The eyes control the cutting depth and the correct angle of adzing. The eyes do not follow the upward and downward swing of the adze, but are glued on the immediate area for adzing; further, it controls the bite and force of the adze into the timber and pattern of cut desired. 6. The cutting and chipping of the adze Prior to the cutting, it is necessary for the beginner to feel the adze, its weight when in motion upwards or downwards, to stand firmly on his feet, and to acquire the gripping and slight relaxing of the handle. A firm and bulky totara log is the best timber to practice on as it cuts easily because of its close or short grain. First lift and bring the adze on to the log trying not to cut it, but to strike it with that part of the blade at the back of the cutting edge maintaining a firm grip by both hands on the handle. Don't attempt to cut until you have practiced in this manner for some time, at the same time watching the spot you are striking, and when your feet tire, rest, then on again. By and large, you will constantly strike your adze into the log, and this is a progressive sign for it indicates that the adze can cut, and with constant practice cut precisely and accurately. Then by degrees you will experience a thrill to see a fine shaving appear now and again; this is the real purpose of the exercise, this fine shaving and chipping. To see the expert doing this at every blow is the incentive to greater effort on your part, for it is the key to accurate adzing. Take note also of the polished back of the adze caused by the constant striking on to thhe log. After a period of swinging and striking, the next step is the cutting and chipping of the timber. With totara, a knowledge of its grain cutting technique is necessary, for the grain of all timbers governs the method of adzing. The totara has a very close grain, easy to cut, and the chips break off easily (an exception being mountain totara), and must be well seasoned before it too will cut easily. There is no other timber to equal it for clean and easy adzing, and the best method generally is to cut against the grain. This may appear difficult but by cutting it diagonally with the adze and at the same time proceeding at each cut straight across the timber, the chips come off easily. Now let us have a look at the cutting edge of the adze now that it has made a cut into the timber with the chip lifted but not cut off. Note the thickness of the chip at the centre of the cutting edge of the adze and the thinness of the outer edges of the chip; note too, that the width of the chip is greater than the width of the adze. The lesson learnt is that the centre of the adze cuts first because of its forward projection, and furthermore, if the sides were in line with the centre they would invariably stick into the timber and retard depth and progress of cutting. In learning how to cut with the adze it is preferable to start by trying to obtain a flat surface on an uneven piece of totara. First begin by only haere au ki Potaka ki a Wiremu te Whare kei a ia pea e mau ana, haere tonu atu au, a moe rawa atu ki Wharekahika. Pera ano to reira korero me haere ki Potaka, no reira ko ana nga kopara ka haere au, a ka tata atu ki te marae ka waiata au, “To toki e hika ko Huiterangiora. Ka puta mai hoki a Te Whare, me te karanga mai i au, me te ki mai i a maua e hongi ana, kua tae ke atu nga rongo kei te haere atu au, no Tikapa mai te korero. Ka mutu ta maua parakuihi, ka mea mai a ia kaore he korero i a ia mo taku take, mutu tonu ko tenei, “Ko te whare e tu nei a Te Pae o te Pakanga, no Te Arawa te tangata nana i whakahaere te taraitanga me te whakaaratanga, ko te Whare Moana o Raukokore tetahi o nga tangata awhina i te taraitanga tena pea kei a ia te mohiotanga e kimi nei koe. Haere ki to papa mana koe e arataki. Ko au tena ki runga ki taku hoiho haere tonu atu ki Raukokore, me te koa kei te tata haere atu au ki taku i tumanako ai. Ehara po rawa ake kua tae au, a ko te whare e karanga ana mai, “E tama kaore i po tahi te korero, ko koe e tu ana”. Ka hotu te mauiri i roto i au mo ana kupu, a i taua po ka korero ia ki au. “E tama kaore koe e taea e au te ako, aha koa i te taha au o te tino tohunga mo te mau kapukapu, i te hanganga o te wharenui o Te Whaaka i Potaka i te tau 1912, i te aha, i toku kuare tonu, i te wehi hoki ki taua momo toki, engari ko taua tangata arahi i te mahi, a Eramihia Kapua, no Te Arawa, parekareka ana i a ia te haere a te kapukapu, apitia ki te patere, ki te nguha ki te waiata, ki te whakairo, e tama, hara mai haere ki a ia, kei te ora tonu ia kei te Te Teko tona kainga. To ahua, me o korero, ki tonu i te rapu i tenei matauranga, ka taea e koe, ko to papa hoki ko Apirana kei te tena mai i a koe. E hoki ki to kainga, hei to haerenga atu ki te kura whakairo i Rotorua, ka peka atu ki a ia. Ko taku tenei ki a korua ko to matua ko Apirana, tikina tenei kaumatua hei ako i nga tamariki tane o te iwi Maori i roto o te kura whakairo, manaakitia tenei tangata, kei a ia hoki te matauranga o te mau o te whiu, nga korero, me te arahi i te toki kapukapu. Ka tutaki au ki a Eramiha Kapua, tohunga ki te mau toki kapukapu. E toru enei wiki i rapu ai au i tenei taonga i te mau toki kapukapu i waenganui o nga hapu maha o Ngatiporou, a ko nga kupu o ia marae, hara mai haere, tena pea, kua ngaro ke, kua mate nga tohunga, ka waiho enei mea hei hoa hoki mai moku mai i Raukokore tae noa mai ki Tikitiki i te ra kotahi, na wai i koemi te haere a taku hoiho, kua toitoi kua tarutu haere, ka pera ano hoki aku whakaaro mo te taonga e whaia nei e au. Ka kimi taku hinengaro i te ahua o tenei tangata o Eramiha Kapu, te tangata i tohia nei e Te Whare hei ako i au. Me pewhea taku tono ki a ia mo tenei taonga; a, ka eke mai taku tira ki Toka ka titiro atu au ki te akau o te Kawakawa, a ka whakamau atu aku kanohi ki te pa o Tuwha-