-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