I will now add several other songs which are composed in different dialects; these will serve both as examples of their metre and style of poetry and as specimens for the purpose of comparison with the songs of the natives of the other portions of the continent. Number 1. One voice: Djal-lee-lee-na. Chorus: Mong-a-da, mong-a-da, Mong-a-da, mong-a-da, Mong-a-da, mong-a-da. One voice: Eee-dal-lee-na. Chorus: Wun-a-da, wun-a-da, Wun-a-da, wun-a-da, Wun-a-da, wun-a-da. etc. etc. etc. They all join in the chorus of: Mong-a-da, etc. etc. Wun-a-da, etc. etc. And clap their hands in time to the air to which this chorus is sung, so that the effect produced is very good. I am unable to render this song into English. Number 2. Dow-al nid-ja kotiay bool-a, Woor-ar wur-rang-een, Dow-al nid-ja kotiay bool-a, Woor-ar wur-rang-een Dow-al nid-ja kotiay bool-a, Woor-ar wur-rang-een. These lines are repeated three times more, and then follows the chorus: Chorus: Ban-yee wur-rang-een, Koong-arree, wur-rang-een, Ban-yee wur-rang-een, Koong-arree, war-rang-een. etc. etc. etc. Number 3. Kat-ta ga-roo, Ngia Bur-na-ri-noo. Yar-dig-o-roo, Ngia Bur-na-ri-noo. etc. etc. etc. Number 4. Yerib-a-balo, may-il boyne ga-ree, Yerib-a-balo, may-il boyne ga-ree. etc. etc. etc. Number 5. Mar-ra boor-ba, boor-ba nung-a, Mar-ra gul-ga, gul-ga nung-a. SONGS AND EXTEMPORANEOUS CHANTS. These songs give however no idea of the manner in which they chant forth their feelings. When irritated by any passionate emotions they then pour out with the greatest volubility torrents of reproach, all in a measured cadence and with at least the same number of syllables in each line, but even the rhyme is generally preserved; the two following translations of chants of this sort are rendered as literally into English as the great difference between the languages permits. CHANTS OF JEALOUSY AND REPROACH. The reader must imagine a little hut, formed of sticks fixed slanting into the ground with pieces of bark resting against them, so as to form a rude shelter from the wind; underneath this were seated round a fire five persons--an old man, and his four wives; one of these was considerably younger than the others, and being a new acquisition, all but herself were treated with cold neglect. One of her rivals had resolved not to submit patiently to this, and when she saw her husband's cloak spread to form a couch for the newcomer she commenced chanting as follows, addressing old Weer-ang her husband: Wherefore came you, Weerang, In my beauty's pride, Stealing cautiously Like the tawny boreang,* On an unwilling bride. 'Twas thus you stole me From one who loved me tenderly: A better man he was than thee, Who having forced me thus to wed, Now so oft deserts my bed. Yang, yang, yang, yoh--