ka whiua te kai ra ki te tahua, a, ka tahuri te manuwhiri ra ki te tohatoha i tana kai, ka mutu te tohatoha e kai ana, otira ko nga kai a te manuwhiri ra, he mea kai whakangaio, e kai ana e whakaaro ana kia iti te kai, kaua e whakanuia rawatia kia angiangi ai te poho o te tangata, mo te turanga i te aro-a-kapa o te haka, kia tirohia atu ai te hope o te tangata, ana na, me te mea kua motu; e noho ana te manuhiri ra me te maharahara me te mea, ‘A whea ano ra ka po?’ a me te tangata whenua e pena ana ano hoki. He mea i pera ai, he kite i te tira nei he taitamariki kau, he haka te mahi ma ratou, me te pa ano hoki, te ai he kaumatua o te tini o Ngati-Kahuhoka nei hei riri i te mea he haka te mahi ma ratou, a, ao noa te ra. Na te tamariki hoki taua kai nei te haka, me te kanikani, a, he titiro kau atu ta te koroheke, a, i nga wa e mahia ai aua mahi ki te whare matoro ranei, ki te whare manuhiri ranei, e kore nga koreheke e riri ana roa te mahinga i te whare matoro, te mea hoki, na nga taitamariki taua whare; tena, ko te whare manuwhiri, he whare e moea ana e nga koroheke i nga wa e nohoia ana taua whare e te pahi manuwhiri, a ka roa te haka a te tamariki, te ai he wahi e korerorero ai te kaumatua ki taua manuwhiri, ka atiati te kamatua i taua mahi kia rongo korero ai ratou i nga tauhou. A, ahiahi kau iho ano, e whiu ana te tangata whenua, a, te mea ano, ka rupeke (poto) noa ratou ki waenga o te marae e nohoia ra e te manuwhiri, katahi ka turia te haka e ratou, ka tika he kapa, ka tika he kapa, nawai a, ka rite noa ano nga kapa haka, a, katahi ra ano ka takahia, a, e takahia ra nga kapa haka, katahi ra ano a Puhihuia ka whakaaro, te kotiro o te rangatira o te pa nei o Maungawhau, ki te wa hei putanga mona ki mua o te haka nei pukana ai, no te mea hoki ki tana whakaaro, e kore a ia e pai kia rere kau ki mua o te aro-a-kapa o te haka, engari ano kia rite te takahi, me te papaki, me te horu o aua kapa katoa, ko reira a ia te pai ai, te rawe ai, te rere ai ki mua o aua kapa ra pukana ai, nga-hau ai. Katahi ka takahi te iwi ra, a te mea noa ano, ka haratau marire ki te whakaaro a te wahine ra, tana tino putanga ki mua o aua kapa ra, o nga kapa o te haka, katahi ra ka pehia ki tetahi taha, ki tetahi taha, ae, ta te tuawahine pai hoki, whakamau noa atu ki nga kanohi o taua kotiro ra, ana me te maure ka puta ake i te pae, ka titiro te tini tane taitamariki rangatira o te tira o Awhitu ki te kotiro ra, a, mate noa ake ratou ki te pai o te pukana o te tamahine nei, a, ko Ponga te mea i mihi puku ki a ia, me te tino mate ano o tana ma- cut in two. After the feast they sat wondering when evening would come; the people of the pa felt the same question pass through their minds also, for they saw that all their guests were young men and women, who would be able to perform well in the haka and kanikani games. Such games were always held at night, when the old people of the pa might not join, so that the young folk could continue their games till dawn of day. It was usual for the young people only to take part in these games, whilst the old people were the audience. When the games took place in the whare matoro the old people could not take offence if they were kept up till day dawned, as this house was used only by the young people; but if the games were played in the strangers' house (whare manuwhiri), which in many instances was occupied by the old people and in which they slept, and as the aged often pass their time at night in talking, the games might be interrupted by a request from the old people that the young people should with-draw. Evening came at last, and all the inhabitants of the pa collected on the marae, where some of them arranged themselves in lines and performed hakas; however Puhihuia did not join the group at once, but waited for the time when she could move to the front of the haka party, and show most effectively her art in making grimaces. She decided not to join in the haka until they reached the part when they would all shake their hands, bow their heads, and sing in a perfect chorus; then she would join, and show her agility in the dance. The haka went on; all the dancers were moving in perfect time and singing in perfect harmony. She joined them. Turning her head from side to side, she made the most perfect grimaces, her eyes shining like a full moon. She was seen by the young men of Awhitu, and they were lost in admiration and love for her. Ponga watched her silently, admiring her agility and noble contortions of body, and feeling a most inconceivable love for her; but not one word did he utter to his most trusted friend. But the other young men of the party talked of the beauty of Puhihuia, praising it, and praising her agility in dancing the haka: all were lost in love, and each dared to say that he would obtain her as his wife. The Mount Eden people had given their haka, and now the Awhitu visitors had in return to give a haka to their hosts. All of them joined in this; even the slaves who had accom-