In considering the native dances it must be remembered that the accompanying songs are essential elements of the entertainment: they mark the character of the dance; and equally, in considering the songs, it must be remembered that the imagination of the native never goes beyond the relation of the sexes. The Indian's poetry is an inverted form of romanticism. Instead of seeking to give rhythmical expression to an idealisation, to find in the beauties of Nature an analogy to the realities of Life, he reverses the process. For instance, he views a ripe fruit, and it only suggests to him a pregnant woman. In all such natural phenomena as he recognises he notes but the crude, if possibly the scientific, origin. In the most ordinary conversation he refers to conditions that appear indecent in common print; they are, however, undetachable from him.

So it is that in his songs he debases idealism, does not elevate realism. His poetry is on a par with that of the music-hall comedian who conceals a mass of filth under avowedly innocent words—but the intention is very different. The Indian possesses no other verbal vehicle, knows no other source of inspiration. His imagination is bound by his vocabulary, as his vocabulary is limited by his imagination. Curiously enough the effect upon his audience is gained by the same means as those employed by the red-nosed singer in the places of entertainment south of the Bridges, and is almost identical in degree.