Chapter I: Passing Away (2)

On a certain station a youthful son of the proprietor was accidentally drowned in a creek not far from the homestead. The grief of the parents was participated in by all engaged on the station, for the boy, full of promise, had been a general favourite. None seemed more sorrowful and gloomy than the blacks camped in the neighbourhood, and when the first shock of sorrow was of the past, they were eager to send the news to distant friends. A letter was laboriously composed. It was a short piece of wood, narrow and flat; an undulating groove ran from end to end on one side, midway was an intersecting notch. These were the principal characteristics, but there were other small marks and scratches. Bearing this as his credentials, a messenger departed, and in a week or so members of camps hundreds of miles away had seen the letter and were in possession of all the details of the sad event, the messenger in the meantime having returned. The letter was duly credited with having conveyed the particulars. Is it not obvious, however, that the news had been transmitted orally, and that the crude carvings on the stick merely indicated an attempt to give verisimilitude to the intelligence--the wavy line indicating the creek, and the notch the fatal waterhole. If not, then a black's message-stick is a model of literary condensation, their characters marvels of comprehensiveness and exactitude.

Another letter is before me--one of the best specimens with regard to workmanship I have ever seen. Upon one edge of a piece of brown wood 6 inches long, 1 inch broad, flat and rounded off at the edges and ends, there are five notches, and on the opposite edge a single notch. Close to the end is a faint, crude representation of a broad arrow, below which is a confusion of small cuts, in a variety of angles, none quite vertical, some quite horizontal. On the reverse is a single--almost perpendicular--cut, and a bold X, and near the point, two shallow, indistinct diverging cuts. So far no one to whom the letter has been submitted has given a satisfactory reading. Blacks frankly admit that they do not understand it. They examine it curiously, and almost invariably remark--"Some fella mak' em." No attempt to decipher it is undertaken, because no doubt it was never intended to be read. Yet a plausible elucidation is at hand. The single notch, let it be said, represents a black who wishes to let five white fellows (who have made inquiries in that direction) know that a corrobboree is to begin before sundown, the setting sun being represented by the broad arrow, which seems to dip over the end of the stick. The guests are expected to bring rum to produce a bewildering, unsteady effect upon the whole camp--none, big or little, but will stagger about in all directions and finally lie down. On the other hand the guests are not to bring "one fella" policeman with handcuffs (the cross), otherwise all will decamp--the two last are seen vanishing into space. By a rare coincidence this very free interpretation could be made to apply to an actuality at the time the "letter" was received, but as a matter of fact it came from quite a different source to the black fellow who had engaged to let some students of the aboriginal character know when the next corrobboree would take place. It still remains undecipherable. My investigations do not support the theory that the blacks are capable of recording the simplest event by means of a system of so-called picture-writing, but rather that message-sticks have no meaning apart from verbal explanations. Blacks profess to be able to send messages which another may understand, but the tests applied locally invariably break down.

Another message-stick was made on the premises by George, but not to order. A genuine, unprompted natural effort, it is merely a slip of pine, 4 inches long, a quarter of an inch broad and flat, upon which are cut spiral intersecting grooves. George's birthplace is Cooktown, and his message-stick resembles in design that brought by Mattie from Bo'sun of Cooktown for Mickie of the Palms. Now George professes to be able to write English, but he is so shy and diffident over the accomplishment that neither persuasion nor offer of reward induces him to practise it. When he produced the "letter," more than usual interest was taken in it, for it seemed to offer an exceptional opportunity for ascertaining the extent of his literary pretensions. I asked him--"Who this for, George?" George looked at the stick long and curiously with a puzzled, concentrated expression, as one might assume when examining a novel and interesting problem demanding prompt solution. With an enlightening smile he in time replied--"This for Charlie."

"Charlie" is the name of a boy who recently visited the island, but who hitherto had not been known by George.

"Well, what this letter talk about?" A very long pause ensued during which George appeared to be putting his imaginative powers to frightful over-exertion. His forehead wrinkled, his lips twitched, his head moved this way and that, once or twice a gleam of inspiration passed over his face, and then the expression of the deep and puzzled thinker came on again. Finally he said--"Y-e-e-s. Me tell 'em, sometimes me see Toby."

Toby is the tallest of the survivors of Dunk Island, another acquaintance of George's, who refers to him as a hard case, for it is said Toby's affections are very fitful and uncertain.

"Then that letter tell 'em something more?" The strenuous pause, the desperate plunge into thought again, and George continued--"This for Johnny Tritton, before alonga Cooktown; now walk about somewhere down here. Might be catch 'em alonga mainland!"

This message-stick was freshly made, and its meaning, had it possessed any, might have been repeated pat. But it was evident that the boy was putting a devastating strain upon an unexuberant and tardy wit when he endeavoured to ascribe to it a literary rendering. His hesitancy and contradictions were at least amusingly ingenuous.

Exceptional opportunities were available in this neighbourhood recently for the formation of an opinion upon the value of message-sticks for the transmission of intelligence. The bushman who on horseback carried His Majesty's mails inland among the settlers and to distant stations, was frequently also entrusted with the delivery of message-sticks by blacks along the route. Invariably the stick was accompanied by a verbal communication--a request for some article (a pipe, a knife, looking-glass, handkerchief) or an inquiry as to the whereabouts or welfare of some relative or friend. The mailman quickly found that the often elaborately graven stick was to no purpose whatever without the verbal message. Frequently the sticks would become far more hopelessly mixed up than the babes in PINAFORE; but as long as he recollected the message aright, not the slightest concern or dissatisfaction was manifested.

HOOKS OF PEARL

In this neighbourhood the making of pearl-shell fishhooks is one of the lost arts. The old men may tell how they used to be made, but are not able to afford any satisfactory practical demonstration. Therefore, to obtain absolutely authentic examples, it was necessary to indulge in the unwonted pastime of antiquarian research. During an unsystematic, unmethodical overhauling of the shell heap of an extensive kitchen midden--to apply a very dignified title to a long deserted camp-- interesting testimony to the diligence and patience of the deceased occupants was obtained. It was evident that the sea had been largely drawn upon for supplies, if only on account of the many abortive and abandoned attempts at fishhooks in more or less advanced stages of completion. The brittleness of the fabric and the crudeness of the tools employed had evidently put the patience of the makers to severe task, who for one satisfactory hook must have contemplated many disappointments. The art must be judged as critically by the exhibition of its failures as by its perfections, as Beau Nash did the tying of his cravats. "Those are our failures," the spirits of the departed, brooding over the site of the camp, might have sighed, as we sorted out crude and unfashioned fragments. Presently the discovery of a small specimen established the standard of perfection--a crescent of pearl, which alone was ample recompense for the afternoon's research. Smaller than the average hook, it represented an excellent object-lesson in patience and skill. Many other examples, some complete, have since been found, and have been arranged for illustration to exhibit the process of construction in several stages. Do they not confirm the opinion that the maker of shell fish-hooks suffered many mishaps and disappointments, and that he had high courage in discarding any that evidenced a fault?

The method of manufacture was to reduce by chipping with a sharp-edged piece of quartz a portion of a black-lip mother-of-pearl shell to a disc. A central hole was then chipped--not bored or drilled--with another tool of quartz. The hole was gradually enlarged by the use of a terminal of one of the staghorn corals (MADEPORA LAXA) until a ring had been formed. Then a segment was cut away, leaving a rough crescent, which was ground down with coral files, and the ends sharpened by rubbing on smooth slate.

Discs were also cut out of gold-lip mother-of-pearl shell, but by what means there is no evidence to tell. When such a prize as a gold-lip shell was found, it was used to the last possible fragment. Most frequently the black-lip mother-of-pearl was the material whence the hooks were fashioned, and, when none other was available, the hammer oyster. In one case an unsuccessful endeavour had been made to fashion a hook from a piece of plate-glass, obtained, no doubt, from the wreck of some long-forgotten ship. The fractured disc lying among other relics of the handicraft spoke for itself.

Not only have many samples of partially-made hooks been found, but also the tools employed in the process. The sharp-edged fragment of quartz used to chip away the shell, the anvil of soft slate upon which the shell rested during the operation, the quartz chisel for chipping the central hole, the coral terminals, resembling rat-tail files, and the smooth stone upon which the rough edges of the hook were ground down and finished.

Hooks without barbs and manufactured of such materials as pearl-shell and tortoiseshell may throw light upon the Homeric quotation "caught fish with the horn of the ox." In those far-off days, bronze wire rope, similar in design to the steel rope which is of common use in the present time, was employed. Ancient Greeks, though they anticipated one of the necessities of trade nowadays, depended upon fish-hooks resembling those just being abandoned by the Australian blacks. Fish are guileless creatures. They are captured today with hooks of the style upon which fishermen of the Homeric age depended.

From the appearance of the camps, and the age of the islander who took part in the various searches, and who was ready to admit that though pearl-shell hooks were used when he was a piccaninny he had never seen one made, I judge the age of these relics of a prehistoric art to be between thirty and forty years.

This boy has supplied samples of hooks made by himself with the aid of files, etc., in imitation of the old style, being careful to explain that the old men made them much better than any one could in these degenerate days of steel. Two of these modern hooks bound to bark lines are illustrated. What was the origin of the peculiar pattern of the pearl-shell fish-hooks? To this question, those who maintain that no handiwork of man exists which does not borrow from nature, or from something precedent to itself, may find a satisfactory answer offhand. As it weathers on the beach, the basal valve of the commonest of the oysters, of these waters occasionally assumes a crude crescent. Indeed, several of these fragments have at odd times attracted attention, for they have so closely resembled pearl-shell hooks in the rough that second glances have been necessary to dispose of the illusion that they were actually rejects from some old-time camp. Is it not reasonable to suppose that the original design was copied from this elemental model, as, in like manner the boomerang is traceable to a leaf? The pattern is so profoundly persistent in the minds of the blacks of to-day, that in fashioning a hook from a piece of straight wire they invariably form a crescent, though the superiority of the shape approved by civilisation must have been exemplified to them times out of number. In this particular the blacks seem unconsciously to follow the idea of their ancestors as birds obey instinct in the building of nests and in migratory flights.

Piccaninnies at this date remind us of the genesis of the boomerang as they sport with the sickle-shaped leaves (or rather PHYLLODIA) of the ACACIA HOLOCARPA as with miniature boomerangs. The piccaninny of the remote past chuckled gleefully as the jerked leaf returned to it. As a boy he fashioned a larger and permanent toy, surreptitiously using his father's stone tomahawk and shell knife, while the old man was after wallaby with a waddy. As a young man, hunting or fighting, he found his boyish toy a very effective missile. Even for a straight shot it had a longer range and far higher velocity, with less strength expenditure, than the waddy or nulla-nulla; and its homing flight had practical if not frequent uses. In his childhood, adolescence and maturity the black of to-day so graphically summarises a chapter in the history of his race that he who runs may read.

In the origin of the boomerang and the shell fish-hook we have instances, hardly to be doubted, of direct inspirations from Nature, proofs of the art and the infinite patience with which she sets her copies and expounds her texts.

WILD DYNAMITE

All the blacks of my acquaintance have had the rough edges of savagedom worn down. Consequently I lay no claim to original research or to the possession of any but common knowledge of the race at large. Learned societies and learned men have done and are doing all that is possible to acquire and accumulate information of the fast vanishing race. I merely record odd incidents, which may or may not prove useful and of interest, or which may bear repetition. An occasional gleam of satisfaction is vouchsafed even to casual and superficial students of human nature.

The supply of bait run out one day when we were fishing off the rocks with throw-lines. Mickie said--"We catch 'em plenty little fella fish with wild dynamite!" I asked him what he knew about dynamite. "Not white fella's dynamite. Wild dynamite--I show you."

Growing on the blistering rocks, with roots, down in the crevices, was a lowly vine, or rather a diffuse, creeping shrub with myrtle-like leaves and racemes of white flowers. "That fella wild dynamite," said Mickie, as he tore up several strands of the plant and bunched them, leaves and all, in his hand. He made a small bundle, and going to an isolated pool in the rocks in which were small fish he beat the leaves with a nulla-nulla, dipping the bruised mass frequently in the water. In a few minutes the fish were darting about erratically, apparently making frantic efforts to get out of the water. One by one they became stupefied and helpless, floating belly up. Mickie filled his hat with them, and as the soporific effects of the juice of the leaves passed off, the remaining fish recovered and were soon swimming about again as if nothing had happened. Mickie had seen dynamite used to kill fish wholesale, hence his adaptation of the name of the plant known to him as "Paggarra," and to botanists as DERRIS SCANDENS.

Another method by which the blacks secure fish in pools left by the receding tide is to scrape off the inner bark of the "Koie-yan" (FARADAYA SPLENDIDA) with a shell and spread it evenly on the bottom of a shallow pit in the sand, and place thereon stones made hot in the fire, or they may rub the powdered bark on hot stones. While still warm the stones are thrown into the water, when the fish become helpless. They die if left in water so impregnated; while the effects of the DERRIS SCANDENS is merely temporarily soporific. How blacks became acquainted with this process of speedily extracting the toxic principle of the FARADAYA, and as speedily dissipating it, is unknown. One generation passes on the knowledge to the other without explanation, and it is accepted as a matter of course, without comment or inquiry.

A CAVERN AND ITS LEGEND

Caves and caverns in the rocks and the tops of the mountains are not favourite resorts of blacks. According to them nearly every mountain has its mysterious lagoon, which none but old men have visited, but which teems with fish and waterfowl. When direct inquiries are made as to the precise locality of any particular lagoon, invariably inconclusive evidence is tendered. "Old man, he bin see 'em;" and, the old man is never forthcoming for cross-examination. The origin of the romance, no doubt, is to be attributed to the desire of the blacks to account to themselves for the water which glitters on the face of the rocks far up the mountains. One boy gave an exceptionally graphic description of a lagoon on the top of one of the highest peaks of Hinchinbrook Island, in which all manner of sea fish revelled. When doubt was expressed as to the possibility of sea-water and sea-fish getting up so far "on top" and it was suggested--"What you think, that old man humbug you?" "Yes," was the ready response; "me think that old fella no tell true. Him humbug." Some blacks possess something wiser than knowledge.

On the northern aspect of Dunk Island, where the sea swirls about the buttresses of the hills, there is a cavern only approachable by boat. The mouth is overhung by vines and ferns, and through the moss which covers the lintel water trickles and splashes with pleasant sound. When the bronze orchid lavishly decorates the rocks with its crinkled flowers of dull gold, the entrance has a specific character; and quite another when the glossy leaves of the umbrella-tree form the relief and its long radiating spikes of dull red, bead-like flowers attract the brilliant sun-bird, and big blue and green and red butterflies. Even when the sea is lustrous the cavern, with all the artfulness and grace of the decorations of its portals, is a black blotch--the entrance to something unknowable and unknown--at least to the blacks. None had ever ventured near it and they never will. They tell you how it came to be made. How a long, long time ago, a big man, "all a same debil-debil," took out with his mighty fingers a plug of rock and put it "on top alonga Hinchinbrook." Now the particular decapitated pinnacle of Hinchinbrook is 20 miles away, and out of all proportion. But these facts do not affect the legitimacy of the legend. There is the hole, and there on the top of the far-away mountain the prodigious plug demonstrative evidence too obvious to be set aside on any such plea as the eternal fitness of things. Is not the blue point of the mountain a defiantly triumphant fact? Is not the legend authenticated by tradition and confirmed by topography?

Why, therefore, doubt it for a moment?

And the hole--it goes a long, long way under the mountain. It is a bad place, a very bad place. No one has ever been there. Suppose any fella go inside, bi'mby that fella sick, bi'mby that fella die.

Braving all the honest traditions, one fine day I took a lantern in the boat and induced the boys to row to the entrance of the cave. Neither would venture in; indeed, they did all they could to dissuade me, protesting that evil was sure to befall. A minute's exploration showed that the cave did not extend 30 feet, and that it was dry, and resonant with "the whispering sound of the cool colonnade," with no suggestion of unwholesomeness or weirdness. But the blacks still pass it by. The legend is as indestructible as the odour of attar of roses. Although the boys persist in their account of the origin of the cave, it is known to them as "Coo-bee co-tan-you," which signifies "that hole made by the meteor," or, literally, "falling-star hole."

Romance, too, follows the Hinchinbrook pinnacle. Some local blacks regard it with awe, believing that it covers a deep hole in the mountain in which the winds and rain are pent up. When a malignant "debil-debil" lifts the peak away the elements escape, roaring and hissing with anger and mischief. When tired, they retire sulkily to the hole, which the "debil-debil" blocks with the monstrous rock. Fine weather then prevails, and the rock, which has been hidden away among the mists by the fiend, becomes visible once more.

A SOULFUL DANCE

Of the many corrobborees that I have witnessed, the most novel in conception was performed on Dunk Island by blacks who came from the neighbourhood of Princess Charlotte Bay, some 200 miles to the north.

The imitation of the frolicsome skip and wing movements of the native companion is one of the typical dances of the aboriginals frequenting open plains where the great birds assemble. In its performance the men--decorated with streaks and daubs of white and pink clay, and wearing in their hair down and feathers--form a circle, and bowing their bodies towards the centre, chuckle in undertones to the pianissimo tapping of boomerangs and the beating of resonant logs. In strict time, to a crescendo accompaniment, the performers throw out their arms, extend their necks downward and upward, simultaneously utter squawks in imitation of the bird, and finally whirl about, flapping their arms, ceasing instantly by a common impulse. The ballet is modelled in accordance with a study of Nature.

The corrobboree of the Princess Charlotte Bay boys also owes its origin to Nature, but Nature in one of her most unpoetical moods--a mood as typical of Constantinople as of their native shores, for its motive is nothing more than an everyday dogfight.

Shall the uncultured blacks not have their own way when they seek entertainment, holding "as it were the mirror up to Nature," and finding that it reflects the commonest of all themes? They among all the nations of the world alone have discovered what to them is music and the poetry of motion in an occurrence that has no geographical limitations, is not restricted by language, nor to be withered by age.

While the orchestra taps its boomerangs and claps its hands and grunts, two boys in mere nature progress towards the fire in a series of stiff, stilty jumps, the legs from the hips to the ankles being rigid; then the knees shake in a rapid succession of spasmodic jerks; the actors emit sounds resembling the preliminary growling and snarling of a couple of angry dogs. Action and utterance develop in speed and time as the fight begins in earnest, and the art of the performance consists in its duration--the powers of sustained effort, the accuracy of time maintained between the orchestra and the actors, and the fidelity to nature of the vocal effects. A singularly uncouth subject for an opera or even a ballet--the snarling, scuffling and snapping of quarrelsome dogs whose fury is working up to a climax, and it soon becomes as monotonous to unaccustomed ears as the masterpieces of some German composers to those whose musical education is below the required standard; but the boys will spend the best part of the long night in its unvarying repetition.

Once a variation did take place. "Yellowbelly" (pronounced decently "Yellowby") danced first in the company of giggling "Peter;" and then fat "Charley" and big "Johnny," shy "Mammeroo" and little deaf "Antony," in turns, his body glistened with perspiration, and his eyes sparkled with the joy of a phenomenal accomplishment. All beholders were filled with wonder and gratification. It was Yellowby's night out. The spirit of Terpsichore was upon him. His enthusiasm amounted to exultation. He was astonishing not only the silent and subdued natives of Dunk Island, but even his own familiar friends. Never had any seen such a classic interpretation of the theme, such brilliant leg movement, nor heard such realistic growling and snapping and intermittent yelps, such muffled, sob-like inspirations. Yellowby danced as dances the artist, so graphically interpreting the subject that the bewildered orchestra forgot itself. All were borne away in spirit to the scene of some far-off, familiar camp, where the scents of decayed fish and turtle-bones, and of a multitude of uncleanly dogs commingled with the bitter smoke of mangrove wood fires, where amid the yells of gins and the screeches of piccaninnies and the walloping of men, two mangy curs noisily wrestled. It brought home sweet home to each of the exiles, so vividly that all sat still and transfixed, and as the last chord of the orchestra "I trembled away into silence," Yellowby, panting and sweating, gasped as he fell flat on the sand--"No good you fella corrobboree like that fella, belonga me fella." But for the collapse of the orchestra, due to his own inimitable art, he would have danced till dawn.

A SONG WITHOUT WORDS

Mickie is a famous vocalist, although his repertoire is limited. He sings lustily and with no little art, putting considerable expression into his phrases, and ever and anon taking a sharp but studied rest to increase his emphasis, when he will burst forth again with full-throated ease. His masterpiece is not original. Indeed he claims no title to the gifts of a composer. "Jacky," a Mackay boy, taught Mickie his favourite romance, and it came to Jacky in a dream. Mickie explains-- "Cousin alonga that fella die. Jacky go to sleep. That fella dead man all a same like debil-debil--come close up and tell 'em corrobboree close up ear belonga Jacky."

"What that debil-debil say?"

Mickie--"No talk--that fella. Just tell 'em corrobboree. No talk."

It was just a song without words--the final phrases being three guttural gasps, diluendo, which Mickie says represent the wail of the "debil-debil" as he retires into the obscurity of spirit-land.

Mickie sings this song of inspiration most vigorously, when Jinny, his portly spouse, comes to "wash 'em plate" in the evening, and she explains with a fat chuckle--"Mickie corrobboree loud fella. He fright. He think subpose he corrobboree blenty debil-debil no come up."

ORIGIN OF THE SOUTHERN CROSS

Blacks are students of natural events. The winds have their specific titles, and they catalogue all the brighter and more conspicuous stars and planets, while their astronomical legends are quaint and entertaining.

According to Mickie, the Southern Cross is of earthly origin. He thus "repeats the story of its birth."

"You see that fella. That one me call 'em dooey-dooey--all a same shubel-nose shark, like that fella you bin shoot longa lagoon. Two fella, more big, come close up behind dooey-dooey, two fella black boy. Black boys bin fishing alonga reef close up alonga where red mark, alonga Cape Marlow--you know. They bin sit down alonga canoe. Bi'mby spear 'em that dooey-dooey--beeg fella, my word! That dooey-dooey when catch 'em spear he go down quick, come up under canoe capsize 'em. Two fella boy swim about long time by that reef; no catch 'em that canoe. Swim; swim l-o-n-g way; no catch 'em beach; go outside; follow canoe all time. One fella say--'Brother, where we now?' 'Long way yet. Swim more far, brother.' Bi'mby two fella talk--'Where now, brother?' 'Long way outside. Magnetic close up now. We two fella swim more long way. Bi'mby catch 'em Barrier.' One fella catch 'em hand--'Come along, brother, youn-me go outside.'

"Two fella boy swim-swim-swim. Go outside altogether; leave 'em Barrier behind. Swim; finish; good bye; no come back! Swim where cloud catch 'em sea. Swim up-up-long way up! You see now. Sit down up there altogether. Dooey-dooey first time; two fella boy come behind!"

Does not this stand comparison with that referred to by the SCIENTIFIC AMERICAN in answering the question, "Why do you refer to the Great Bear as feminine?" We must go back into the age of classical mythology for the reason. It was known to the Egyptians, who called it hippopotamus. The people of southern Europe saw in the same stars the more familiar figure of a bear, and the legends which grew up around it were finally given permanent shape by Ovid in his METAMORPHOSES. As he tells the story, Callisto, an Arcadian nymph, was beloved by Jupiter. Juno, in fierce anger, turned her into a bear, depriving her of speech that she might not appeal to Jupiter. Her son, Arcas, while hunting, came upon her, and failing to recognise her in her metamorphosed form, raised his bow to shoot. Jupiter, moved by pity, prevented the matricide by transforming the son into a bear, and took them both up to the heavens, where they were placed among the constellations.

CROCODILE CATCHING

Though they have a wholesome dread of crocodiles generally, the blacks of the Lower Tully River (some 5 miles down the coast) have, in a limited circle, the reputation of indulging in the sport of catching them for food. Natives of the locality tell me that the last occasion of the death of a crocodile in the manner to be described was very many years ago. Some would have you believe the practice is of common occurrence. The story goes (though for its truth I do not vouch), that having located a crocodile in a reach of the river when the tide has run out, the blacks form a cordon across, and harry it by splashing the water and maintaining a continuous commotion. The crocodile is poked out of secluded nooks beside the bank and from under submerged logs, never being allowed a moment's peace. When it is thoroughly cowed (and it is an undoubted fact that crocodiles may be frightened into passiveness), a rope of lawyer vine is passed round a convenient tree and held by half a dozen boys, while a running noose is made on the other end. A daring black dives into the water, and cautiously approaching the bewildered creature, slips the noose over its head and backs away. Should he turn his face, the blacks say the crocodile would immediately seize him. The party on the bank hauls on the line, and in spite of protests and struggling the game is landed, to be chopped and beaten to death with tomahawks and nulla-nullas. Then follows a feast, the inevitable surfeit, and the dire conclusion that crocodile as "tucker" is no good. The flesh is said to be "All a same turtle. Little more hard fella!" My investigations lead to the opinion that a crocodile was once caught in the manner described, and that upon a single instance the proud feat has been multiplied by the score.

SUICIDE BY CROCODILE

It has been said that Australian blacks never commit suicide. An instance which goes in proof of the contrary occurred not many months ago. All the creeks and rivers flowing from the coastal range to the sea are more or less infested with crocodiles. In crossing creeks, blacks take every precaution against surprise, rafts of buoyant logs strapped together with lawyer vine being used. These rafts are continually drifting across to the island, proving how general is their use. Maria Creek (about a dozen miles or so up the coast) is well known to be a popular resort of the crocodile, and at the mouth, where the blacks wade at low-water, an unusually big fellow had his headquarters. A member of the Clump Point tribe, painfully afflicted with a vexatious skin disease, was fishing at the mouth of the creek when his hook fouled. To a companion he said he would dive to get it clear. His friend endeavoured to dissuade him, reminding him of the crocodile which they had, seen but a short time before. But the boy, worn with pain and weary with never-ending irritation, said if he was taken--"No matter. Good job. Me finished then." He dived, and there was a commotion in the water. The boy appeared on the surface, making frantic appeals for help, while the crocodile worried him. He escaped for a moment, and his friend clutched his hand and drew him to the bank, only to have him torn from his grasp. The blacks believe the crocodile took the fish bait in the first instance and lured the boy to dive. The boy certainly knew the risk he ran when he did so.

A new, if not altogether agreeable, sensation is added to the gentle art if it is realised that a cruel and stealthy beast is engaged in a similar pastime, with the fisherman as the object of its sport.

DISAPPEARANCE OF BLACKS

The rapid disappearance of blacks from localities which held a considerable population causes wonder. In the early days--less than a couple of decades past--they swarmed on the mainland opposite Dunk Island. Now the numbers are few. Within sight of Brammo Bay is the scene of an official "dispersal" of those alleged to have been responsible for the murder of some of the crew of a wrecked vessel, who had drifted ashore on a raft. One boy bears to this day the mark of a bullet on his cheek, received when his mother fled for her life, and vainly, with him an infant perched on her shoulders.

In those days "troublesome" blacks were disposed of with scant ceremony. An incident has been repeated to me several times. A mob of "myalls" (wild blacks)--they were all myalls then--was employed by a selector to clear the jungle from his land. They worked, but did not get the anticipated recompense, and thereupon helped themselves, spearing and eating a bullock, and disappeared. After a time the selector professed forgiveness, and, the fears of the blacks of punishment having been allayed, set them to work again. One day a bucket of milk was brought to the camp at dinner-time and served out with pannikins. The milk had been poisoned. "One fella feel 'em here," said my informant, clasping his stomach. "Run away; tumbledown; finish. 'Nother boy runaway; finish. just now plenty dead everywhere. Some fella sing out all a same bullocky." Possibly this may be greeted as another version of the familiar story of poisoned flour or damper. It is mentioned here as an instance from the bad old days when both blacks and whites were offhand in their relations with each other. Such episodes are of the past. The present is the age of official protection, and perhaps just a trifle too much interference and meddlesomeness.

Two blacks of the district confessed upon their trial that they had killed their master for so slight an offence as refusal to give them part of his own dinner of meat. On the other hand, an instance of the callousness of the white man may be cited. In a fit of the sulks one of the boys of the camp threw down some blankets he was carrying, and made off into the scrub. It was considered necessary to impress the others, and unhappy chance gave the opportunity. A strange and perfectly innocent boy appeared on the opposite bank of the creek. The "boss" was a noted shot, and as the boy sauntered along he deliberately fired at him. The body fell into the water and drifted down stream. One of the boys for whose discipline the wanton murder was committed related the incident to me.