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Dashing marriages forged at Gretna Green

Dashing marriages forged at Gretna Green

In a small, unassuming village in the Scottish Borders, there's an old blacksmith's shop with an anvil over which countless lovers have pledged their love and commitment.
I first visited Gretna Green some 10 years ago, on a daytrip from Edinburgh University. To be frank, I was rather underwhelmed by the sleepy hamlet.
I had, of course, encountered Gretna Green in Jane Austen novels and my favourite period drama Downton Abbey, but the true significance of this sleepy hamlet was lost on my 19-year-old self. At the time, I couldn't imagine wanting to marry someone so desperately I'd make a mad rush across the country in order to do so.
In 1753, England passed the Marriage Act (aka Lord Hardwicke's Act), which required parental consent for couples under the age of 21 who wished to wed. This legislation was a bid to crack down on clandestine and impulsive marriages, and decreed that all marriages had to be performed by a clergyman in a church after banns were read, or with a special licence.
You see, there was something of a moral crisis taking place in England in the mid-18th century — too many young people were marrying in haste, secrecy or rebellion. Fortune-hunters were on the prowl, and far too many marriages were performed without banns or blessings, to the shock and horror of the church.
Scotland however was far looser — boys could marry at 14, girls at 12, and crucially, no parental consent was required.
Marriage was as simple as a couple declaring themselves husband and wife in front of two witnesses. No church required, no priest, no paperwork, no complications.
And so, this quiet little village, the first across the border on the main coach route from London to Edinburgh, came to represent love and freedom for untold star-crossed lovers over the centuries.
In Scotland, almost anybody had the authority to conduct the marriage ceremony. In Gretna Green, enterprising blacksmiths set themselves up as "anvil priests", performing thousands of marriages over the anvil in their workshops. The anvil, already connoting union and strength, became the ceremonial centrepiece of the whole affair.
One such anvil priest, a fellow called Richard Rennison, charged a fee of £1 per marriage (although was known to earn up to £20 for a ceremony), and married some 5147 couples between 1926 and 1940.
There were, of course, several attempts to block the phenomenon of Gretna Green marriages. In 1855, a Newcastle MP complained bitterly about Scotland's marriage laws, accusing the Gretna Green dash of "lowering the habits, injuring the character and destroying the morality of the people of the northern counties of England".
He had his way; a year later, Lord Brougham introduced an act which required a "cooling-off" period of 21 days' residency in the parish in which a couple wished to marry. Then in 1940, the institution of "marriage by declaration" was outlawed in Scotland.
In 1977, English couples could finally get married without parental consent at the age of 18.
Gretna Green's reputation as a romantic frontier flourished in novels, plays and salacious tabloid tales. In Pride and Prejudice, of course, the fickle and flighty Lydia Bennet elopes with the dastardly George Wickham, ostensibly to Gretna Green, although later the naughty couple is found cohabitating in London, having failed to travel to Scotland.
Interestingly, Austen wrote the first draft of Pride and Prejudice in 1797 (although it wasn't published until 1813); clearly, she did not feel the need to explain to her readers what the phrase connoted. Gretna Green became a firm fixture in the public imagination, representing youthful rebellion, the power of love over law and custom, romantic risk and a sense of urgency.
Eloping to Gretna Green wasn't all sunshine and rainbows, however. Some couples fled there to escape arranged marriages, scandal or even legal trouble.
For others, the elopement brought down a heap of shame and disgrace on their families, and it wasn't uncommon for angry fathers to set out in pursuit of the couples, ready to kill or be killed in order to reclaim their daughters' honour.
For many young women, the promise of Gretna Green never eventuated. Lured by promises of eternal love and marriage, they were seduced in roadside inns and abandoned before reaching the border. Those couples that did successfully wed at Gretna Green often returned with stained reputations; their wedding vows deemed as grubby as the soot-covered blacksmith who had officiated the ceremony.
Quite a few notable marriages took place at Gretna Green. One such pairing was that between Sarah Anne Child and John Fane, 10th Earl of Westmorland, which took place on May 20, 1782. Sarah Anne's irate father, Robert Child, pursued the couple all the way from London to Gretna Green, but was unable to prevent the marriage.
When questioned by her parents as to why she wanted to marry John Fane, Sarah Anne said: "A bird in the hand is worth two in the bush." (Honestly, she sounds hilarious). Unfortunately for Sarah Anne, her father cut her off completely, and directed his fortune to his eldest granddaughter, Sarah Child Villiers, Countess of Jersey.
Gretna Green is still a cherished wedding location, although not as a refuge for desperate teenagers, but for couples who want their wedding to mean something more.
I've always joked that if I were to get married, my ideal wedding would take place in Las Vegas, under flickering neon lights, in front of an Elvis impersonator.
But increasingly, the idea of a quick elopement to Gretna Green attracts me — the charming simplicity of pledging eternal love and faithfulness over an anvil, far from the madding crowd is something quite pleasant and peaceful.
I'm chronically single, so it doesn't matter anyway. But who knows what the future holds?
I'll be sure to let you know, but don't expect an invitation.
— Jean Balchin is an ODT columnist who has started a new life in Edinburgh.

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Famous Faces Feature In 2025 Children's Book Awards Shortlist Announced Today
Famous Faces Feature In 2025 Children's Book Awards Shortlist Announced Today

Scoop

time2 hours ago

  • Scoop

Famous Faces Feature In 2025 Children's Book Awards Shortlist Announced Today

Well-known media personalities, bestselling-authors and previous awards winners are among the extremely strong shortlist of 32 titles for the 2025 New Zealand Book Awards for Children and Young Adults announced today. Musician and presenter Anika Moa, respected journalist and broadcaster Miriama Kamo and bestselling author and child psychiatrist Hinemoa Elder join previous winners, including Gavin Bishop, Ruth Paul and Bren MacDibble, as well as numerous other highly regarded and emerging writers and illustrators. The 2025 shortlist 'explores some of the many ways to be a New Zealander: our people, our place and our preoccupations,' says the convenor of judges Feana Tu'akoi. 'Among the finalist books, big ideas from our past, present and possible dystopian futures are considered in absorbing and thoughtful ways, providing springboards for deeper discussion. Themes include identity, connection, mental health, our histories, traditional wisdom, indigenous languages, and the importance of being exactly who we are.' This year's two expert judging panels – a bilingual English and Māori panel and a separate Te Kura Pounamu panel to judge titles written in te reo Māori – were impressed by the calibre of the 156 entries. Whether a deceptively simple board book aimed at our youngest tamariki, or a sophisticated novel for rangatahi, this year's shortlist deftly connects our best writers and illustrators with the most discerning of readers – children and teenagers, the judges say. These young readers were again involved in the judging process. Kura kaupapa Māori, primary, intermediate and secondary schools across the motu all put their hands up to receive entries in relevant categories, and were given judging guidelines and review templates to encourage considered feedback for the judging panel. In total 51 schools participated, and 450 reviews were supplied for consideration. The winners of each of the six main categories – Picture Book, Junior Fiction, Young Adult Fiction, Non-Fiction, Illustration and Te Reo Māori – take home $8500 and are then in the running to be named recipient of the Margaret Mahy Book of the Year, an award with a further $8500 prize money. In addition, the judges will award a Best First Book prize of $2500 to a previously unpublished author or illustrator. The ceremony to announce the winners will take place at Pipitea Marae in Wellington on the evening of Wednesday 13 August. 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The judges felt they exemplify the different ways we can connect with non-fiction information and narratives. • Black Magic, David Riley, illustrated by Munro Te Whata (Ngāpuhi, Ngāti Porou, Makefu) (Reading Warrior) • Dear Moko: Māori Wisdom for our Young Ones, Hinemoa Elder (Te Aupōuri, Te Rarawa, Ngāti Kurī, Ngāi Takoto, Ngāpuhi nui tonu) (Penguin Random House New Zealand) • Ruru: Night Hunter, Katie Furze, illustrated by Ned Barraud (Scholastic New Zealand) • The Treaty of Waitangi, Ross Calman (Ngāti Toa, Ngāti Raukawa, Kāi Tahu) (Oratia Books) • Tui Pea Luva, by Mele Tonga Grant, illustrated by Luca Walton (Mila's Books) Russell Clark Award for Illustration These books feature collage, dreamy, Japanese woodblock-like composition, a waiata-evocative weaving of the abstract, watercolour and cartoon-like illustration. The judges believe these finalists showcase the sheer depth of the illustrator's craft to be found in New Zealand publishing right now. • Alice and the Strange Bird, Isaac du Toit (Isaac du Toit) • Hineraukatauri me Te Ara Pūoro, illustrated by Rehua Wilson (Te Aupouri, Te Rarawa), written by Elizabeth Gray (Ngāti Rēhia, Ngāti Uepōhatu, Tama Ūpoko ki te awa tipua, Ngāti Tūwharetoa anō hoki) (Huia Publishers) • Poem for Ataahua, illustrated by Sarah Wilkins, written by Alistair Teariki Campbell (Reading Warrior) • Sad Sushi, Anna Aldridge (Anna Aldridge) • You Can't Pat a Fish, Ruth Paul (Walker Books Australia) Wright Family Foundation Te Kura Pounamu Awards From retellings of pūrākau to contemporary kaupapa, the judges found that this year's Kura Pounamu entries, both written originally in te reo or translated from English, showed great understanding and engagement with te ao Māori as well as fluid, sophisticated use of the language supported by skilful, sensitive illustration. • A Ariā me te Atua o te Kūmara, Witi Ihimaera (Te Whānau a Kai, Rongowhakaata, Te Aitanga a Mahaki, Ngāti Porou), illustrated by Isobel Joy Te Aho-White (Ngāti Kahungunu, Kāi Tahu), translated by Hēni Jacob (Ngāti Raukawa) (Penguin Random House New Zealand) • *Hineraukatauri me Te Ara Pūoro, Elizabeth Gray (Ngāti Rēhia, Ngāti Uepōhatu, Tama Ūpoko ki te awa tipua, Ngāti Tūwharetoa anō hoki), illustrated by Rehua Wilson (Te Aupouri, Te Rarawa) (Huia Publishers) • Ka mātoro a Whetū rāua ko Kohu i Rotorua, Hayley Elliott-Kernot, translated by Te Ingo Ngaia (Taranaki, Ngāruahine, Te Ātiawa, Waikato-Maniapoto, Ngāti Whakaue, Te Whānau-a-Karuai ) (Round Door Design) • Ko ngā Whetū Kai o Matariki, ko Tupuānuku rāua ko Tupuārangi, Miriama Kamo (Ngāi Tahu, Ngāti Mutunga), illustrated by Zak Waipara (Ngāti Porou, Ngāti Ruapani, Ngāti Kahungunu, Rongowhakaata), translated by Ariana Stevens (Poutini Ngāi Tahu) (Scholastic New Zealand) • * Ngā Kupenga a Nanny Rina, Qiane Matata-Sipu (Te Waiohua, Waikato, Ngāpuhi, Ngāti Pikiao, Cook Islands), illustrated by Isobel Joy Te Aho-White (Ngāti Kahungunu, Kāi Tahu) (Penguin Random House New Zealand) * Indicates a finalist book originally written in te reo Māori NZSA Best First Book Award These shortlisted titles cover all age groups and genres. The judges praised their richly textured, wrap-around storytelling, captivating world-building, evocative illustration and powerful messages of authenticity, inclusion, aroha and fun. • Brave Kāhu and the Pōrangi Magpie, Shelley Burne-Field (Ngāti Mutunga, Ngāti Rārua, Te Ātiawa, Sāmoa) (Allen & Unwin) • Play Wild, Rachel Clare (Bateman Books) • The Raven's Eye Runaways, Claire Mabey (Allen & Unwin) • The Witch of Maketu and the Bleating Lambs, Anika Moa (Ngāpuhi, Te Aupōuri), illustrated by Rebecca ter Borg (Penguin Random House New Zealand) • The Writing Desk, Di Morris (Bateman Books) As well as acknowledging the best and brightest in books for children and teens, a core mission of the New Zealand Book Awards for Children and Young Adults is fostering literacy and a love of reading among New Zealand's tamariki and rangatahi. This includes a programme of large-scale Books Alive events, in which finalist authors and illustrators bring the magic of books to life at sessions for school children. This year, thanks to the generous support of the Mātātuhi Foundation, for the first time a day of joyous Books Alive fun will be held for Palmerston North and Manawatū school children on Tuesday 22 July, alongside events in Invercargill (30 July), Christchurch (8August) and Wellington (13 August). The New Zealand Book Awards for Children and Young Adults also administers the ever-popular HELL Reading Challenge, which has now been running for over a decade. Last year over 800 schools and libraries around the motu took part in the programme and more than 340,000 pizza wheels were distributed, leading to an estimated 2.3 million books read. The formidable task of narrowing the field to a shortlist of finalists was met by this year's experienced English and bilingual judging panel: Convenor of judges Feana Tu'akoi, a Kirikiriroa-based writer; Don Long, a children's and educational publishing expert; Linda Jane Keegan, a Singaporean-Pākehā writer and reviewer; Stacy Gregg (Ngāti Mahuta, Ngāti Pukeko, Ngāti Maru Hauraki), recipient of the Margaret Mahy Book of the Year at the 2024 NZCYA awards; and Mero Rokx (Ngāti Porou, Ngāti Awa, Ngāi Tai), an education specialist who is on the English-language and bilingual panel, as well as Te Kura Pounamu panel. They were joined by a separate panel especially appointed to judge te reo Māori entries: Convenor Mat Tait (Ngāti Apa ki te Rā Tō, Rangitāne o Wairau, Ngāti Kuia), a freelance artist, illustrator, writer and te reo Māori tutor based in the Motueka area; Justice-Manawanui Arahanga-Pryor (Ngāti Awa ki Rangitaiki, Ngāti Uenuku, Ngāti Rangi, Ngāi Te Ruahikihiki), a kaitakawaenga / library programming specialist; and Maxine Hemi (Ngāti Porou, Ngāti Kahungunu, Rangitāne), a kaiako with over 30 years' experience teaching. The New Zealand Book Awards for Children & Young Adults and their associated programmes are made possible through the generosity, commitment and vision of funders and partners: Creative New Zealand, HELL Pizza, the Wright Family Foundation, LIANZA Te Rau Herenga o Aotearoa, Wellington City Council, BookHub presented by Booksellers Aotearoa New Zealand, New Zealand Society of Authors Te Puni Kaituhi o Aotearoa, the National Library of New Zealand Te Puna Mātauranga o Aotearoa, the Mātātuhi Foundation, and NielsenIQ BookData. The Awards are administered by the New Zealand Book Awards Trust Te Ohu Tiaki i Te Rau Hiringa. Notes: Key Date: The winners will be announced in Wellington on Wednesday 13 August. The New Zealand Book Awards for Children and Young Adults are a unique celebration of the contribution New Zealand's children's authors and illustrators make to building national identity and cultural heritage. Awards are made in seven categories: Picture Book (the BookHub Award), Junior Fiction (the Wright Family Foundation Esther Glen Award), Young Adult Fiction, Non-Fiction (the Elsie Locke Award), Illustration (the Russell Clark Award), Te Reo Māori (the Wright Family Foundation Te Kura Pounamu Awards) and Best First Book (the NZSA Award). The main category awards carry prize money of $8,500 and the Best First Book winner receives $2,500. The overall prize, the Margaret Mahy Book of the Year Award, carries a further prize of $8,500. The awards are governed by the New Zealand Book Awards Trust Te Ohu Tiaki i Te Rau Hiringa (a registered charity). Current members of the Trust are Nicola Legat (chair), Richard Pamatatau, Garth Biggs, Elena de Roo, Renée Rowland, Laura Caygill, and Suzy Maddox. The Trust also governs the Ockham New Zealand Book Awards and Phantom Billstickers National Poetry Day. Creative New Zealand has been a sustaining partner of New Zealand's book awards for decades. The national arts development agency of the New Zealand government encourages, promotes and supports the arts in New Zealand for the benefit of all New Zealanders through funding, capability building, an international programme, and advocacy. Creative New Zealand provides a wide range of support to New Zealand literature, including funding for writers and publishers, residencies, literary festivals and awards, and supports organisations which work to increase the readership and sales of New Zealand literature at home and internationally. HELL Pizza was established in 1996 and now has 78 outlets throughout New Zealand. HELL has been proud to sponsor the New Zealand Book Awards for Children and Young Adults for over a decade. Known for doing things a little differently, in 2014 the company initiated the awards-associated HELL Reading Challenge, which encourages kiwi kids to swap screen time for stories by rewarding a love of reading with pizza. The programme rewards students with a free 333 kids' pizza once they have read seven books, because, HELL says, getting kids into reading 'is worth going to Hell for'. In 2024, 814 schools and public libraries around New Zealand took part and over 340,000 pizza wheels were distributed, which means that more than 2.3 million books were potentially read by Kiwi kids as a result. The Wright Family Foundation 's goal of 'growing the good' in New Zealand Aotearoa means literacy features prominently in its aspirations for the country's youth. Founder, the late Chloe Wright, was delighted to have the Foundation support the mahi of the New Zealand Books Awards for Children and Young Adults, believing that reading creates imagination, ultimately leading to the emergence of writers. 'Books, whether read or written, bring centuries of people together. 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Wellington City Council 's Arts Strategy Te Aho Tini is about artists and writers being central to Wellington City, working on some of the city's biggest challenges and generating connected, inclusive communities. Te Aho Tini seeks to support and celebrate writing and illustration within future careers. Founded in 1921, Booksellers Aotearoa New Zealand is the national association for bookshops. It helps booksellers grow and succeed through education, information, advocacy, marketing campaigns – such as Bookshop Day – and services – such as BookHub. Launched in 2023, BookHub is an e-commerce platform that enables people to browse books, buy books and find local bookshops, directly connecting readers with independent bookstores across the motu. Local bookshops are essential community hubs, and champions of Aotearoa New Zealand books and of the Ockham New Zealand Book Awards and the New Zealand Book Awards for Children and Young Adults. The New Zealand Society of Authors Te Puni Kaituhi o Aotearoa (NZSA) was established in 1934 as the New Zealand PEN Centre and remains the principal organisation for writers in Aotearoa today. Now representing over 1,800 writers, NZSA advocates for authors' rights and incomes, acts as a communications hub, administers prizes and awards, and runs a raft of digital and in-person professional development programmes and assessment and mentoring opportunities that support writers at all stages of their writing journeys. The Society works closely with industry partners and collaborates widely across the sector to advance the visibility and readership of NZ writers and NZ writing. NZSA is a non-profit Incorporated Society and registered charity, governed by a Board, with 8 regional branches, Ngā Kaituhi Māori, a growing Youth Writers Network, and a national office. The National Library of New Zealand Te Puna Mātauranga o Aotearoa helps all New Zealanders access and use the collective knowledge of the nation. It's their job to collect, connect, and co-create knowledge to power Aotearoa. The National Library has long supported literacy and learning, and recent reading initiatives related to its 'Growing a Nation of Readers' strategy include Communities of Readers and Te Awhi Rito Reading Ambassador. Award-winning author Kate De Goldi has been appointed as the third Te Awhi Rito Reading Ambassador from June 2025. Kate will advocate for and champion the importance of reading in the lives of young New Zealanders, their whānau and communities. In 2025 The National Library is supporting the New Zealand Book Awards for Children and Young Adults by hosting its Books Alive events in the multipurpose spaces of the Tiakiwai Conference Centre facility on the Wellington premises. The Mātātuhi Foundation was established by the Auckland Writers Festival in 2018 to support the growth and development of New Zealand's literary landscape. To achieve this outcome, the Foundation funds literary projects that have the potential to develop sustainable literary platforms that help grow awareness and readership of New Zealand books and writers, increase engagement with New Zealand children's literature, or build access to, and awareness of, New Zealand's literary legacy. In 2025, the Mātātuhi Foundation has provided a second year of funding to enable the expansion of the Books Alive programme – which engages finalist authors in the New Zealand Book Awards for Children and Young Adults with tamariki and rangatahi in a series of large-scale immersive events – to four centres around the country. NielsenIQ BookData provides a range of services to the book industry internationally, aiding the discovery and purchase, distribution and sales measurement of books. The company employs more than 100 staff and has offices in 17 countries, including New Zealand and Australia. NielsenIQ BookData is wholly owned by NIQ.

Momona cheese makes judges smile
Momona cheese makes judges smile

Otago Daily Times

time5 hours ago

  • Otago Daily Times

Momona cheese makes judges smile

Cheeses on display at the Otago A and P Society winter show, in Dunedin. — Otago Witness, 9.6.1925 Ponga frond claim staked The Otago Winter Show was continued yesterday, and there was a good attendance throughout the day and evening. Yesterday's admission takings amounted to £342. The Taieri and Peninsula Milk Supply Company offered a challenge cup, valued at 15 guineas, for a cheese grading competition, open to bona fide cheese-factory managers. The cheese was graded by Government officials, and the particulars of points allocated lodged with the secretary. The cup was awarded to the competitor whose grading card was the nearest to the points allocated by the Government graders. On this occasion J.G. Wilson, third assistant at Momona Dairy Factory, won with 98 points. Wellington, June 4: At a meeting of the New Zealand Football Association to-night the Secretary reported that he had written to the New Zealand Rugby Union stating: "The association has no desire to use the title 'All Blacks,' and considers that as you represent the original holders of such a title you should now have the role right to use it. My council does, however, feel that the fern leaf, being the national emblem of New Zealand, should be worn by any person or persons representing New Zealand bodies in any field of sport. The uniform is a black jersey with a silver fern leaf, white knickers, black stockings, and black cap with a silver fern leaf. Our colours, black or white, have been in use for 30 years, and we contend we are entitled to use them for all time." Intermediates explained Mr J. Caughley, Director of Education, addressed members of the School Committees' Association last evening on the subject of Junior High Schools. There was no English-speaking country that had not adopted the principle that primary education should finish at 12 years and higher education commence at 12 and proceed onwards; it was remarkable that New Zealand was the last to adopt this principle. At about the age of 12 boys and girls were entering upon that period which was described as adolescence. They were becoming youths and maidens. . Boys and girls at about that age should be learning the elements of the subject they were going to take up later on. To those taught in their teens it became tedious, whereas taken at an earlier age it became easier and more agreeable. We should not wait till 13 or 14 years of age before commencing. It was too great a jump to tackle all at once. The junior high school would mean that the primary school course would end at about the Fourth Standard. Three schools in Auckland had had their Fifth Standards cut off to form the Kowhai School, and the head masters had reported that the work in the First, Second, Third, and Fourth Standards had never been better. The remaining pupils were getting just as good education as ever. This form of high school had been such a success that there had been pressure to secure more. There was a junior high school at Matamata now. Instead of having 60 pupils with two teachers the school how had 180 pupils from nine adjacent schools with five teachers. That school was working very satisfactorily. At Northcote there was a system with only three schools. In the smaller country districts he did not see how the scheme could be carried out, but there were places in Otago whore there could be a type of junior high school if arrangement could be made for collecting the children. — ODT, 5.6.1925 Compiled by Peter Dowden

Perhaps we should wait a bit before changing road signs
Perhaps we should wait a bit before changing road signs

Otago Daily Times

time2 days ago

  • Otago Daily Times

Perhaps we should wait a bit before changing road signs

"Kia ora" — and that's about it when I chance my arm with a bit of Māori. I grew up in a small South Island city with little Māori presence, although one house was called "the Māori house" simply because of the family who lived there. In 11 years of schooling, only one Māori boy featured at roll call and the only word we heard much of was "haka". I now realise that at least one other Māori word had enriched my vocabulary although at the time I assumed it was just another old English saying. It was often use by older blokes seeking a break from work and it sounded something like "tie ho". The recent brouhaha (yes, my French is OK) over road signs in Māori in Hawke's Bay reminded me that the word I remembered from boyhood was actually taihoa, a Māori word meaning something like "wait" or "by and by". Without waiting, I dived into the word's history and found it was one of the earliest Māori words to find general acceptance among Pākehā settlers. In those days it was a less than complimentary term among the go-getting newcomers. Of his early days in Auckland Sir John Logan Campbell wrote of "detesting the procrastinating ways of Māori workmen who kept on saying 'Taihoa – wait, all in good time, there's no hurry'." Some of his contemporaries, delving into the language, insisted that taihoa was used rather with regard to debts which were owed by Māori rather that postponing any duties they were expected to carry out. The word could be applied to Pākehā as well. One chief requested in 1857 that the government would allow him to sell land, complaining that the head of the Native Land Purchase Department, Donald McLean, would fob him off with "'taihoa (by and bye)' until he was tired." He then applied to the Governor who also said "taihoa". During the rest of the 19th century taihoa was commonly used by both races and among Pākehā began to be used as something of an insult to Māori, rather along the lines of the deplorable use of "Māori time" to mean "late" or "any old time". One flax mill owner complained, "no dependence whatever can be placed on their promises to do anything within a given time. 'Taihoa' being one of the first words the meaning of which a stranger learns to his cost who may have trusted to their punctuality." Thankfully, in later times, the word was used inoffensively to indicate "wait a bit" and became popular from the 1900s when James Carroll, the native minister, aimed to slow the sale of Māori land and this gave rise to the phrase "the taihoa policy" which can still be applied to politicians slow to honour their promises. Think, "Minister Brown's taihoa policy has delayed building Dunedin's new hospital." Taihoa can be found in many contexts. In 1950 the Northern Advocate, enthusing about a new-found rugby star, 18-year-old Peter Jones, suggested the All Black selectors "taihoa" on account of his youth. In the same year a Whanganui magistrate fined Māori farmers for failing to clear ragwort. "Māoris must deal with noxious weeds just the same as Europeans. The taihoa policy will not help you; it will just involve you in very heavy fines," pronounced the upholder of the law. So, it's fair to say "taihoa" is pretty well established among New Zealand speakers and I'm wondering if it may be a better road sign than "Stop". "Stop" is certainly an effective word, but can it be too effective? Taken literally at a compulsory stop, it would oblige the motorist to stop his vehicle. Motorists behind him would also stop and, because the leading car is given no further instructions, it would remain static until the traffic had backed up for about 10km and the resulting traffic rage would possibly lead to serious injuries. However, "Taihoa" at a compulsory stop would simply suggest "wait a bit". The motorist could wait, checking for traffic from either direction, and then move on, thus avoiding rampant road rage. Thus, at road works "Taihoa" is ideal as it suggest a wait rather than a permanent stoppage. The signs in Māori at the heart of the recent debate used "Haere" instead of "Go". "Haere" certainly has a meaning of moving but many motorists would be confused, thinking it was simply a greeting as in "haere mai". The solution may well lie in a comment from Ernest Corbett, Minister of Māori Affairs in the 1950s, who suggested that the opposite of "taihoa" was a term he heard often in his Taranaki base, "kia tore". "It means get on with it," said Corbett. On reflection, I've decided this is all too messy. Let's just use "Stop" and "Go" but hold the pole in a sort of Māori way. — Jim Sullivan is a Patearoa writer.

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