Page:The Folk-Lore Journal Volume 1 1883.djvu/108

100 a paragraph or two from a paper of his on "Malagasy Tònon-kìra (songs) and Hymnology" in the Antanànarìvo Annual, vol. ii. 1876, p. 24. He says, "The only one (song, that is) where an approach to rhythm can be found is a little children's play song. The children join hands, and the first two take up the strain, saying,

Then they are answered by the whole body,

The leaders again sing out,

The whole body then reply again,

The leaders cry out, and lift up their arms with hands joined as in a country dance,

To which the whole troop of children cry out as they pass under,

These two last strains are repeated until all have passed under. I append music and words in the original:—

D.C.

s :—.s :m r :—.r :d d :— :— s :—

The leaders: Man- a - sa re- la - hy, man- as’ é

The rest: Tsy ho a - ny re- la - hy, tsy ho any é

The leaders: Na- hoa - na re- la - hy, na- hoan’ é

The rest: Tsy ho va - ry re- la - hy, tsy saonjo é

so d

The leaders: Tranon-drafody la- hy

The rest: Trano me- na

This little thing is very popular among the youngsters, and they spend hours upon hours over it. It is the most correct as to rhythm that I can find in the 'Tònon-kira,' although I have a pretty large collection in my possession."

The two next plays described are called Sakòda, a word whose meaning is not at all clear. The first of these is played thus: the children sit in two opposite rows; one side calls out, singing to the other, and is answered as follows:—

Rafara e, Rafara!
 * Ahoana e, ahoana?

Nankaiza e ivadin-driako?
 * Lasa e nandranto.