“Yes, yes, I know that,” I went on; “but what does it mean in your hands?” At Suava, another artificial island, I had a second crow over Charmian. A big fella marster belong Suava (which means the high chief of Suava) came on board. But first he sent an emissary to Captain Jansen for a fathom of calico with which to cover his royal nakedness. Meanwhile he lingered in the canoe alongside. The regal dirt on his chest I swear was half an inch thick, while it was a good wager that the underneath layers were anywhere from ten to twenty years of age. He sent his emissary on board again, who explained that the big fella marster belong Suava was condescendingly willing enough to shake hands with Captain Jansen and me and cadge a stick or so of trade tobacco, but that nevertheless his high-born soul was still at so lofty an altitude that it could not sink itself to such a depth of degradation as to shake hands with a mere female woman. Poor Charmian! Since her Malaita experiences she has become a changed woman. Her meekness and humbleness are appallingly becoming, and I should not be surprised, when we return to civilization and stroll along a sidewalk, to see her take her station, with bowed head, a yard in the rear.!

“drop anchor anywhere and the anchor will drag—that is, if your soul is a limitless, fathomless sea, and not dog-pound,” he quoted to me, then added: “You see, my anchor is always dragging. I live for human health and progress, and I strive to drag my anchor always in that direction. To me, the two are identical. Dragging anchor is what has saved me. My anchor did not hold me to my death-bed. I dragged anchor into the brush and fooled the doctors. When I recovered health and strength, I started, by preaching and by example, to teach the people to become nature men and nature women. But they had deaf ears. Then, on the steamer coming to Tahiti, a quarter-master expounded socialism to me. He showed me that an economic square deal was necessary before men and women could live naturally. So I dragged anchor once more, and now I am working for the co-operative commonwealth. When that arrives, it will be easy to bring about nature living. As I write these lines I lift my eyes and look seaward. I am on the beach of Waikiki on the island of Oahu. Far, in the azure sky, the trade-wind clouds drift low over the blue-green turquoise of the deep sea. Nearer, the sea is emerald and light olive-green. Then comes the reef, where the water is all slaty purple flecked with red. Still nearer are brighter greens and tans, lying in alternate stripes and showing where sandbeds lie between the living coral banks. Through and over and out of these wonderful colours tumbles and thunders a magnificent surf. As I say, I lift my eyes to all this, and through the white crest of a breaker suddenly appears a dark figure, erect, a man-fish or a sea-god, on the very forward face of the crest where the top falls over and down, driving in toward shore, buried to his loins in smoking spray, caught up by the sea and flung landward, bodily, a quarter of a mile. It is a Kanaka on a surf-board. And I know that when I have finished these lines I shall be out in that riot of colour and pounding surf, trying to bit those breakers even as he, and failing as he never failed, but living life as the best of us may live it. And the picture of that coloured sea and that flying sea-god Kanaka becomes another reason for the young man to go west, and farther west, beyond the Baths of Sunset, and still west till he arrives home again.

Summer and winter she wore a dimity kerchief fastened in the back with a pin, a cap which concealed her hair, a red skirt, grey stockings, and an apron with a bib like those worn by hospital nurses. CHAPTER IV FINDING ONE’S WAY ABOUT “Three fathoms,” cried Wada at the lead-line. “Three fathoms,” “two fathoms,” came in quick succession.