Journals of Two Expeditions of Discovery in North-West and Western Australia Volume II Part 25

TRANSLATION.

Spear his forehead, Spear his breast, Spear his liver, Spear his heart, Spear his loins, Spear his shoulder, Spear his thigh, Spear his ribs, etc. etc. etc.

Thus rapidly enumerating all the parts in which they intend to strike their enemies.

It is very rarely that any remarkable circ.u.mstance occurs but songs are composed in order to perpetuate the remembrance of it. For example, when Miago, the first native who ever quitted Perth, was taken away in H.M.

surveying vessel Beagle in 1838, the following song was composed by a native and was constantly sung by his mother (at least so she says) during his absence, and it has ever since been a great favourite:

s.h.i.+p bal win-jal bat-tar-dal gool-an-een, s.h.i.+p bal win-jal bat-tar-dal gool-an-een.

etc. etc. etc. etc.

Whither is that lone s.h.i.+p wandering, Whither is that lone s.h.i.+p wandering, etc. etc. etc. etc.

Again, on Miago's safe return, the song given below was composed by a native after he had heard Miago recount his adventures:

Kan-de maar-o, kan-de maar-a-lo, Tsail-o mar-ra, tsail-o mar-ra-lo.

etc. etc. etc. etc.

Unsteadily s.h.i.+fts the wind-o, unsteadily s.h.i.+fts the wind-o, The sails-o handle, the sails-o handle-ho.

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 pa.s.sionate 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--

Oh where is he who won My youthful heart, Who oft used to bless, And call me loved one: You Weerang tore apart, From his fond caress, Her, whom you now desert and shun; Out upon thee faithless one: Oh may the Boyl-yas** bite and tear, Her, whom you take your bed to share.

Yang, yang, yang, yoh--

Wherefore does she slumber Upon thy breast, Once again to-night, Whilst I must number Hours of sad unrest, And broken plight.

Is it for this that I rebuke Young men, who dare at me to look?

Whilst she, replete with arts and wiles, Dishonours you and still beguiles.

(*Footnote. Boreang is the word for a male native dog.)

(**Footnote. Boyl-ya is the native name for a sorcerer.)

This attack upon her character was more than the younger female could be expected to submit to, she therefore in return chanted:

Oh, you lying, artful one, Wag away your dirty tongue, I have watched your tell-tale eyes, Beaming love without disguise: I've seen young Imbat nod and wink, Oftener perhaps than you may think.

What further she might have said I know not; but a blow upon the head from her rival, which was given with the stick the women dig up the roots with, brought on a general engagement, and the dispute was finally settled by the husband beating several of his wives severely about the head with a hammer.

The ferocity of the women when they are excited exceeds that of the men; they deal dreadful blows at one another with their long sticks, and if ever the husband is about to spear or beat one of his wives the others are certain to set on her and treat her with great inhumanity.

CHANT EXCITING TO REVENGE.