One, in particular, had pleased Frederick at first. The favourite song of a Tahitian king, Tom explained--the last of the Pomares, who had himself composed it and was wont to lie on his mats by the hour singing it. It consisted of the repetition of a few syllables. "_E meu ru ru a vau_," it ran, and that was all of it, sung in a stately, endless, ever-varying chant, accompanied by solemn chords from the _ukelele_. Polly took great joy in teaching it to her uncle, but when, himself questing for some of this genial flood of life that bathed about his brother, Frederick essayed the song, he noted suppressed glee on the part of his listeners, which increased, through giggles and snickers, to a great outburst of laughter. To his disgust and dismay, he learned that the simple phrase he had repeated and repeated was nothing else than "I am so drunk." He had been made a fool of. Over and over, solemnly and gloriously, he, Frederick Travers, had announced how drunk he was. After that, he slipped quietly out of the room whenever it was sung. Nor could Polly's later explanation that the last word was "happy," and not "drunk," reconcile him; for she had been compelled to admit that the old king was a toper, and that he was always in his cups when he struck up the chant. Frederick was constantly oppressed by the feeling of being out of it all. He was a social being, and he liked fun, even if it were of a more wholesome and dignified brand than that to which his brother was addicted. He could not understand why in the past the young people had voted his house a bore and come no more, save on state and formal occasions, until now, when they flocked to it and to his brother, but not to him. Nor could he like the way the young women petted his brother, and called him Tom, while it was intolerable to see them twist and pull his buccaneer moustache in mock punishment when his sometimes too-jolly banter sank home to them.