One of these curious implements in my collection is six feet in length, and is made of the same wood as the patu. If held upright the resemblance of the point to the outstretched tongue is not very plain; but if it be held horizontally, the effect is quite altered, and the whole of the tip is seen to represent a human head with the tongue thrust out as far as possible between the lips. As the tongue is only a conventional representation, it is covered with a pattern, a ridge running along the centre, and each side being marked with precisely similar curves and semi-spirals. In spite of its length, it really makes a very convenient walking-staff, and, on an emergency, might do duty as a weapon, the tongue-like tip being sharp enough to act as a spear head, and the flattened butt being heavy enough to stun a man with a well-directed blow. My specimen does not possess the tuft of feathers and dog’s-hair which decorates the hani shown in the “weapons” (fig. 2, p. 841); but this adornment is not considered as forming a necessary part of the implement. Before a party engage in war, they think themselves bound to join in the war dance. There are war dances in almost all savage tribes, but that of the New Zealander surpasses them all. In other cases, each warrior gives himself up to the excitement of the moment, and shouts, yells, dances, and brandishes his weapons as he seems to think fit; but the Maori warrior’s dance is of a far different character, being guided by a discipline and precision of drill to which that of the Russians themselves is loose and irregular. They begin by smearing the whole of their clothing and by painting their faces with scarlet ochre, so as to make themselves as hideous as possible. When they assemble for the dance, they arrange themselves in lines, mostly three deep, and excite their naturally passionate disposition to the highest pitch by contorting their faces and thrusting out their tongues as an act of defiance, interspersing these gestures with shouts, yells, and challenges to the enemy. The dance itself begins with stamping the feet in perfect time with each other, the vigor of the stamp increasing continually, and the excitement increasing in similar proportion. Suddenly, with a yell, the whole body of men leap side-ways into the air, as if actuated by one spirit, and, as they touch the ground, come down on it with a mighty stamp that makes the earth tremble. The war song is raised, and in accordance with its rhythm the men leap from side to side, each time coming down with a thud as of some huge engine. The effect of the dance upon the performers is extraordinary. It seems to make them for the time absolute maniacs, their whole nature being given up to the furious excitement of the moment. Their faces are frightfully contorted, and thus assume an absolutely demoniacal expression.