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Te Par Mubagay Christiansbawm Cågland waitinant. Tomata, trombak:6Mauritius.

A NARRATIVE

OF THE

PERSECUTION OF THE CHRISTIANS

IN

MA DA GASCA R;

WITH DETAILS OF THE

ESCAPE OF THE SIX CHRISTIAN REFUGEES NOW IN

ENGLAND.

BY J. J. FREEMAN AND D. JOHNS,

FORMERLY MISSIONARIES IN THE ISLAND.

THE PROFITS OF THE WORK DEVOTED TO THE RELIEF OF THE

PERSECUTED NATIVES OF MADAGASCAR.

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LONDON :-JOHN SNOW, 35, PATERNOSTER ROW.

1840.

740.12 op 5

EXPLANATION OF THE FRONTISPIECE.

The six Refugees now in England are represented as waiting on the beach at Tamatave, where they embarked, and looking out while the vessel is beating up for the port. A principal aim has been to give good likenesses of the whole party, and it is thought the artist has succeeded well, in copying the painting which was executed for the purpose, with equal kindness and fidelity, by a lady whose heart has been long in the missionary field. To those acquainted with the features of the Malagasy refugees it is scarcely needful to say that, Rafaravavy sits calmly on the left, while Sarah is standing, dressed in blue, and meekly smiling at her side. David is pointing with his finger towards the vessel in sight, and James is eagerly listening to his remarks. Simeon, in mood grave and sedate, stands by the side of James, and Joseph sits on the ground on the right, taking his full share in the conversation.

That they are supposed to have ventured out on the beach quite so boldly, and to have been dressed in colours quite so gay, at such a time, must be put to the artist's account. But the scenery is correct—the dresses faithfully show the native costume and mode of wearing it—and the waiting at Tamatave to embark is now a fact in history.

The Vignette, in mournful contrast with the soft and inviting scenery of the Frontispiece, exhibits the harsh and revolting circumstances and manner of the martyrdom of Rasalama. She is kneeling, and just about to receive the first spear-others are being raised ready to repeat the blow; a young man stands on the right in the fore-ground, with his left hand placed on his mouth, while mournfully gazing on the cruel scene, and is intended to represent Rafaralahy, the second martyr of Madagascar. The dogs are waiting to devour their victim.

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