scale. Something of this kind, however,
appears to have been the case at an earlier
date, as the remains of certain temples plainly
indicate. One of these, in a very secluded part
of the interior, contained the remains of a
grotesque Idol, whose advice was sought on
very important occasions, by the priests, or by
the chiefs whom the priests could influence.
The approach to the temple of the idol was of
course tapu–––nobody dared to go near it.
Many little spots on the outskirts, where an
ancient chief or great priest had stood, were
marked off by a circle of sticks. The remains
of a treble row of stakes were stuck round
about the entrance to this temple, intervalled
with tall upright posts, on the tops of which
were carved figures, larger than life, of men in
all sorts of frightful attitudes, most of whom
were thrusting out enormous tongues, with an
expression at once of the most savage
provocation and threatening. The carvings on
the outer walls of the temple were coloured
with black, red, and white; but the interior
was in darkness, except, here and there, an
uncertain light admitted through cracks and
crevices, which cast a hazy mist of faint rays
upon the squatting figure of a deformed green
Idol, with red eyes encircled by three white
rings–––a great gourd-like face, elaborately
tattooed in black–––tall flat ears, immensely
wide, speckled, and of a blood-stone colour–––
and a large black mouth in two arches,
not unlike the form presented by a flying
crow.

Gradually returning to a state of consciousness,
the first thing Ta?nui perceived was the
figure of this Idol squatting on a mound of
sand, with its red eyes shining directly upon
his face. The king sat up–––and they both
remained seated for some time, looking at
each other.

At length the Idol arose, and beckoning
Ta?nui, led the way across the sands into the
scrub. The king having arisen, had followed,
as if by some dreadful fascination; but he
hesitated to advance among the shrubs and
ridges of the scrub. The pagod, perceiving
this, pointed to the flute which hung from
Ta?nui's neck, and immediately a funeral
march resounded–––not like the one he had
recently heard, but made up of all the most
discordant and vile sounds he had been
accustomed to play in his first use of the
instrument. To this march, the king felt
himself obliged to move in measured time,
after his "spiritual" conductor, who now
advanced without once turning his head.

The Idol led the way through the arid
and stunted mazes of the scrub, and thence
across the country, and through a forest,–––
now fording rivers,–––now climbing over
rocky ridges,–––the discordant music of the
march ringing in the king's ears all the time.
He had thrice endeavoured to detach the flute
from his neck, but all he could effect was to
half strangle himself; on which occasions he
always saw the squab shoulders of the pagod
shake with silent laughter. In this manner
they proceeded, till they arrived at the
borders of a channel, across which they
passed in a canoe made of the hollowed trunk
of a tree, and landing on an island, proceeded
to a ruined pah, which Ta?nui well knew, for
almost the only building in it, that was still
standing, was Eat-man House.

This house, with the objectionable culinary
name, had several historical traditions
connected with it, which we pass over with a
shudder, merely remarking that its present
external appearance was by no means
suggestive of pleasing thoughts. The door-post
and boards of the portico were carved with
figures having flat shell eyes, with their
tongues protruded as in savage insult and
defiance; and the row of stakes round the
house was adorned in various places with
dried human heads of chiefs who had fallen
in battle–––the mouths of the victors being
carefully sewn up close, while those of the
vanquished had been distended to the utmost,
and then sewn back in that horrid position,
to indicate that they were still in a constant
terror, and calling out! A large head over
the door, intended, perhaps, to represent the
original owner of the house–––the renowned
Shongi of Eatman,–––was elaborately tattooed,
and adorned with a long beard made of dogs'
tails. In this frightful place was Te?ra now
fastened up, and perhaps had been starved to
death.

To a semicircular space in front of this
lonely house, the Idol now led the way, and
took his seat on a high stone which had been
placed against the door to keep it fastened.
At the same moment, a pointed flame burst
out of the ground between Ta?nui and the
pagod, the feet of the former becoming fixed
to the spot where he stood. Presently
Ta?nui perceived a figure seated on his
right, closely shrouded in the long war-mat
of a great rangatira. A second flame now
burst out of the ground by the side of the
first; and presently Ta?nui noticed a second
figure, seated opposite to the other, shrouded
in like manner in his war-mat. A third
flame arose–––and with it a third shadowy
chief arose and took his seat; a fourth flame,
and a fourth shadowy figure, and so on, till
all the flames uniting in the centre, there was
a great fire, and round it were seated a circle
of shadowy warriors, whom the king now
discovered to be those Waikatoto chiefs who
had fallen in battle by the side of the great
Te Pomar.

A strange stir and bustle was now going
on among the trees of a grove just behind
Ta?nui. He could not turn his head to see
what it was; but, somehow, he became aware
that it was the preparation for a great feast.
A long roasting-stake was thrown over his
head, and fell near the fire. Several vessels
made of baked clay, and of stone and shell-work,
were also pushed within the circle.
But what were they to eat? Where was the