That I might obtain permanent records of their songs and incantations, I carried with me a large-sized phonograph, with all needful appliances. With much relish I anticipated the consternation of the natives when they saw and heard a box whence issued a living human voice and music played by all sorts of instruments.

In order to introduce them to it with due paralysing effect, I made a selection of band music and several songs in English; with these I intended to charm them before requesting them to speak or sing into that embarrassing, expressionless metal horn. Experience had taught me, however, the impossibility of foretelling the fashion in which untutored minds will accept such miracles, and I was not altogether unprepared to have their bewilderment find expression in a shower of well-directed coconuts at the first bars of “Lead kindly light” or other soothing, peaceful hymns. But what was my unexpected amazement and infinite chagrin, when the audience I had gathered displayed not the faintest interest in the performance beyond the sight of the revolution of the little wax cylinder. A living, human voice, singing a sweet English love-song, and issuing from a brass horn attached to a machine, was, to them, not half as awesome as the whirling wheels and the buzz of clock-work; some of the audience actually turned away in indifference, if not in disgust, and went off to resume their work of husking coconuts.

Completely crestfallen, I ventured to ask one man when the tune was finished what he thought of it; “An all right sort of tom-tom” was his careless and patronizing reply. (Tom-tom is an adopted word which they apply to cheap musical boxes,—in fact to any variety of musical instrument,—introduced many years ago by whalers and copra traders.) Friedlander himself was astounded at their mortifying indifference, and suggested very justly that it was probably because the words meant nothing to them, and that the phonograph was to them only another form of hurdy-gurdy. A human voice uttering incomprehensible sounds had to them no more meaning than the beating of a tin pan.

Cast down, but not utterly discouraged, I tried a second song by a melodious female voice, but this fell just as absolutely flat as the former. As a final and desperate resource, I put on a blank roll and the recording needle, and then induced one of the youths to speak a few native words into the horn, and immediately ground off a reproduction of his very words. The effect was magical! The audience forgot to breathe in awed silence! Their eyes dilated! Their jaws fell! And they began repeating after the instrument the words of their very own language, in the boy’s very own voice, now issuing from the bottom of the horn! Was the boy himself imprisoned there? For five or six seconds after the voice ceased, they remained silent, looking from one to another, and then—then they burst into peals and peals of screaming laughter, clamourously and vehemently imploring me to repeat it. Of course I complied. The coconut huskers dropped their work and hurried back helter-skelter, to hear a little machine that after only a minute’s acquaintance could talk as well as they could themselves! The conquest was complete! Thereafter I had no difficulty whatsoever in finding volunteers to sing or repeat set speeches. The miracle of a “tom-tom that talked and sung” was assured, and its success unbounded!

At my first and second exhibition men alone happened to be present. A request then came to me from the women, through Friedlander’s wife, that I should give them an exhibition, to which, as they were shy, no men should be admitted. Accordingly, kind-hearted Friedlander had one of his copra storehouses cleared,—it was a little house on low piles, with walls and floor of bamboo slats, about twenty feet long and ten feet wide. At one end I set up my phonograph, and the audience duly gathered in bunches and bundles,—I use the words advisedly, so enormous and expansive are the skirts of dried grasses and leaves. The hall was filled to overflowing. But in a house of bamboo the walls and floor have many a chink, and I think I may truly say there was no single crevice without its outside ear. I tried the same experiment with the women as with the men, and first of all I gave them an English song; and precisely the same result followed; the performance emphatically bored them, and they conversed with each other and pointed to the different parts of the machine as if the entertainment was yet to begin. But the native song, that I gave them next, awed them into silence in a trice; with dilated eyes they scrutinised me wonderingly, before, behind and on every side, to see that there was no living man concealed who was the real singer. The silence, however, lasted but a minute, and was then broken by shouts of delighted laughter, and thereupon followed such a commotion and eager shifting of places to get a nearer view of the mystery, that I really expected every minute that the whole audience, myself included, would crash through the frail floor to the ground below. The rows of jet black teeth on a broad grin from ear to ear, seemed to darken the room. During the intermission, while I was putting on another record, cigarettes burned hard and fast to brace up the nerves for another thrill. After two or three men’s songs, I asked for a song from the women; they were reluctant and very shy, but finally they induced two young girls to sing a duet, which they said is wont to be sung at funerals, setting forth the good qualities of the deceased and the intense grief of the survivors. It must have been the identical tune that the original “old cow died on,” so monotonous, so lugubrious, so discordant was it. Evidently the débutantes had not assisted at many funerals; they frequently made awkward pauses and looked around despairingly until kind friends prompted them loudly. It did not turn out to be a good record, but it served to interest the women intensely, and render them anxious to hear their own voices as others hear them.

Thereafter the fame of the tom-tom-ni-non,—the “talking tom-tom,”—spread all over the island. I think that eventually I must have been visited by every human being in Uap, from babies in arms to hoary age,—everything that could creep, walk, or hobble. From far and near there came crowds so insistent that almost every day I had to give a session in the morning for the men, and a select session for the women in the afternoon, but I no longer crowded them into the little copra house; open air exhibitions were perfectly satisfactory.

It was intensely interesting to watch their expression as they recognised the words of a familiar song, or speech, and knew the speaker’s voice. There was one particular chant, sung for me by three men from the adjacent failu, which Lian, the chief, cautioned me not to play for the women; it was quite as well they should not hear it. Pleased with this unexpected display of refinement, I assured him at once that I would do my best to comply with his request. At that early stage of my knowledge of their song-language the songs were all so much alike, and the tunes so completely indistinguishable one from another, that one afternoon, in my innocency, before I was aware, the forbidden song was droning away on the phonograph, and I was awakened to my oversight by the “nods and becks and wreathèd smiles” of the women before me; but I had gone too far to retreat. I glanced up and saw Lian at a little distance off, standing in the doorway of our house. He was both smiling and scowling, but from his position at one side he was watching keenly the women’s faces while they were listening to that mysterious song. There were also a few other men standing further off behind the rows of women who were sitting cross-legged on the ground. The women’s eyes danced with merriment and, as soon as the song was recognized, a suppressed giggle went round the audience and they turned to one another with up-lifted brows and wide open eyes, with a sort of “did-you-ever!—no-I-never” expression; it evidently diverted them, so I submitted to fate. Lian still stood watching, and I saw his lips repeating each word; then came several bars of the song which gave forth nothing but a low humming, with plaintive cadences. The women all cast their eyes on the ground, laughing, but ashamed to laugh. Lian gave a foolish, sickly smile and, shaking his head weakly, retreated into the obscurity of the house; the men in the background could not suppress two or three loud guffaws, and then, stooping down to hide their embarrassment, busied themselves at once with splitting the husks of some coconuts.

I had, indeed, quite innocently proved a marplot, and suffered the women to hear one of the secret songs of the failu. The combined questioning of Friedlander and myself failed to elicit its meaning, or why the men should have been so particularly anxious to keep it from the women’s ears. We never could get any further explanation than that it was “merely one of the songs sung only in the failu.”

An odd feature of all their songs and incantations is that they are not in the modern Uap language at all, nor in a language used by the people in any other island. They say it is the primitive language of Palalagab, the ancient name of Uap, and they use these words when they compose a new song. It is, however, impossible to extract any meaning, or, rather, any literal meaning out of these mere strings of words; they translated them for us into modern Uap, but this yielded merely a collection of what seemed to be absolutely disconnected and irrelevant statements. They usually began with an appeal for attention, such as “Hear what we have been doing;” “Listen to what we are saying,” or “Open your ears to hear;” then follow immediately one after another, such sentences as “Brave men, all the same as devils, make a mach-mach for good weather at sea”—“When we go in a canoe and see a bird, we say we are near to land, when we see a fish, we say we are near to land”—“Listen to what we young boys dreamt about”—“We all got in a canoe;” etc.

These are the sentences of a song which Tomak, a high-class man, sang into the phonograph and then told us proudly that he himself composed it, but he could give us no more than the above sentences translated into modern Uap, and he was unable to say what meaning he intended to convey. This same incomprehensible language is, of course, a heaven-sent boon to the mach-mach men; luckily nobody, not even themselves, can tell what they are talking about.[2]

Powerful spells may be purchased and learned from the mach-mach men for large sums; at times they are heirlooms and pass on from father to son or younger brother. Since they must all be transmitted by word of mouth, is it surprising that they should become at last mere nondescript jargon? It is not, however, beyond possibility that the wizards understand these random sentiments and disjointed sentences; they are experts at reading between lines, and what to us is the merest platitude, becomes in their ears a lyric overflowing with sentiment. Nay, is it not even so with the Japanese whom we have lately learned to admire in the arts of peace as well as of war, and especially in Painting, Poetry’s twin sister? There flits across my memory the following Japanese “Poem” consisting of these three lines and no more:

To a Japanese this is all sufficient to conjure up a picture of two lovers sundered by cruel fate, each happy in the thought that both are gazing at the same moon and longing for the moon’s mirror to reflect an image of the beloved face, while the “Delightful” at the close has all the convincing emphasis of the “Assuredly” in the Koran.

Indeed it is not straining probability too far to suggest that a Uap song, which was thus translated for me:—

may, to the languishing Uap youths or lovelorn maids express all the tenderness of Lover’s

In both songs we have a limitless expanse of seas, and eternal fidelity (how full is the image of a “burr” with its side glance of annoying persistence!). It is in the last line, however, that the Uap song bears the palm, and rises to a height of self-knowledge rarely attained by poets, of all men, and beyond all praise in its open confession of what is patent to all.

Let no one hereafter cast a slur on Uap poetry,—least of all those who admire Emily Dickinson, that belated Uap poetess, who would have been hailed as a Sappho had she been born under the palms of The Carolines.