been put to death. He survived to Christian times, and became a member of the Church. Years before the first teachers landed, he induced Reinga to compose this song in commemoration of his father's tragical fate. Muare found a melancholy pleasure in chanting this song to its proper accompaniment of the harmonicon : indeed, he quite excelled at this outrageous performance. A few years ago he died the death of a Christian. His sister Paraakere died recently.

151 The two months preceding the arrival of sprats are called "te karaii koa," or "time of exhausted crabs," they having made their way from the rocks to the sea to spawn. In like manner the interior of man is supposed to be empty and weak, until the arrival of sprats gives new life. During these hot and enfeebling months children are fractious and troublesome, but should on no account be beaten!

152 The same name for the Magellan clouds ; as if the rising up of vapour, or curling up of columns of smoke in the heavens.

153 Sprats arrive during these three days in Feb. Failing that, expect them the same days in March.

154 Cocoa-nuts were invariably planted at the full of the moon ; the size of the moon symbolizing the full roundness of the future fruit.

155 The 26th and 27th were fete nights—Rongo and Tane being patrons of their dances in time of peace.

156 The Aitutakians speak of "te taru ariki" = the chiefs, or kings Mangaians speak of "te iau ariki. " "Taru" on Mangaia is a verb, "to heap up," to "cover over with new soil." It is easy to trace the connecting link of thought, i.e. the entire assembly of chiefs.

157 "Rau" also means "leaf," or "pandanus thatch." A native house requires about 200 reeds of thatch to complete one side: "rau," therefore, may mean indifferently a leaf, 200, or a "tua-rau," i.e. thatched side of a dwelling