,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,i ,,female ,,dancing ,,in ,,hula ,,costume ,page #a ,,smithsonian ,,institution ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,unwritten ,,literature ,,of ,,hawaii ,,the ,,sacred ,,songs ,,of ,,the ,,hula ,,collected ,,and ,,translated1 ,,with ,,notes ,,and ,,an ,,account ,,of ,,the ,,hula ,,by ,,nathaniel ,b4 ,,emerson1 ,a4,m41 ,m4,d4 ,,washington ,,government ,,printing ,,office #aiji ,page #b;,blank ,page #c ,,prefatory ,,note ,previous to the year #aijf the researches of the ,bureau were restricted to the ,american ,indians1 but by act of ,congress approved ,june #cj of that year the scope of its operations was extended to include the natives of the ,hawaiian islands4 ,funds were not specifically provided1 however1 for prosecuting investigations among these people1 and in the absence of an appropriation for this purpose it was considered inadvisable to restrict the systematic investigations among the ,indian tribes in order that the new field might be entered4 ,fortunately the publication of valuable data pertaining to ,hawaii is already provided for1 and the present memoir by ,doctor ,emerson is the first of the ,bureau's ,hawaiian series4 ,it is expected that this ,bulletin will be followed shortly by one comprising an extended list of works relating to ,hawaii1 compiled by ,prof4 ,h4,m4 ,ballou and ,dr4 ,cyrus ,thomas4 ,w4,h4 ,,holmes1 ,chief4 ,page #d ,blank ,page #e ,,contents ,page ,introduction #g ,i4 ,the hula #aa ,,ii4 ,the halau2 the kuahu--their decoration and consecration #ad ,,iii4 ,the gods of the hula #bc ,,iv4 ,support and organization of the hula #bf ,v4 ,ceremonies of graduation2 debut of a hula dancer #ca ,,vi4 ,the password--the song of admission #ch ,,vii4 ,worship at the altar of the halau #db ,,viii4 ,costume of the hula dancer #di ,,ix4 ,the hula al'a-papa #eg ,x4 ,the hula pa-ipu1 or kuolo #gc ,,xi4 ,the hula ki'i #ia ,,xii4 ,the hula pahu #ajc ,,xiii4 ,the hula liul #ajg ,,xiv4 ,the hula puili #aac ,,xv4 ,the hula ka-laau #aaf ,,xvi4 ,the hula ili-ili #abj ,,xvii4 ,the hula kaekeeke #abb ,,xviii4 ,an intermission #abf ,,xix4 ,the hula niau-kani #acb ,,xx4 ,the hula ohe #ace ,,xxi4 ,the music and musical instruments of the ,hawaiians #ach ,,xxii4 ,gesture #agf ,,xxiii4 ,the hula pa-hua #ahc ,,xxiv4 ,the hula ,pele #ahf ,,xxv1 ,the hula pa'i-umauma #bjb ,,xxvi4 ,the hula ku'i ,molokai #bjg ,,xxvii4 ,the hula kielei #baj ,,xxviii4 ,the hula m'u-m'u #bab ,,xxix4 ,the hula kolani #baf ,,xxx4 ,the hula kolea #bai ,,xxxi4 ,the hula man #bba ,,xxxii4 ,the hula ilio #bbc ,,xxxiii4 ,the hula pua'a #bbh ,,xxxiv4 ,the hula ohelo #bcc ,,xxxv4 ,thehula kilu #bce ,,xxxvi4 ,the hula hoonan #bdd ,,xxxvii4 ,the hula ulili #bdf ,,xxxviii4 ,the hula o-niu #bdh ,,xxxix4 ,the hula ku'i #bej ,,xl4 ,the oli #bed ,,xli4 ,the water of ,kane #beg ,,xlii4 ,general review #bfj ,glossary #bfe ,index #bga ,page #f ,,illustrations ,page ,,plate ,i4 ,female dancing in hula costume ,frontispiece ,,ii4 e-e 7,freycinetia arnotti7 leaves and fruit #ai ,,iii4 ,hla-ppe 7,dracaena aurea7 #bd ,,iv4 ,maile 7,alyxia myrtillifolia7 wreath #cb ,v4 ,ti 7,dracaena terminalis7 #dd ,,vi4 ,ilima 7,sida fallax71 lei and flowers #ef ,,vii4 ,ipu hula1 gourd drum #gc ,,viii4 ,marionettes 7,maile-pakaha1 ,nihi-au-moe7 #ia ,,ix4 ,marionette 7,maka-k7 #ic ,x4 ,pahu hula1 hula drum #ajc ,,xi4 li-ul1 a gourd rattle #ajg ,,xii4 ,hawaiian tree-snails 7,achatinella7 #abj ,,xiii4 ,lehua 7,metrosideros polymorpha7 flowers and leaves #abf ,,xiv4 ,hawaiian trumpet1 pu 7,cassis madagascarensis7 #aca ,,xv4 ,woman playing on the nose-flute 7ohe-hano-ihu7 #ace ,,xvi4 ,pu-niu1 a drum #adb ,,xvii4 ,hawaiian musician playing on the uku-lele #afd ,,xviii4 ,hala fruit bunch and drupe with a 8lei0 #agj ,,xix4 ,pu 7,triton tritonis7 #agb ,,xx4 ,phyllodia and true leaves of the koa 7,acacia koa7 #aha ,,xxi4 ,pala-palai ferns #aid ,,xxii4 ,awa-puhi1 a ,hawaiian ginger #baj ,,xxiii4 ,hinano hala #bce ,,xxiv4 ,lady dancing the hula ku'i #bej ,,figure #a4 ,puli1 bamboo rattle #aac #b4 ,ka1 drumstick for pu-niu #adb #c4 ,ohe-hano-ihu1 nose-flute #ade ,,musical ,,pieces ,i4 ,range of the nose-flute--,elsner #adf ,,ii4 ,music from the nose-flute--,elsner #adf ,,iii4 ,the ukek 7as played by ,keaonaloa7--,eisner #adi ,,iv4 ,song from the hula pa'i-umauma--,berger #aec ,v4 ,song from the hula pa-ipu--,berger #aec ,,vi4 ,song for the hula ,pele--,berger #aed ,,vii4 ,oli and mele from the hula ala'a-papa--,yarndley #aef ,,viii4 ,he ,inoa no ,kamehameha--,byington #afb ,,ix4 ,song1 ,poli ,anuanu--,yarndley #afd ,x4 ,song1 ,hua-hua'i--,yarndley #aff ,,xi4 ,song1 ,ka ,mawae--,berger #afg ,,xii4 ,song1 ,like no a ,like--,berger #afh ,,xiii4 ,song1 ,pili ,aoao--,berger #afi ,,xiv4 ,hawaii ,ponoi--,berger #agb ,page #g ,,introduction ,this book is for the greater part a collection of ,hawaiian songs and poetic pieces that have done service from time immemorial as the stock supply of the hula4 ,the descriptive portions have been added1 not because the poetical parts could not stand by themselves1 but to furnish the proper setting and to answer the questions of those who want to know4 ,now1 the hula stood for very much to the ancient ,hawaiian2 it was to him in place of our concert-hall and lecture-room1 our opera and theater1 and thus became one of his chief means of social enjoyment4 ,besides this1 it kept the communal imagination in living touch with the nation's legendary past4 ,the hula had songs proper to itself1 but it found a mine of inexhaustible wealth in the epics and wonder-myths that celebrated the doings of the volcano goddess ,pele and her compeers4 ,thus in the cantillations of the old-time hula we find a ready-made anthology that includes every species of composition in the whole range of ,hawaiian poetry4 ,this epic#a of ,pele was chiefly a more or less detached series of poems forming a story addressed not to the closet-reader1 but to the eye and ear and heart of the assembled chiefs and people2 and it was sung4 ,the ,hawaiian song1 its note of joy par excellence1 was the oli2 but it must be noted that in every species of ,hawaiian poetry1 mele--whether epic or eulogy or prayer1 sounding through them all we shall find the lyric note4 ,footnote #a3 ,it might be termed a handful of lyrics strung on an epic thread4 ,the most telling record of a people's intimate life is the record which it unconsciously makes in its songs4 ,this record which the ,hawaiian people have left of themselves is full and specific4 ,when1 therefore1 we ask what emotions stirred the heart of the old-time ,hawaiian as he approached the great themes of life and death1 of ambition and jealousy1 of sexual passion1 of romantic love1 of conjugal love1 and parental love1 what his attitude toward nature and the dread forces of earthquake and storm1 and the mysteries of spirit and the hereafter1 we shall find our answer in the songs and prayers and recitations of the hula4 ,the hula1 it is true1 has been unfortunate in the mode and manner of its introduction to us moderns4 ,an institution of divine1 that is1 religious1 origin1 the hula in modern times ,page #h has wandered so far and fallen so low that foreign and critical esteem has come to associate it with the riotous and passionate ebullitions of ,polynesian kings and the amorous posturing of their voluptuaries4 ,we must make a just distinction1 however1 between the gestures and bodily contortions presented by the men and women1 the actors in the hula1 and their uttered words4 8,the voice is ,jacob's voice1 but the hands are the hands of ,esau40 ,in truth1 the actors in the hula no longer suit the action to the word4 ,the utterance harks back to the golden age2 the gesture is trumped up by the passion of the hour1 or dictated by the master of the hula1 to whom the real meaning of the old bards is ofttimes a sealed casket4 ,whatever indelicacy attaches in modern times to some of the gestures and contortions of the hula dancers1 the old-time hula songs in large measure were untainted with grossness4 ,if there ever were a ,polynesian ,arcadia1 and if it were possible for true reports of the doings and sayings of the ,polynesians to reach us from that happy land--reports of their joys and sorrows1 their love-makings and their jealousies1 their family spats and reconciliations1 their worship of beauty and of the gods and goddesses who walked in the garden of beauty--we may say1 ,i think1 that such a report would be in substantial agreement with the report that is here offered2 but1 if one's virtue will not endure the love-making of ,arcadia1 let him banish the myth from his imagination and hie to a convent or a nunnery4 ,if this book does nothing more than prove that savages are only children of a younger growth than ourselves1 that what we find them to have been we ourselves--in our ancestors--once were1 the labor of making it will have been not in vain4 ,for an account of the first hula we may look to the story of ,pele4 ,on one occasion that goddess begged her sisters to dance and sing before her1 but they all excused themselves1 saying they did not know the art4 ,at that moment in came little ,hiiaka1 the youngest and the favorite4 ,unknown to her sisters1 the little maiden had practised the dance under the tuition of her friend1 the beautiful but ill-fated ,hopoe4 ,when banteringly invited to dance1 to the surprise of all1 ,hiiaka modestly complied4 ,the wave-beaten sand-beach was her floor1 the open air her hall4 ,feet and hands and swaying form kept time to her improvisation3 ,look1 ,puna is a-dance in the wind2 ,the palm groves of ,kea-au shaken4 ,haena and the woman ,hopoe dance and sing ,on the beach ,nana-huki1 ,a dance of purest delight1 ,down by the sea ,nana-huki4 ,the nature of this work has made it necessary to use occasional ,hawaiian words in the technical parts4 ,at their ,page #i first introduction it has seemed fitting that they should be distinguished by italics2 but1 once given the entre1 it is assumed that1 as a rule1 they will be granted the rights of free speech without further explanation4 ,a glossary1 which explains all the ,hawaiian words used in the prose text1 is appended4 ,let no one imagine1 however1 that by the use of this little crutch alone he will be enabled to walk or stumble through the foreign ways of the simplest ,hawaiian mele4 ,notes1 often copious1 have been appended to many of the mele1 designed to exhaust neither the subject nor the reader1 but to answer some of the questions of the intelligent thinker4 ,thanks1 many thanks1 are due1 first1 to those native ,hawaiians who have so far broken with the old superstitious tradition of concealment as to unearth so much of the unwritten literary wealth stored in ,hawaiian memories2 second1 to those who have kindly contributed criticism1 suggestion1 material at the different stages of this book's progress2 and1 lastly1 to those dear friends of the author's youth--living or dead--whose kindness has made it possible to send out this fledgling to the world4 ,the author feels under special obligations to ,dr4 ,titus ,munson ,coan1 of ,new ,york1 for a painstaking revision of the manuscript4 ,,honolulu1 ,,hawaii4 ,page #aj;,blank ,page #aa ,,literature ,,of ,,hawaii ,by ,,nathaniel ,b4 ,,emerson ,i4--,,the ,,hula ,one turns from the study of old genealogies1 myths1 and traditions of the ,hawaiians with a hungry despair at finding in them means so small for picturing the people themselves1 their human interests and passions2 but when it comes to the hula and the whole train of feelings and sentiments that made their entrances and exits in the halau 7the hall of the hula7 one perceives that in this he has found the door to the heart of the people4 ,so intimate and of so simple confidence are the revelations the people make of themselves in their songs and prattlings that when one undertakes to report what he has heard and to translate into the terms of modern speech what he has received in confidence1 as it were1 he almost blushes1 as if he had been guilty of spying on ,adam and ,eve in their nuptial bower4 ,alas1 if one could but muffle his speech with the unconscious lisp of infancy1 or veil and tone his picture to correspond to the perspective of antiquity1 he might feel at least that1 like ,watteau1 he had dealt worthily1 if not truly1 with that ideal age which we ever think of as the world's garden period4 ,the ,hawaiians1 it is true1 were many removes from being primitives2 their dreams1 however1 harked back to a period that was close to the world's infancy4 ,their remote ancestry was1 perhaps1 akin to ours--,aryan1 at least ,asiatic--but the orbit of their evolution seems to have led them away from the strenuous discipline that has whipped the ,anglo-,saxon branch into fighting shape with fortune4 ,if one comes to the study of the hula and its songs in the spirit of a censorious moralist he will find nothing for him2 if as a pure ethnologist1 he will take pleasure in pointing out the physical resemblances of the ,hawaiian dance to the languorous grace of the ,nautch girls1 of the geisha1 and other oriental dancers4 ,but if he comes as a student and lover of human nature1 back of the sensuous posturings1 in the emotional language of the songs he will find himself entering the playground of the human race4 ,the hula was a religious service1 in which poetry1 music1 pantomime1 and the dance lent themselves1 under the forms of ,page #ab dramatic art1 to the refreshment of men's minds4 ,its view of life was idyllic1 and it gave itself to the celebration of those mythical times when gods and goddesses moved on the earth as men and women and when men and women were as gods4 ,as to subject-matter1 its warp was spun largely from the bowels of the old-time mythology into cords through which the race maintained vital connection with its mysterious past4 ,interwoven with these1 forming the woof1 were threads of a thousand hues and of many fabrics1 representing the imaginations of the poet1 the speculations of the philosopher1 the aspirations of many a thirsty soul1 as well as the ravings and flame-colored pictures of the sensualist1 the mutterings and incantations of the kahuna1 the mysteries and paraphernalia of ,polynesian mythology1 the annals of the nation's history--the material1 in fact1 which in another nation and under different circumstances would have gone to the making of its poetry1 its drama1 its opera1 its literature4 ,the people were superstitiously religious2 one finds their drama saturated with religious feeling1 hedged about with tabu1 loaded down with prayer and sacrifice4 ,they were poetical2 nature was full of voices for their ears2 their thoughts came to them as images2 nature was to them an allegory2 all this found expression in their dramatic art4 ,they were musical2 their drama must needs be cast in forms to suit their ideas of rhythm1 of melody1 and of poetic harmony4 ,they were1 moreover1 the children of passion1 sensuous1 worshipful of whatever lends itself to pleasure4 ,how1 then1 could the dramatic efforts of this primitive people1 still in the bonds of animalism1 escape the note of passion8 ,the songs and other poetic pieces which have come down to us from the remotest antiquity are generally inspired with a purer sentiment and a loftier purpose than the modern2 and it may be said of them all that when they do step into the mud it is not to tarry and wallow in it2 it is rather with the unconscious naivet of a child thinking no evil4 ,on the principle of 8the terminal conversion of opposites10 which the author once heard an old philosopher expound1 the most advanced modern is better able to hark back to the sweetness and light and music of the primeval world than the veriest wigwam-dweller that ever chipped an arrowhead4 ,it is not so much what the primitive man can give us as what we can find in him that is worth our while4 ,the light that a ,goethe1 a ,thoreau1 or a ,kipling can project into ,arcadia is mirrored in his own nature4 ,if one mistakes not the temper and mind of this generation1 we are living in an age that is not content to let perish one seed of thought or one single phase of life that can be rescued from the drift of time4 ,we mourn the extinction of the buffalo of the plains and of the birds of the islands1 ,page #ac rightly thinking that life is somewhat less rich and full without them4 ,what of the people of the plains and of the islands of the sea8 ,is their contribution so nothingless that one can affirm that the orbit of man's mind is complete without it8 ,comparison is unavoidable between the place held by the dance in ancient ,hawaii and that occupied by the dance in our modern society4 ,the ancient ,hawaiians did not personally and informally indulge in the dance for their own amusement1 as does pleasure-loving society at the present time4 ,like the ,shah of ,persia1 but for very different reasons1 ,hawaiians of the old time left it to be done for them by a body of trained and paid performers4 ,this was not because the art and practice of the hula were held in disrepute--quite the reverse--but because the hula was an accomplishment requiring special education and arduous training in both song and dance1 and more especially because it was a religious matter1 to be guarded against profanation by the observance of tabus and the performance of priestly rites4 ,this fact1 which we find paralleled in every form of communal amusement1 sport1 and entertainment in ancient ,hawaii1 sheds a strong light on the genius of the ,hawaiian4 ,we are wont to think of the old-time ,hawaiians as light-hearted children of nature1 given to spontaneous outbursts of song and dance as the mood seized them2 quite as the rustics of 8merrie ,england0 joined hands and tripped 8the light fantastic toe0 in the joyous month of ,may or shouted the harvest home at a later season4 ,the genius of the ,hawaiian was different4 ,with him the dance was an affair of premeditation1 an organized effort1 guarded by the traditions of a somber religion4 ,and this characteristic1 with qualifications1 will be found to belong to popular ,hawaiian sport and amusement of every variety4 ,exception must be made1 of course1 of the unorganized sports of childhood4 ,one is almost inclined to generalize and to say that those children of nature1 as we are wont to call them1 in this regard were less free and spontaneous than the more advanced race to which we are proud to belong4 ,but if the approaches to the temple of ,terpsichore with them were more guarded1 we may confidently assert that their enjoyment therein was deeper and more abandoned4 ,page #ad ,,ii4--,,the ,,halau2 ,,the ,,kuahu--,,their ,,decoration ,,and ,,consecration ,,the ,,halau ,in building a halau1 or hall1 in which to perform the hula a ,hawaiian of the old1 old time was making a temple for his god4 ,in later and degenerate ages almost any structure would serve the purpose2 it might be a flimsy shed or an extemporaneous lanai such as is used to shelter that al fresco entertainment1 the luau4 ,but in the old times of strict tabu and rigorous etiquette1 when the chief had but to lift his hand and the entire population of a district ransacked plain1 valley1 and mountain to collect the poles1 beams1 thatch1 and cordstuff2 when the workers were so numerous that the structure grew and took shape in a day1 we may well believe that ambitious and punctilious patrons of the hula1 such as ,la'a1 ,liloa1 or ,lono-i-ka-makahiki1 did not allow the divine art of ,laka to house in a barn4 ,the choice of a site was a matter of prime importance4 ,a formidable code enunciated the principles governing the selection4 ,but--a matter of great solicitude--there were omens to be heeded1 snares and pitfalls devised by the superstitious mind for its own entanglement4 ,the untimely sneeze1 the ophthalmic eye1 the hunched back were omens to be shunned4 ,within historic times1 since the abrogation of the tabu system and the loosening of the old polytheistic ideas1 there has been in the hula a lowering of former standards1 in some respects a degeneration4 ,the old gods1 however1 were not entirely dethroned2 the people of the hula still continued to maintain the form of divine service and still appealed to them for good luck2 but the soul of worship had exhaled2 the main study now was to make of the hula a pecuniary success4 ,in an important sense the old way was in sympathy with the thought1 8,except ,god be with the workmen1 they labor in vain that build the house40 ,the means for gaining divine favor and averting the frown of the gods were those practised by all religionists in the infantile state of the human mind--the observance of fasts and tabus1 the offering of special prayers and sacrifices4 ,the ceremonial purification of the site1 or of the building if it had been used for profane purposes1 was accomplished by aspersions with sea water mixed with turmeric or red earth4 ,page #ae ,when one considers the tenacious hold which all rites and ceremonies growing out of what we are accustomed to call superstitions had on the mind of the primitive ,hawaiian1 it puzzles one to account for the entire dropping out from modern memory of the prayers which were recited during the erection of a hall for the shelter of an institution so festive and so popular as the hula1 while the prayers and gloomy ritual of the temple service have survived4 ,the explanation may be found1 perhaps1 in the fact that the priests of the temple held position by the sovereign's appointment2 they formed a hierarchy by themselves1 whereas the position of the kumu-hula1 who was also a priest1 was open to anyone who fitted himself for it by training and study and by passing successfully the ai-lolo#b ordeal4 ,after that he had the right to approach the altar of the hula god with the prescribed offerings and to present the prayers and petitions of the company to ,laka or ,kapo4 ,footnote #b3 ,ai-lolo4 ,see pp4 #cb1 #cd1 #cf4 ,in pleasing contrast to the worship of the heiau1 the service of the hula was not marred by the presence of groaning victims and bloody sacrifices4 ,instead we find the offerings to have been mostly rustic tokens1 things entirely consistent with light-heartedness1 joy1 and ecstasy of devotion1 as if to celebrate the fact that heaven had come down to earth and ,pan1 with all the nymphs1 was dancing4 ,during the time the halau was building the tabus and rules that regulated conduct were enforced with the utmost strictness4 ,the members of the company were required to maintain the greatest propriety of demeanor1 to suppress all rudeness of speech and manner1 to abstain from all carnal indulgence1 to deny themselves specified articles of food1 and above all to avoid contact with a corpse4 ,if anyone1 even by accident1 suffered such defilement1 before being received again into fellowship or permitted to enter the halau and take part in the exercises he must have ceremonial cleansing 7huikala74 ,the kumu offered up prayers1 sprinkled the offender with salt water and turmeric1 commanded him to bathe in the ocean1 and he was clean4 ,if the breach of discipline was gross and willful1 an act of outrageous violence or the neglect of tabu1 the offender could be restored only after penitence and confession4 ,,the ,,kuahu ,in every halau stood the kuahu1 or altar1 as the visible temporary abode of the deity1 whose presence was at once the inspiration of the performance and the luck-bringer of the enterprise--a rustic frame embowered in greenery4 ,the gathering of the green leaves and other sweet finery of ,page #af nature for its construction and decoration was a matter of so great importance that it could not be intrusted to any chance assemblage of wild youth who might see fit to take the work in hand4 ,there were formalities that must be observed1 songs to be chanted1 prayers to be recited4 ,it was necessary to bear in mind that when one deflowered the woods of their fronds of e-e and fern or tore the trailing lengths of maile--albeit in honor of ,laka herself--the body of the goddess was being despoiled1 and the despoiling must be done with all tactful grace and etiquette4 ,it must not be gathered from this that the occasion was made solemn and oppressive with weight of ceremony1 as when a temple was erected or as when a tabu chief walked abroad1 and all men lay with their mouths in the dust4 ,on the contrary1 it was a time of joy and decorous exultation1 a time when in prayer-songs and ascriptions of praise the poet ransacked all nature for figures and allusions to be used in caressing the deity4 ,the following adulatory prayer 7knaene7 in adoration of ,laka was recited while gathering the woodland decorations for the altar4 ,it is worthy of preservation for its intrinsic beauty1 for the spirit of trustfulness it breathes4 ,we remark the petitions it utters for the growth of tree and shrub1 as if ,laka had been the alma mater under whose influence all nature budded and rejoiced4 ,it would seem as if the physical ecstasy of the dance and the sensuous joy of all nature's finery had breathed their spirit into the aspiration and that the beauty of leaf and flower1 all of them familiar forms of the god's metamorphosis--accessible to their touch and for the regalement of their senses--had brought such nearness and dearness1 of affection between goddess and worshiper that all fear was removed4 ,he knaene no ,laka ,a ke kua-hiwi1 i ke kua-lono1 ,ku ana o ,laka i ka mauna2 ,noho ana o ,laka i ke po'o o ka ohu4 ,o ,laka kumu hula1 #e ,nana i a'e ka wao-kele1#c ,kahi1 kahi i moli'a i ka pua'a1 ,i ke po'o pua'a1 ,he pua'a hiwa na ,kane4#d ,page #ag ,he kane na ,laka1 #aj ,na ka wahine i oni a kelakela i ka lani3 ,i kupu ke a'a i ke kumu1 ,i lau a puka ka mu'o1 ,ka liko1 ka ao i-luna4 ,kupu ka lala1 hua ma ka ,hikina2 #ae ,kupu ka laau ona a ,maka-li'i1#e ,o ,maka-lei1#f laau kaulana mai ka ,po mai4#g ,mai ka ,po mai ka oiaio-- ,i ho-i'o i-luna1 i o'o i-luna4 ,he luna au e ki'i mai nei ia oe1 e ,laka1 #bj ,e ho'i ke ko-kua#h pa-2 ,he la uniki#i e no kaua2 ,ha-ike-ike#aj o ke ,akua2 ,hoike ka mana o ka ,wahine1 ,o ,laka1 kaikuahine1 #be ,wahine a ,lono i ka ou-alii4#aa ,e ,lono1 e hu'#ab ia mai ka lani me ka honua4 ,nou okoa ,kukulu o ,kahiki4#ac ,me ke ano-ai#ad i aloha1 e6 ,e ola1 e6 ,footnote #c3 ,wao-kele4 ,that portion of the mountain forest where grew the monarch trees was called wao-kele or wao-maukele4 ,footnote #d3 ,na ,kane4 ,why was the offering1 the black roast porkling1 said to be for ,kane1 who was not a special patron1 au-maka1 of the hula8 ,the only answer the author has been able to obtain from any ,hawaiian is that1 though ,kane was not a god of the hula1 he was a near relative4 ,on reflection1 the author can see a propriety in devoting the reeking flesh of the swine to god ,kane1 while to the sylvan deity1 ,lk1 goddess of the peaceful hula1 were devoted the rustic offerings that were the embodiment of her charms4 ,her image1 or token--an uncarved block of wood--was set up in a prominent part of the kuahu1 and at the close of a performance the wreaths that had been worn by the actors were draped about the image4 ,thus viewed1 there is a delicate propriety and significance in such disposal of the pig4 ,footnote #e3 ,maka-li'i 7,small eyes74 ,the ,pleiades2 also the period of six months1 including the rainy season1 that began some time in ,october or ,november and was reckoned from the date when the ,pleiades appeared in the ,east at sunset4 ,maka-li'i was also the name of a month1 by some reckoned as the first month of the year4 ,footnote #f3 ,maka-li4 ,the name of a famous mythological tree which had the power of attracting fish4 ,it did not poison1 but only bewitched or fascinated them4 ,there were two trees bearing this name1 one a male1 the other a female1 which both grew at a place in ,hilo called ,pali-uli4 ,one of these1 the female1 was1 according to tradition1 carried from its root home to the fish ponds in ,kailua1 ,oahu1 for the purpose of attracting fish to the neighboring waters4 ,the enterprise was eminently successful4 ,footnote #g3 ,po4 ,literally night2 the period in cosmogony when darkness and chaos reigned1 before the affairs on earth had become settled under the rule of the gods4 ,here the word is used to indicate a period of remote mythologic antiquity4 ,the use of the word ,po in the following verse reminds one of the ,french adage1 8,la nuit porte conseil40 ,footnote #h3 ,koka4 ,another form for kaka1 to gird on the pa-4 7,see ,pa- song1 pp4 #ea-ec47 ,footnote #i3 ,unki4 ,a word not given in the dictionary4 ,the debut of an actor at the hula1 after passing the ai-lolo test and graduating from the school of the halau1 a critical event4 ,footnote #aj3 ,ha-ke-ke4 ,equivalent to ho-ke-ke1 an exhibition1 to exhibit4 ,footnote #aa3 ,ou-alii4 ,the ,hawaiians seem to have lost the meaning of this word4 ,the author has been at some pains to work it out somewhat conjecturally4 ,footnote #ab3 ,e ,lono1 e hu' ia1 mai1 etc4 ,the unelided form of the word hu' would be hui4 ,the final i is dropped before the similar vowel of ia4 ,footnote #ac3 ,kuklu o ,kahki4 ,the pillars of ,kahiki4 ,the ancient ,hawaiians supposed the starry heavens to be a solid dome supported by a wall or vertical construction--kukulu--set up along the horizon4 ,that section of the wall that stood over against ,kahiki they termed ,kukulu o ,kahiki4 ,our geographical name ,tahiti is of course from ,kahiki1 though it does not apply to the same region4 ,after the close of what has been termed 8the period of intercourse10 which1 came probably during the twelfth and thirteenth centuries1 and during which the ancient ,hawaiians voyaged to and fro between ,hawaii and the lands of the ,south1 geographical ideas became hazy and the term ,kahiki came to be applied to any foreign country4 ,footnote #ad3 no-i4 ,an old form of salutation1 answering in general to the more modern word aloha1 much used at the present time4 ,ano-ai seems to have had a shade of meaning more nearly answering to our word 8welcome40 ,this is the first instance the author has met with of its use in poetry4 ,page #ah ,translation4 ,a ,prayer of ,adulation to ,laka ,in the forests1 on the ridges ,of the mountains stands ,laka2 ,dwelling in the source of the mists4 ,laka1 mistress of the hula1 #e ,has climbed the wooded haunts of the gods1 ,altars hallowed by the sacrificial swine1 ,the head of the boar1 the black boar of ,kane4 ,a partner he with ,laka2 ,woman1 she by strife gained rank in heaven4 #aj ,that the root may grow from the stem1 ,that the young shoot may put forth and leaf1 ,pushing up the fresh enfolded bud1 ,the scion-thrust bud and fruit toward the ,east1 ,like the tree that bewitches the winter fish1 #ae ,maka-lei1 tree famed from the age of night4 ,truth is the counsel of night-- ,may it fruit and ripen above4 ,a messenger ,i bring you1 ,o ,laka1 ,to the girding of pa4 #bj ,an opening festa this for thee and me2 ,to show the might of the god1 ,the power of the goddess1 ,of ,laka1 the sister1 ,to ,lono a wife in the heavenly courts4 #be ,o ,lono1 join heaven and earth6 ,thine alone are the pillars of ,kahiki4 ,warm greeting1 beloved one1 ,we hail thee6 ,the cult of god ,lono was milder1 more humane1 than that of ,kane and the other major gods4 ,no human sacrifices were offered on his altars4--,the statement in verse #bf accords with the general belief of the ,hawaiians that ,lono dwelt in foreign parts1 ,kukulu o ,kahiki1 and that he would some time come to them from across the waters4 ,when ,captain ,cook arrived in his ships1 the ,hawaiians worshiped him as the god ,lono4 ,illustration3 ,,ie-,,ie 7,,freycinetia ,,arnotti7 ,,leaves ,,and ,,fruit ,the following song-prayer also is one that was used at the gathering of the greenery in the mountains and during the building of the altar in the halau4 ,when recited in the halau all the pupils took part1 and the chorus was a response in which the whole assembly in the halau were expected to join3 ,pule ,kuahu no ,laka ,haki pu o ka nahelehele1 ,haki hana maile o ka wao1 ,page #ai ,hooulu#ae lei ou1 o ,laka1 e6 ,o ,hiiaka#af ke kaula nana e hooulu na ma'i1 #e ,a aeae a ulu#ag a noho i kou kuahu1 ,eia ka pule la1 he pule ola1 ,he noi ola nou1 e-e6 ,chorus3 ,e ola ia makou1 aohe hala6 ,translation4 ,altar-,prayer to ,laka ,this spoil and rape of the wildwood1 ,this plucking of wilderness maile-- ,collect of garlands1 ,laka1 for you4 ,hiiaka1 the prophet1 heals our diseases4 #e ,enter1 possess1 inspire your altar2 ,heed our prayer1 'tis for life2 ,our petition to you is for life4 ,chorus3 ,give us life1 save from transgression6 ,footnote #ae3 ,hoo-ulu4 ,this word has a considerable range of meaning1 well illustrated in this mele4 ,in its simplest form1 ulu1 it means to grow1 to become strong4 ,joined with the causative hoo1 as here1 it takes on the spiritual meaning of causing to prosper1 of inspiring4 ,the word 8collect10 used in the translation1 has been chosen to express the double sense of gathering the garlands and of devoting them to the goddess as a religious offering4 ,in the fourth verse this word1 hooulu1 is used in the sense of to heal4 ,compare note c4 ,footnote #af3 ,hiiaka4 ,the youngest sister of ,pele1 often spoken of as ,hiiaka-i-ka-poli-o-,pele1 ,hiiaka-of-the-bosom-of-,pele4 ,why she should be spoken of as capable of healing diseases is not at all clear4 ,footnote #ag3 ,ulu4 ,here we have the word ulu in its simple1 uncombined form1 meaning to enter into and inspire4 ,the wildwoods of ,hawaii furnished in great abundance and variety small poles for the framework of the kuahu1 the altar1 the holy place of the halau1 and sweet-scented leaves and flowers suitable for its decoration4 ,a spirit of fitness1 however1 limited choice among these to certain species that were deemed acceptable to the goddess because they were reckoned as among her favorite forms of metamorphosis4 ,to go outside this ordained and traditional range would have been an offense1 a sacrilege4 ,this critical spirit would have looked with the greatest disfavor on the practice that in modern times has crept in1 of bedecking the dancers with garlands of roses1 pinks1 jessamine1 and other nonindigenous flowers1 as being utterly repugnant to the traditional spirit of the hula4 ,among decorations approved and most highly esteemed stood pre-eminent the fragrant maile 7pl4 ,,iv7 and the star-like fronds and ruddy drupe of the e-e 7pl4 ,,ii7 and its kindred1 the hla-ppe 7pl4 ,,iii72 the scarlet pompons of the leha 7pl4 ,,xiii7 and ohi'a1 with the fruit of the latter 7the mountain-apple72 many varieties of fern1 including that splendid parasite1 the 8bird's nest fern0 ,page #bj 7ekha71 hailed by the ,hawaiians as ,mawi's paddle2 to which must be added the commoner leaves and lemon-colored flowers of the native hibiscus1 the hau1 the breadfruit1 the native banana and the dracna 7ti71 plate ,v2 and lastly1 richest of all1 in the color that became ,hawaii's favorite1 the royal yellow ilma 7pl4 ,,vi71 a flower familiar to the eyes of the tourist to ,honolulu4 ,while deft hands are building and weaving the light framework of the kuahu1 binding its parts with strong vines and decorating it with nature's sumptuous embroidery1 the kumu1 or teacher1 under the inspiration of the deity1 for whose residence he has prepared himself by long vigil and fasting with fleshly abstinence1 having spent the previous night alone in the halau1 is chanting or cantillating his adulatory prayers1 kanaenae--songs of praise they seem to be--to the glorification of the gods and goddesses who are invited to bless the occasion with their presence and inspiration1 but especially of that one1 ,laka1 whose bodily presence is symbolized by a rude block of wood arrayed in yellow tapa that is set up on the altar itself4 ,thus does the kumu sing3 ,pule ,kuahu ,ei' au e ,laka mai uka1 ,e ,laka mai kai2 ,o hooulu ,o ka ilio#ah nana e hae1 #e ,o ka maile hihi i ka wao1 ,o ka lau-ki#ai lei o ke akua1 ,o na ku'i hauoli ,o ,ha'i-ka-manawa4#bj ,o ,laka oe1 #aj ,o ke akua i ke kuahu nei1 la2 ,e ho'i1 ho'i mai a noho i kou kuahu6 ,translation4 ,altar-,prayer 7to ,laka7 ,here am ,i1 oh ,laka from the mountains1 ,oh ,laka from the shore2 ,protect us ,against the dog that barks2 ,page #ba #e ,reside in the wild-twining maile ,and the goddess-enwreathing ti4 ,all1 the joyful pulses4 ,of the woman ,ha'i-ka-manawa6 ,thou art ,laka1 #aj ,the god of this altar2 ,return1 return1 abide in thy shrine6 ,footnote #ah3 ,ilio nana e hae4 ,the barking of a dog1 the crowing of a cock1 the grunting of a pig1 the hooting of an owl1 or any such sound occurring at the time of a religious solemnity1 aha1 broke the spell of the incantation and vitiated the ceremony4 ,such an untimely accident was as much deprecated as were the ,turk1 the ,comet1 and the ,devil by pious ,christian souls during the ,middle ,ages4 ,footnote #ai3 ,lau-ki4 ,the leaf of the ti plant--the same as the ki--7,dracna terminalis71 much used as an emblem of divine power1 a charm or defense against malign spiritual influences4 ,the kahuna often wore about his neck a fillet of this leaf4 ,the ti leaf was a special emblem of ,ha'i-wahine1 or of ,li'a-wahine4 ,it was much used as a decoration about the halau4 ,footnote #bj3 ,ha'i-ka-manawa4 ,it is conjectured that this is the same as ,ha'i-wahine4 ,she was a mythological character1 about whom there is a long and tragic story4 ,the prayers which the hula folk of old times chanted while gathering the material in the woods or while weaving it into shape in the halau for the construction of a shrine did not form a rigid liturgy2 they formed rather a repertory as elastic as the sighing of the breeze1 or the songs of the birds whose notes embroidered the pure mountain air4 ,there were many altar-prayers1 so that if a prayer came to an end before the work was done the priest had but to begin the recitation of another prayer1 or1 if the spirit of the occasion so moved him1 he would take up again a prayer already repeated1 for until the work was entirely accomplished the voice of prayer must continue to be heard4 ,the pule now to be given seems to be specially suited to that portion of the service which took place in the woods at the gathering of the poles and greenery4 ,it was designed specially for the placating of the little god-folk who from their number were addressed as ,kini o ke ,akua1 the multitude of the little gods1 and who were the counterparts in old ,hawaii of our brownies1 elfins1 sprites1 kobolds1 gnomes1 and other woodland imps4 ,these creatures1 though dwarfish and insignificant in person1 were in such numbers--four thousand1 forty thousand1 four hundred thousand--and were so impatient of any invasion of their territory1 so jealous of their prerogatives1 so spiteful and revengeful when injured1 that it was policy always to keep on the right side of them4 ,pule ,kuahu ,e hooulu ana ,i ,kini#ba o ke ,akua1 ,ka lehu o ke ,akua1 ,ka mano o ke ,akua1 ,i ka pu-ku'i o ke ,akua1 #e ,i ka lalani ,akua1 ,ia ulu mai o ,kane1 ,ulu o ,kanaloa2 ,ulu ka ohia1 lau ka ie-ie2 ,ulu ke ,akua1 noho i ke kahua1 #aj ,a a'ea'e1 a ulu1 a noho kou kuahu4 ,eia ka pule la1 he pule ola4 ,chorus3 ,e ola ana oe6 ,footnote #ba3 ,kini o ke ,akua4 ,see note d1 p4 #bd4 ,page #bb ,translation4 ,altar-,prayer ,invoke we now the four thousand1 ,the myriads four of the nimble1 ,the four hundred thousand elves1 ,the countless host of sprites1 #e ,rank upon rank of woodland gods4 ,pray1 ,kane1 also inspire us2 ,kanaloa1 too1 join the assembly4 ,now grows the ohi'a1 now leafs ie-ie2 ,god enters1 resides in the place2 #aj ,he mounts1 inspires1 abides in the shrine4 ,this is our prayer1 our plea this for life6 ,chorus3 ,life shall be thine6 ,from one point of view these pule are not to be regarded as prayers in the ordinary sense of the word1 but rather as song-offerings1 verbal bouquets1 affectionate sacrifices to the gods4 ,page #bc ,,iii4--,,the ,,gods ,,of ,,the ,,hula4 ,of what nature were the gods of the old times1 and how did the ancient ,hawaiians conceive of them8 ,as of beings having the form1 the powers1 and the passions of humanity1 yet standing above and somewhat apart from men4 ,one sees1 as through a mist1 darkly1 a figure1 standing1 moving2 in shape a plant1 a tree or vine-clad stump1 a bird1 a taloned monster1 a rock carved by the fire-queen1 a human form1 a puff of vapor--and now it has given place to vacancy4 ,it was a goddess1 perhaps of the hula4 ,in the solitude of the wilderness one meets a youthful being of pleasing address1 of godlike wit1 of elusive beauty2 the charm of her countenance unspoken authority1 her gesture command4 ,she seems one with nature1 yet commanding it4 ,food placed before her remains untasted2 the oven1 imu1#bb in which the fascinated host has heaped his abundance1 preparing for a feast1 when opened is found empty2 the guest of an hour has disappeared4 ,again it was a goddess1 perhaps of the hula4 ,or1 again1 a traveler meets a creature of divine beauty1 all smiles and loveliness4 ,the infatuated mortal1 smitten with hopeless passion1 offers blandishments2 he finds himself by the roadside embracing a rock4 ,it was a goddess of the hula4 ,the gods1 great and small1 superior and inferior1 whom the devotees and practitioners of the hula worshiped and sought to placate were many2 but the goddess ,laka was the one to whom they offered special prayers and sacrifices and to whom they looked as the patron1 the au-makua1#bc of that institution4 ,it was for her benefit and in her honor that the kuahu was set up1 and the wealth of flower and leaf used in its decoration was emblematic of her beauty and glory1 a pledge of her bodily presence1 the very forms that she1 a sylvan deity1 was wont to assume when she pleased to manifest herself4 ,as an additional crutch to the imagination and to emphasize the fact of her real presence on the altar which she had been invoked to occupy as her abode1 she was symbolized by an uncarved block of wood from the sacred lama#bd tree4 ,this was wrapped in a robe of choice yellow tapa1 scented with turmeric1 and set conspicuously upon the altar4 ,footnote #bb3 ,imu4 ,the ,hawaiian oven1 which was a hole in the ground lined and arched over with stones4 ,footnote #bc3 ,au-makua4 ,an ancestral god4 ,footnote #bd3 ,lama4 ,a beautiful tree having firm1 fine-grained1 white wood2 used in making sacred inclosures and for other tabu purposes4 ,page #bd ,laka was invoked as the god of the maile1 the ie-ie1 and other wildwood growths before mentioned 7pl4 ,,ii74 ,she was hailed as the 8sister1 wife1 of god ,lono10 as 8the one who by striving attained favor with the gods of the upper ether20 as 8the kumu#be hula0--head teacher of the ,terpsichorean art2 8the fount of joy20 8the prophet who brings health to the sick20 8the one whose presence gives life40 ,in one of the prayers to ,laka she is besought to come and take possession of the worshiper1 to dwell in him as in a temple1 to inspire him in all his parts and faculties--voice1 hands1 feet1 the whole body4 ,laka seems to have been a friend1 but not a relative1 of the numerous ,pele family4 ,so far as the author has observed1 the fiery goddess is never invited to grace the altar with her presence1 nor is her name so much as mentioned in any prayer met with4 ,to compare the gods of the ,hawaiian pantheon with those of classic ,greece1 the sphere occupied by ,laka corresponds most nearly to that filled by ,terpsichore and ,euterpe1 the muses1 respectively1 of dance and of song4 ,lono1 in one song spoken of as the husband of ,laka1 had features in common with ,apollo4 ,that other gods1 ,kane1 ,ku1 ,kanaloa1#bf with ,lono1 ,ku-pulupulu1#bg and the whole swarm of godlings that peopled the wildwood1 were also invited to favor the performances with their presence can be satisfactorily explained on the ground1 first1 that all the gods were in a sense members of one family1 related to each other by intermarriage1 if not by the ties of kinship2 and1 second1 by the patent fact of that great underlying cause of bitterness and strife among immortals as well as mortals1 jealousy4 ,it would have been an eruptive occasion of heart-burning and scandal if by any mischance a privileged one should have had occasion to feel slighted2 and to have failed in courtesy to that countless host of wilderness imps and godlings1 the ,kini ,akua1#bh mischievous and irreverent as the monkeys of ,india1 would indeed have been to tempt a disaster4 ,while it is true that the testimony of the various kumu-hula1 teachers of the hula1 and devotees of the art of the hula1 so far as the author has talked with them1 has been overwhelmingly to the effect that ,laka was the one and only divine patron of the art known to them1 there has been a small number equally ready to assert that there were those who observed the cult of the goddess ,kapo and worshiped her ,page #be as the patron of the hula4 ,the positive testimony of these witnesses must be reckoned as of more weight than the negative testimony of a much larger number1 who either have not seen or will not look at the other side of the shield4 ,at any rate1 among the prayers before the kuahu1 of which there are others yet to be presented1 will be found several addressed to ,kapo as the divine patron of the hula4 ,footnote #be3 ,the teacher1 a leader and priest of the hula4 ,the modern school-master is called kumu-kula4 ,footnote #bf3 ,kanaloa4 ,kane1 ,ku1 ,kanaloa1 and ,lono were the major gods of the ,hawaiian pantheon4 ,footnote #bg3 ,ku-pulupulu4 ,a god of the canoe-makers4 ,footnote #bh3 ,kini ,akua4 ,a general expression--often used together with the ones that follow--meaning the countless swarms of brownies1 elfs1 kobolds1 sprites1 and other godlings 7mischievous imps7 that peopled the wilderness4 ,kini means literally #dj1jjj1 lehu #djj1jjj1 and mano #d1jjj4 ,see the ,pule ,kuahu--altar-prayer--on page #ba4 ,the ,hawaiians1 curiously enough1 did not put the words mano1 kini1 and lehu in the order of their numerical value4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,iii ,h,,la-,p,,pe 7,,drac,,na ,,aurea7 ,kapo was sister of ,pele and the daughter of ,haumea4#bi ,among other roles played by her1 like ,laka she was at times a sylvan deity1 and it was in the garb of woodland representations that she was worshiped by hula folk4 ,her forms of activity1 corresponding to her different metamorphoses1 were numerous1 in one of which she was at times 8employed by the kahuna#cj as a messenger in their black arts1 and she is claimed by many as an aumakua10 #ca said to be the sister of ,kalai-pahoa1 the poison god4 ,footnote #bi3 ,haumea4 ,the ancient goddess1 or ancestor1 the sixth in line of descent from ,wakea4 ,footnote #cj3 ,kahuna4 ,a sorcerer2 with a qualifying adjective it meant a skilled craftsman2 ,kahuna-kalai-wa'a was a canoe-builder2 kahuna lapaau was a medicine-man1 a doctor1 etc4 ,footnote #ca3 ,the ,lesser ,gods of ,hawaii1 a paper by ,joseph ,s4 ,emerson1 read before the ,hawaiian ,historical ,society1 ,april #g1 #ahib4 ,unfortunately ,kapo had an evil name on account of a propensity which led her at times to commit actions that seem worthy only of a demon of lewdness4 ,this was1 however1 only the hysteria of a moment1 not the settled habit of her life4 ,on one notable occasion1 by diverting the attention of the bestial pig-god ,kama-pua'a1 and by vividly presenting to him a temptation well adapted to his gross nature1 she succeeded in enticing him away at a critical moment1 and thus rescued her sister ,pele at a time when the latter's life was imperiled by an unclean and violent assault from the swine-god4 ,like ,catherine of ,russia1 who in one mood was the patron of literature and of the arts and sciences and in another mood a very satyr1 so the ,hawaiian goddess ,kapo seems to have lived a double life whose aims were at cross purposes with one another--now an angel of grace and beauty1 now a demon of darkness and lust4 ,do we not find in this the counterpart of nature's twofold aspect1 who presents herself to dependent humanity at one time as an alma mater1 the food-giver1 a divinity of joy and comfort1 at another time as the demon of the storm and earthquake1 a plowshare of fiery destruction8 ,the name of ,hiiaka1 the sister of ,pele1 is one often mentioned in the prayers of the hula4 ,page #bf ,,iv4--,,support ,,and ,,organization ,,of ,,the ,,hula ,in ancient times the hula to a large extent was a creature of royal support1 and for good reason4 ,the actors in this institution were not producers of life's necessaries4 ,to the alii belonged the land and the sea and all the useful products thereof4 ,even the jetsam whale-tooth and wreckage scraps of iron that ocean cast up on the shore were claimed by the lord of the land4 ,everything was the king's4 ,thus it followed of necessity that the support of the hula must in the end rest upon the alii4 ,as in ancient ,rome it was a senator or general1 enriched by the spoil of a province1 who promoted the sports of the arena1 so in ancient ,hawaii it was the chief or headman of the district who took the initiative in the promotion of the people's communistic sports and of the hula4 ,we must not imagine that the hula was a thing only of kings' courts and chiefish residences4 ,it had another and democratic side4 ,the passion for the hula was broadspread4 ,if other agencies failed to meet the demand1 there was nothing to prevent a company of enthusiasts from joining themselves together in the pleasures and1 it might be1 the profits of the hula4 ,their spokesman--designated as the po'o-puaa1 from the fact that a pig1 or a boar's head1 was required of him as an offering at the kuahu--was authorized to secure the services of some expert to be their kumu4 ,but with the hula all roads lead to the king's court4 ,let us imagine a scene at the king's residence4 ,the alii1 rousing from his sloth and rubbing his eyes1 rheumy with debauch and awa1 overhears remark on the doings of a new company of hula dancers who have come into the neighborhood4 ,he summons his chief steward4 8,what is this new thing of which they babble80 he demands4 8,it is nothing1 son of heaven10 answers the kneeling steward4 8,they spoke of a hula4 ,tell me1 what is it80 8,ah1 thou heaven-born 7lani71 it was but a trifle--a new company1 young graduates of the halau1 have set themselves up as great ones2 mere rustics2 they have no proper acquaintance with the traditions of the art as taught by the bards of444 your majesty's father4 ,they mouth and twist the old songs all awry1 thou son of heaven40 8,enough4 ,i will hear them to-morrow4 ,send a messenger for this new kumu4 ,fill again my bowl with awa40 ,page #bg ,thus it comes about that the new hula company gains audience at court and walks the road that1 perchance1 leads to fortune4 ,success to the men and women of the hula means not merely applause1 in return for the incense of flattery2 it means also a shower of substantial favors--food1 garments1 the smile of royalty1 perhaps land--things that make life a festival4 ,if welcome grows cold and it becomes evident that the harvest has been reaped1 they move on to fresh woods and pastures new4 ,to return from this apparent digression1 it was at the king's court--if we may extend the courtesy of this phrase to a group of thatched houses--that were gathered the bards and those skilled in song1 those in whose memories were stored the mythologies1 traditions1 genealogies1 proverbial wisdom1 and poetry that1 warmed by emotion1 was the stuff from which was spun the songs of the hula4 ,as fire is produced by friction1 so it was often by the congress of wits rather than by the flashing of genius that the songs of the hula were evolved4 ,the composition and criticism of a poetical passage were a matter of high importance1 often requiring many suggestions and much consultation4 ,if the poem was to be a mele-inoa1 a name-song to eulogize some royal or princely scion1 it must contain no word of ill-omen4 ,the fate-compelling power of such a word1 once shot from the mouth1 was beyond recall4 ,like the incantation of the sorcerer1 the kahuna naan1 it meant death to the eulogized one4 ,if not1 it recoiled on the life of the singer4 ,the verbal form once settled1 it remained only to stereotype it on the memories of the men and women who constituted the literary court or conclave4 ,think not that only thus were poems produced in ancient ,hawaii4 ,the great majority of songs were probably the fruit of solitary inspiration1 in which the bard poured out his heart like a song-bird1 or uttered his lone vision as a seer4 ,the method of poem production in conclave may be termed the official method4 ,it was often done at the command of an alii4 ,so much for the fabrication1 the weaving1 of a song4 ,if the composition was intended as a eulogy1 it was cantillated ceremoniously before the one it honored2 if in anticipation of a prince yet unborn1 it was daily recited before the mother until the hour of her delivery2 and this cantillation published it abroad4 ,if the song was for production in the hula1 it lay warm in the mind of the kumu1 the master and teacher of the hula1 until such time as he had organized his company4 ,the court of the alii was a vortex that drew in not only the bards and men of lore1 but the gay and fashionable rout of pleasure-seekers1 the young men and women of shapely form and gracious presence1 the sons and daughters of the king's ,page #bh henchmen and favorites2 among them1 perhaps1 the offspring of the king's morganatic alliances and amours--the flower and pick of ,hawaii's youth4 ,from these the kumu selected those most fitted by beauty and grace of form1 as well as quickness of wit and liveliness of imagination1 to take part in the hula4 ,the performers in the hula were divided into two classes1 the olapa--agile ones--and the ho'o-paa--steadfast ones4 ,the rle of olapa1 as was fitting1 was assigned to the young men and young women who could best illustrate in their persons the grace and beauty of the human form4 ,it was theirs1 sometimes while singing1 to move and pose and gesture in the dance2 sometimes also to punctuate their song and action with the lighter instruments of music4 ,the rle of ho'o-paa1 on the other hand1 was given to men and women of greater experience and of more maturity4 ,they handled the heavier instruments and played their parts mostly while sitting or kneeling1 marking the time with their instrumentation4 ,they also lent their voices to swell the chorus or utter the refrain of certain songs1 sometimes taking the lead in the song or bearing its whole burden1 while the light-footed olapa gave themselves entirely to the dance4 ,the part of the ho'o-paa was indeed the heavier1 the more exacting duty4 ,such was the personnel of a hula troupe when first gathered by the hula-master for training and drill in the halau1 now become a school for the hula4 ,among the pupils the kumu was sure to find some old hands at the business1 whose presence1 like that of veterans in a squad of recruits1 was a leaven to inspire the whole company with due respect for the spirit and traditions of the historic institution and to breed in the members the patience necessary to bring them to the highest proficiency4 ,the instruction of the kumu1 as we are informed1 took a wide range4 ,it dealt in elaborate detail on such matters as accent1 inflection1 and all that concerns utterance and vocalization4 ,it naturally paid great attention to gesture and pose1 attitude and bodily action4 ,that it included comment on the meaning that lay back of the words may be gravely doubted4 ,the average hula dancer of modern times shows great ignorance of the mele he recites1 and this is true even of the kumu-hula4 ,his work too often is largely perfunctory1 a matter of sound and form1 without appeal to the intellect4 ,it would not be legitimate1 however1 to conclude from this that ignorance of the meaning was the rule in old times2 those were the days when the nation's traditional songs1 myths1 and lore formed the equipment of every alert and receptive mind1 chief or commoner4 ,there was no printed page to while away the hours of idleness4 ,the library was stored in one's memory4 ,the language of the mele1 which now has ,page #bi become antiquated1 then was familiar speech4 ,for a kumu-hula to have given instruction in the meaning of a song would have been a superfluity1 as if one at the present day were to inform a group of well-educated actors and actresses who was ,pompey or ,julius ,csar4 8,speak the speech1 ,i pray you1 as ,i pronounced it to you1 trippingly on the tongue40 ,hamlet's words to the players were1 it may be supposed1 the substance of the kumu's instructions to the pupils in his halau4 ,the organization of a hula company was largely democratic4 ,the kumu--in modern sense1 the teacher--was the leader and conductor1 responsible for the training and discipline of the company4 ,he was the business manager of the enterprise2 the priest1 kahuna1 the leader in the religious exercises1 the one who interpreted the will of heaven1 especially of the gods whose favor determined success4 ,he might be called to his position by the choice of the company1 appointed by the command of the alii who promoted the enterprise1 or self-elected in case the enterprise was his own4 ,he had under him a kokua kumu1 a deputy1 who took charge during his absence4 ,the po'o-puaa was an officer chosen by the pupils to be their special agent and mouthpiece4 ,he saw to the execution of the kumu's judgments and commands1 collected the fines1 and exacted the penalties imposed by the kumu4 ,it fell to him to convey to the altar the presents of garlands1 awa1 and the like that were contributed to the halau4 ,the paepae1 also chosen by the pupils1 subject to confirmation by the kumu1 acted as an assistant of the po'o-puaa4 ,during the construction of the kuahu the po'o-puaa stood to the right1 the paepae at his left4 ,they were in a general sense guardians of the kuahu4 ,the ho'o-ulu was the guard stationed at the door4 ,he sprinkled with sea-water mixed with turmeric everyone who entered the halau4 ,he also acted as sergeant-at-arms to keep order and remove anyone who made a disturbance4 ,it was his duty each day to place a fresh bowl of awa on the altar of the goddess 7hanai kuahu71 literally to feed the altar4 ,in addition to these officials1 a hula company naturally required the services of a miscellaneous retinue of stewards1 cooks1 fishermen1 hewers of wood1 and drawers of water4 ,,rules ,,of ,,conduct ,,and ,,tabus ,without a body of rules1 a strict penal code1 and a firm hand to hold in check the hot bloods of both sexes1 it would have been impossible to keep order and to accomplish the business purpose of the organization4 ,the explosive force of passion would have made the gathering a signal for the breaking loose of pandemonium4 ,that it did not always so result is a ,page #cj compliment alike to the self-restraint of the people and to the sway that artistic ideals held over their minds1 but1 above all1 to a peculiar system of discipline wisely adapted to the necessities of human nature4 ,it does not seem likely that a ,thespian band of our own race would have held their passions under equal check if surrounded by the same temptations and given the same opportunities as these ,polynesians4 ,it may well be doubted if the bare authority of the kumu would have sufficed to maintain discipline and to keep order1 had it not been reenforced by the dread powers of the spirit world in the shape of the tabu4 ,the awful grasp of this law2 this repressive force1 the tabu1 held fast the student from the moment of his entrance into the halau4 ,it denied this pleasure1 shut off that innocent indulgence1 curtailed liberty in this direction and in that4 ,the tabu waved before his imagination like a flaming sword1 barring approach to the ,eden of his strongest propensity4 ,the rules and discipline of the halau1 the school for the hula1 from our point of view1 were a mixture of shrewd common sense and whimsical superstition4 ,under the head of tabus certain articles of food were denied2 for instance1 the sugar-cane--ko--was forbidden4 ,the reason assigned was that if one indulged in it his work as a practitioner would amount to nothing2 in the language of the kumu1 aohe e leo ana kana mau hana1 his work will be a failure4 ,the argument turned on the double meaning of the word ko1 the first meaning being sugar cane1 the second1 accomplishment4 ,the ,hawaiians were much impressed by such whimsical nominalisms4 ,yet there is a backing of good sense to the rule4 ,anyone who has chewed the sweet stalk can testify that for some time thereafter his voice is rough1 ill-fitted for singing or elocution4 ,the strictest propriety and decorum were exacted of the pupils2 there must be no license whatever4 ,even married people during the weeks preceding graduation must observe abstinence toward their partners4 ,the whole power of one's being must be devoted to the pursuit of art4 ,the rules demanded also the most punctilious personal cleanliness4 ,above all things1 one must avoid contact with a corpse4 ,such defilement barred one from entrance to the halau until ceremonial cleansing had been performed4 ,the offender must bathe in the ocean2 the kumu then aspersed him with holy water1 uttered a prayer1 ordered a penalty1 an offering to the kuahu1 and declared the offender clean4 ,this done1 he was again received into fellowship at the halau4 ,the ordinary penalty for a breach of ceremony or an offense against sexual morality was the offering of a baked porkling with awa4 ,since the introduction of money the penalty has generally been reckoned on a commercial basis2 a money fine is imposed4 ,the offering of pork and awa is retained as a concession to tradition4 ,page #ca ,v--,,ceremonies ,,of ,,graduation2 ,d,,but ,,of ,a ,,hula ,,dancer ,,ceremonies ,,of ,,graduation ,the ai-lolo rite and ceremony marked the consummation of a pupil's readiness for graduation from the school of the halau and his formal entrance into the guild of hula dancers4 ,as the time drew near1 the kumu tightened the reins of discipline1 and for a few days before that event no pupil might leave the halau save for the most stringent necessity1 and then only with the head muffled 7pulo'u7 to avoid recognition1 and he might engage in no conversation whatever outside the halau4 ,the night preceding the day of ai-lolo was devoted to special services of dance and song4 ,some time after midnight the whole company went forth to plunge into the ocean1 thus to purge themselves of any lurking ceremonial impurity4 ,the progress to the ocean and the return they made in complete nudity4 8,nakedness is the garb of the gods40 ,on their way to and from the bath they must not look back1 they must not turn to the right hand or to the left4 ,the kumu1 as the priest1 remained at the halau1 and as the procession returned from the ocean he met it at the door and sprinkled each one 7pikai7 with holy water4 ,then came another period of dance and song2 and then1 having cantillated a pule hoonoa1 to lift the tabu1 the kumu went forth to his own ceremonial cleansing bath in the sea4 ,during his absence his deputy1 the kokua kumu1 took charge of the halau4 ,when the kumu reached the door on his return1 he made himself known by reciting a mele wehe puka1 the conventional password4 ,still another exercise of song and dance1 and the wearied pupils are glad to seek repose4 ,some will not even remove the short dancing skirts that are girded about them1 so eager are they to snatch an hour of rest2 and some lie down with bracelets and anklets yet unclasped4 ,at daybreak the kumu rouses the company with the tap of the drum4 ,after ablutions1 before partaking of their simple breakfast1 the company stand before the altar and recite a tabu-removing prayer1 accompanying the cantillation with a rhythmic tapping of feet and clapping of hands3 ,pule ,hoonoa ,pupu we'uwe'u e1 ,laka e6 ,o kona we'uwe'u ke ku nei4 ,page #cb ,kaumaha a'e la ia ,laka4 ,o ,laka ke akua pule ikaika4 #e ,ua ku ka maile a ,laka a imua2 ,ua lu ka hua#cb o ka maile4 ,noa1 noa ia'u1 ia ,kahaula-- ,papalua noa4 ,noa1 a ua noa4 #aj ,eli-eli kapu6 eli-eli noa6 ,kapu oukou1 ke akua6 ,noa makou1 ke kanaka4 ,translation4 ,tabu-lifting ,prayer ,oh wildwood bouquet1 oh ,laka6 ,hers are the growths that stand here4 ,suppliants we to ,laka4 ,the prayer to ,laka has power2 #e ,the maile of ,laka stands to the fore4 ,the maile vine casts now its seeds4 ,freedom1 there's freedom to me1 ,kahaula-- ,a freedom twofold4 #aj ,freedom1 aye freedom6 ,a tabu profound1 a freedom complete4 ,ye gods are still tabu2 ,we mortals are free4 ,footnote #cb3 ,lu ka hua4 ,casts now its seeds4 ,the maile vine 7pl4 ,,iv71 one of the goddess's emblems1 casts its seeds1 meaning that the goddess gives the pupils skill and inspires them4 ,at the much-needed repast to which the company now sit down there may be present a gathering of friends and relatives and of hula experts1 called olhe4 ,soon the porkling chosen to be the ai-llo offering is brought in--a black suckling without spot or blemish4 ,the kumu holds it down while all the pupils gather and lay their hands upon his hands2 and he expounds to them the significance of the ceremony4 ,if they consecrate themselves to the work in hand in sincerity and with true hearts1 memory will be strong and the training1 the knowledge1 and the songs that have been intrusted to the memory will stay4 ,if they are heedless1 regardless of their vows1 the songs they have learned will fly away4 ,the ceremony is long and impressive2 many songs are used4 ,sometimes1 it was claimed1 the prayers of the kumu at this laying on of hands availed to cause the death of the little animal4 ,on the completion of the ceremony the offering is taken out and made ready for the oven4 ,one of the first duties of the day is the dismantling of the old kuahu1 the shrine1 and the construction of another from new materials as a residence for the goddess4 ,while night yet shadows the earth the attendants and friends of the pupils ,page #cc have gone up into the mountains to collect the material for the new shrine4 ,the rustic artists1 while engaged in this loving work of building and weaving the new kuahu1 cheer and inspire one another with joyful songs vociferous with the praise of ,laka4 ,the halau also they decorate afresh1 strewing the floor with clean rushes1 until the whole place enthralls the senses like a bright and fragrant temple4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,iv ,,maile 7,,alyxia ,,myrtillifolia7 ,,wreath ,the kumu now grants special dispensation to the pupils to go forth that they may make good the results of the neglect of the person incident to long confinement in the halau4 ,for days1 for weeks1 perhaps for months1 they have not had full opportunity to trim hair1 nails1 or beard1 to anoint and groom themselves4 ,they use this short absence from the hall also to supply themselves with wreaths of fragrant maile1 crocus-yellow ilima1 scarlet-flaming lehua1 fern1 and what not4 ,at the appointed hour the pupils1 wreathed and attired like nymphs and dryads1 assemble in the halau1 sweet with woodsy perfumes4 ,at the door they receive aspersion with consecrated water4 ,the ai-lolo offering1 cooked to a turn--no part raw1 no part cracked or scorched--is brought in from the imu1 its bearer sprinkled by the guard at the entrance4 ,the kumu1 having inspected the roast offering and having declared it ceremonially perfect1 gives the signal1 and the company break forth in songs of joy and of adulation to goddess ,laka3 ,mele ,kuau ,noho ana ,laka ,i ka ulu wehi-wehi1 ,ku ana iluna i ,mo'o-helaia1#cc ,ohia-,ku#cd ouna o ,mauna-loa4#ce ,aloha mai ,kaulana-ula#cf ia'u4 #e ,eia ka ula la1 he ula leo1#cg ,he uku1 he modai1 he kanaenae1 ,he alana na'u ia oe4 ,e ,laka e1 e maliu mai2 ,e maliu mai oe1 i pono au1 #aj ,a pono au1 a pono kaua4 ,footnote #cc3 ,mo'o-helaia4 ,a female deity1 a kupua1 who at death became one of the divinities1 au-makua1 of the hula4 ,her name was conferred on the place claimed as her residence1 on ,mauna-loa1 island of ,molokai4 ,footnote #cd3 ,ohia-,ku4 ,full name ohia-ku-makua2 a variety of the oha1 or lehua 7pl4 ,,xiii71 whose wood was used in making temple gods4 ,a rough stem of this tree stood on each side near the hala-pepe4 7,see pl4 ,,iii1 also pp4 #ai-bj47 ,footnote #ce3 ,mauna-loa4 ,said to be the mountain of that name on ,molokai1 not that on ,hawaii4 ,footnote #cf3 ,kaulana-ula4 ,full form ,kaulana-a-ula2 the name of a deity belonging to the order1 papa1 of the hula4 ,its meaning is explained in the expression ula leo1 in the next line4 ,footnote #cg3 ,ula leo4 ,a singing or trilling sound1 a tinnitus aurium1 a sign that the deity ,kaulanaula was making some communication to the one who heard it4 8,by the pricking of my thumbs ,something wicked this way comes40 ,page #cd ,translation4 ,altar-,prayer ,laka sits in her shady grove1 ,stands on her terrace1 at ,mo'o-helaia2 ,like the tree of ,god ,ku on ,mauna-loa4 ,kaulana-ula trills in my ear2 #e ,a whispered suggestion to me1 ,lo1 an offering1 a payment1 ,a eulogy give ,i to thee4 ,o ,laka1 incline to me6 ,have compassion1 let it be well-- #aj ,well with me1 well with us both4 ,there is no stint of prayer-song4 ,while the offering rests on the kuahu1 the joyful service continues3 ,mele ,kuahu ,e ,laka1 e6 ,pupu we'uwe'u e1 ,laka e6 ,e ,laka i ka leo2 ,e laka i ka loaa2 #e ,e ,laka i ka waiwai2 ,e ,laka i na mea a pau6 ,translation4 ,altar-,prayer ,o goddess ,laka6 ,o wildwood bouquet1 ,o ,laka6 ,o ,laka1 queen of the voice6 ,o ,laka1 giver of gifts6 #e ,o ,laka1 giver of bounty6 ,o ,laka1 giver of all things6 ,at the conclusion of this loving service of worship and song each member of the troupe removes from his head and neck the wreaths that had bedecked him1 and with them crowns the image of the goddess until her altar is heaped with the offerings4 ,now comes the pith of the ceremony3 the novitiates sit down to the feast of ai-lolo1 theirs the place of honor1 at the head of the table1 next the kuahu4 ,the ho'o-pa'a1 acting as carver1 selects the typical parts--snout1 ear-tips1 tail1 feet1 portions of the vital organs1 especially the brain 7lolo74 ,this last it is which gives name to the ceremony4 ,he sets an equal portion before each novitiate4 ,each one must eat all that is set before him4 ,it is a mystical rite1 a sacrament2 as he eats he consciously partakes of the virtue of the goddess that is transmitted to himself4 ,page #ce ,meantime the olohe and friends of the novitiates1 inspired with the proper enthusiasm1 of the occasion1 lift their voices in joyful cantillations in honor of the goddess1 accompanied with the clapping of hands4 ,the ceremony now reaches a new stage4 ,the kumu lifts the tabu by uttering a prayer--always a song--and declares the place and the feast free1 and the whole assembly sit down to enjoy the bounty that is spread up and down the halau4 ,on this occasion men and women may eat in common4 ,the only articles excluded from this feast are luau--a food much like spinach1 made by cooking the young and delicate taro leaf--and the drupe of the hala1 the pandanus 7pl4 xviii74 ,the company sit down to eat and to drink2 presently they rise to dance and sing4 ,the kumu leads in a tabu-lifting1 freedom-giving song and the ceremony of ai-lolo is over4 ,the pupils have been graduated from the school of the halau2 they are now members of the great guild of hula dancers4 ,the time has come for them to make their bow to the waiting public outside1 to bid for the favor of the world4 ,this is to be their 8little go20 they will spread their wings for a greater flight on the morrow4 ,the kumu with his big drum1 and the musicians1 the ho'o-pa'a1 pass through the door and take their places outside in the lanai1 where sit the waiting multitude4 ,at the tap of the drum the group of waiting olapa plume themselves like fine birds eager to show their feathers2 and1 as they pass out the halau door and present themselves to the breathless audience1 into every pose and motion of their gliding1 swaying figures they pour a full tide of emotion in studied and unstudied effort to captivate the public4 ,d,,but ,,of ,a ,,hula ,,dancer ,the occasion is that of a lifetime2 it is their uniki1 their debut4 ,the song chosen must rise to the dignity of the occasion4 ,let us listen to the song that enthralls the audience seated in the rushstrown lanai1 that we may judge of its worthiness4 ,he ,mele-,inoa 7no ,naihe7#ch ,ka nalu nui1 a ku ka nalu mai ,kona1 ,ka malo a ka mahiehie1#ci ,ka onaulu-loa1#dj a lele ka'u malo4 ,page #cf ,o kakai#da malo hoaka1#db #e ,o ka malo kai1#dc malo o ke alii ,e ku1 e hume a paa i ka malo4 ,e ka'ika'i #dd ka la i ka papa o ,halep2#de ,a pae o ,halep i ka nalu4 ,ho-e'e i ka nalu mai ,kahiki2#df #aj ,he nalu ,wakea1#dg nalu ho'ohua4#dh ,haki opu'u #di ka nalu1 haki kua-pa4#ej ,ea mai ka makakai #ea he'e-nalu1 ,kai he'e kakala #eb o ka moku1 ,kai-k o ka nalu nui1 #ae ,ka hu'a o ka nalu o ,hiki-au4#ec ,kai he'e-nalu i ke awakea4 ,ku ka puna1 ke ko'a i-uka4 ,ka makah o ka nalu o ,kuhihewa4#ed ,ua o ia1#ee noh ka papa6 #bj ,non ,maui1 nauweuwe1 ,nauweuwe1 nakelekele4 ,nakele ka ili o ka i he'e-kai4 ,lalilali ole ka ili o ke akamai2 ,kahilihili ke kai a ka he'e-nalu4 #be ,ike'a ka nalu nui o ,puna1 o ,hilo4 ,footnote #ch3 ,naihe4 ,a man of strong character1 but not a high chief4 ,he was horn in ,kona and resided at ,napoopoo4 ,his mother was ,ululani1 his father ,keawe-a-heulu1 who was a celebrated general and strategist under ,kamehameha ,i4 ,footnote #ci3 ,mahiehie4 ,a term conferring dignity and distinction4 ,footnote #dj3 ,onaulu-loa4 ,a roller of great length and endurance1 one that reaches the shore1 in contrast to a kakala4 ,footnote #da3 ,kalai4 ,an archaic word meaning forty4 ,footnote #db3 ,hoaka4 ,a crescent2 the name of the second day of the month4 ,the allusion is to the curve 7downward7 of a large number 7kakai7 of malo when hung on a line1 the usual way of keeping such articles4 ,footnote #dc3 ,malo kai4 ,the ocean is sometimes poetically termed the malo or pa- of the naked swimmer1 or bather4 ,it covers his nakedness4 ,footnote #dd3 ,ka'ika'i4 ,to lead or to carry2 a tropical use of the word4 ,the sun is described as leading the board4 ,footnote #de3 ,hale-p4 ,in the opinion of the author it is the name of the board4 ,a skilled ,hawaiian says it is the name given the surf of a place at ,napoopoo1 in ,kona1 ,hawaii4 ,the action is not located there1 but in ,puna1 it seems to the author4 ,footnote #df3 ,kahiki4 ,tahiti1 or any foreign country2 a term of grandiloquence4 ,footnote #dg3 ,wakea4 ,a mythical name1 coming early in ,hawaiian genealogies2 here used in exaggeration to show the age of the roller4 ,footnote #dh3 ,ho'ohua4 ,applied to a roller1 one that rolls on and swells higher4 ,footnote #di3 ,opu'u4 ,said of a roller that completes its run to shore4 ,footnote #ej3 ,kua-p4 ,said of a roller as above that dies at the shore4 ,footnote #ea3 ,maka-kai4 ,the springing-up of the surf after an interval of quiet4 ,footnote #eb3 ,kakla4 ,rough1 heaped up1 one wave overriding another1 a chop sea4 ,footnote #ec3 ,hiki-au4 ,said to be the name of a temple4 ,footnote #ed3 ,kuhihewa4 ,full name ,ka-kuhi-hewa1 a distinguished king of ,oahu4 ,footnote #ee3 ,o iu4 ,meaning that the board dug its nose into the reef or sand4 ,translation4 ,a ,name-,song1 a ,eulogy 7for ,naihe7 ,the huge roller1 roller that surges from ,kona1 ,makes loin-cloth fit for a lord2 ,far-reaching swell1 my malo streams in the wind2 ,shape the crescent malo to the loins-- #e ,the loin-cloth the sea1 cloth for king's girding4 ,stand1 gird fast the loin-cloth6 ,page #cg ,let the sun guide the board ,halep1 ,till ,halep lifts on the swell4 ,it mounts the swell that rolls from ,kahiki1 #aj ,from ,wakea's age enrolling4 ,the roller plumes and ruffles its crest4 ,here comes the champion surf-man1 ,while wave-ridden wave beats the island1 ,a fringe of mountain-high waves4 #ae ,spume lashes the ,hiki-an altar--,a surf this to ride at noontide4 ,the coral1 horned coral1 it sweeps far ashore4 ,we gaze at the surf of ,ka-kuhi-hewa4 ,the surf-board snags1 is shivered2 #bj ,maui splits with a crash1 ,trembles1 dissolves into slime4 ,glossy the skin of the surf-man2 ,undrenched the skin of the expert2 #be ,wave-feathers fan the wave-rider4 ,you've seen the grand surf of ,puna1 of ,hilo4 ,this spirited song1 while not a full description of a surf-riding scene1 gives a vivid picture of that noble sport4 ,the last nine verses have been omitted1 as they add neither to the action nor to the interest4 ,it seems surprising that the accident spoken of in line #ai should be mentioned2 for it is in glaring opposition to the canons that were usually observed in the composition of a mele-inoa4 ,in the construction of a eulogy the ,hawaiians were not only punctiliously careful to avoid mention of anything susceptible of sinister interpretation1 but they were superstitiously sensitive to any such unintentional happening4 ,as already mentioned 7p4 #bg71 they believed that the fate compelling power of a word of ill-omen was inevitable4 ,if it did not result in the death of the one eulogized1 retributive justice turned the evil influence back on him who uttered it4 ,page #ch ,,vi4--,,the ,,password--,,the ,,song ,,of ,,admission ,there prevailed among the practitioners of the hula from one end of the group to the other a mutual understanding1 amounting almost to a sort of freemasonry1 which gave to any member of the guild the right of free entrance at all times to the hall1 or halau1 where a performance was under way4 ,admission was conditioned1 however1 on the utterance of a password at the door4 ,a snatch of song1 an oli1 denominated mele kahea1 or mele wehe puka1 was chanted1 which1 on being recognized by those within1 was answered in the same language of hyperbole1 and the door was opened4 ,the verbal accuracy of any mele kahea that may be adduced is at the present day one of the vexed questions among hula authorities1 each hula-master being inclined to maintain that the version given by another is incorrect4 ,this remark applies1 though in smaller measure1 to the whole body of mele1 pule1 and oli that makes up the songs and liturgy of the hula as well as to the traditions that guided the maestro1 or kumu-hula1 in the training of his company4 ,the reasons for these differences of opinion and of test1 now that there is to be a written text1 are explained by the following facts3 ,the devotees and practitioners of the hula were divided into groups that were separated from one another by wide intervals of sea and land4 ,they belonged quite likely to more than one cult1 for indeed there were many gods and au-makua to whom they sacrificed and offered prayers4 ,the passwords adopted by one generation or by the group of practitioners on one island might suffer verbal changes in transmission to a later generation or to a remote island4 ,again1 it should be remembered that the entire body of material forming the repertory of the hula--pule1 mele1 and oli--was intrusted to the keeping of the memory1 without the aid of letters or1 so far as known1 of any mnemonic device2 and the human mind1 even under the most athletic discipline1 is at best an imperfect conservator of literary form4 ,the result was what might be expected3 as the imagination and emotions of the minstrel warmed under the inspiration of his trust1 glosses and amendments crept in4 ,these1 however1 caused but slight variations in the text4 ,the substance remains substantially the same4 ,after carefully weighing the matter1 the author can not avoid the conclusion that jealousy had much to do with the slight differences now manifest1 that one version is as ,page #ci authoritative as another1 and that it would be well for each kumu-hula to have kept in mind the wise adage that shines among the sayings of his nation3 ,aohe pau ka ike i kau halau #ef--8,think not that all of wisdom resides in you halau40#eg ,footnote #ef3 ,sophocles 7,antigone1 #gje7 had said the same thing3,greek3 me nun en ethos pounon en saut phorei s phes su1 kouden allo1 tout' orphs echein--8,don't get this idea fixed in your head1 that what you say1 and nothing else1 is right40 ,footnote #eg3 ,halau4 ,as previously explained1 in this connection halau has a meaning similar to our word 8school10 or 8academy10 a place where some art was taught1 as wrestling1 boxing1 or the hula4 ,mele ,kahea ,li'u-li'u aloha ia'u1 ,ka uka o ,kohol-lele1 ,ka nahele mauka o ,ka-papala #eh la4 ,komo1 e komo aku hoi au maloko4 #e ,mai ho'ohewahewa mai oe ia'u2 oau no ia1 ,ke ka-nae-nae a ka mea hele1 ,he leo1 e-e1 ,a he leo wale no1 e-e6 ,eia ka pu'u nui owaho nei la1 #aj ,he ua1 lie ino1 he anu1 he ko'e-ko'e4 ,e ku'u aloha1 e1 ,maloko aku au4 ,translation4 ,password ,long1 long have ,i tarried with love ,in the uplands of ,kohol-lele1 ,the wildwood above ,ka-papala4 ,to enter1 permit me to enter1 ,i pray2 #e ,refuse me not recognition2 ,i am he1 ,a traveler offering mead of praise1 ,just a voice1 ,only a human voice4 ,oh1 what ,i suffer out here1 #aj ,rain1 storm1 cold1 and wet4 ,o sweetheart of mine1 ,let me come in to you4 ,footnote #eh3 ,ka-papala4 ,a verdant region on the southeastern flank of ,mauna-,loa4 ,hear now the answer chanted by voices from within3 ,mele ,komo ,aloha na hale o makou i maka-maka ole1 ,ke alanui hele mauka o ,pu'u-kahea la1 e-e6 ,ka-he-a6 ,e ,kahea aku ka pono e komo mai oe iloko nei4 ,eia ka pu'u nui o waho nei1 he anu4 ,page #dj ,translation4 ,song of ,welcome ,what love to our cottage-homes1 now vacant1 ,as one climbs the mount of ,entreaty6 ,we call1 ,we voice the welcome1 invite you to enter4 ,the hill of ,affliction out there is the cold4 ,another fragment that was sometimes used as a password is the following bit of song taken from the story of ,hiiaka1 sister of ,pele4 ,she is journeying with the beautiful ,hopoe to fetch prince ,lohiau to the court of ,pele4 ,they have come by a steep and narrow path to the brink of the ,wai-lua river1 ,kauai1 at this point spanned by a single plank4 ,but the bridge is gone1 removed by an ill-tempered naiad 7witch7 said to have come from ,kahiki1 whose name1 ,wai-lua1 is the same as that of the stream4 ,hiiaka calls out1 demanding that the plank be restored to its place4 ,wai-lua does not recognize the deity in ,hiiaka and1 sullen1 makes no response4 ,at this the goddess puts forth her strength1 and ,wai-lua1 stripped of her power and reduced to her true station1 that of a mo'o1 a reptile1 seeks refuge in the caverns beneath the river4 ,hiiaka betters the condition of the crossing by sowing it with stepping stones4 ,the stones remain in evidence to this day4 ,mele ,kahea ,kunihi ka mauna i ka la'i e1 ,o ,wai-ale-ale#ei la i ,wai-lua1 ,huki a'e la i ka lani ,ka papa au-wai o ka ,wai-kini2 #e ,alai ia a'e la e ,nou-nou1 ,nalo ka ,ipu-ha'a1 ,ka laula mauka o ,kapa'a1 e6 ,mai pa'a i ka leo6 ,he ole ka hea mai1 e6 ,translation4 ,password--,song ,steep stands the mountain in calm1 ,profile of ,wai-ale-ale at ,wai-lua4 ,gone the stream-spanning plank of ,wai-kini1 ,filched away by ,nou-nou2 #e ,shut off the view of the hill ,ipu-ha'a1 ,and the upland expanse of ,ka-pa'a4 ,give voice and make answer4 ,dead silence--no voice in reply4 ,in later1 in historic times1 this visitor1 whom we have kept long waiting at the door1 might have voiced his appeal in the passionate words of this comparatively modern song3 ,footnote #ei3 ,wai-ale-ale 7,leaping-water74 ,the central mountain-mass of ,kauai4 ,page #da ,mele ,kahea#fj ,ka uka holo-kia ahi-manu o ,la'a1#fa ,i po-ele i ka uahi1 noe ka nahele1 ,nohe-nohea i ka makani luhau-pua4 ,he pua oni ke kanaka-- #e ,he mea laha ole la oe4 ,mai kaua e hea nei2 ,e hea i ke kanaka e komo maloko1 ,e hanai ai a hewa#fb ka wa'ha4 ,eia no ka uku la1 o ka wa'a4#fc ,translation ,password--,song ,in the uplands1 the darting flame-bird of ,la'a1 ,while smoke and mist blur the woodland1 ,is keen for the breath of frost-bitten flowers4 ,a fickle flower is man-- #e ,a trick this not native to you4 ,come thou with her who is calling to thee2 ,a call to the man to come in ,and eat till the mouth is awry4 ,lo1 this the reward--the canoe4 ,footnote #fj3 ,this utterance of passion is said to have been1 the composition of the ,princess-,kamamalu1 as an address to ,prince ,william ,lunalilo1 to whom she was at one time affianced and would have married1 but that ,king ,liholiho 7,kamehameha ,,iv7 would not allow the marriage4 ,thereby hangs a tragedy4 ,footnote #fa3 ,la'a4 ,the region in ,hawaii now known as ,ola'a was originally called ,la'a4 ,the particle o has become fused with the word4 ,footnote #fb3 ,hewa ka waha4 ,this expression1 here tortured into 87till7 the mouth awry10 is difficult of translation4 ,a skilled ,hawaiian scholar suggests1 it may mean to change one from1 an enemy to a friend by stopping his mouth with food4 ,footnote #fc3 ,wa'a4 ,literally a canoe4 ,this is a euphemism for the human body1 a gift often too freely granted4 ,it will be noted that in the answering mele komo1 the song of admission1 the reward promised is more modestly measured--8,simply the voice40 ,the answer to this appeal for admission was in these words3 ,mele ,komo ,e hea i ke kanaka e komo maloko1 ,e hanai ai a hewa waha2 ,eia no ka uku la1 o ka leo1 ,a he leo wale no1 e6 ,translation4 ,welcoming-,song ,call to the man to come in1 ,and eat till the mouth is estopt2 ,and this the reward1 the voice1 ,simply the voice4 ,the cantillation of the mele komo3 in answer to the visitor's petition1 meant not only the opening to him of the halau door1 but also his welcome to the life of the halau as a heart-guest of honor1 trebly welcome as the bringer of fresh tidings from the outside world4 ,page #db ,,vii4--,,worship ,,at ,,the ,,altar ,,of ,,the ,,halau ,the first duty of a visitor on being admitted to the halau while the tabu was on--that is1 during the conduct of a regular hula--was to do reverence at the kuahu4 ,the obligations of religion took precedence of all social etiquette4 ,he reverently approaches the altar1 to which all eyes are turned1 and with outstretched hands pours out a supplication that breathes the aroma of ancient prayer3 ,pule ,kuahu 7no ,laka7 ,o ,laka oe1 ,o ke akua i ke a'a-lii#fd nui4 ,e ,laka mai uka6 ,e ,laka mai kai6 #e ,o hoo-ulu#fe o ,lono1 ,o ka ilio nana e haehae ke aha1 ,o ka ie-ie ku i ka wao1 ,o ka maile hihi i ka nahele1 ,o ka lau ki-ele#ff ula o ke akua1 #aj ,o na ku'i#fg o ,hauoli1 ,o ,ha'i-ka-malama1#fh ,wahine o ,kina'u4#fi ,kapo ula#gj o ,kina'u4 ,o ,laka oe1 #ae ,o ke akua i ke kuahu nei la1 e6 ,e ho'i1 e ho'i a nolao i kou kuahu4 ,hoo-ulu ia6 ,footnote #fd3 ,a'a-lii4 ,a deep-rooted tree1 sacred to ,laka or to ,kapo4 ,footnote #fe3 ,hoo-ulu4 ,literally to make grow2 secondarily1 to inspire1 to prosper1 to bring good luck4 ,this is the meaning most in mind in modern times1 since the hula has become a commercial venture4 ,footnote #ff3 ,ki-ele4 ,a flowering plant native to the ,hawaiian woods1 also cultivated1 sacred to ,laka1 and perhaps to ,kapo4 ,the leaves are said to be pointed and curved like the beak of the bird i-iwi1 and the flower has the gorgeous yellow-red color of that bird4 ,footnote #fg3 ,it has been proposed to amend this verse by substituting akua1 for ku'i1 thus making the idea the gods of the hula4 ,footnote #fh3 ,ha-ka-malama4 ,an epithet applied to ,laka4 ,footnote #fi3 ,kina'u4 ,said to mean ,hiiaka1 the sister of ,pele4 ,footnote #gj3 ,kapo ula4 ,red1 ula1 was the favorite color of ,kapo4 ,the kahuna anaana1 high priests of sorcery1 of the black art1 and of murder1 to whom ,kapo was at times procuress1 made themselves known as such by the display of a red flag and the wearing of a red malo4 ,translation4 ,altar-,prayer 7to ,laka7 ,thou art ,laka1 ,god of the deep-rooted a'a-lii4 ,o ,laka from the mountains1 ,o ,laka from the ocean6 ,page #dc #e ,let ,lono bless the service1 ,shutting the mouth of the dog1 ,that breaks the charm with his barking4 ,bring the i-e that grows in the wilds1 ,the maile that twines in the thicket1 #aj ,red-beaked kiele1 leaf of the goddess1 ,the joyous pulse of the dance ,in honor of ,ha'i-ka-malama1 ,friend of ,kina'u1 ,red-robed friend of ,kina'u4 #ae ,thou art ,laka1 ,god of this altar here4 ,return1 return and reside at your altar6 ,bring it good luck6 ,a single prayer may not suffice as the offering at ,laka's altar4 ,his repertory is full2 the visitor begins anew1 this time on a different tack3 ,pule ,kuahu 7no ,laka7 ,eia ke kuko1 ka li'a2 ,i ka manawa he hiamoe ko'u1 ,hoala ana oe1 ,o oe o ,halau-lani1 #e ,o ,hoa-lani1 ,o ,puoho-lani1 ,me he manu e hea ana i ka maha lehua ,ku moho kiekie la i-uka4 ,i-uka ho'i au me ,laka #aj ,a ,lea1#ga a ,wahie-loa1#gb1 i ka nahelehele2 ,he hoa kaana ia no'u1 ,no kela kuahiwi1 kualono hoi4 ,e ,laka1 e ,laka1 e6 ,e maliu mai6 #ae ,a maliu mai oe pono au1 ,a a'e mai oe pono au6 ,translation4 ,altar-,prayer 7to ,laka7 ,this my wish1 my burning desire1 ,that in the season of slumber ,thy spirit my soul may inspire1 ,altar-dweller1 #e ,heaven-guest1 ,soul-awakener1 ,bird from covert calling1 ,where forest champions stand4 ,there roamed ,i too with ,laka1 ,page #dd #aj ,of ,lea and ,loa a wilderness-child2 ,on ridge1 in forest boon companion she ,to the heart that throbbed in me4 ,o ,laka1 ,o ,laka1 ,hark to my call6 #ae ,you approach1 it is well2 ,you possess me1 ,i am blest6 ,footnote #ga3 ,lea4 ,the same as ,laia1 or probably ,haumea4 ,footnote #gb3 ,wahie loa4 ,this must be a mistake4 ,laka the son of ,wahie-loa was a great voyager4 ,his canoe 7kau-mli-li7 was built for him by the gods4 ,in it he sailed to the ,south to rescue his father's bones from the witch who had murdered him4 ,this ,laka had his home at ,kipahulu1 ,maui1 and is not to be confounded with ,laka1 goddess of the hula4 ,in the translation of this pule the author has found it necessary to depart from the verse arrangement that obtains in the ,hawaiian text4 ,the religious services of the halau1 though inspired by one motive1 were not tied to a single ritual or to one set of prayers4 ,prayer marked the beginning and the ending of every play--that is1 of every dance--and of every important event in the programme of the halau2 but there were many prayers from which the priest might select4 ,after the prayer specially addressed to ,laka the visitor might use a petition of more general scope4 ,such is the one now to be given3 ,he ,pule ,kuahu 7ia ,kane ame ,kapo72 a he ,pule ,hoolei ,kane1 hiki a'e1 he malma #gc la luna2 ,ha'aha'a1 he malma ia lalo2 ,oni-oni1#gd he mlama ia ka'u2 ,he wahine #ge lei1 mlama ia ,kapo2 #e ,e ,kapo nui1 hala-hala #gf a i'a2 ,e ,kapo nui1 hala-hala #gg a mea1 ,ka alihi #gh luna1 ka alihi lalo2 ,e ka poha-k4#gi ,noho ana ,kapo i ka ulu wehi-wehi2 #aj ,ku ana i ,moo-helaia1#hj ,ka ohi'a-,ku iluna o ,mauna-loa4 ,aloha mai ,kaulana-a-ula #ha ia'u2 ,eia ka ula la1 he ula leo1#hb ,he uku1 he mohai1 he alana1 ,page #de #ae ,he kanaenae na'u ia oe1 e ,kapo ku-lani4 ,e moe hauna-ike1 e hea au1 e o mai oe4 ,aia la na lehua o ,kaana#hc ,ke kui ia mai la e na wahine a lawa ,i lei no ,kapo-- #bj ,o ,kapo1 alii nui no ia moku1 ,ki'e-ki'e1 ha'a-ha'a2 ,ka la o ka ike e ike aku ai3 ,he ike kumu1 he ike lono2 ,he ike pu-awa #hd hiwa1 #be ,he ike a ke ,akua1 e6 ,e ,kapo1 ho'i6 ,e ho'i a noho i kou kuahu4 ,ho'ulu ia6 ,eia ka wai1#he la1 #cj ,he wai e ola4 ,e ola nou1 e6 ,footnote #gc3 ,malma4 ,accented on the penult1 as here1 the word means to enlighten or a light 7same in second verse74 ,in the third and fourth verses the accent is changed to the first syllable1 and the word here means to preserve1 to foster4 ,these words furnish an example of poetical word-repetition4 ,footnote #gd3 ,onioni4 ,to squirm1 to dodge1 to move4 ,the meaning here seems to be to move with delight4 ,footnote #ge3 ,wahine lei4 ,a reference to ,laka1 the child of ,kapo1 who was symbolized by a block of wood on the altar4 7,see p4 #bc47 ,footnote #gf3 ,hala-hala a i'a4 ,said to be a certain kind of fish that was ornamented about its tailend with a band of bright color2 therefore an object of admiration and desire4 ,footnote #gg3 ,hala-,hala a mea4 ,the ending mea is perhaps taken from the last half of the proper name ,hau-mea who was ,kapo's mother4 ,it belongs to the land1 in contrast to the sea1 and seems to be intended to intensify and extend the meaning of the term previously used4 ,the passage is difficult4 ,expert ,hawaiians profess their inability to fathom its meaning4 ,footnote #gh3 ,alihi luna4 ,the line or 8stretching cord10 that runs the length of a net at its top1 the a lalo being the corresponding line at the bottom of the net4 ,the exact significance of this language complimentary to ,kapo can not be phrased compactly4 ,footnote #gi3 ,poha-k4 ,the line that runs up and down at the end of a long net1 by which it may be anchored4 ,footnote #hj3 ,moo-helaia4 ,see note a1 p4 #cc4 ,footnote #ha3 ,kaulana-a-ula4 ,see note d1 p1 #cc4 ,footnote #hb3 ,ula leo4 ,see note e1 p4 #cc4 ,footnote #hc3 ,kaana4 ,a place on ,mauna-loa1 ,molokai1 where the lehua greatly flourished4 ,the body of ,kapo1 it is said1 now lies there in appearance a rock4 ,the same claim is made for a rock at ,wailua1 ,hana1 ,maui4 ,footnote #hd3 ,pu-awa hiwa 7hiwa1 black74 ,a kind of strong awa4 ,the gentle exhilaration1 as well as the deep sleep1 of awa were benefits ascribed to the gods4 ,awa was an essential to most complete sacrifices4 ,footnote #he3 ,wai4 ,literally water1 refers to the bowl of awa1 replenished each day1 which set on the altar of the goddess4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,v ,,ti 7,,dracaena ,,terminalis7 ,verses #i to #ae1 inclusive1 are almost identical in form with the first seven verses in the ,mele ,kuahu addressed to ,laka1 given on page #cc4 ,translation4 ,an ,altar-,prayer 7to ,kane and ,kapo73 also a ,garland-,prayer1 used while decorating the altar ,now1 ,kane1 approach1 illumine the altar2 ,stoop1 and enlighten mortals below2 ,rejoice in the gifts ,i have brought4 ,wreathed goddess fostered by ,kapo-- #e ,hail ,kapo1 of beauty resplendent6 ,great ,kapo1 of sea and land1 ,the topmost stay of the net1 ,its lower stay and anchoring line4 ,kapo sits in her darksome covert2 #aj ,on the terrace1 at ,mo'o-he-laia1 ,stands the god-tree of ,ku1 on ,mauna-loa4 ,god ,kaulana-ula twigs now mine ear1 ,his whispered suggestion to me is ,this payment1 sacrifice1 offering1 #ae ,tribute of praise to thee1 ,o ,kapo divine4 ,inspiring spirit in sleep1 answer my call4 ,behold1 of lehua bloom of ,kaana ,the women are stringing enough ,to enwreath goddess ,kapo2 #bj ,kapo1 great queen of that island1 ,of the high and the low4 ,the day of revealing shall see what it sees3 ,page #df ,a seeing of facts1 a sifting of rumors1 ,an insight won by the black sacred awa1 #be ,a vision like that of a god6 ,o ,kapo1 return6 ,return1 and abide in your altar6 ,make it fruitful6 ,lo1 here is the water1 #cj ,the water of life6 ,hail1 now1 to thee6 ,the little god-folk1 whom the ancients called ,kini ,akua--myriads of gods--and who made the wildwoods and wilderness their playground1 must also be placated4 ,they were a lawless set of imps2 the elfins1 brownies1 and kobolds of our fairy world were not 8up to them0 in wanton deviltry4 ,if there is to be any luck in the house1 it can only be when they are dissuaded from outbreaking mischief4 ,the pule next given is a polite invitation to these little brown men of the woods to honor the occasion with their presence and to bring good luck at their coming4 ,it is such a prayer as the visitor might choose to repeat at this time1 or it might be used on other occasions1 as at the consecration of the kuahu3 ,he ,pule ,kuahu 7no ,kini ,akua7 ,e ulu1 e ulu1 ,kini o ke ,akua6 ,ulu ,kane me ,kanaloa6 ,ulu ,ohi'a-lau-koa1 me ka ,ie-ie6 ,a'e mai a noho i kou kuahu6 #e ,eia ka wai la1 he wai e ola4 ,e ola no1 e-e6 ,translation4 ,an ,altar-,prayer 7to the ,kini ,akua7 ,gather1 oh gather1 ye hosts of godlings6 ,come ,kane with ,kanaloa6 ,come leafy ,ohi'a and ,i-e6 ,possess me and dwell in your altar6 #e ,here's water1 water of life6 ,life1 give us life6 ,the visitor1 having satisfied his sense of what the occasion demands1 changes his tone from that of cantillation to ordinary speech1 and concludes his worship with a petition conceived in the spirit of the following prayer3 ,e ola ia'u1 i ka malihini2 a pela hoi na kamaaina1 ke kumu1 na haumana1 ia oe1 e ,laka4 ,e ,laka ia ,pohaku i ka wawae4 ,e ,laka i ke kupe'e4 ,e ,laka ia ,luukia i ka pa-u2 e ,laka i ke kuhi2 e ,laka i ka leo2 e ,laka i ka lei4 ,e ,laka i ke ku ana imua o ke anaina4 ,page #dg ,translation4 ,thy blessing1 ,o ,laka1 on me the stranger1 and on the residents1 teacher and pupils4 ,o ,laka1 give grace to the feet of ,pohaku2 and to her bracelets and anklets2 comeliness to the figure and skirt of ,luukia4 ,to 7each one7 give gesture and voice4 ,o ,laka1 make beautiful the lei2 inspire the dancers when they stand before the assembly4 ,at the close of this service of song and prayer the visitor will turn from the kuahu and exchange salutations and greetings with his friends in the halau4 ,the song-prayer 8,now1 ,kane1 approach1 illumine the altar0 7p4 #de7 calls for remark4 ,it brings up again the question1 previously discussed1 whether there were not two distinct cults of worshipers1 the one devoted to ,laka1 the other to ,kapo4 ,the following facts will throw light on the question4 ,on either side of the approach to the altar stood1 sentinel-like1 a tall stem of hala-pepe1 a graceful1 slender column1 its head of green sword-leaves and scarlet drupes making a beautiful picture4 7,see p4 #bd47 ,these are said to have been the special emblems of the goddess ,kapo4 ,the following account of a conversation the author had with an old woman1 whose youthful days were spent as a hula dancer1 will also help to disentangle the subject and explain the relation of ,kapo to the hula3 8,will you not recite again the prayer you just now uttered1 and slowly1 that it may be written down80 the author asked of her4 8,many prayers for the kuahu have been collected1 but this one differs from them all40 8,we ,hawaiians10 she answered1 8have been taught that these matters are sacred 7kapu7 and must not be bandied about from mouth to mouth40 8,aye1 but the time of the tabus has passed4 ,then1 too1 in a sense having been initiated into hula matters1 there can be no impropriety in my dealing with them in a kindly spirit40 8,no harm1 of course1 will come to you1 a haole 7foreigner74 ,the question is how it will affect us40 8,tell me1 were there two different classes of worshipers1 one class devoted to the worship of ,laka and another class devoted to the worship of ,kapo80 8,no10 she answered1 8,kapo and ,laka were one in spirit1 though their names were two40 8,haumea was the mother of ,kapo4 ,who was her father80 8,yes1 ,haumea was the mother1 and ,kua-ha-ilo #hf was the father30 8,how about ,laka80 ,footnote #hf3 ,kua-ha-ilo4 ,a god of the kahuna anaana2 meaning literally to breed maggots in the back4 ,page #dh 8,laka was the daughter of ,kapo4 ,yet as a patron1 of the hula ,laka stands first2 she was worshiped at an earlier date than ,kapo2 but they are really one40 ,further questioning brought out the explanation that ,laka was not begotten in ordinary generation2 she was a sort of emanation from ,kapo4 ,it was as if the goddess should sneeze and a deity should issue with the breath from her nostrils2 or should wink1 and thereby beget spiritual offspring from the eye1 or as if a spirit should issue forth at some movement of the ear or mouth4 ,when the old woman's scruples had been laid to rest1 she repeated slowly for the author's benefit the pule given on pages #de and #df1 8,now1 ,kane1 approach10 99 99 99 of which the first eight lines and much of the last part1 to him1 were new4 ,page #di ,,viii4--,,costume ,,of ,,the ,,hula ,,dancer ,the costume of the hula dancer was much the same for both sexes1 its chief article a simple short skirt about the waist1 the pa-4 7,,pl ,i47 ,when the time has come for a dance1 the halau becomes one common dressing room4 ,at a signal from the kumu the work begins4 ,the putting on of each article of costume is accompanied by a special song4 ,first come the ku-pe'e1 anklets of whale teeth1 bone1 shell-work1 dog-teeth1 fiber-stuffs1 and what not4 ,while all stoop in unison they chant the song of the anklet3 ,mele ,ku-pe'e ,aala kupukupu#hg ka uka o ,kane-hoa4#hh ,e ho-a6#hi ,hoa na lima o ka makani1 he ,wai-kaloa4#ij ,he ,wai-kaloa ka makani anu ,lihue4 #e ,alina#ia lehua i kau ka opua-- ,ku'u pua1 ,ku'u pua i'ini e ku-i a lei4 ,ina ia oe ke lei 'a mai la4 ,translation4 ,anklet-,song ,fragrant the grasses of high ,kane-hoa4 ,bind on the anklets1 bind6 ,bind with finger deft as the wind ,that cools the air of this bower4 #e ,lehua bloom pales at my flower1 ,o sweetheart of mine1 ,bud that ,i'd pluck and wear in my wreath1 ,if thou wert but a flower6 ,footnote #hg3 ,kupukupu4 ,said to be a fragrant grass4 ,footnote #hh3 ,kane-hoa4 ,said to be a hill at ,kaupo1 ,maui4 ,another person says it is a hill at ,lihue1 on ,oahu4 ,the same name is often repeated4 ,footnote #hi3 ,ho-a4 ,to bind4 ,an instance of word-repetition1 common in ,hawaiian poetry4 ,footnote #ij3 ,wai-kaloa4 ,a cool wind that ,wows at ,lihue1 ,kauai ,footnote #ia3 ,alina4 ,a scar1 or other mark of disfigurement1 a moral blemish4 ,in ancient times lovers inflicted injuries on themselves to prove devotion4 ,the short skirt1 pa-u1 was the most important piece of attire worn by the ,hawaiian female4 ,as an article of daily wear it represented many stages of evolution beyond the primitive fig-leaf1 being fabricated from a great variety of ,page #ej materials furnished by the garden of nature4 ,in its simplest terms the pa- was a mere fringe of vegetable fibers4 ,when placed as the shield of modesty about the loins of a woman of rank1 or when used as the full-dress costume of a dancing girl on a ceremonious occasion1 it took on more elaborate forms1 and was frequently of tapa1 a fabric the finest specimens of which would not have shamed the wardrobe of an empress4 ,in the costuming of the hula girl the same variety obtained as in the dress of a woman of rank4 ,sometimes her pa- would be only a close-set fringe of ribbons stripped from the bark of the hibiscus 7hau71 the ti leaf or banana fiber1 or a fine rush1 strung upon a thong to encircle the waist4 ,in its most elaborate and formal style the pa- consisted of a strip of fine tapa several yards long and of width to reach nearly to the knees4 ,it was often delicately tinted or printed1 as to its outer part1 with stamped figures4 ,the part of the tapa skirt thus printed1 like the outer1 decorative one in a set of tapa bed-sheets1 was termed the kilohana4 ,the pa- worn by the danseuse1 when of tapa1 was often of such volume as to balloon like the skirt of a coryphe4 ,to put it on was quite an art1 and on that account1 if not on the score of modesty1 a portion of the halau was screened off and devoted to the use of the females as a dressing room1 being known as the unu-lau-koa1 and to this place they repaired as soon as the kumu gave the signal for dressing4 ,the hula pa- of the women was worn in addition to that of daily life2 the hula pa- of the men1 a less pretentious affair1 was worn outside the malo1 and in addition to it4 ,the method of girding on the pa- was peculiar4 ,beginning at the right hip--some say the left--a free end was allowed to hang quite to the knee2 then1 passing across the back1 rounding the left hip1 and returning by way of the abdomen to the starting point1 another circuit of the waist was accomplished2 and1 a reverse being made1 the garment was secured by passing the bight of the tapa beneath the hanging folds of the pa- from below upward until it slightly protruded above the border of the garment at the waist4 ,this second end was thus brought to hang down the hip alongside of the first free end2 an arrangement that produced a most decorative effect4 ,the ,hawaiians1 in their fondness for giving personal names to inanimate objects1 named the two free ends 7apua7 of the pa- respectively ,ku-kpu-la-ka-lni and ,lle-a-mahu'i4 ,according to another method1 which was simpler and more commonly employed1 the piece was folded sidewise and1 being gathered into pleats1 a cord was inserted the length of the fold4 ,the cord was passed about the waist1 knotted at the hip1 and thus held the garment secure4 ,page #ea ,while the girls are making their simple toilet and donning their unique1 but scanty1 costume1 the kumu1 aided by others1 soothes the impatience of the audience and stimulates their imagination by cantillating a mele that sets forth in grandiloquent imagery the praise of the pa-4 ,oli ,pa- ,kakua pa-1 ahu na kikepa6#ib ,i ka pa- noenoe i hooluu'a1 ,i hookakua ia a paa iluna o ka imu4#ic ,ku ka nu'a#id o ka pali o ka wai kapu1 #e ,he kuina#ie pa- pali#if no ,kupe-hau1 ,i holo a paa ia1 paa e ,hono-kane4#ig ,malama o lilo i ka pa-4 ,holo ilio la ke ala ka ,man#ih i na pali2 ,pali ku kahak liaka a-i1 #aj ,i ke keiki pa- pali a ,kau-kini1#ii ,i hoonu'anu'a iluna o ka ,auwana4#ajj ,page #eb ,akahi ke ana1 ka luhi i ka pa-3 ,ka ho-oio i ke kapa-wai1 ,i na kikepa wai o ,apua1#aja #ae ,i hopu 'a i ka ua noe holo poo-poo1 ,me he pa- elehiwa wale i na pali4 ,ohiohi ka pali1 ki ka liko o ka lama1 ,mama ula#ajb ia ka malua ula1 ,i hopu a omau ia e ka maino4 #bj ,i#ajc ka malo o ,umi ku hun mai4 ,ike'a ai na maawe wai olon1#ajd ,e makili ia nei i ,wahilau4#aje ,holo ke olon1 paa ke kapa4 ,hu'a lepo ole ka pa-2 #be ,nani ka o-iwi ma ka maka kilo-hana4#ajf ,makalii ka ohe1#ajg paa ke kapa4 ,opua ke ahi i na pali1 ,i hookau kalena ia e ka makani1 ,i kaomi pohaku ia i ,wai-manu1 #cj ,i na al#ajh ki-la-la2 ,i na al1 i al lele ,ia ,kane-poha-ka'a4#aji ,paa ia ,wai-manu1#aaj o-oki ,wai-pi'o2 ,lalau o ,ha'i i ka ohe1 ,ia ,koa'e-kea1#aaa #ce ,i kauhihi ia ia ohe laulii1 ia ohe4 ,oki'a a moku1 mo' ke kini1#aab ,page #ec ,mo' ke kihi1 ka maima ka ,hoaka1#aac ,i apahu ia a poe1 #dj ,o awili#aad o ,malu-4 ,he pola ia no ka pa-2 ,e hii ana e ,ka-holo-kua-iwa1 ,ke amo la e ,pa-wili-wlli ,i ka pa- poo kau-poku--#aae #de ,kau poku a hana ke ao1 ,kau iluna o ,hala'a-wili1 ,i owili hana haawe4 ,ku-ka'a1 olo-ka'a wahie2 ,ka'a ka opeope1 ula ka pali2#aaf #ej ,uw1 kamalii1 hookani ka pihe1 ,hookani ka a'o1#aag a hana pilo ka leo1 ,i ka mahalo i ka pa-1 ,i ka pa- wai-lehua a ,hi'i-lawe#aah iluna1 ,pi'o anuenue a ka ua e ua nei4 ,footnote #ib3 ,kikepa4 ,the bias1 the one-sided slant given the pa- by tucking it in at one side1 as previously described4 ,footnote #ic3 ,imu4 ,an oven2 an allusion to the heat and passion of the part covered by the pa-4 ,footnote #id3 ,hu'a4 ,foam2 figurative of the fringe at the border of the pa-4 ,footnote #ie3 ,kuina4 ,a term applied to the five sheets that were stitched together 7kui7 to make a set of bed-clothes4 ,five turns also1 it is said1 complete a pa-4 ,footnote #if3 ,pali no ,kupe-,hau4 ,throughout the poem the pa- is compared to a pali1 a mountain wall4 ,kupe-hau is a precipitous part of ,wai-pi'o valley4 ,footnote #ig3 ,hono-kane4 ,a valley near ,wai-pi'o4 ,here it is personified and said to do the work on the pa-4 ,footnote #ih3 ,man4 ,a proper name given to this pa-4 ,footnote #ii3 ,kau-kini4 ,the name of a hill back of ,lahaina-luna1 the traditional residence of a kahuna named ,lua-hoo-moe1 whose two sons were celebrated for their manly beauty4 ,ole-pau1 the king of the island ,maui1 ordered his retainer1 ,lua-hoo-moe1 to fetch for his eating some young u-a'u1 a sea-bird that nests and rears its young in the mountains4 ,these young birds are esteemed a delicacy4 ,the kahuna1 who was a bird-hunter1 truthfully told the king that it was not the season for the young birds2 the parent birds were haunting the ocean4 ,at this some of the king's boon companions1 moved by ill-will1 charged the king's mountain retainer with suppressing the truth1 and in proof they brought some tough old birds caught at sea and had them served for the king's table4 ,thereupon the king1 not discovering the fraud1 ordered that ,lua-hoo-moe should be put to death by fire4 ,the following verses were communicated to the author as apropos of ,kau-kini1 evidently the name of a man3 ,ike ia ,kau-kini1 he lawaia manu4 ,he upena ku'u i ka noe i ,poha-kahi1 ,ua hoopulu ia i ka ohu ka kikepa2 ,ke na'i la i ka luna a ,kea-auwana2 ,ka uahi i ke ka-peku e hei ai ka manu o ,pu-o-alii4 ,o ke alii wale no ka'u i makemake ,ali'a la1 ha'o1 e6 ,translation4 ,behold ,kau-kini1 a fisher of birds2 ,net spread in the mist of ,poha-kahi1 ,that is soaked by the sidling fog4 ,it strives on the crest of ,koa-auwana4 ,smoke traps the birds of ,pu-o-alii4 ,it's only the king that ,i wish3 ,but stay now--,i doubt4 ,footnote #ajj3 ,auwana4 ,said to be an eminence on the flank of ,haleakala1 back of ,ulupalakua4 ,footnote #aja3 ,apua4 ,a place on ,hawaii1 on ,maui1 on ,oahu1 on ,kauai1 and on ,molokai4 ,footnote #ajb3 ,mama ula ia ka malua ula4 ,the malua-ula was a variety of tapa that was stained with hili kukui 7the root-bark of the kukui tree74 ,the ripe kukui nut was chewed into a paste and mingled with this stain4 ,mama ula refers to this chewing4 ,the malua ula is mentioned as a foil to the pa-1 being a cheap tapa4 ,footnote #ajc3 ,i4 ,a contracted form of ti or ki1 the plant or1 as in this case1 the leaf of the ti1 the ,dracna 7pl4 ,v74 ,liloa1 the father ,of ,umi1 used it to cover himself after his amour with the mother of ,umi1 having given his malo in pledge to the woman4 ,umi may have used this same leaf as a substitute for the malo while in the wilderness of ,laupahoehoe1 hiding away from his brother1 ,king ,hakau4 ,footnote #ajd3 ,olon4 ,a strong vegetable fiber sometimes added to tapa to give it strength4 ,the fibers of olona in the fabric of the pa- are compared to the runnels and brooklets of ,waihilau4 ,footnote #aje3 ,wai-hilau4 ,name applied to the water that drips in a cave in ,puna4 ,it is also the name of a stream in ,wai-pi'o valley1 ,hawaii4 ,footnote #ajf3 ,kilo-hana4 ,the name given the outside1 ornamented1 sheet of a set 7kuina7 of five tapas used as bed-clothing4 ,it was also applied to that part of a pa- which was decorated with figures4 ,the word comes from kilohi1 to examine critically1 and hana1 to work1 and therefore means an ornamental work4 ,footnote #ajg3 ,ohe4 ,bamboo4 ,in this case the stamp1 made from bamboo1 used to print the tapa4 ,footnote #ajh3 ,al4 ,the hard1 dark basalt of which the ,hawaiian ko'i1 adz1 is made2 any pebble1 or small water-worn stone1 such as would be used to hold in place the pa- while spread out to dry4 ,footnote #aji3 ,kane-poha-ka'a4 ,kane-the-hail-sender4 ,the great god ,kane was also conceived of as ,kane-hekili1 the thunderer2 ,kane-lulu-honua1 the earthquake-sender1 etc4 ,footnote #aaj3 ,wai-manu and ,wai-pi'o are neighboring valleys4 ,footnote #aaa3 ,ko-a'e-kea4 ,a land in ,wai-pi'o valley4 ,footnote #aab3 ,mo' ke kihi4 ,mo' is a contracted form of moku4 ,footnote #aac3 ,hoaka4 ,the name of the moon in its second day1 or of the second day of the ,hawaiian month2 a crescent4 ,footnote #aad3 ,o awili o ,malu-4 ,the most direct and evident sense of the word awili is to wrap4 ,it probably means the wrapping of the pa- about the loins2 or it may mean the movable1 shifty action of the pa- caused by the lively actions of the dancer4 ,the expression ,malu- may be taken from the utterance of the king's ilamuku 7constable or sheriff7 or other official1 who1 in proclaiming a tabu1 held an idol in his arms and at the same time called out ,kapu1 o-o6 ,the meaning is that the pa-1 when wrapped about the woman's loins1 laid a tabu on the woman4 ,the old ,hawaiian consulted on the meaning of this passage quoted the following1 which illustrates the fondness of his people for endless repetitions and play upon words3 ,awiliwili i ka hale#aai o ka lauwili1 e4 ,he lauwili ka makani1 he ,kaua-ula1#abj ,i hoapaapa i ka hale o ka lauwili1 e3 ,translation4 ,unstable the house of the shifty man1 ,fickle as the wind ,kaua-ula4 ,treachery lurks in the house of ,unstable4 ,footnote #aae3 ,kaupoku4 ,a variant of the usual form1 which is kaupaku1 the ridgepole of a house1 its apex4 ,the pa- when worn takes the shape of a grass house1 which has the form of a haystack4 ,footnote #aaf3 ,ula ka pali4 ,red shows the pali1 i4 e41 the side hill4 ,this is a euphemism for some accident by which the pa- has been displaced1 and an exposure of the person has taken place1 as a result of which the boys scream and even the sea-bird1 the a'o1 shrieks itself hoarse4 ,footnote #aag3 ,a'o4 ,a sea-bird1 whose raucous voice is heard in the air at night at certain seasons4 ,footnote #aah3 ,hi'i-lawe4 ,a celebrated waterfall in ,wai-pi'o valley1 ,hawaii4 ,footnote #aai3 ,primitive meaning1 house2 second1 the body as the house of the soul4 ,footnote #abj3 ,kaua-ula4 ,a strong wind that shifted from one point to another1 and that blew1 often with great violence1 at ,lahaina1 ,maui4 ,the above triplet was often quoted by the chiefs of olden time apropos of a person who was fickle in love or residence4 ,as the old book has it1 8,the double-minded man is unstable in all his ways40 7,o ke kanka lolilua ka manao lauwili kona mau aoao a pau47 ,this is a typical ,hawaiian poem of the better sort1 keyed in a highly imaginative strain4 ,the multitude of specific allusions to topographical names make it difficult to ,page #ed translate it intelligently to a foreign mind4 ,the poetical units are often so devised that each new division takes its clue from the last word of the previous verse1 on the principle of 8follow your leader10 a capital feature in ,hawaiian poetry4 ,translation4 ,pa- ,song ,gird on the pa-1 garment tucked in one side1 ,skirt lacelike and beauteous in staining1 ,that is wrapped and made fast about the oven4 ,bubbly as foam of falling water it stands1 #e ,quintuple skirt1 sheer as the cliff ,kupe-hau4 ,one journeyed to work on it at ,honokane4 ,have a care the pa- is not filched4 ,scent from the robe ,man climbs the valley walls-- ,abysses profound1 heights twisting the neck4 #aj ,a child is this steep thing of the cliff ,kau-kini1 ,a swelling cloud on the peak of ,auwana4 ,wondrous the care and toil to make the pa-6 ,what haste to finish1 when put a-soak ,in the side-glancing stream of ,apua6 #ae ,caught by the rain-scud that searches the glen1 ,the tinted gown illumines the pali-- ,the sheeny steep shot with buds of lama-- ,outshining the comely malua-ula4 ,which one may seize and gird with a strong hand4 #bj ,leaf of ti for his malo1 ,umi#aba stood covered4 ,look at the olon fibers inwrought1 ,like the trickling brooklets of ,wai-hilau4 ,the olon fibers knit with strength ,this dainty immaculate web1 the pa-1 #be ,and the filmy weft of the kilo-hana4 ,with the small bamboo the tapa is finished4 ,a fire seems to bud on the pali1 ,when the tapa is spread out to dry1 ,pressed down with stones at ,wai-manu-- #cj ,stones that are shifted about and about1 ,stones that are tossed here and there1 ,like work of the hail-thrower ,kane4 ,at ,wai-manu finished1 'tis cut at ,wai-pi'o2 ,ha'i takes the bamboo ,ko-a'e-kea2 ,page #ee #ce ,deftly wields the knife of small-leafed bamboo2 ,a bamboo choice and fit for the work4 ,cut1 cut through1 cut off the corners2 ,cut round1 like crescent moon of ,hoaka2 ,cut in scallops this shift that makes tabu3 #dj ,a fringe is this for the pa-4 ',tis lifted by ,ka-holo-ku-iwa1 ',tis borne by ,pa-wili-wili2 ,a pa- narrow at top like a house1 ,that's hung on the roof-tree till morning1 #de ,hung on the roof-tree ,ha-la'a-wili4 ,make a bundle fitting the shoulder2 ,lash it fast1 rolled tight like a log4 ,the bundle falls1 red shows the pali2 ,the children shout1 they scream in derision4 #ej ,the a'o bird shrieks itself hoarse ,in wonder at the pa--- ,pa- with a sheen like ,hi'i-lawe falls1 ,bowed like the rainbow arch ,of the rain that's now falling4 ,footnote #aba3 ,umi4 ,it was ,liloa1 the father of ,umi1 who covered himself with a ti leaf instead of a malo after the amour that resulted in the birth of ,umi4 ,his malo he had given as a pledge to the woman1 who became the mother of ,umi4 ,the girls of the olapa1 their work in the tiring-room completed1 lift their voices in a spirited song1 and with a lively motion pass out into the hall to bloom before the waiting assembly in the halau in all the glory of their natural charms and adornments3 ,oli ,ku ka punohu ula i ka moana2 ,hele ke ehu-kai1 uhi i ka aina2 ,olapa ka uila1 noho i ,kahiki4 ,uina1 nakolo1 #e ,uwa1 ka pihe1 ,lau#abb knaka ka hula4 ,e ,laka1 e6 ,translation4 ,tiring ,song4 ,the rainbow stands red o'er the ocean2 ,mist crawls from the sea and covers the land2 ,far as ,kahiki flashes the lightning2 ,a reverberant roar1 #e ,a shout of applause ,from the four hundred4 ,i appeal to thee1 ,laka6 ,footnote #abb3 ,lau 7archaic74 ,four hundred4 ,page #ef ,the answering song1 led by the kumu1 is in the same flamboyant strain3 ,oli ,lele ,mahu'ilani#abc a luna1 ,lewa ia ,kauna-lewa6#abd ,translation4 ,song ,lift ,mahu'ilani on high2 ,thy palms ,kauna-lewa a-waving6 ,footnote #abc3 ,mahu'ilani4 ,a poetical name for the right hand2 this the olapa1 the dancing girls1 lifted in extension as they entered the halau from the dressing room4 ,the left hand was termed ,kaohi-lani4 ,footnote #abd3 ,kauna-lewa4 ,the name of a celebrated grove of coconuts at ,kekaha1 ,kauai1 near the residence of the late ,mr4 ,knudsen4 ,after the ceremony of the pa- came that of the lei1 a wreath to crown the head and another for the neck and shoulders4 ,it was not the custom in the old times to overwhelm the body with floral decorations and to blur the outlines of the figure to the point of disfigurement2 nor was every flower that blows acceptable as an offering4 ,the gods were jealous and nice in their tastes1 pleased only with flowers indigenous to the soil--the ilima 7pl4 ,,vi71 the lehua1 the maile1 the ie-ie1 and the like 7see pp4 #ai1 #bj74 ,the ceremony was quickly accomplished4 ,as the company knotted the garlands about head or neck1 they sang3 ,oli ,lei ,ke lei mai la o ,ka-ula i ke kai1 e6 ,ke malamalama o ,niihau1 ua malie4 ,a malie1 pa ka ,inu-wai4 ,ke inu mai la na hala o ,naue i ke kai4 #e ,no ,naue1 ka hala1 no ,puna ka wahine4#abe ,no ka lua no i ,kilauea4 ,translation4 ,wreath ,song ,ka-ula wears the ocean as a wreath2 ,nii-hau shines forth in the calm4 ,after the calm blows the wind ,inu-wai2 ,naue's palms then drink in the salt4 #e ,from ,naue the palm1 from ,puna the woman-- ,aye1 from the pit1 ,kilauea4 ,tradition tells a pathetic story 7p4 #bab7 in narrating an incident touching the occasion on which this song first was sung4 ,footnote #abe3 ,wahine4 ,the woman1 ,pele4 ,,bulletin #ch ,,plate ,,vi ,illustration3 ,,ilima 7,,sida ,,fallax7 ,,lei ,,and ,,flowers ,page #eg ,,ix4--,,the ,,hula ,,ala',a-,,papa ,every formal hula was regarded by the people of the olden time as a sacred and religious performance 7tabu72 but all hulas were not held to be of equal dignity and rank 7hanohano74 ,among those deemed to be of the noblest rank and honor was the ala'a-papa4 ,in its best days this was a stately and dignified performance1 comparable to the old-fashioned courtly minuet4 ,we shall observe in this hula the division of the performers into two sets1 the hoopa'a and the olapa4 ,attention will naturally bestow itself first on the olapa1 a division of the company made up of splendid youthful figures1 young men1 girls1 and women in the prime of life4 ,they stand a little apart and in advance of the others1 the right hand extended1 the left resting upon the hip1 from which hangs in swelling folds the pa-4 ,the time of their waiting for the signal to begin the dance gives the eye opportunity to make deliberate survey of the forms that stand before us4 ,the figures of the men are more finely proportioned1 more statuesque1 more worthy of preservation in marble or bronze than those of the women4 ,only at rare intervals does one find among this branch of the ,polynesian race a female shape which from crown to sole will satisfy the canons of proportion--which one carries in the eye4 ,that is not to say1 however1 that the artistic eye will not often meet a shape that appeals to the sense of grace and beauty4 ,the springtime of ,hawaiian womanly beauty hastes away too soon4 ,would it were possible to stay that fleeting period which ushers in full womanhood6 ,one finds himself asking the question to what extent the responsibility for this overthickness of leg and ankle--exaggerated in appearance1 no doubt1 by the ruffled anklets often worn--this pronounced tendency to the growth of that degenerate weed1 fat1 is to be explained by the standard of beauty which held sway in ,hawaii's courts and for many ages acted as a principle of selection in the physical molding of the ,hawaiian female4 ,the prevailing type of physique among the ,hawaiians1 even more marked in the women than in the men1 is the short and thick1 as opposed to the graceful and slender4 ,one does occasionally find delicacy of modeling in the young and immature2 but with adolescence fatness too often comes to blur the outline4 ,the hoopa'a1 who act as instrumentalists1 very naturally maintain a position between sitting and kneeling1 the better ,page #eh to enable them to handle that strangely effective drumlike instrument1 the ipu1 the one musical instrument used as an accompaniment in this hula4 ,the ipu is made from the bodies of two larger pear-shaped calabashes of unequal sizes1 which are joined together at their smaller ends in such a manner as to resemble a figure-of-eight4 ,an opening is left at the top of the smaller calabash to increase the resonance4 ,in moments of calm the musicians allow the body to rest upon the heels2 as the action warms they lift themselves to such height as the bended knee will permit4 ,the ala'a-papa is a hula of comparatively moderate action4 ,while the olapa employ hands1 feet1 and body in gesture and pose to illustrate the meaning and emotion of the song1 the musicians mark the time by lifting and patting with the right hand the ipu each holds in the left hand4 ,if the action of the play runs strong and stirs the emotions1 each hoopa'a lifts his ipu wildly1 fiercely smites it1 then drops it on the padded rest in such manner as to bring out its deep mysterious tone4 ,at a signal from the kumu1 who sits with the hoopa'a1 the poo-pua'a1 leader of the olapa1 calls the mele 7kahea i ka mele7--that is1 he begins its recitation--in a tone differing but little from that of ordinary conversation1 a sing-song recitation1 a vocalization less stilted and less punctilious than that usually employed in the utterance of the oli or mele4 ,the kumu1 the leader of the company1 now joins in1 mouthing his words in full observance of the mele style4 ,his manner of cantillation may be either what may be called the low relief1 termed ko'i-honua1 or a pompous alto-relievo style1 termed ai-ha'a4 ,this is the signal for the whole company to chime in1 in the same style as the kumu4 ,the result1 as it seems to the untutored ear1 is a confusion of sounds like that of the many-tongued roar of the ocean4 ,the songs cantillated for the hula ala'a-papa were many and of great variety4 ,it seems to have been the practice for the kumu to arrange a number of mele1 or poetical pieces1 for presentation in the hula in such order as pleased him4 ,these different mele1 thus arranged1 were called pale1 compartments1 or mahele1 divisions1 as if they were integral parts of one whole1 while in reality their relation to one another was only that of the juxtaposition imposed upon them by the kumu4 ,the poetical pieces first to be presented were communicated to the author as mahele1 divisions--hardly cantos--in the sense above defined4 ,they are1 however1 distinct poems1 though there chances to run through them all a somewhat similar motive4 ,the origin of many of these is referred to a past so remote that tradition assigns them to what the ,hawaiians call the wa po1 the night of tradition1 or they say of them1 no ke akua mai1 they are from the gods4 ,it ,page #ei matters not how faithful has been the effort to translate these poems1 they will not be found easy of comprehension4 ,the local allusions1 the point of view1 the atmosphere that were in the mind of the savage are not in our minds to-day1 and will not again be in any mind on earth2 they defy our best efforts at reproduction4 ,to conjure up the ghostly semblance of these dead impalpable things and make them live again is a problem that must be solved by each one with such aid from the divining rod of the imagination as the reader can summon to his help4 ,now for the play1 the song3 ,mele no ,ka ,hula ,al'a-papa ,,mahele-,,hele ,i ,,pauku #a ,a ,koolau wau1 ike i ka ua1 ,e ko-kolo la-lepo ana ka ua1 ,e ka'i ku ana1 ka'i mai ana ka ua1 ,e nu mai ana ka ua i ke kuahiwi1 #e ,e po'i ana ka ua me he nalu la4 ,e puka1 a puka mai ka ua la4 ,waliwali ke one i ka hehi'a e ka ua2 ,ua holo-wai na kaha-wai2 ,ua ko-k wale na pali4 #aj ,aia ka wai la i ka ilina1#abf he ilio1 ,he ilio hae1 ke nahu nei e puka4 ,translation4 ,song for the ,hula ,al'a-papa4 ,,canto ,i ,,stanza #a ',twas in ,koolau ,i met with the rain3 ,it comes with lifting and tossing of dust1 ,advancing in columns1 dashing along4 ,the rain1 it sighs in the forest2 #e ,the rain1 it beats and whelms1 like the surf2 ,it smites1 it smites now the land4 ,pasty the earth from the stamping rain2 ,full run the streams1 a rushing flood2 ,the mountain walls leap with the rain4 #aj ,see the water chafing its bounds like a dog1 ,a raging dog1 gnawing its way to pass out4 ,this song is from the story of ,hiiaka on her journey to ,kauai to bring the handsome prince1 ,lohiau1 to ,pele4 ,the region is that on the windward1 ,koolau1 side of ,oahu4 ,footnote #abf3 ,ilina4 ,a sink1 a place where a stream sinks into the earth or sand4 ,page #fj ,,pauku #b ,hoopono oe1 he aina kai ,waialua i ka hau2 ,ke olelo#abg wale no la i ka lani4 ,lohe ka uka o ka pehu i ,ku-kani-loko4#abh ,i-loko1 i-waho kaua la1 e ka hoa1 #e ,i kahi e pau ai o ka oni8 ,oni ana i ka manawa o ka lili4 ,pee oe1 pee ana iloko o ka hilahila4 ,i hilahila wale ia no e oe2 ,nou no ka hale1#abi komo mai maloko4 ,the lines from the fourth to the ninth in this stanza 7pauku7 represent a dialogue between two lovers4 ,translation4 ,,stanza #b ,look now1 ,waialua1 land clothed with ocean-mist-- ,its wilderness-cries heaven's ear only hears1 ,the wilderness-gods of ,ku-kani-loko4 ,within or without shall we stay1 friend1 #e ,until we have stilled the motion8 ,to toss is a sign of impatience4 ,you hide1 hiding as if from shame1 ,i am bashful because of your presence2 ,the house is yours1 you've only to enter4 ,,pauku #c 7,ko'i-honua7 ,pak ,kea-au1#acj lulu ,wai-akea2#aca ,noho i ka la'i loa o ,hana-kahi1#acb ,o ,hilo1 i olokea#acc ia1 i au la1 e1 i kai1 ,o ,lele-iwi1#acd o ,maka-hana-loa4#ace #e ,me he kaele-papa#acf la ,hilo1 i lalo ka noho4 ,kaele#acg wale ,hilo i ke alai ia e ka ua4 ,oi ka niho o ka ua o ,hilo i ka lani2 ,kua-wa'a-wa'a ,hilo eli 'a e ka wai2 ,kai-koo1 haki na nalu1 ka ua o ,hilo2 ,page #fa #aj ,ha'i lau-wili mai ka nahele4 ,nanalu1 kahe waikahe o ,wai-luku2 ,hohonu ,waiau1#ach nalo ke poo o ka lae o ,moku-pane2#aci ,wai ulaula o ,wai-anue-nue2#adj ,ka-wowo nui i ka wai o ,kolo-pule-pule2#ada #ae ,halulu i ha-ku'i1 ku me he uahi la ,ka pu1 o ka wai ua o-aka i ka lani4 ,eleele ,hilo e1 pano e1 i ka ua2 ,okakala ka hulu o ,hilo i ke anu2 ,pili-kau#adb mai ,hilo ia ua loa4 #bj ,pali-ku laau ka uka o ,haili#adc ,ka lae ohi'a e kope-kope1 ,me he aha moa la1 ka pale pa laau1 ,ka nahele o ,pa-ie-ie1#add ,ku'u po'e lehua iwaena konu o ,mo-kau-lele2#ade #be ,me ka ha'i laau i pu-kaula hala'i i ka ua4 ,ke nana ia la e la'i i ,hanakahi4 ,oni aku ,hilo1 oni ku'u kai lipo-lipo1 ,a ,lele-iwi1 ku'u kai ahu mimiki a ka ,malua4#adf ,lei kahiko1 lei nalu ka poai4 #cj ,nana ,pu'u-eo#adg e6 makai ka iwi-honua1#adh e6 ,puna-hoa la1 ino1 ku1 ku wau a ,wai-akea la4 ,footnote #abg3 ,olelo4 ,to speak1 to converse2 here used figuratively to mean that the place is lonely1 has no view of the ocean1 looks only to the sky4 8,looks that commerce with the sky40 ,footnote #abh3 ,ku-kani-loko4 ,a land in ,waialua1 ,oahu1 to which princesses resorted in the olden times at the time of childbirth1 that their offspring might have the distinction of being an alii kapu1 a chief with a tabu4 ,footnote #abi3 ,hale ,house2 a familiar euphemism of the human body4 ,footnote #acj3 ,kea-au4 ,an ahu-pua'a1 small division of land1 in ,puna adjoining ,hilo1 represented as sheltering ,hilo on that side4 ,footnote #aca3 ,waiakea4 ,a river in ,hilo1 and the land through which it flows4 ,footnote #acb3 ,hana-kahi4 ,a land on the ,hamakua side of ,hilo1 also a king whose name was a synonym for profound peace4 ,footnote #acc3 ,olo-kea4 ,to be invited or pulled many ways at once2 distracted4 ,footnote #acd3 ,lele-iwi4 ,a cape on the north side of ,hilo4 ,footnote #ace3 ,maka-hana-loa4 ,a cape4 ,footnote #acf3 ,kaele-papa4 ,a large1 round1 hollowed board on which to pound taro in the making of poi4 ,the poi-board was usually long and oval4 ,footnote #acg3 ,kaele4 ,in this connection the meaning is surrounded1 encompassed by4 ,footnote #ach3 ,waiau4 ,the name given to the stretch of ,wailuku river near its mouth4 ,footnote #aci3 ,moku-pane4 ,the cape between the mouth of the ,wailuku river and the town of ,hilo4 ,footnote #adj3 ,wai-anue-nue4 ,rainbow falls and the river that makes the leap4 ,footnote #ada3 ,kolo-pule-pule4 ,another branch of the ,wailuku stream4 ,footnote #adb3 ,pili-kau4 ,to hang low1 said of a cloud4 ,footnote #adc3 ,haili4 ,a region in the inland1 woody1 part of ,hilo4 ,footnote #add3 ,pa-ieie4 ,a well-wooded part of ,hilo1 once much resorted to by bird-hunters2 a place celebrated in ,hawaiian song4 ,footnote #ade3 ,mokau-lele4 ,a wild1 woody region ,in the interior of ,hilo4 ,footnote #adf3 ,malua4 ,name given to a wind from a northerly or northwesterly direction on several of the islands4 ,the full form is ,malua-lua4 ,footnote #adg3 ,pu'u-eo4 ,a village in the ,hilo district near ,puna4 ,footnote #adh3 ,iwi-honua4 ,literally a bone of the earth3 a projecting rock or a shoal2 if in the water1 an object to be avoided by the surf-rider4 ,in this connection see note e1 p4 #cf4 ,translation4 ,,stanza #c 7,with distinct utterance7 ,kea-au shelters1 ,waiakea lies in the calm1 ,the deep peace of ,king ,hana-kahi4 ,hilo1 of many diversions1 swims in the ocean1 ',tween ,point ,lele-iwi and ,maka-hana-loa2 #e ,and the village rests in the bowl1 ,its border surrounded with rain-- ,sharp from the sky the tooth of ,hilo's rain4 ,trenched is the land1 scooped out by the downpour-- ,tossed and like gnawing surf is ,hilo's rain-- #aj ,beach strewn with a tangle of thicket growth2 ,a billowy freshet pours in ,wailuku2 ,swoll'n is ,wai-au1 flooding the point ,moku-pane2 ,and red leaps the water of ,anue-nue4 ,a roar to heaven sends up ,kolo-pule1 ,page #fb #ae ,shaking like thunder1 mist rising like smoke4 ,the rain-cloud unfolds in the heavens2 ,dark grows ,hilo1 black with the rain4 ,the skin of ,hilo grows rough from the cold2 ,the storm-cloud hangs low o'er the land4 #bj ,a rampart stand the woods of ,haili2 ,ohi'as thick-set must be brushed aside1 ,to tear one's way1 like a covey of fowl1 ,in the wilds of ,pa-ie-ie-- ,lehua growths mine--heart of ,mokau-lele4 #be ,a breaking1 a weaving of boughs1 to shield from rain2 ,a look enraptured on ,hana-kahi1 ,sees ,hilo astir1 the blue ocean tossing ,wind-thrown-spray--dear sea--'gainst ,point ,lele-iwi-- ,a time-worn foam-wreath to encircle its brow4 #cj ,look1 ,pu'u-eo6 guard 'gainst the earth-rib6 ,it's ,puna-hoa reef2 halt6 ,at ,waiakea halt6 ,,pauku #d 7,ai-ha'a7 ,kua loloa ,kea-au i ka nahele2 ,hala kua hulu-hulu ,pana-ewa i ka laau2 ,inoino ka maha o ka ohia o ,la'a4 ,ua ku kepakepa ka maha o ka lehua2 #e ,ua po-po'o-hina i ka wela a ke ,akua4 ,ua u-ahi ,puna i ka oloka'a pohaku1 ,i ka huna pa'a ia e ka wahine4 ,nanahu ahi ka papa o ,olu-ea2 ,momoku ahi ,puna hala i ,apua2 #aj ,ulu- ka nahele me ka laau4 ,oloka'a kekahi ko'i e ,papa-lau-ahi2 ,i eli 'a kahi ko'i e ,ku-lili-kaua4 ,kai-ahea a hala i ,ka-li'u2 ,a eu e1 e ka ,la1 ka malama-lama4 #ae ,o-na-naka ka piko o ,hilo ua me ke one1 ,i huli i uka la1 i hulihia i kai2 ,ua wa-wahi 'a1 ua na-ha-h1 ,ua he-hele-lei6 ,translation4 ,,stanza #d 7,bombastic style7 ,ke'-au is a long strip of wildwood2 ,shag of pandanus mantles ,pan'-ewa2 ,scraggy the branching of ,laa's ohias2 ,the lehua limbs at sixes and sevens-- #e ,they are gray from the heat of the goddess4 ,page #fc ,puna smokes mid the bowling of rocks-- ,wood and rock the ,she-god heaps in confusion1 ,the plain ,oluea's one bed of live coals2 ,puna is strewn with fires clean to ,apua1 #aj ,thickets and tall trees a-blazing4 ,sweep on1 oh fire-ax1 thy flame-shooting flood6 ,smit by this ax is ,ku-lili-kaua4 ,it's a flood tide of lava clean to ,kali'u1 ,and the ,sun1 the light-giver1 is conquered4 #ae ,the bones of wet ,hilo rattle from drought2 ,she turns for comfort to mountain1 to sea1 ,fissured and broken1 resolved into dust4 ,this poem is taken from the story of ,hiiaka4 ,on her return from the journey to fetch ,lohiau she found that her sister ,pele had treacherously ravaged with fire ,puna1 the district that contained her own dear woodlands4 ,the description given in the poem is of the resulting desolation4 ,,pauka #e ,no-luna ka ,hale-kai#adi no ka ma'a-lewa1#aej ,nana ka maka ia ,moana-nui-ka-lehua4#aea ,noi au i ke ,kai1 e mali'o4#aeb ,ina ku a'e la he lehua#aec ilaila6 #e ,hopoe-lehua#aed kiekie4 ,maka'u ka lehua i ke kanka1#aee ,lilo ilalo e hele ai1 e-e1 ,a ilalo hoi4 ,o ,kea-au#aef ili-ili nehe ke kai1 ,page #fd #aj ,hoo-lono#aeg ke kai o ,puna ,i ka ulu hala la1 e-e1 ,kai-ko'o ,puna4 ,ia hooneenee ia pili mai#aeh kaua1 e ke hoa4 ,ke waiho e mai la oe ilaila4 #ae ,ela ka mea ino la1 he anu1 ,a he anu me he mea la iwaho kaua1 e ke hoa2 ,me he wai la ko kaua ili4 ,footnote #adi3 ,hale-kai4 ,a wild mountain1 glen back of ,hanalei valley1 ,kauai4 ,footnote #aej3 ,ma'alewa4 ,an aerial root that formed a sort of ladder by which one climbed the mountain steeps2 literally a shaking sling4 ,footnote #aea3 ,moana-nui-ka-lehua4 ,a female demigod that came from the ,south 7,ku-kulu-o-,kahiki7 at about the same mythical period as that of ,pele's arrival--,if not in her company--and who was put in charge of a portion of the channel that lies between ,kauai and ,oahu4 ,this channel was generally termed ,ie-ie-waena and ,ie-ie-waho4 ,here the name ,moana-nui-ka-lehua seems to be used to indicate the sea as well as the demigoddess1 whose dominion it was4 ,ordinarily she appeared as a powerful fish1 but she was capable of assuming the form of a beautiful woman 7mermaid874 ,the title lehua was given her on account of her womanly charms4 ,footnote #aeb3 ,mali'o4 ,apparently another form of the word malino1 calm2 at any rate it has the same meaning4 ,footnote #aec3 ,lehua4 ,an allusion to the ill-fated' young woman ,hopoe1 who was ,hiiaka's intimate friend4 ,the allusion is amplified in the next line4 ,footnote #aed3 ,hopoe-lehua4 ,the lehua tree was one of the forms in which ,hopoe appeared1 and after her death1 due to the jealous rage of ,pele1 she was turned into a charred lehua tree which stood on the coast subject to the beating of the surf4 ,footnote #aee3 ,maka'u ka lehua i ke kanaka4 ,another version has it ,maka'u ke kanaka i ka lehua2 ,man fears the lehua4 ,the form here used is perhaps an ironical allusion to man's fondness not only to despoil the tree of its scarlet flowers1 but womanhood1 the woman it represented4 ,footnote #aef3 ,kea-au4 ,often shortened in pronunciation to ,ke-au1 a fishing village in ,puna near ,hilo town4 ,it now has a landing place for small vessels4 ,footnote #aeg3 ,hoolono4 ,to call1 to make an uproar1 to spread a report4 ,footnote #aeh3 ,ia hoo-nee-nee ia pili mai4 ,a very peculiar figure of speech4 ,it ,is as if the poet personified1 the act of two lovers snuggling up close to each other4 ,compare with this the expression ,no huli mai1 used by another poet in the thirteenth line of the lyric given on p4 #bjd4 ,the motive is the same in each case4 ,the author of this poem of venerable age is not known4 ,it is spoken of as belonging to the wa po1 the twilight of tradition4 ,it is represented to be part of a mele taught to ,hiiaka by her friend and preceptress in the hula1 ,hopoe4 ,hopoe is often called ,hopoe-wahine4 ,from internal evidence one can see that it can not be in form the same as was given to ,hiiaka by ,hopoe2 it may have been founded on the poem of ,hopoe4 ,if so1 it has been modified4 ,translation4 ,,stanza #e ,from mountain retreat and root-woven ladder ,mine eye looks down on goddess ,moana-,lehua2 ,i beg of the ,sea1 ,be thou calm2 ,would there might stand on thy shore a lehua-- #e ,lehua-tree tall of ,ho-poe4 ,the lehua is fearful of man2 ,it leaves him to walk on the ground below1 ,to walk the ground far below4 ,the pebbles at ,ke'-au grind in the surf4 #aj ,the sea at ,ke'-au shouts to ,puna's palms1 8,fierce is the sea of ,puna40 ,move hither1 snug close1 companion mine2 ,you lie so aloof over there4 ,oh what a bad fellow is cold6 #ae ',tis as if we were out on the wold2 ,our bodies so clammy and chill1 friend6 ,the last five verses1 which sound like a love song1 may possibly be a modern addition to this old poem4 ,the sentiment they contain is comparable to that expressed in the ,song of ,welcome on page #ci3 ,eia ka pu'u nui o waho nei1 he anu4 ,the hill of ,affliction out there is the cold4 ,page #fe ,,mahele-,,hele ,,ii ,hi'u-o-lani1#aei kii ka ua o ,hilo#afj i ka lani2 ,ke hookiikii mai la ke ao o ,pua-lani2#afa ,o mahele ana1#afb pulu ,hilo i ka ua-- ,o ,hilo ,hana-kahi4#afc #e ,ha'i ka nalu1 wai kaka lepo o ,pii-lani2 ,hai'na ka iwi o ,hilo1 ,i ke ku ia e ka wai4 ,oni'o lele a ka ua o ,hilo i ka lani4 ,ke hookiikii mai la ke ao o ,pua-lani1 #aj ,ke holuholu a'e la e puka1 ,puka e nana ke kiki a ka ua1 ,ka nonoho a ka ua i ka hale o ,hilo4 ,like ,hilo me ,puna ke ku a mauna-ole#afd ,he ole ke ku a mauna ,hilo me ,puna4 #ae ,he kowa ,puna mawaena ,hilo me ,ka-2 ,ke pili wale la i ke kua i mauna-ole2 ,pili hoohaha i ke kua o ,mauna-loa4 ,he kuahiwi ,ka- e pa ka makani4 ,ke alai ia a'e la ,ka- e ke ,a'e2#afe #bj ,ka-u ku ke ehu lepo ke ,a'e2 ,ku ke ehu-lepo mai la ,ka- i ka makani4 ,makani ,kawa hu'a-lepo ,ka- i ke ,a'e4 ,page #ff ,kahiko mau no o ,ka- i ka makani4 ,makani ka ,lae-ka-ilio i ,unu-lau1 #be ,kaili-ki'i#aff a ka lua a ,kaheahea1#afg ,i ka ha'a nawali ia ino4 ,ino wa o ka mankani o ,kau-n4 ,nana aku o ka makani malaila6 ,o ,hono-malino1 malino i ka la'i o ,kona4 #cj ,he inoa la6 ,footnote #aei3 ,hi'u-o-lani4 ,a very blind phrase4 ,hawaiians disagree as to its meaning4 ,in the author's opinion1 it is a word referring to the conjurer's art4 ,footnote #afj3 ,ua o ,hilo4 ,hilo is a very rainy country4 ,the name ,hilo seems to be used here as almost a synonym of violent rain4 ,it calls to mind the use of the word ,hilo to signify a strong wind3 ,pa mai1 pa mai1 ,ka makani a ,hilo6#afh ,waiho ka ipu iki1 ,homai ka ipu nui6 ,translation4 ,blow1 blow1 thou wind of ,hilo6 ,leave the little calabash1 ,bring on the big one6 ,footnote #afa3 ,pua-lani4 ,the name of a deity who took the form of the rosy clouds of morning4 ,footnote #afb3 ,mahele ana4 ,literally the dividing2 an allusion to the fact1 it is said1 that in ,hilo a rain-cloud1 or rain-squall1 as it came up would often divide and a part of it turn off toward ,puna at the cape named ,lele-iwi1 one-half watering1 in the direction of the present town1 the land known as ,hana-kahi4 ,footnote #afc3 ,hana-kahi4 ,look at note f1 p4 #fj4 ,footnote #afd3 ,mauna-ole4 ,according to one authority this should be ,mauna-,hilo4 ,verses #ac1 #ad1 #af1 and #ag are difficult of translation4 ,the play on the words ku a1 standing at1 or standing by1 and kua1 the back2 also on the word kowa1 a gulf or strait2 and the repetition of the word mauna1 mountain--all this is carried to such an extent as to be quite unintelligible to the ,anglo-,saxon mind1 though full of significance to a ,hawaiian4 ,footnote #afe3 ,a'e4 ,a strong wind that prevails in ,ka-u4 ,the same word also means to step on1 to climb4 ,this double-meaning gives the poet opportunity for a euphuistic word-play that was much enjoyed by the ,hawaiians4 ,the ,hawaiians of the present day are not quite up to this sort of logomachy4 ,footnote #aff3 ,kaili-ki'i4 ,the promontory that shelters the cove ,ka-hewa-hewa4 ,footnote #afg3 ,ka-hea-hea4 ,the name of the cove ,ka-hewa-hewa1 above mentioned1 is here given in a softened form obtained by the elision of the letter w4 ,footnote #afh3 ,hilo1 or ,whiro1 as in the ,maori1 was a great navigator4 ,translation4 ,,canto ,,ii ,heaven-magic1 fetch a ,hilo-pour from heaven6 ,morn's cloud-buds1 look6 they swell in the ,east4 ,the rain-cloud parts1 ,hilo is deluged with rain1 ,the ,hilo of ,king ,hana-kahi4 #e ,surf breaks1 stirs the mire of ,pii-lani2 #e ,the bones of ,hilo are broken ,by the blows of the rain4 ,ghostly the rain-scud of ,hilo in heaven2 ,the cloud-forms of ,pua-lani grow and thicken4 #aj ,the rain-priest bestirs him now to go forth1 ,forth to observe the stab and thrust of the rain1 ,the rain that clings to the roof of ,hilo4 ,hilo1 like ,puna1 stands mountainless2 ,aye1 mountain-free stand ,hilo and ,puna4 #ae ,puna 's a gulf 'twixt ,ka- and ,hilo2 ,just leaning her back on ,mount ,nothing1 ,she sleeps at the feet of ,mount ,loa4 ,a mountain-back is ,ka- which the wind strikes1 ,ka-1 a land much scourged by the ,a'e4 #bj ,a dust-cloud lifts in ,ka- as one climbs4 ,a dust-bloom floats1 the lift of the wind3 ',tis blasts from mountain-walls piles dust1 the ,a'e4 ,ka- was always tormented with wind4 ,cape-of-the-,dog feels ,unulau's blasts2 #be ,they turmoil the cove of ,ka-hea-hea1 ,defying all strength with their violence4 ,there's a storm when wind blows at ,kau-n4 ,just look at the tempest there raging6 ,hono-malino sleeps sheltered by ,kona4 #cj ,a eulogy this of a name4 8,what name80 was asked of the old ,hawaiian4 8,a god10 said he4 8,how is that8 ,a mele-inoa celebrates the name and glory of a king1 not of a god40 ,page #fg ,his answer was1 8,the gods composed the mele2 men did not compose it40 ,like an old-time geologist1 he solved the puzzle of a novel phenomenon by ascribing it to ,god4 ,,mahele ,,iii 7,ai-ha'a7 ,a ,koa'e-kea1#afi i ,pueo-hulu-nui1#afi ,neeu a'e la ka makahiapo o ka pali2 ,a a'e1 a a'e1 a'e#agj la iluna ,kaholo-kua-iwa1 ka pali o ,ha'i4#aga #e ,ha'i a'e la ka pali2 ,ha-nu'u ka pali2 ,hala e ,malu-2 ,hala a'e la ,ka-maha-la'a-wili1 ,ke kaupoku hale a ka ua4 #aj ,me he mea i uwae'na a'e la ka pali2 ,me he hale pi'o ka lei na ka manawa o ka pali ,halehale-o-2 ,me he aho i hilo 'a la ka wai o ,wai-hi-lau2 ,me he uahi pulehu-manu la ke kai o ka auwala hula ana4 ,au ana ,maka'u-kiu#agb iloko o ke kai2 #ae ,pohaku lele#agc o ,lau-nui1 ,lau-pahoehoe4 ,ka eku'na a ke kai i ka ala o ,ka-wai-kapu-- ,eku ana1 me he pua'a la1 ka lae ,makani-lele1 ,koho-l-lele4 ,translation4 ,,canto ,,iii 7,bombastic style7 ,haunt of white tropic-bird and big ruffled owl1 ,up rises the firstborn child of the pali4 ,he climbs1 he climbs1 he climbs up aloft1 ,kaholo-ku'-iwa1 the pali of ,ha'i4 #e ,accomplished now is the steep1 ,the ladder-like series of steps4 ,malu- is left far below4 ,page #fh ,passed is ,ka-maha-la'-wili1 ,the very ridge-pole of the rain-- #aj ,it's as if the peak cut it in twain-- ,an arched roof the peak's crest ,hale-hale-o-4 ,a twisted cord hangs the brook ,wai-hilau2 ,like smoke from roasting bird ,ocean's wild dance2 ,the shark-god is swimming the sea2 #ae ,the rocks leap down at ,big-leaf#agd and ,flat-leaf--#agd ,see the ocean charge 'gainst the cliffs1 ,thrust snout like rooting boar against ,windy-cape1 ,against ,kohol-lele4 ,footnote #afi3 ,koa'e-kea1 ,pueo hulu-nui4 ,steep declivities1 pali1 on the side of ,waipio valley1 ,hawaii4 ,instead of inserting these names1 which would be meaningless without an explanation1 the author has given a literal translation of the names themselves1 thus getting a closer insight into the ,hawaiian thought4 ,footnote #agj3 ,a'e4 ,the precipices rise one above another like the steps of a stairway1 climbing1 climbing up1 though the probable intent of the poet is to represent some one as climbing the ascent4 ,footnote #aga3 ,ha'i4 ,short for ,ha'ina-kolo2 a woman about whom there is a story of tragic adventure4 ,through eating when famished of some berries in an unceremonious way she became distraught and wandered about for many months until discovered by the persistent efforts of her husband4 ,the pali which she climbed was named after her4 ,footnote #agb3 ,maka'u-kiu4 ,the name of a famous huge shark that was regarded with reverential fear4 ,footnote #agc3 ,pohaku lele4 ,in order to determine whether a shark was present1 it was the custom1 before going into the clear water of some of these coves1 to throw rocks into the water in order to disturb the monster and make his presence known4 ,footnote #agd3 ,big-leaf4 ,a literal translation of ,lau-nui4 ,laupahoehoe1 ,flat-leaf4 ,,mahele ,,iv ,hole#age ,waimea i ka ihe a ka makani1 ,hao mai na ale a ke ,ki-pu'u-pu'u2#agf ,he laau kala-ihi ia na ke anu1 ,i o'o i ka nahele o ,mahiki4#agg #e ,ku aku la oe i ka ,malanai#agh a ke ,ki-puu-puu2 ,nolu ka maka o ka oha-wai#agi o ,uli2 ,niniau1 eha ka pua o ,koaie1#ahj ,eha i ke anu ka nahele o ,wai-ka-1 ,a he aloha1 e6 #aj ,aloha ,wai-k1 ia'u me he ipo la2 ,me he ipo la ka maka lena o ke ,koo-lau1#aha ,ka pua i ka nahele o ,mahule-i-a1 ,e lei hele i ke alo o ,moo-lau4#ahb ,e lau ka huaka'i-hele i ka pali loa2 #ae ,hele hihiu1 puli#ahc noho i ka nahele4 ,o ku'u noho wale iho no i kahua1 e-e4 ,a he aloha1 e-e6 ,o kou aloha ka i hiki mai i o'u nei4 ,mahea la ia i nalo iho nei8 ,this mele1 ,hole ,waimea1 is also sung in connection with the hula ipu4 ,footnote #age3 ,hole4 ,to rasp1 to handle rudely1 to caress passionately4 ,waimea is a district and village on ,hawaii4 ,footnote #agf3 ,kipu'u-pu'u4 ,a cold wind from ,mauna-,kea that blows at ,waimea4 ,footnote #agg3 ,mahiki4 ,a woodland in ,waimea1 in mythological times haunted by demons and spooks4 ,footnote #agh3 ,mala-nai4 ,the poetical name of a wind1 probably the trade wind2 a name much used in ,hawaiian sentimental poetry4 ,footnote #agi3 ,oha-wai4 ,a water hole that is filled by dripping2 an important source of supply for drinking purposes in certain parts of ,hawaii4 ,footnote #ahj3 ,pua o ,koaie1 ,the koaie is a tree that grows in the wilds1 the blossom of which is extremely fragrant4 7,not the same as that subspecies of the koa 7,acacia koa7 which ,hillebrand describes and wrongly spells koaia4 ,here a euphemism for the delicate parts47 ,footnote #aha3 ,koolau1 or1 full form1 ,ko-kao-lau4 ,described by ,doctor ,hillebrand as ,kokolau1 a wrong spelling4 ,it has a pretty yellow flower1 a yellow eye--maka lena--as the song has it4 ,here used tropically4 7,this is the plant whose leaf is sometimes used as a substitute for tea47 ,footnote #ahb3 ,moolau4 ,an expression used figuratively to mean a woman1 more especially her breasts4 ,the term ,huli-lau1 is also used1 in a slang way1 to signify the breasts of a woman1 the primitive meaning being a calabash4 ,footnote #ahc3 ,pili4 ,to touch2 touched4 ,this was the word used in the forfeit-paying love game1 kilu1 when the player made a point by hitting the target of his opponent with his kilu4 7,for further description see p4 #bce47 ,page #fi ,the song above given1 the translation of which is to follow1 belongs to historic times1 being ascribed to ,king ,liholiho--,kamehameha ,,ii--who died in ,london ,july #ac1 #ahbd1 on his visit to ,england4 ,it attained great vogue and still holds its popularity with the ,hawaiians4 ,the reader will note the comparative effeminacy and sentimentality of the style and the frequent use of euphemisms and double-entendre4 ,the double meaning in a ,hawaiian mele will not always be evident to one whose acquaintance with the language is not intimate4 ,to one who comes to it from excursions in ,anglo-,saxon poetry1 wandering through its 8meadows trim with daisies pied10 the sly intent of the ,hawaiian1 even when pointed out1 will1 no doubt1 seem an inconsequential thing and the demonstration of it an impertinence1 if not a fiction to the imagination4 ,its euphemisms in reality have no baser intent than the euphuisms of ,lyly1 ,ben ,jonson1 or ,shakespeare4 ,translation4 ,song--,hole ,waimea ,,part ,,iv ,love tousled ,waimea with shafts of the wind1 ,while ,kipuupuu puffed jealous gusts4 ,love is a tree that blights in the cold1 ,but thrives in the woods of ,mahiki4 #e ,smitten art thou with the blows of love2 ,luscious the water-drip in the wilds2 ,wearied and bruised is the flower of ,koaie2 ,stung by the frost the herbage of ,wai-ka-3 ,and this--it is love4 #aj ,wai-k loves me like a sweetheart4 ,dear as my heart ,koolau's yellow eye1 ,my flower in the tangled wood1 ,hule--a1 ,a travel-wreath to lay on love's breast1 ,a shade to cover my journey's long climb4 #ae ,love-touched1 distraught1 mine a wilderness-home2 ,but still do ,i cherish the old spot1 ,for love--it is love4 ,your love visits me even here3 ,where has it been hiding till now8 ,,pauku #b ,kau ka ha--a1 kau o ka hana wa ele1 ,ke ala-ula ka makani1 ,kulu a e ka ua i kou wahi moe4 ,palepale i na auwai o lalo2 #e ,eli mawaho o ka hale o ,koolau1 e4 ,e lau ,koolau1 he aina ko'e-ko'e2 ,maka'u i ke anu ka uka o ka ,lahuloa4 ,loa ia mea1 na'u i waiho aku ai4 ,page #gj ,translation4 ,,stanza #b ,a mackerel sky1 time for foul weather2 ,the wind raises the dust-- ,thy couch is a-drip with the rain2 ,open the door1 let's trench about the house3 #e ,koolau1 land of rain1 will shoot green leaves4 ,i dread the cold of the uplands4 ,an adventure that of long ago4 ,the poem above given from beginning to end is figurative1 a piece of far-fetched1 enigmatical symbolism in the lower plane of human nature4 ,,pauku #c ,hoe ,puna i ka wa'a po-lolo'#ahd a ka ino2 ,ha-uke-uke i ka wa o ,koolau3 ,eha e6 eha la6 ,eha i ku'i-ku'i o ka ,ulu-mano4#ahe #e ,hala 'e ka walu-ihe a ke ,a'e1#ahf ,ku iho i ku'i-ku'i a ka ,ho-li'o2#ahg ,hana ne'e ke kikala o ko ,hilo ,kini4 ,ho'i lu'u-lu'u i ke one o ,hana-kahi1#ahh ,i ka po-lolo' ua wahine o ka lua3 #aj ,mai ka lua no1 e6 ,translation4 ,,stanza #c ,puna plies paddle night-long in the storm2 ,is set back by a shift in the weather1 ,feels hurt and disgruntled2 ,dismayed at slap after slap of the squalls2 #e ,is struck with eight blows of ,typhoon2 ,then smit with the lash of the ,north wind4 ,sad1 he turns back to ,hilo's sand-beach3 ,he'll shake the town with a scandal-- ,the night-long storm with the hag of the pit1 #aj ,hag from ,gehenna6 ,footnote #ahd3 ,po-lolo4 ,a secret word1 like a cipher1 made up for the occasion and compounded of two words1 po1 night1 and loloa1 long1 the final a1 of loloa being dropped4 ,this form of speech was called kepakepa1 and was much used by the ,hawaiians in old times4 ,footnote #ahe3 ,ulu-mano4 ,a violent wind which blows by night only on the western side of ,hawaii4 ,kamehameha with a company of men was once wrecked by this wind off ,nawawa2 a whole village was burned to light them ashore4 7,dictionary of the ,hawaiian ,language1 by ,lorrin ,andrews47 ,footnote #ahf3 ,walu-ihe a ke ,a'e4 ,the ,a'e is a violent wind that is described as blowing from different points of the compass in succession2 a circular storm4 ,walu-ihe--eight spears--was a name applied to this same wind during a certain portion of its circuitous range1 covering at least eight different points1 as observed by the ,hawaiians4 ,it was well fitted1 therefore1 to serve as a figure descriptive of eight different lovers1 who follow each other in quick succession1 in the favors of the same wanton4 ,footnote #ahg3 ,ho-li'o ,the name of a wind1 but of an entirely different character from those above mentioned4 ,footnote #ahh3 ,hana-kahi4 7,see note f1 p4 #fj47 ,page #ga ,this is not a line-for-line translation2 that the author found infeasible4 ,line #h of the ,english represents line #g of the ,hawaiian4 ,given more literally1 it might be1 8,he'll shake the buttocks of ,hilo's forty thousand40 ,the metaphor of this song is disjointed1 but hot with the primeval passions of humanity4 ,,pauku #d ,ho-ina-inau mea ipo i ka nahele2 ,haa-kokoe ana ka maka i ka ,moani1 ,i ka ike i na pua i hoomahie ',iuna2 ,ua hi-hi-hina wale i ka moe awakea4 #e ,ka ino' ua poina ia ,mali'o4 ,aia ka i ,pua-lei o ,ha'o4 ,i ,puna no ka waihona o ka makani2 ,kaela ka malama ana a ka ,pu'u-lena1 ,i kahi mea ho-aloha-loha1 e6 #aj ,e aloha1 e6 ,translation4 ,,stanza #d ,love is at play in the grove1 ,a jealous swain glares fierce ,at the flowers tying love-knots1 ,lying wilted at noon-tide4 #e ,so you've forgotten ,mali'o1 ,turned to the flower of ,puna-- ,puna1 the cave of shifty winds4 ,long have ,i cherished this blossom1 ,a treasure hid in my heart6 #aj ,oh1 sweetheart6 ,the following account is taken from the ,polynesian ,researches of the ,rev4 ,william ,ellis1 the well-known ,english missionary1 who visited these islands in the years #ahbb and #ahbc1 and whose recorded observations have been of the highest value in preserving a knowledge of the institutions of ancient ,hawaii4 ,in the afternoon1 a party of strolling musicians and dancers arrived at ,kairua4 ,about four o'clock they came1 followed by crowds of people1 and arranged themselves on a fine sandy beach in front of one of the governor's houses1 where they exhibited a native dance1 called hura araapapa4 ,the five musicians first seated themselves in a line on the ground1 and spread a piece of folded cloth on the sand before them4 ,their instrument was a large calabash1 or rather two1 one of an oval shape about three feet high1 the other perfectly round1 very neatly fastened to it1 having also an aperture about three inches in diameter at the top4 ,each musician held his instrument before him with both hands1 and produced his music by striking it on the ground1 where he had laid a piece of cloth1 and beating it with his fingers1 or the palms of his hands4 ,as soon as they began to sound their calabashes1 the dancer1 a young man about the middle stature1 advanced through the opening crowd4 ,page #gb ,his jet-black hair hung in loose and flowing ringlets on his naked shoulders2 his necklace was made of a vast number of strings of nicely braided human hair1 tied together behind1 while a paraoa 7an ornament made of a whale's tooth7 hung pendent from it on his breast2 his wrists were ornamented with bracelets formed of polished tusks of the hog1 and his ankles with loose buskins1 thickly set with dog's teeth1 the rattle of which1 during the dance1 kept time with the music of the calabash drum4 ,a beautiful yellow tapa was tastefully fastened round his loins1 reaching to his knees4 ,he began his dance in front of the musicians1 and moved forward and backwards1 across the area1 occasionally chanting the achievements of former kings of ,hawaii4 ,the governor sat at the end of the ring1 opposite to the musicians1 and appeared gratified with the performance1 which continued until the evening4 7,vol4 ,,iv1 #ajj-aja1 ,london1 ,fisher1 ,son ,jackson1 #ahca47 ,,note ,,by ,,the ,,author4--,at the time of ,mr4 ,ellis' visit to ,hawaii the orthography of the ,hawaiian language was still in a formative stage1 and it is said that his counsels had influence in shaping it4 ,his use of r instead of l in the words hula1 alaapapa1 and palaoa may1 therefore1 be ascribed to the fact of his previous acquaintance with the dialects of southern ,polynesia1 in which the sound of r to a large extent substitutes that of l1 and to the probability that for that reason his ear was already attuned to the prevailing southern fashion1 and his judgment prepossessed in that direction4 ,illustration3 ,,plate ,,vii ,,ipu ,,hula1 ,,gourd ,,drum ,page #gc ,x4--,,the ,,hula ,,pa-,,pu1 ,,or ,,ku,,lo ,the pa-pu1 called also the kulo1 was a hula of dignified character1 in which all the performers maintained the kneeling position and accompanied their songs with the solemn tones of the pu 7pl4 vii71 with which each one was provided4 ,the proper handling of this drumlike instrument in concert with the cantillation of the mele made such demands upon the artist1 who was both singer and instrumentalist1 that only persons of the most approved skill and experience were chosen to take part in the performance of this hula4 ,the manner of treating the pu in this hula differed somewhat from that employed in the ala'a-papa1 being subdued and quiet in that1 whereas in the pa-pu it was at times marked with great vigor and demonstrativeness1 so that in moments of excitement and for the expression of passion1 fierce joy1 or grief the pu might be lifted on high and wildly brandished4 ,it thus made good its title as the most important instrument of the ,hawaiian orchestra4 ,in the pa-pu1 as in the hulas generally1 while the actors were sometimes grouped according to sex1 they were quite as often distributed indiscriminately1 the place for the leader1 the kumu1 being the center4 ,the vigor that marks the literary style of the mele now given stamps it as belonging to the archaic period1 which closed in the early part of the eighteenth century1 that century which saw the white man make his advent in ,hawaii4 ,the poem deals apparently with an incident in one of the migrations such as took place during the period of intercourse between the ,north and the ,south ,pacific4 ,this was a time of great stir and contention1 a time when there was much paddling and sailing about and canoe-fleets1 often manned by warriors1 traversed the great ocean in every direction4 ,it was then that ,hawaii received many colonists from the archipelagoes that lie to the southward4 ,mele 7,ko'i-honua7 ,wela ,kahiki1 e6 ,wela ,kahiki1 e6 ,wela aku la ,kahiki2 ,ua kaulu-wela ka moku2 ,page #gd #e ,wela ka ulu o ,hawaii2 ,kakala wela aku la ,kahiki ia ,olopana1#ahi ,ka'u wahi kanaka2 ,o ka hei kapu#aij o ,hana-ka-ulani1#aia ,ka hei kapu a ke alii1 #aj ,ka hoo-mamao-lani1#aib ,ke kapu o ,keawe1#aic ,a o ,keawe ,ke alii holo1 ho-i'a i kai1 e-e6 ,footnote #ahi3 ,olopana4 ,a celebrated king of ,waipio valley1 ,hawaii1 who had to wife the famous beauty1 ,luukia4 ,owing to misfortune1 he sailed away to ,kahiki1 taking with him his wife and his younger brother1 ,moikeha1 who was his puna-lua1 settling in a land called ,moa-ula-nui-akea4 ,olopana probably ended his days in his new-found home1 but ,moi-keha1 heart-sick at the loss of ,luukia's favors1 came back to ,hawaii and became the progenitor of a line of distinguished men1 several of whom were famous navigators4 ,exactly what incident in the life of ,olopana is alluded to in the sixth and preceding verses1 the traditions that narrate his adventures do not inform us4 ,footnote #aij3 ,hei kapu4 ,an oracle2 the place where the high priest kept himself while consulting the deities of the heiau4 ,it was a small house erected on an elevated platform of stones1 and there he kept himself in seclusion at such times as he sought to be the recipient of communications from the gods4 ,footnote #aia3 ,hana-ka-ulani4 ,a name applied to several heiau 7temples74 ,the first one so styled1 according to tradition1 was built at ,hana1 ,maui1 and another one at ,kaluanui1 on ,oahu1 near the famous valley of ,ka-liu-wa'a4 ,these heiau are said to have been built by the gods in the misty past soon after landing on these shores4 ,was it to celebrate their escape from perils by sea and enemies on land1 or was it in token of thankfulness to gods still higher than themselves8 ,the author's informant can not tell whether these followed the fierce1 strict cult of ,kane or the milder cult of ,lono4 ,footnote #aib3 ,hoo-mamao-lani4 ,an epithet meaning remote in the heavens1 applied to an alii of very high rank4 ,footnote #aic3 ,keawe4 ,this is a name that belonged1 to several kings and a large family of gods--papa akua--all of which gods are said to have come from ,kahiki and to have dated their origin from the ,wa ,po1 the twilight of antiquity4 ,among the demigods that were called ,keawe may be mentioned3 7#a7 ,keawe-huli1 a prophet and soothsayer4 7#b7 ,keawe-kilo-pono1 a wise and righteous one1 who loved justice4 7#c7 ,keawe-hula-maemae4 ,it was his function to maintain purity and cleanliness2 he was a devouring flame that destroyed rubbish and all foulness4 7#d7 ,keawe-ula-o-ka-lani4 ,this was the poetical appellation1 given to the delicate flush of early morning4 ,apropos of this the ,hawaiians have the following quatrain1 which they consider descriptive not only of morning blush1 but also of the coming in of the reign of the gods3 ,o ,keawe-ula-i-ka-lani1 ,o ,keawe-liko-i-ka-lani1 ,o ,ke'awe-uina-poh-i-,kahiki2 ,hiki mai ana o ,lono4,translation4 ,keawe-the-red-blush-of-dawn1 ,keawe-the-bud-in-the-sky1 ,keawe-thunder-burst-at-,kahiki3 ,till ,lono comes in to reign4 7#e7 ,keawe-pa-makani4 ,it was his function to send winds from ,kukulu-o-,kahiki1 as well as from some other points4 7#f7 ,keawe-o-o-moa4 ,this god inspected the ocean tides and currents1 such as ,au-miki and ,au-k4 7#g7 ,keawe-i-ka-liko4 ,he took charge of flowerbuds and tender shoots1 giving them a chance to develop4 7#h7 ,keawe-ulu-pu4 ,it was his function to promote the development and fruitage of plants4 7#i7 ,keawe-lu-pua4 ,he caused flowers to shed their petals4 7#aj7 ,keawe-opala4 ,it was his thankless task to create rubbish and litter by scattering the leaves of the trees4 7#aa7 ,keawe-hulu1 a magician1 who could blow a feather into the air and see it at once become a bird with power to fly away4 7#ab7 ,keawe-nui-ka-ua-o-,hilo1 a sentinel who stood guard by night and by day to watch over all creation4 7#ac7 ,keawe-pulehu4 ,he was a thief and served as ,page #ge cook for the gods4 ,there were gods of evil as well as of good in this set4 7#ad7 ,keawe-oili4 ,he was gifted with the power to convey and transfer evil1 sickness1 misfortune1 and death4 7#ae7 ,keawe-kaili4 ,he was a robber4 7#af7 ,keawe-aihue4 ,he was a thief4 7#ag7 ,keawe-makilo4 ,he was a beggar4 ,he would stand round while others were preparing food1 doing honest work1 and plead with his eyes4 ,in this way he often obtained a dole4 7#ah7 ,keawe-puni-pua'a4 ,he was a glutton1 very greedy of pork2 he was also called ,keawe-ai-pua'a4 7#ai7 ,keawe-inoino4 ,he was a sloven1 unclean in all his ways4 7#bj7 ,keawe-ilio4 ,the only title to renown of this superhuman creature was his inordinate fondness for the flesh of the dog4 ,so far none of the superhuman beings mentioned seemed fitted to the role of the ,keawe of the text1 who was passionately fond of the sea4 ,the author had given up in despair1 when one day1 on repeating his inquiry in another quarter1 he was rewarded by learning of--7#ba7 ,keawe-i-na-kai4 ,he was a resident of the region about the southeastern point of ,molokai1 called ,lae-ka-,ilio--,cape of the ,dog4 ,he was extravagantly fond of the ocean and allowed no weather to interfere with the indulgence of his penchant4 ,an epithet applied to him describes his dominating passion3 ,keawe moe i ke kai o ,kohak1 ,keawe who sleeps in 7or on7 the sea of ,kohak4 ,it seems probable that this was the ,keawe mentioned in the twelfth and thirteenth lines of the mele4 ,the appellation ,keawe seems to have served as a sort of ,jack among the demigods of the ,hawaiian pantheon1 on whom was to be laid the burden of a mongrel host of virtues and vices that were not assignable to the regular orthodox deities4 ,somewhat in the same way do we use the name ,jack as a caption1 for a miscellaneous lot of functions1 as when we speak of a 8,jack-at-all-trades40 ,translation4 ,song 7,distinct utterance7 ,glowing is ,kahiki1 oh6 ,glowing is ,kahiki6 ,lo1 ,kahiki is a-blaze1 ,the whole island a-burning4 #e ,scorched is thy scion1 ,hawaii4 ,kahiki shoots flame-tongues at ,olopana1 ,that hero of yours1 and priest ,of the oracle ,hana-ka-ulani1 ,the sacred shrine of the king-- #aj ,he is of the upper heavens1 ,the one inspired by ,keawe1 ,that tabu-famous ,keawe1 ,the king passion-fond of the sea4 ,mele ,,pale ,i ,lau lehua punoni ula ke kai o ,kona1 ,ke kai punoni ula i oweo ia2 ,wewena ula ke kai la1 he kokona2 ,ula ia kini i ka uka o ,alaea1 #e ,i hili ahi ula i ke kapa a ka wahine1 ,i hoeu ia e ka ni'a1 e ka hana1 ,e ka auwai lino mai la a kehau4 ,he hau hoomoe ka lau o ka niu1 ,ke oho o ka laau1 lauoho loloa4 #aj ,e lha ana i ka la i o ,kailua la1 i-u-a1 ,o ke ku moena ololi a ehu ,o ku'u aina kai paeaea4 ,ea1 hoea iluna o ,mauna ,kilohana1 ,na kaha poohiwi mau no he inoa4 #ae ,ua noa e1 ua pii'a kou wahi kapu1 e-e6 ,i a'e 'a mai e ha'i4 ,page #gf ,translation4 ,song ,,canto ,i ,leaf of lehua and noni-tint1 the ,kona sea1 ,iridescent saffron and red1 ,changeable watered red1 peculiar to ,kona2 ,red are the uplands ,alaea2 #e ,all1 'tis the flame-red stained robes of women ,much tossed by caress or desire4 ,the weed-tangled water-way shines like a rope of pearls1 ,dew-pearls that droop the coco leaf1 ,the hair of the trees1 their long locks-- #aj ,lo1 they wilt in the heat of ,kailua the deep4 ,a mat spread out narrow and gray1 ,a coigne of land by the sea where the fisher drops hook4 ,now looms the mount ,kilohana-- ,ah1 ye wood-shaded heights1 everlasting your fame6 #ae ,your tabu is gone6 your holy of holies invaded6 ,broke down by a stranger6 ,the intricately twisted language of this mele is allegorical1 a rope whose strands are inwrought with passion1 envy1 detraction1 and abuse4 ,in translating it one has to choose between the poetic verbal garb and the esoteric meaning which the bard made to lurk beneath the surface4 ,mele ,,pale ,,ii ,kau pu ka iwa kala-pahe'e1 ,ka iwa1 ka manu o ,kaula i ka makani4 ,e ka manu o- pani-wai o ,lehua1 ,o na manu kapu a ,kuhai-moana1 #e ,mai hele a luna o ,lei-no-ai1 ,o kolohe1 o alai mai ka ,unu-lau4 ,puni'a iluna o ka ,halau-a-ola2 ,a ola aku i ka luna o ,maka-iki-olea1 ,i ka lulu1 i ka la'i o kai maio1 #aj ,ma ka ha'i-w1 i ka mole o ,lehua la1 ,le-h-a6 ,o na lehua o ,alaka'i ka'u aloha1 ,o na lehua iluna o ,ko'i-alana2 ,ua nonoho hooipo me ke kohe-kohe2 ,ua anu1 maeele i ka ua noe4 #ae ,ua mai oe2 kau a'e ka nan1 laua nei1 e-e1 ,na 'lii e o'oni mai nei1 e-e6 ,translation4 ,song ,,canto ,,ii ,the iwa flies heavy to nest in the brush1 ,its haunt on windy ,ke-ula4 ,the watch-bird1 that fends off the rain from ,le-hu-a-- ,page #gg ,bird sacred to ,ku-hai1 the shark-god-- #e ,shrieks1 8,light not on terrace of ,lei-no-ai1 ,lest ,unu-lau fiercely assail you40 ,storm sweeps the cliffs of the islet2 ,a covert they seek neath the hills1 ,in the sheltered lee of the gale1 #aj ,the cove at the base of ,le-hu-a4 ,the shady groves there enchant them1 ,the scarlet plumes of lehua4 ,love-dalliance now by the water-reeds1 ,till cooled and appeased by the rain-mist4 #ae ,pour on1 thou rain1 the two heads press the pillow3 ,lo1 prince and princess stir in their sleep6 ,the scene of this mele is laid on one of the little bird-islands that lie to the northwest of ,kauai4 ,the iwa bird1 flying heavily to his nesting place in the wiry grass 7kala-pahee71 symbolizes the flight of a man in his deep-laden pirogue1 abducting the woman of his love4 ,the screaming sea-birds that warn him off the island1 represented as watch-guards of the shark-god ,kuhai-moana 7whose reef is still pointed out71 figure the outcries of the parents and friends of the abducted woman4 ,after the first passionate outburst 7,puni'a iluna o ka ,halau-a-ola7 things go more smoothly 7ola1 44474 ,the flight to covert from the storm1 the cove at the base of ,le-hu-a1 the shady groves1 the scarlet pompons of the lehua--the tree and the island have the same name--all these things are to be interpreted figuratively as emblems of woman's physical charms and the delights of love-dalliance4 ,mele ,,pale ,,iii 7,ai-ha'a7 ,ku aku la ,kea-a1 lele ka makani mawaho1 ,ulu-mano1 ma ke kaha o ,wai-o-lono4 ,ua moani lehua a'e la mauka2 ,kani lehua iluna o ,kupa-koili1 #e ,i ka o ia i ka lau o ka hala1 ,ke poo o ka hala o ke aku'i4 ,e ku'i e1 e ka uwalo4 ,loli ka mu'o o ka hala1 ,a helelei ka pua1 a pili ke alanui3 #aj ,pu ia ,pana-ewa1 ona-ona i ke ala1 ,i ka nahele makai o ,ka-unu-loa la4 ,nani ke kaunu1 ke kaunu a ke alii1 ,he puni ina'i poi na maua4 ,ua hala ke ,kau a me ka ,hoilo1 #ae ,mailaila mai no ka hana ino4 ,ino mai oe1 noho malie aku no hoi au2 ,hopo o' ka inaina1 ka wai1 e-e2 ,wiwo au1 hopohopo iho nei1 e-e6 ,page #gh ,translation4 ,song ,,canto ,,iii 7,in turgid style7 ,a storm1 from the sea strikes ,ke-au1 ,ulu-mano1 sweeping across the barrens2 ,it sniffs the fragrance of upland lehua1 ,turns back at ,kupa-koili2 #e ,sawed by the blows of the palm leaves1 ,the groves of pandanus in lava shag2 ,their fruit he would string 'bout his neck2 ,their fruit he finds wilted and crushed1 ,mere rubbish to litter the road-- #aj ,ah1 the perfume6 ,pana-ewa is drunk with the scent2 ,the breath of it spreads through the groves4 ,vainly flares the old king's passion1 ,craving a sauce for his meat and mine4 ,the summer has flown2 winter has come3 #ae ,ah1 that is the head of our troubles4 ,palsied are you and helpless am ,i2 ,you shrink from a plunge in the water2 ,alas1 poor me6 ,i'm a coward4 ,the imagery of this mele sets forth the story of the fierce1 but fruitless1 love-search of a chief1 who is figured by the ,ulu-mano1 a boisterous wind of ,puna1 ,hawaii4 ,the fragrance of upland lehua 7moani lehua1 a'e la mauka1 verse #c7 typifies the charms of the woman he pursues4 ,the expression kani lehua 7verse #d71 literally the sudden ending of a rain-squall1 signifies the man's failure to gain his object4 ,the lover seeks to string the golden drupe of the pandanus 7halo71 that he may wear them as a wreath about his neck 7uwalo72 he is wounded by the teeth of the sword-leaves 7o ia i ka lau o ka hala1 verse #e74 ,more than this1 he meets powerful1 concerted resistance 7ke poo o ka hala o ke aku'i1 verse #f71 offered by the compact groves of pandanus that grow in the rough lava-shag 7aku'i71 typifying1 no doubt1 the resistance made by the friends and retainers of the woman4 ,after all1 he finds1 or declares that he finds1 the hala fruit he had sought to gather and to wear as a lei about his neck1 to be spoiled1 broken1 fit only to litter the road 7loli ka mu'o o ka hala1 verse #h2 ,a helelei ka'pua1 a pili ke alanui1 verse #i74 ,in spite of his repulse and his vilification of the woman1 his passion1 still feeds on the thought of the one he has lost2 her charms intoxicate his imagination1 even as the perfume of the hala bloom bewitches the air of ,pana-ewa 7,pu ia ,panaewa1 ona-ona i ke ala1 verse #aj74 ,it is difficult to interpret verses #ab to #ah in harmony with the story as above given4 ,they may be regarded as a ,page #gi commentary on the passionate episode in the life of the lover1 looked at from the standpoint of old age1 at a time when passion still survives but physical strength is in abeyance4 ,as the sugar-boiler can not extract from the stalk the last grain of sugar1 so the author finds it impossible in any translation to express the full intent of these ,hawaiian mele4 ,mele ,,pale ,,iv ,aole au e hele ka li'u-l o ,man1 ,ia wai oupe-kanaka#aid o ,lima-loa2#aie ,a e hoopunipuni ia a'e nei ka malihini2 ,a mai puni au3 lie wai oupe na4 #e ,he ala-pahi ka li'u-l o ,man2 ,ke poloai#aif la i ke ,koolau-wahine4#aig ,ua ulu mai ka hoaloha i ,wailua1 ,a ua kino-lau#aih ,kawelo#aii mahamaha-i'a'#bjj ,page #hj ,a ua aona#bja mai nei lio oiwi e4 #aj ,he mea e wale au e noho aku nei la4 ,noho4 ,o ka noho kau a ka mea waiwai2 ,o kau ka i'a a haawi ia mai4 ,oli-oli au ke loaa ia oe4 #ae ,a pela ke ahi o ,ka-maile1#bjb ,he alualu hewa a'e la ka malihini1 ,kukuni hewa i ka ili a kau ka uli1 e2 ,kau ka uli a ka mea aloha1 e4 ,footnote #aid3 ,wai oupe-kanaka4 ,man-fooling water2 the mirage4 ,footnote #aie3 ,lima-loa4 ,the long-armed1 the god of the mirage1 who made his appearance at ,man1 ,kauai4 ,footnote #aif3 ,poloai4 ,to converse with1 to have dealings with one4 ,footnote #aig3 ,koolau-wahine4 ,the sea-breeze at ,mana4 ,there is truth as well as poetry in the assertion made in this verse4 ,the warm moist air1 rising from the heated sands of ,man1 did undoubtedly draw in the cool breeze from the ocean--a fruitful dalliance4 ,footnote #aih3 ,kino-lau4 ,having many 7#djj7 bodies1 or metamorphoses1 said of ,kawelo4 ,footnote #aii3 ,kawelo4 ,a sorcerer who lived in the region of ,man4 ,his favorite metamorphosis was into the form of a shark4 ,even when in human form he retained the gills of a fish and had the mouth of a shark at the back of his shoulders1 while to the lower part of his body were attached the tail and flukes of a shark4 ,to conceal these monstrous appendages he wore over his shoulders a kihei of kapa and allowed himself to be seen only while in the sitting posture4 ,he sometimes took the form of a worm1 a moth1 a caterpillar1 or a butterfly to escape the hands of his enemies4 ,on land he generally appeared as a man squatting1 after the manner of a ,hawaiian gardener while weeding his garden plot4 ,the cultivated lands of ,kawelo lay alongside the much-traveled path to the beach where the people of the neighborhood resorted to bathe1 to fish1 and to swim in the ocean4 ,he made a practice of saluting the passers-by and of asking them1 8,whither are you going80 adding the caution1 8,look to it that you are not swallowed head and tail by the shark2 he has not breakfasted yet0 7,e akahele oukou o pau po'o1 pau hi'u i ka man2 aohe i paina i kakahiaka o ka man74 ,as soon as the traveler had gone on his way to the ocean1 ,kawelo hastened to the sea and there assumed his shark-form4 ,the tender flesh of children was his favorite food4 ,the frequent utterance of the same caution1 joined to the great mortality among the children and youth who resorted to the ocean at this place1 caused a panic among the residents4 ,the parents consulted a soothsayer1 who surprised them with the information that the guilty one was none other than the innocent-looking farmer1 ,kawelo4 ,instructed by the soothsayer1 the people made an immense net of great strength and having very fine meshes4 ,this they spread in the ocean at the bathing place4 ,kawelo1 when caught in the net1 struggled fiendishly to break away1 but in vain4 ,according to directions1 they flung the body of the monster into an enormous oven which they had heated to redness1 and supplied with fresh fuel for five times ten days--elima anahulu4 ,at the end of that time there remained only gray ashes4 ,the prophet had commanded them that when this had been accomplished they must fill the pit of the oven with dry dirt2 thus doing1 the monster would never come to life4 ,they neglected this precaution4 ,a heavy rain flooded the country--the superhuman work of the sorcerer--and from the moistened ashes sprang into being a swarm of lesser sharks4 ,from them have come the many species of shark that now infest our ocean4 ,the house which once was ,kawelo's ocean residence is still pointed out1 #g fathoms deep1 a structure regularly built of rocks4 ,footnote #bjj3 ,maha-maha i'a4 ,the gills or fins of a fish such as marked ,kawelo4 ,footnote #bja3 ,aona4 ,a word of doubtful meaning2 according to one it means lucky4 ,that expounder 7,t---- ,p----7 says it should1 or-might be1 haona2 he instances the phrase iwi paoa1 in which the word paoa has a similar1 but not identical1 form and means lucky bone4 ,footnote #bjb3 ,ka-maile4 ,a place on ,kauai where prevailed the custom of throwing firebrands down the lofty precipice of ,nuololo4 ,this amusement made a fine display at night4 ,as the fire-sticks fell they swayed and drifted in the breeze1 making it difficult for one standing below to premise their course through the air and to catch one of them before it struck the ground or the water1 that being one of the objects of the sport4 ,when a visitor had accomplished this feat1 he would sometimes mark his flesh with the burning stick that he might show the brand to his sweetheart as a token of his fidelity4 ,translation4 ,song ,,canto ,,iv ,i will not chase the mirage of ,man1 ,that man-fooling mist of god ,lima-loa1 ,which still deceives the stranger-- ,and came nigh fooling me--the tricksy water6 #e ,the mirage of ,man1 is a fraud2 it ,wantons with the witch ,koolau4 ,a friend has turned up at ,wailua1 ,changeful ,kawelo1 with gills like a fish1 ,has power to bring luck in any queer shape4 #aj ,as a stranger now am ,i living1 ,aye1 living4 ,you flaunt like a person of wealth1 ,yours the fish1 till it comes to my hook4 ,i am blest at receiving from you3 #ae ,like fire-sticks flung at ,ka-maile-- ,the visitor vainly chases the brand3 ,fool6 he burns his flesh to gain1 the red mark1 ,a sign for the girl he loves1 oho6 ,mele ,,pale ,v 7,ai-ha'a1 a he ,ko'i-honua paha7 ,kauhua ,ku1 ka ,lani1 i-loli ka moku2 ,hookohi ke kua-koko o ka ,lani2 ,he kua-koko1 pu-koko i ka honua2 ,he kua-koko kapu no ka ,lani2 ,page #ha #e ,he ko'i ula ana a maku'i i ka ala1 ,hoomau ku-w mahu ia1 ,ka maka o ke ahi alii e a nei4 ,ko mai ke keiki koko a ka ,lani1 ,ke keiki he nuuhiwa ia ,hitu-kolo1 #aj ,o ke keiki hiapo anuenue1 iloko o ka manawa1 ,o hi ka wai nui o ka nuuhiwa a ,ke-opu-o-lani1 ,o ua alii lani alewa-lewa nei1 ,e u-lele1 e ku nei ma ka lani2 ,o ka ,lani o na mu'o-lau o ,liliha1 #ae ,ka hakina1 ka pu'e1 ka maka1 o ,kuhi-hewa a ,lola-- ,kalola1 nana ke keiki laha-laha2 ,ua kela1 he kela ka pakela ,o na pahi'a loa o ka pu likoliko i ka lani ,o kakoo hulu manu o o-ulu1 #bj ,o ka hulu o-ku'i lele i ka lani1 ,o hiapo o ka manu leina a ,pokahi1 ,o ,ka-lani-opu'u hou o ka moku1 ,o na kupuna koikoi o ,keoua1 o ka ,lani ,kui-apo-iwa4 ,translation4 ,song ,,canto ,v 7,to be recited in bombastic style1 or1 it may be1 distinctly7 ,big with child is the ,princess ,ku2 ,the whole island suffers her whimsies2 ,the pangs of labor are on her2 ,labor that stains the land with blood1 #e ,blood-clots of the heavenly born1 ,to preserve and guard the royal line1 ,the spark of king-fire now glowing3 ,a child is he of heavenly stock1 ,like the darling of ,hitu-kolo1 #aj ,first womb-fruit born to love's rainbow4 ,a bath for this child of heaven's breast1 ,this mystical royal offspring1 ,who ranks with the heavenly peers1 ,this tender bud of ,liliha1 #ae ,this atom1 this parcel1 this flame1 ,in the line ,kuhi-hewa of ,lola-- ,ka-lola1 who mothered a babe prodigious1 ,for glory and splendor renowned1 ,a scion most comely from heaven1 #bj ,the finest down of the new-grown plume1 ,from bird whose moult floats to heaven1 ,prime of the soaring birds of ,pokahi1 ,the prince1 heaven-flower of the island1 ,ancestral sire of ,ke-oua1 #be ,and of ,king ,kui-apo-iwa4 ,page #hb ,the heaping up of adulations1 of which this mele is a capital instance1 was not peculiar to ,hawaiian poetry4 ,the ,roman ,senate bestowed divinity on its emperors by vote2 the ,hawaiian bard laureate1 careering on his ,pegasus1 thought to accomplish the same end by piling ,ossa on ,pelion with high-flown phrases2 and every loyal subject added his contribution to the cairn that grew heavenward4 ,in ,hawaii1 as elsewhere1 the times of royal debasement1 of aristocratic degeneracy1 of doubtful or disrupted succession1 have always been the times of loudest poetic insistence on birth-rank and the occasion for the most frenzied utterance of high-sounding titles4 ,this is a disease that has grown with the decay of monarchy4 ,applying this criterion to the mele above given1 it may be judged to be by no means a product wholly of the archaic period4 ,while certain parts1 say from the first to the tenth verses1 inclusive1 bear the mark of antiquity1 the other parts do not ring clear4 ,it seems as if some poet of comparatively modern times had revamped an old mele to suit his own ends4 ,of this last part two verses were so glaringly an interpolation that they were expunged from the text4 ,the effort to translate into pure ,anglo-,saxon this vehement outpour of high-colored phrases has made heavy demands on the vocabulary and has strained the idioms of our speech well-nigh to the point of protest4 ,in lines #a1 #b1 #d1 #h1 #ad1 and #bc the word ,lani means a prince or princess1 a high chief or king1 a heavenly one4 ,in lines #ab1 #ac1 #ah1 and #bj the same word lani means the heavens1 a concept in the ,hawaiian mind that had some far-away approximation to the ,olympus of classic ,greece4 ,mele ,ooe no paha ia1 e ka lau o ke aloha1 ,oia no paha ia ke kau mai nei ka hali'a4 ,ke hali'a-li'a mai nei ka maka1 ,manao hiki mai no paha au anei4 #e ,hiki mai no la ia1 na wai e uwe aku8 ,ua pau kau la1 kau ike iaia2 ,ka manawa oi' e ai ka manao iloko4 ,ua luu iho nei au i ke kai nui2 ,nui ka ukiuki1 paio o ka naau4 #aj ,aohe kanaka eha ole i ke aloha4 ,a wahine e oe1 kanaka e au2 ,he mau alualu ka ha'i e lawe4 ,ike aku i ke kula i'a o ,ka-wai-nui4 ,nui ka opala ai o ,moku-lana4 #ae ,lana ka limu pae hewa o ,makau-wahine4 ,o ka wahine no oe1 o ke kane no ia4 ,hiki mai no la ia1 na wai e uwe aku8 ,hoi mai no la ia1 a ia wai e uwe aku8 ,page #hc ,translation4 ,song ,methinks it is you1 leaf plucked from ,love's tree1 ,you mayhap1 that stirs my affection4 ,there's a tremulous glance of the eye1 ,the thought she might chance yet to come3 #e ,but who then would greet her with song8 ,your day has flown1 your vision of her-- ,a time this for gnawing the heart4 ,i've plunged just now in deep waters3 ,oh the strife and vexation of soul6 #aj ,no mortal goes scathless of love4 ,a wife thou estranged1 ,i a husband estranged1 ,mere husks to be cast to the swine4#bjc ,look1 the swarming of fish at the weir6 ,their feeding grounds on the reef #ae ,are waving with mosses abundant4 ,thou art the woman1 that one your man-- ,at her coming who'll greet her with song8 ,her returning1 who shall console8 ,footnote #bjc3 ,in the original1 ,he mau alualu ka ha'i e lawe1 literally 8,some skins for another to take40 ,this song almost explains itself4 ,it is the soliloquy of a lover estranged from his mistress4 ,imagination is alive in eye and ear to everything that may bring tidings of her1 even of her unhoped-for return4 ,sometimes he speaks as if addressing the woman who has gone from him1 or he addresses himself1 or he personifies some one who speaks to him1 as in the sixth line3 8,your day has flown1 4440 ,the memory of past vexation and anguish extorts the philosophic remark1 8,no mortal goes scathless of love40 ,he gives over the past1 seeks consolation in a new attachment--he dives1 lu'u1 into the great ocean1 8deep waters10 of love1 at least in search of love4 ,the old self 7selves71 the old love1 he declares to be only alualu1 empty husks4 ,he--it is evidently a man--sets forth the wealth of comfort1 opulence1 that surrounds him in his new-found peace4 ,the scene1 being laid in the land ,kailua1 ,oahu--the place to which the enchanted tree ,maka-li#bjd was carried long ago1 from which time its waters abounded in fish--fish are naturally the symbol of the opulence that now bless his life4 ,but1 in spite of the new-found peace and prosperity that attend him1 there is a lonely corner in his heart2 the old question echoes in its vacuum1 8,who'll greet her with song8 who shall console80 ,footnote #bjd3 ,maka-li4 7,see note b1 p4 #ag47 ,page #hd ,mele ,o ,ewa1 aina kai ula i ka lepo1 ,i ula i ka makani anu ,moa'e1 ,ka manu ula i ka lau ka ai1 ,i palahe'a ula i ke kai o ,kuhi-4 #e ,mai kuhi mai oukou e1 owau ke kalohe2 ,aohe na'u1 na lakou no a pau4 ,aohe hewa kekahi keiki a ke kohe4 ,ei' a'e2 oia no paha ia4 ,i lono oukou ia wai1 e1 ua moe8 #aj ,oia kini poai o lakou la paha8 ,ike aku ia ka mau'u hina-hina-- ,he hina ko'u1 he aka mai ko ia la4 ,i aka mai oe i kou la manawa le'a2 ,a manawa ino1 nui mai ka nuku1 #ae ,hoomokapu1 hoopale mai ka maka1 ,hoolahui wale mai i a'u nei4 ,e1 oia paha2 ae1 oia no paha ia4 ,translation4 ,song ,ewa's lagoon is red with dirt-- ,dust blown by the cool ,moa'e1 ,a plumage red on the taro leaf1 ,an ocherous tint in the bay4 #e ,say not in your heart that ,i am the culprit4 ,not ,i1 but they1 are at fault4 ,no child of the womb is to blame4 ,there goes1 likely he is the one4 ,who was it blabbed of the bed defiled8 #aj ,it must have been one of that band4 ,but look at the rank grass beat down-- ,for my part1 ,i tripped1 the other one smiled4 ,you smiled in your hour of pleasure2 ,but now1 when crossed1 how you scold6 #ae ,avoiding the house1 averting the eyes-- ,you make of me a mere stranger4 ,yes it's probably so1 he's the one4 ,a poem this full of local color4 ,the plot of the story1 as it may be interpreted1 runs somewhat as follows3 ,while the man of the house1 presumably1 is away1 it would seem--fishing1 perhaps1 in the waters of ,ewa's 8shamrock lagoon0--the mistress sports with a lover4 ,the culprit impudently defends himself with chaff and dust-throwing4 ,the hoodlums1 one of whom is himself the sinner1 have been blabbing1 says he4 ,page #he ,his accuser points to the beaten down hina-hina grass as evidence against him4 ,at this the brazen-faced culprit parries the stroke with a humorous euphemistic description1 in which he plays on the word hina1 to fall4 ,such verbal tilting in ancient ,hawaii was practically a defense against a charge of moral obliquity as decisive and legitimate as was an appeal to arms in the times of chivalry4 ,he euphemistically speaks of the beaten herbage as the result of his having tripped and fallen1 at which1 says he1 the woman smiled1 that is she fell in with his proposals4 ,he gives himself away2 but that doesn't matter4 ,it requires some study to make out who is the speaker in the tit-for-tat of the dialogue4 ,mele 7,ai-ha'a7 ,he lua i ka ,hikina1 ,ua ena e ,pele2 ,ke haoloolo e la ke ao1 ,ke lele la i-luna1 i-lalo2 #e ,kawewe ka o- i-lalo i akea2 ,a ninau o ,wakea1 ,owai nei akua e eli nei8 ,owan no1 o ,pele1 ,nona i eli aku ka lua i ,niihau a a4 #aj ,he lua i ,niihau1 ua ena e ,pele4 ,he haoloolo e la ke ao1 ,ke lele la i-luna1 i-lalo2 ,kawewe ka o- i-lalo i akea2 ,a ninau o ,wakea1 #ae ,owai nei akua e eli nei8 ,owau no1 o ,pele1 ,nana i eli aku ka lua i ,kauai a a4 ,he lua i ,kauai ua ena e ,pele4 ,ke haoloolo e la ke ao1 #bj ,ke lele la i-luna1 i-lalo2 ,kawewe ka o- i-lalo i akea2 ,ninau o ,wakea1 ,owai nei akua e eli nei8 ,owau no1 o ,pele1 #be ,nana i eli ka lua i ,oahu a a4 ,he lua i ,oahu1 ua ena e ,pele4 ,ke haoloolo e la ke ao1 ,ke lele la i-luna1 i-lalo2 ,kawewe ka o- i-lalo i akea2 #cj ,a ninau o ,wakea1 ,owai nei akua e eli nei8 ,owau no1 o ,pele1 ,nana i eli ka lua i ,molokai a a4 ,page #hf ,he lua i ,molokai1 ua ena e ,pele4 #ce ,ke haoloolo e la ke ao1 ,ke lele la i-luna1 i-lalo2 ,kawewe ka o- i-lalo1 i akea4 ,ninau o ,wakea1 ,owai nei akua e eli nei8 #dj ,owau no1 o ,pele1 ,nana i eli aku ka lua i ,lanai a a4 ,he lua i ,lanai1 ua ena e ,pele4 ,ke haoloolo e la ke ao1 ,ke lele la i-luna1 i-lalo2 #de ,kawewe ka o- i-lalo i akea4 ,ninau o ,wakea1 ,owai nei akua e eli nei8 ,owau no1 o ,pele1 ,nana i eli aku ka lua i ,maui a a4 #ej ,he lua i ,maui1 ua ena e ,pele4 ,ke haoloolo e la ke ao1 ,ke lele la i-luna1 i-lalo2 ,kawewe ka o- i-lalo1 i akea4 ,ninau o ,wakea1 #ee ,owai1 nei akua e eli nei8 ,owau no1 o ,pele1 ,nana i eli aku ka lua i ,hu'ehu'e a a4 ,he lua i ,hu'ehu'e1 ua ena e ,pele4 ,ke haoloolo e la ke ao1 #fj ,ke lele la i-luna1 i-lalo2 ,kawewe ka o- i-lalo1 i akea4 ,eli-eli1 kau mai6 ,translation4 ,song 7,in turgid style7 ,a pit lies 7far7 to the ,east1 ,pit het by the ,fire-queen ,pele4 ,heaven's dawn is lifted askew1 ,one edge tilts up1 one down1 in the sky2 #e ,the thud of the pick is heard in the ground4 ,the question is asked by ,wakea1 ,what god's this a-digging8 ,it is ,i1 it is ,pele1 ,who dug ,mihau deep down till it burned1 #aj ,dug fire-pit red-heated by ,pele4 ,night's curtains are drawn to one side1 ,one lifts1 one hangs in the tide4 ,crunch of spade resounds in the earth4 ,wakea 'gain urges the query1 #ae ,what god plies the spade in the ground8 ,quoth ,pele1 'tis ,i3 ,page #hg ,i mined to the fire neath ,kauai1 ,on ,kauai ,i dug deep a pit1 ,a fire-well flame-fed by ,pele4 #bj ,the heavens are lifted aslant1 ,one border moves up and one down2 ,there's a stroke of o- 'neath the ground4 ,wakea1 in earnest1 would know1 ,what demon's a-grubbing below8 #be ,i am the worker1 says ,pele3 ,oahu ,i pierced to the quick1 ,a crater white-heated by ,pele4 ,now morn lights one edge of the sky2 ,the light streams up1 the shadows fall down2 #cj ,there's a clatter of tools deep down4 ,wakea1 in passion1 demands1 ,what god this who digs 'neath the ground8 ,it is dame ,pele who answers2 ,hers the toil to dig down to fire1 #ce ,to dig ,molokai and reach fire4 ,now morning peeps from the sky ,with one eye open1 one shut4 ,hark1 ring of the drill 'neath the plain6 ,wakea asks you to explain1 #dj ,what imp is a-drilling below8 ,it is ,i1 mutters ,pele3 ,i drilled till flame shot forth on ,lanai1 ,a pit candescent by ,pele4 ,the morning looks forth aslant2 #de ,heaven's curtains roll up and roll down2 ,there's a ring of o- 'neath the sod4 ,who1 asks ,wakea1 the god1 ,who is this devil a-digging8 ',tis ,i1 'tis ,pele1 ,i who #ej ,dug on ,maui the pit to the fire3 ,ah1 the crater of ,maui1 ,red-glowing with ,pele's own fire6 ,heaven's painted one side by the dawn1 ,her curtains half open1 half drawn2 #ee ,a rumbling is heard far below4 ,wakea insists he will know ,the name of the god that tremors the land4 ',tis ,i1 grumbles ,pele1 ,i have scooped out the pit ,hu'e-hu'e1 #fj ,a pit that reaches to fire1 ,a fire fresh kindled by ,pele4 ,now day climbs up to the ,east2 ,morn folds the curtains of night2 ,the spade of sapper resounds 'neath the plain3 #fe ,the goddess is at it again6 ,page #hh ,this mele comes to us stamped with the hall-mark of antiquity4 ,it is a poem of mythology1 but with what story it connects itself1 the author knows not4 ,the translation here given makes no profession of absolute1 verbal literalness4 ,one can not transfer a metaphor bodily1 head and horns1 from one speech to another4 ,the ,european had to invent a new name for the boomerang or accept the name by which the ,australian called it4 ,the ,frenchman1 struggling with the ,english language1 told a lady he was gangrened1 he meant he was mortified4 ,the cry for literalism is the cry for an impossibility2 to put the chicken back into its shell1 to return to the bows and arrows of the stone age4 ,to make the application to the mele in question3 the word ha-olo-olo1 for example1 which is translated in several different ways in the poem1 is of such generic and comprehensive meaning that one word fails to express its meaning4 ,it is1 by the way1 not a word to be found in any dictionary4 ,the author had to grope his way to its meaning by following the trail of some ,hawaiian pathfinder who1 after beating about the bush1 finally had to acknowledge that the path had become so much overgrown since he last went that way that he could not find it4 ,the ,arabs have a hundred or more words meaning sword--different kinds of swords4 ,to them our word sword is very unspecific4 ,talk to an ,arab of a sword--you may exhaust the list of special forms that our poor vocabulary compasses1 straight sword1 broadsword1 saber1 scimitar1 yataghan1 rapier1 and what not1 and yet not hit the mark of his definition4 ,mele ,haku'i ka uahi o ka lua1 pa i ka lani2 ,ha'aha'a ,hawaii1 moku o ,keawe i hanau ia4 ,kiekie ke one o ,malma ia ,lohiau1 ,i a'e 'a mai e ke alii o ,kahiki1 #e ,nana i hele kai uli1 kai ele1 ,kai popolo-hu'a a ,kane1 ,ka wa i po'i ai ke ,kai-a-ka-hina-lii1 ,kai nu'u1 kai lewa4 ,hoopua o ,kane i ka la'i2 #aj ,pa uli-hiwa mai la ka uka o ke ahi a ,laka1 ,oia wahine kihene lehua o ,hopoe1 ,pu'e aku-o na hala1 ,ka hala o ,panaewa1 ,o ,panaewa nui1 moku lehua2 #ae ,ohia kupu ha-o'e-o'e2 ,lehua ula1 i wili ia e ke ahi4 ,a po1 e6 ,po ,puna1 po ,hilo6 ,po i ka uahi o ku'u aina4 #bj ,ola ia kini6 ,ke a mai la ke ahi6 ,page #hi ,translation4 ,song ,a burst of smoke from the pit lifts to the skies2 ,hawaii's beneath1 birth-land of ,keawe2 ,malama's beach looms before ,lohian1 ,where landed the chief from ,kahiki1 #e ,from a voyage on the blue sea1 the dark sea1 ,the foam-mottled sea of ,kane1 ,what time curled waves of the king-whelming flood4 ,the sea up-swells1 invading the land-- ,lo ,kane1 outstretched at his ease6 #aj ,smoke and flame o'ershadow the uplands1 ,conflagration by ,laka1 the woman ,hopoe wreathed with flowers of lehua1 ,stringing the pandanus fruit4 ,screw-palms that clash in ,pan'-ewa-- #ae ,pan'-ewa1 whose groves of lehua ,are nourished by lava shag1 ,lehua that bourgeons with flame4 ,night1 it is night ,o'er ,puna and ,hilo6 #bj ,night from the smoke of my land6 ,for the people salvation6 ,but the land is on fire6 ,the ,hawaiian who furnished the meles which1 in their translated forms1 are designated as canto ,i1 canto ,,ii1 and so on1 spoke of them as ple1 and1 following his nomenclature1 the term has been retained1 though more intimate acquaintance with the meles and with the term has shown that the nearest ,english synonym to correspond with pale would be the word division4 ,still1 perhaps with a mistaken tenderness for the word1 the author has retained the caption ,canto1 as a sort of nodding recognition of the old ,hawaiian's term--division of a poem4 ,no idea is entertained that the five ple above given were composed by the same bard1 or that they represent productions from the same individual standpoint4 ,they do1 however1 breathe a spirit much in common2 so that when the old ,hawaiian insisted that they are so far related to one another as to form a natural series for recitation in the hula1 being species of the same genus1 as it were1 he was not far from the truth4 ,the man's idea seemed to be that they were so closely related that1 like beads of harmonious colors and shapes1 they might be strung on the same thread without producing a dissonance4 ,of these five poems1 or ple 7ph-lay71 numbers ,i1 ,,ii1 and ,,iv were uttered in a natural tone of voice1 termed kawele1 otherwise termed ko'i-honua4 ,the purpose of this style of recitation was to adapt the tone to the necessities of the ,page #ij aged when their ears no longer heard distinctly4 ,it would require an audiphone to illustrate perfectly the difference between this method of pronunciation and the ai-ha'a1 which was employed in the recitation of cantos ,,iii and ,v4 ,the ai-ha'a was given in a strained and guttural tone4 ,the poetical reciter and cantillator1 whether in the halau or in the king's court1 was wont to heighten the oratorical effect of his recitation by certain crude devices1 the most marked of which was that of choking the voice down1 as it were1 into the throat1 and there letting it strain and growl like a hungry lion4 ,this was the ai-ha'a1 whose organic function was the expression of the underground passions of the soul4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #cc ,,plate ,,viii ,,maile ,,pakaha ,,nihi-,,au-,,moe ,,marionettes ,page #ia ,,xi4--,,the ,,hula ,,ki',i ,i was not a little surprised when ,i learned that the ancient hula repertory of the ,hawaiians included a performance with marionettes1 ki'i1 dressed up to represent human beings4 ,but before accepting the hula ki'i as a product indigenous to ,hawaii1 ,i asked myself3 ,might not this be a performance in imitation of the ,punch-and-,judy show familiar to ,europe and ,america8 ,after careful study of the question no evidence was found1 other than what might be inferred from general resemblance1 for the theory of adoption from a ,european or ,american origin4 ,on the contrary1 the words used as an accompaniment to the play agree with report and tradition1 and bear convincing evidence in form1 and matter to a ,hawaiian antiquity4 ,that is not to say1 however1 that in the use of marionettes the ,hawaiians did not hark back to their ancestral homes in the southern sea or to a remoter past in ,asia4 ,the six marionettes1 ki'i 7pls4 ,,viii and ,,ix71 in the writer's possession were obtained from a distinguished kumu-hula1 who received them by inheritance1 as it were1 from his brother4 8,he gave them to me10 said he1 8with these words1' ,take care of these things1 and when the time comes1 after my death1 that the king wants you to perform before him1 be ready to fulfill his desire4'0 ,it was in the reign of ,kamehameha ,,iii that they came into the hands of the elder brother1 who was then and continued to be the royal hula-master until his death4 ,these ki'i have therefore figured in performances that have been graced by the presence of ,king ,kauikeaouli 7,kamehameha ,,iii7 and his queen1 ,kalama1 and by his successors since then down to the times of ,kalakaua4 ,at the so-called 8jubilee10 the anniversary of ,kalakaua's fiftieth birthday1 these marionettes were very much in evidence4 ,the make-up and style of these ki'i are so similar that a description of one will serve for all six4 ,this marionette represents the figure of a man1 and was named ,maka-k 7pl4 ,,ix74 ,the head is carved out of some soft wood--either kukui or wiliwili--which is covered1 as to the hairy scalp1 with a dark woven fabric much like broadcloth4 ,it is encircled at the level of the forehead with a broad band of gilt braid1 as if to ape the style of a soldier4 ,the median line from the forehead over the vertex to the back-head is crested with the mahiole ridge4 ,this1 taken in connection with the ,page #ib encircling gilt band1 gives to the head a warlike appearance1 somewhat as if it were armed with the classical helmet1 the ,hawaiian name for which is mahi-ole4 ,the crest of the ridge and its points of junction with the forehead and back-head are decorated with fillets of wool dyed of a reddish color1 in apparent imitation of the mamo or o-1 the birds whose feathers were used in decorating helmets1 cloaks1 and other regalia4 ,the features are carved with some attempt at fidelity4 ,the eyes are set with mother-of-pearl4 ,the figure is of about one-third life size1 and was originally draped1 the author was told1 in a loose robe1 holok of tapa cloth of the sort known as mahuna1 which is quite thin4 ,this piece of tapa is perforated at short intervals with small holes1 kiko'i4 ,it is also stained with the juice from the bark of the root of the kukui tree1 which imparts a color like that of copper1 and makes the ,hawaiians class it as pa'ikukui4 ,a portion of its former1 its original1 apparel has been secured4 ,the image is now robed in a holok of yellow cotton1 beneath which is an underskirt of striped silk in green and white4 ,the arms are loosely jointed to the body4 ,the performer in the hula1 who stood behind a screen1 by insinuating his hands under the clothing of the marionette1 could impart to it such movements as were called for by the action of the play1 while at the same time he repeated the words of his part1 words supposed to be uttered by the marionette4 ,the hula ki'i was1 perhaps1 the nearest approximation made by the ,hawaiians to a genuine dramatic performance4 ,its usual instrument of musical accompaniment was the ipu1 previously described4 ,this drumlike object was handled by that division of the performers called the hoopa'a1 who sat in full view of the audience manipulating the ipu in a quiet1 sentimental manner1 similar to that employed in the hula kuolo4 ,as a sample of the stories illustrated in a performance of the hula ki'i the following may be adduced1 the dramatis personae of which are four3 #a4 ,maka-k3 a famous warrior1 a rude1 strong-handed braggart1 as boastful as ,ajax4 #b4 ,puapua-kea1 a small man1 but brave and active4 #c4 ,maile-lau-lii 7,small-leafed-maile71 a young woman1 who becomes the wife of ,maka-ku4 #d4 ,maile-,pakaha1 the younger sister of ,maile-lau-lii1 who becomes the wife of ,puapua-kea4 ,maka-k1 a rude and boastful son of ,mars1 at heart a bully1 if not a coward1 is represented as ever aching for a fight1 in which his domineering spirit and rough-and-tumble ways for a time gave him the advantage over abler1 but more modest1 adversaries4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology1 ,,bulletin #ch ,,plate ,,ix ,,marionette1 ,,maka-,k ,page #ic ,puapuakea1 a man of genuine courage1 hearing of the boastful achievements of ,maka-k1 seeks him out and challenges him4 ,at the first contest they fought with javelins1 ihe1 each one taking his turn according to lot in casting his javelins to the full tale of the prescribed number2 after which the other contestant did the same4 ,neither was victorious4 ,next they fought with slings1 each one having the right to sling forty stones at the other4 ,in this conflict also neither one of them got the better of the other4 ,the next trial was with stone-throwing4 ,the result was still the same4 ,now it was for them to try the classical ,hawaiian game of lua4 ,this was a strenuous form of contest that has many features in common with the panathlion of the ancient ,hellenes1 some points in common with boxing1 and still more1 perhaps1 partakes of the character of the grand art of combat1 wrestling4 ,since becoming acquainted with the fine ,japanese art of jiu-jitsu1 the author recognizes certain methods that were shared by them both4 ,but to all of these it added the wild privileges of choking1 bone-breaking1 dislocating1 eye-gouging1 and the infliction of tortures and grips unmentionable and disreputable4 ,at first the conflict was in suspense1 victory favoring neither party2 but as the contest went on ,puapuakea showed a slight superiority1 and at the finish he had bettered ,maka-k by three points1 or ai#bje1 as the ,hawaiians uniquely term it4 ,footnote #bje3 ,ai1 literally a food1 a course4 ,the sisters1 ,maile-lau-lii and ,maile-pakaha1 who had been interested spectators of the contest1 conceived a passionate liking for the two warriors and laid their plans in concert to capture them for themselves4 ,fortunately their preferences were not in conflict4 ,maile-lau-lii set her affections on ,maka-ku1 while the younger sister devoted herself to ,pua-pua-kea4 ,the two men had previously allowed their fancies to range abroad at pleasure2 but from this time they centered their hearts on these two ,mailes and settled down to regular married life4 ,interest in the actual performance of the hula ki'i was stimulated by a resort to byplay and buffoonery4 ,one of the marionettes1 for instance1 points to some one in the audience2 whereupon one of the hoopaa asks1 8,what do you want80 ,the marionette persists in its pointing4 ,at length the interlocutor1 as if divining the marionette's wish1 says3 8,ah1 you want ,so-and-so40 ,at this the marionette nods assent1 and the hoopaa asks again1 8,do you wish him to come to you80 ,the marionette expresses its delight and approval by nods and gestures1 to the immense satisfaction of the audience1 who join in derisive laughter at the expense of the person held up to ridicule4 ,besides the marionettes already named among the characters found in the different hula-plays of the hula ki'i1 the ,page #id author has heard mention of the following marionettes3 ,ku1 ,kini-ki'i1 ,hoo-lehelehe-ki'i1 ,ki'i-ki'i1 and ,nihi-aumoe4 ,nihi-aumoe was a man without the incumbrance of a wife1 an expert in the arts of intrigue and seduction4 ,nihi-aumoe is a word of very suggestive meaning1 to walk softly at midnight4 ,in ,judge ,andrews's dictionary are found the following pertinent ,hawaiian verses apropos of the word nihi3 ,e hoopono ka hele i ka uka o ,puna2 ,e nihi ka hele1 mai hoolawehala1 ,mai noho a ako i ka pua1 o hewa1 ,o inaina ke ,akua1 paa ke alanui1 ,aole ou ala e hiki aku ai4 ,translation4 ,look to your ways in upland ,puna2 ,walk softly1 commit no offense2 ,dally not1 nor pluck the flower sin2 ,lest ,god in anger bar the road1 ,and you find no way of escape4 ,the marionette ,ki'i-ki'i was a strenuous little fellow1 an ilamuku1 a marshal1 or constable of the king4 ,it was his duty to carry out with unrelenting rigor the commands of the alii1 whether they bade him take possession of a taro patch1 set fire to a house1 or to steal upon a man at dead of night and dash out his brains while he slept4 ,referring to the illustrations 7pl4 ,,viii71 a judge of human nature can almost read the character of the libertine ,nihi-aumoe written in his features--the flattened vertex1 indicative of lacking reverence and fear1 the ruffian strength of the broad face2 and if one could observe the reverse of the picture he would note the flattened back-head1 a feature that marks a large number of ,hawaiian crania4 ,the songs that were cantillated to the hula ki'i express in some degree the peculiar libertinism of this hula1 which differed from all others by many removes4 ,they may be characterized as gossipy1 sarcastic1 ironical1 scandal-mongering1 dealing in satire1 abuse1 hitting right and left at social and personal vices--a cheese of rank flavor that is not to be partaken of too freely4 ,it might be compared to the vaudeville in opera or to the genre picture in art4 ,mele ,e ,wewehi1 ke1 ke6 ,wewehi oiwi1 ke1 ke6 ,punana#bjf i ka luna1 ke1 ke6 ,hoonoho kai-oa#bjg ke1 ke6 ,page #ie #e ,oluna ka wa'a#bjh1 ke1 ke6 ,o kela wa'a1 ke1 ke6 ,o keia wa'a1 ke1 ke6 ,ninau o ,mawi#bji1 ke1 ke6 ,nawai ka luau'i8#bji ke1 ke6 #aj ,na ,wewehi-loa#baj1 ke1 ke6 #aj ,ua make ,wewehi1 ke1 ke6 ,ua ku i ka ihe1 ke1 ke6 ,ma ka puka kahiko#baa ke1 ke6 ,ka puka a ,mawi1 ke1 ke6 #ae ,ka lepe1 ka lepe1 la6 #ae ,ka lepe1 ua hina a uwe6 ,ninau ka lepe1 la6 ,mana-mana lii-lii1 ,mana-mana heheiao1 #bj ,ke kumu o ka lepe8 #bj ,ka lepe hiolo1 e8 ,footnote #bjf3 ,punana4 ,literally a nest2 here a raised couch on the pola1 which was a sheltered platform in the waist of a double canoe1 corresponding to our cabin1 for the use of chiefs and other people of distinction4 ,footnote #bjg3 ,kai-oa4 ,the paddle-men2 here a euphemism4 ,footnote #bjh3 ,wa'a4 ,a euphemism for the human body4 ,footnote #bji3 ,mawi4 ,the hero of ,polynesian mythology1 whose name is usually spelled ,maui1 like the name of the island4 ,departure from the usual orthography is made in order to secure phonetic accuracy4 ,the name of the hero is pronounced ,mh-wee1 not ,mw-ee1 as is the island4 ,sir ,george ,gray1 of ,new ,zealand1 following the usual orthography1 has given a very full and interesting account of him in his ,polynesian mythology4 ,footnote #baj3 ,wewehi-loa4 ,another name for ,wahie-loa1 who is said to have been the grandfather of ,wewehi4 ,the word luau'i in the previous verse1 meaning real father1 is an archaic form4 ,another form is kua-u'i4 ,footnote #baa3 ,puka kahiko4 ,a strange story from ,hawaiian mythology relates that originally the human anatomy was sadly deficient in that the terminal gate of the prim vi was closed4 ,mawi applied his common-sense surgery to the repair of the defect and relieved the situation4 ,ua olelo ia i kinohi ua hana ia kanaka me ka hemahema no ka nele i ka hou puka ole ia ka okole1 a na ,mawi i hoopau i keia pilikia mamuli o kana hana akamai4 ,ua kapa ia keia puka ka puka kahiko4 ,translation4 ,song ,o ,wewehi1 la1 la6 ,wewehi1 peerless form1 la1 la6 ,encouched on the pola1 la1 la6 ,bossing the paddlers1 la1 la6 #e ,men of the canoe1 la1 la6 #e ,of that canoe1 la1 la6 ,of this canoe1 la1 la6 ,mawi inquires1 la1 la6 ,who was her grand-sire8 la1 la6 #aj ',twas ,wewehi-loa1 la1 la6 #aj ,wewehi is dead1 la1 la6 ,wounded with spear1 la1 la6 ,the same old wound1 la1 la6 ,wound made by ,mawi1 la1 la6 ,page #if #ae ,the flag1 lo the flag6 #ae ,the flag weeps at half-mast6 ,the flag1 indeed1 asks-- ,many1 many the flags1 ,a scandal for number4 #bj ,why are they overturned8 #bj ,why their banners cast down8 ,the author has met with several variants to this mele1 which do not greatly change its character4 ,in one of these variants the following changes are to be noted3 ,line #d4 ,pikaka#bab e ka luna1 ke1 ke6 ,line #e4 ,ka luna o ka hale1 ke1 ke6 ,line #h4 ,ka puka o ka hale1 a ke1 ke6 ,line #i4 ,e noho i anei1 a ke1 ke6 ,to attempt a translation of these lines which are unadulterated slang3 ,line #d4 ,the roof is a-dry1 la1 la6 ,line #e4 ,the roof of the house1 la1 la6 ,line #h4 ,the door of the house1 la1 la6 ,line #i4 ,turn in this way1 la1 la6 ,footnote #bab3 ,pikaka 7full form pikakao74 ,dried up1 juiceless4 ,the one who supplied the above lines expressed inability to understand their meaning1 averring that they are 8classical ,hawaiian10 meaning1 doubtless1 that they are archaic slang4 ,as to the ninth line1 the practice of 8sitting in the door0 seems to have been the fashion with such folk as far back as the time of ,solomon4 ,let us picture this princess of ,maui1 this granddaughter of ,wahieloa1 ,wewehi1 as a ,helen1 with all of ,helen's frailty1 a flirt-errant1 luxurious in life1 quickly deserting one lover for the arms of another2 yet withal of such humanity and kindness of fascination that1 at her death1 or absence1 all things mourned her--not as ,lycidas was mourned3 8,with cowslips wan that hang the pensive head1 4444444444444444444444444444444444444444 44444 ,and daffodillies fill their cups with tears10 but in some rude pagan fashion2 all of which is wrought out and symbolized in the mele with such imagery as is native to the mind of the savage4 ,the attentive reader will not need be told that1 as in many another piece out of ,hawaii's old-time legends1 the path through this song is beset with euphuistic stumbling blocks4 ,the purpose of language1 says ,talleyrand1 is to conceal thought4 ,the veil in this case is quite gauzy4 ,the language of the following song for the marionette dance1 hula ki'i1 as in the one previously given1 is mostly of that ,page #ig kind which the ,hawaiians term olelo kapkepke1 or olelo hun1 shifty talk1 or secret talk4 ,we might call it slang1 though1 it is not slang in the exact sense in which we use that word1 applying it to the improvised counters of thought that gain currency in our daily speech until they find admission to the forum1 the platform1 and the dictionary4 ,it is rather a cipher-speech1 a method of concealing one's meaning from all but the initiated1 of which the ,hawaiian1 whether alii or commoner1 was very fond4 ,the people of the hula were famous for this sort of accomplishment and prided themselves not a little in it as an effectual means of giving appropriate flavor and gusto to their performances4 ,mele ,ele-ele kau-kau2#bac ,ka hala-le1#bad e kau-kau1 ,ka e-ele ihi1 ,ele ihi1 ele a1 #e ,ka e-ele ku-pou2#bae ,ku-pou4 ,ka hala1 e6#baf ,translation4 ,song ,point to a dark one1 ,point to a dainty piece1 ,a delicate morsel she6 ,very choice1 very hot6 #e ,she that stoops over-- ,aye stoops6 ,lo1 the hala fruit6 ,the translation has to be based largely on conjecture4 ,the author of this bit of fun-making1 which is couched in old-time slang1 died without making known the key to his cipher1 and no one whom the present writer has met with is able to unravel its full meaning4 ,footnote #bac3 ,kau-kau4 ,conjectural meaning to point out some one in the audience1 as the marionettes often did4 ,people were thus sometimes inveigled in behind the curtain4 ,footnote #bad3 ,hala-le4 ,said to mean a sop1 with which one took up the juice or gravy of food2 a choice morsel4 ,footnote #bae3 ,ku-pou4 ,to stoop over1 from devotion to one's own pursuits1 from modesty1 or from shame4 ,footnote #baf3 ,the meaning of this line has been matter for much conjecture4 ,the author has finally adopted the suggestion embodied in the translation here given1 which is a somewhat gross reference to the woman's physical charms4 ,the following mele for the hula ki'i1 in language colored by the same motive1 was furnished by an accomplished practitioner who had traveled far and wide in the practice of her art1 having been one of a company of hula dancers that attended the ,columbian exposition in ,chicago4 ,it was her good ,page #ih fortune also to reach the antipodes in her travels1 and it was at ,berlin1 she says1 that she witnessed for the first time the ,european counterpart of the hula ki'i1 the 8,punch and ,judy0 show3 ,mele no ka ,hula ,ki'i ,e le'e kau-kau1 kala le'e2 ,e le'e kau-kau4 ,e le'e kau-kau1 kala le'e4 ,e lepe kau-kau4 #e ,e o-ku ana i kai2 ,e u-au ai aku2 ,e u-au ai aku2 ,e u-au ai aku6 ,e-he-he1 e6 ,translation4 ,song for the ,hula ,ki'i ,now for the dance1 dance in accord2 ,prepare for the dance4 ,now for the dance1 dance in time4 ,up1 now1 with the flag6 #e ,step out to the right ,step out to the left6 ,ha1 ha1 ha6 ,this translation is the result of much research1 yet its absolute accuracy can not be vouched for4 ,the most learned authorities 7kaka-olelo7 in old ,hawaiian lore that have been found by the writer express themselves as greatly puzzled at the exact meaning of the mele just given4 ,some scholars1 no doubt1 would dub these nonsense-lines4 ,the author can not consent to any such view4 ,the old ,hawaiians were too much in earnest to permit themselves to juggle with words in such fashion4 ,they were fond of mystery and concealment1 appreciated a joke1 given to slang1 but to string a lot of words together without meaning1 after the fashion of a college student who delights to relieve his mind by shouting 8,upidee1 upida10 was not their way4 8,the people of the hula10 said one man1 8had ways of fun-making peculiar to themselves40 ,when the hula-dancer who communicated to the author the above song--a very accomplished and intelligent woman--was asked for information that would render possible its proper translation1 she replied that her part was only that of a mouthpiece to repeat the words and to make appropriate gestures1 he pono hula wale no1 mere parrot-work4 ,the language1 she said1 was such 8classic0 ,hawaiian as to be beyond her understanding4 ,page #ii ,here1 again1 is another song in argot1 a coin of the same mintage as those just given3 ,mele ,e kau-kau i hale manu1 e6 ,ike oe i ka lola huluhulu1 e8 ,i ka huluhulu a we'uwe'u1 e8 ,i ka punohu1#bag e1 a ka la e kau nei8 #e ,walea ka manu i ka wai1 e6 ,i ka wai lohi o ke kini1 e6 ,translation4 ,song ,let's worship now the bird-cage4 ,seest thou the furzy woodland1 ,the shag of herb and forest1 ,the low earth-tinting rainbow1 #e ,child of the ,sun that swings above8 ,o1 happy bird1 to drink from the pool1 ,a bliss free to the million6 ,footnote #bag3 ,punohu4 ,a compact mass of clouds1 generally lying low in the heavens2 a cloud-omen2 also a rainbow that lies close to the earth1 such as is formed when the sun is high in the heavens4 ,this is the language of symbolism4 ,when ,venus went about to ensnare ,adonis1 among her other wiles she warbled to him of mountains1 dales1 and pleasant fountains4 ,the mele now presented is of an entirely different character from those that have just preceded4 ,it is said to have been the joint composition of the high chief ,keiki-o-ewa of ,kauai1 at one time the kahu of ,prince ,moses1 and of ,kapihe1 a distinguished poet--haku-mele--and prophet4 7,to ,kapihe is ascribed the prophetic and oracular utterance1 ,e iho ana o luna1 e pii ana o lalo2 e ku ana ka paia2 e moe ana kaula2 e kau ana kau-huhu--o lani iluna1 o honua ilalo--8,the high shall be brought low1 the lowly uplifted2 the defenses shall stand2 the prophet shall lie low2 the mountain walls shall abide--heaven above1 earth beneath407 ,this next poem may be regarded as an epithalamium1 the celebration of the mystery and bliss of the wedding night1 the hoo ana of a high chief and his high-born kapu sister4 ,the murmur of the breeze1 the fury of the winds1 the heat of the sun1 the sacrificial ovens1 all are symbols that set forth the emotions1 experiences1 and mysteries of the night3 ,page #ajj ,mele 7,ko'ihonua7 ,o ,wanahili#bah ka po loa ia ,manu'a1#bai ,o ka pu kau kama#bbj i ,hawaii akea2 ,o ka pu leina#bba kea a ,kiha-- ,o ,kiha nui a ,pii-lani--#bbb #e ,o ,kauhi kalana-honu'-a-,kama2#bbc ,o ka maka iolena#bbd ke koohaulani i-6 ,o kela kanaka hoali mauna1#bbe ,o ,ka ,lani ku'i hono i ka moku4#bbf ,i waihona kapuahi kanaka eh1#bbg #aj ,ai' i ,kauai1 i ,oahu1 i ,maui1 ,i ,hawaii kahiko o ,keawe enaena1#bbh ,ke a-1 mai la me ke o-koko1 ,ke lapa-lapa la i ka makani1 ,makani kua1 he ,naulu4#bbi #aj ,kua ka ,wainoa i ka ,mikioi1 ,page #aja ,pu- ia lalo o ,hala-li'i1 #bcj ,me he alii1 alii1 la no ka hele i ,kekaha1 ,ka hookiekie i ka li'u-la1#bca ,ka hele i ke alia-lia la1 alia6 #bj ,alia-lia la'a-laau ,kekaha4 ,ke kaha o ,kala-ihi1 ,wai-o-lono4 ,ke olo la ke pihe a ka ,la1 e6 ,ke nu la paha i ,honua-ula4 ,footnote #bah3 ,wanahili4 ,a princess of the mythological period belonging to ,puna1 ,hawaii4 ,footnote #bai3 ,manu'a4 ,a king of ,hilo1 the son of ,kane-hili1 famous for his skill in spear-throwing1 maika-rolling1 and all athletic exercises4 ,he was united in marriage1 ho-ao1 to the lovely princess ,wanahili4 ,tradition deals with ,manua as a very lovable character4 ,footnote #bbj3 ,pu kau kama4 ,the conch 7pu7 is figured as the herald of fame4 ,kau is used in the sense of to set on high1 in contrast with such a word as waiho1 to set down4 ,kama is the word of dignity for children4 ,footnote #bba3 ,pu leina4 ,it is asserted on good authority that the triton 7pu71 when approached in its ocean habitat1 will often make sudden and extraordinary leaps in an effort to escape4 ,there is special reference here to the famous conch known in ,hawaiian story as ,kiha-pu4 ,it was credited with supernatural powers as a kupua4 ,during the reign of ,umi1 son of ,liloa1 it was stolen from the heiau in ,waipio valley and came into the hands of god ,kane4 ,in his wild awa-drinking revels the god terrified ,umi and his people by sounding nightly blasts with the conch4 ,the shell was finally restored to ,king ,umi by the superhuman aid of the famous dog ,puapua-lena-lena4 ,footnote #bbb3 ,kiha-nui a ,piilani4 ,son of ,piilani1 a king of ,maui4 ,he is credited with the formidable engineering work of making a paved road over the mountain palis of ,koolau1 ,maui4 ,footnote #bbc3 ,kauhi kalana-honu'-a-,kama4 ,this ,kauhi1 as his long title indicates1 was the son of the famous king1 ,kama-lala-walu1 and succeeded his father in the kingship over ,maui and1 probably1 ,lanai4 ,kama-lala-walu had a long and prosperous reign1 which ended1 however1 in disaster4 ,acting on the erroneous reports of his son ,kauhi1 whom he had sent to spy out the land1 he invaded the kingdom of ,lono-i-ka-makahiki on ,hawaii1 was wounded and defeated in battle1 taken prisoner1 and offered up as a sacrifice on the altar of ,lono's god1 preferring that death1 it is said1 to the ignominy of release4 ,footnote #bbd3 ,i-olena4 ,roving1 shifty1 lustful4 ,footnote #bbe3 ,kanaka hoali mauna4 ,man who moved mountains2 an epithet of compliment applied perhaps to ,kiha1 above mentioned1 or to the king mentioned in the next verse1 ,kekaulike4 ,footnote #bbf3 ,ku'i hono i ka moku4 ,who bound together into one 7state7 the islands ,maui1 ,molokai1 ,lanai1 and ,kahoolawe4 ,this was1 it is said1 ,kekaulike1 the fifth king of ,maui after ,kama-lala-walu4 ,at his death he was succeeded by ,kamehameha-nui--to be distinguished from the ,kamehameha of ,hawaii--and he in turn by the famous warrior-king ,kahekili1 who routed the invading army of ,kalaniopuu1 king of ,hawaii1 on the sand plains of ,wailuku4 ,footnote #bbg3 ,i waihona kapuahi kanaka eh4 ,this verse presents grammatical difficulties4 ,the word ,i implies the imperative1 a form of request or demand1 though that is probably not the intent4 ,it seems to be a means1 authorized by poetical license1 of ascribing honor and tabu-glory to the name of the person eulogized1 who1 the context leads the author to think1 was ,kekaulike4 ,the island names other than that of ,maui seem to have been thrown in for poetical effect1 as that king1 in the opinion of the author1 had no power over ,kauai1 ,oahu1 or ,hawaii4 ,the purpose may have been to assert that his glory reached to those islands4 ,footnote #bbh3 ,keawe enaena4 ,keawe1 whose tabu was hot as a burning oven4 ,presumably ,keawe1 the son of ,umi1 is the one meant4 ,footnote #bbi3 ,naulu4 ,the sea-breeze at ,waimea1 ,kauai4 ,footnote #bcj3 ,hala-lii4 ,a sandy plain on ,niihau1 where grows a variety of sugar-cane that lies largely covered by the loose soil1 ke ko eli o ,hala-lii4 ,footnote #bca3 ,li'u-la4 ,the mirage1 a common phenomenon on ,niihau1 and especially at ,mana1 on ,kauai4 ,translation4 ,song 7,distinct utterance7 ,wanahili bides the whole night with ,manu'a1 ,by trumpet hailed through broad ,hawaii1 ,by the white vaulting conch of ,kiha-- ,great ,kiha1 offspring of ,pii-lani1 #e ,father of eight-branched ,kama-lala-walu ,the far-roaming eye now sparkles with joy1 ,whose energy erstwhile shook mountains1 ,the king who firm-bound the isles in one state1 ,his glory1 symboled by four human altars1 #aj ,reaches ,kauai1 ,oahu1 ,maui1 ,hawaii the eld of ,keawe1 ,whose tabu1 burning with blood-red blaze1 ,shoots flame-tongues that leap with the wind1 ,the breeze from the mountain1 the ,naulu4 #ae ,waihoa humps its back1 while cold ,mikioi ,blows fierce and swift across ,hala-li'i4 ,it vaunts like a king at ,kekaha1 ,flaunting itself in the sun's heat1 ,and lifts itself up in mirage1 #bj ,ghost-forms of woods and trees in ,kekaha-- ,sweeping o'er waste ,kala-ihi1 ,water-of-,lono2 ,while the sun shoots forth its fierce rays-- ,its heat1 perchance1 reaches to ,honua-ula4 ,the mele next given takes its local color from ,kauai and brings vividly to mind the experiences of one who has climbed the mountain walls pali1 that buffet the winds of its northern coast4 ,mele ,kalalau1 pali eku i ka makani2 ,pu ka ,lawa-kua1#bcb hoi mau i ,kolo-kini2 ,nu a anahulu ka pa ana i-uka-- ,anahulu me na po keu elua4 ,page #ajb #e ,elua ,hono-pu o ia kua kanaka2 ,elua ,ko'a-mano#bcc me ,wai-aloha1 ,ka pali waha iho1 waha iho#bcd me ke kua2 ,ke keiki puu iloko o ka pali nui4 ,e hii an'#bce e ,makua i ,kalalau4 ,footnote #bcb3 ,lawa-kua4 ,a wind in ,kalalau that blows for a time from the mountains and then1 it is said1 veers to the north1 so that it comes from the direction of a secondary valley1 ,kolo-kini1 a branch of ,kalalau4 ,the bard describes it as continuing to blow for twelve nights before ,it shifts1 an instance1 probably1 of poetic license4 ,footnote #bcc3 ,ko'a-mano4 ,a part of the ocean into which the stream ,wai-aloha falls4 ,footnote #bcd3 ,waha iho4 ,with mouth that yawns downward1 referring1 doubtless1 to the overarching of the pali1 precipice4 ,the same figure is applied to the back 7kua7 of the traveler who climbs it4 ,footnote #bce3 ,elision of the final a in ana4 ,translation4 ,song ,the mountain walls of ,kalalau ,buffet the blasts of ,lawa-kau1 ,that surge a decade of nights and twain2 ,then1 wearied1 it veers to the north4 #e ,two giant backs stand the cliffs ,hono-pu2 ,the falls ,wai-aloha mate with the sea3 ,an overhung pali--the climber's back swings in ,its mouth--to face it makes one a child-- ,makua1 whose arms embrace ,kalalau4 ,the mind of the ancient bard was so narrowly centered on the small plot his imagination cultivated that he disregarded the outside world1 forgetting that it could not gaze upon the scenes which filled his eyes4 ,the valley of ,kalalau from its deep recess in the northwestern coast of ,kauai looks out upon the heaving waters of the ,pacific4 ,the mountain walls of the valley are abrupt1 often overhanging4 ,viewed from the ocean1 the cliffs are piled one upon another like the buttresses of a ,gothic cathedral4 ,the ocean is often stormy1 and during several months in the year forbids intercourse with other parts of the island1 save as the hardy traveler makes his way along precipitous mountain trails4 ,the hula ala'a-papa1 hula ipu1 hula pa-ipu 7or kuolo71 the hula hoo-nan1 and the hula ki'i were all performed to the accompaniment of the ipu or calabash1 and1 being the only ones that were so accompanied1 if the author is correctly informed1 they may be classed together under one head as the calabash hulas4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,x ,,pahu ,,hula1 ,,hula ,,drum ,page #ajc ,,xii4--,,the ,,hula ,,pahu ,the hula pahu was so named from the pahu1#bcf or drum1 that was its chief instrument of musical accompaniment 7pl4 x74 ,footnote #bcf3 ,full form1 pahu-hula4 ,it is not often that the story of an institution can be so closely fitted to the landmarks of history as in the case of this hula2 and this comes about through our knowledge of the history of the pahu itself4 ,tradition1 direct and reliable1 informs us that the credit of introducing the big drum belongs to ,la'a4 ,this chief flourished between five and six centuries ago1 and from having spent most of his life in the lands to the south1 which the ancient ,hawaiians called ,kahiki1 was himself generally styled ,la'a-mai-,kahiki 7,la'a-from-,kahiki74 ,the young man was of a volatile disposition1 given to pleasure1 and it is evident that the big drum he brought with him to ,hawaii on one of his voyages from ,kahiki was in his eyes by no means the least important piece of baggage that freighted his canoes4 ,on nearing the land he waked the echoes with the stirring tones of his drum1 which so astonished the people that they followed him from point to point along the coast and heaped favors upon him whenever he came ashore4 ,la'a was an enthusiastic patron of the hula and is said to have made a tour of the islands1 in which he instructed the natives in new forms of this seductive pastime1 one of which was the hula ka-eke4 ,there is reason to believe1 it seems1 that the original use of the pahu was in connection with the services of the temple1 and that its adaptation to the halau was simply a transference from one to another religious use4 ,the hula pahu was preeminently a performance of formal and dignified character1 not such as would be extemporized for the amusement of an irreverent company4 ,like all the formal hulas1 it was tabu1 by which the ,hawaiians meant that it was a religious service1 or so closely associated with the notion of worship as to make it an irreverence to trifle with it4 ,for this reason as well as for its intrinsic dignity its performance was reserved for the most distinguished guests and the most notable occasions4 ,both classes of actors took part in the performance of the hula pahu1 the olapa contributing the mele as they stood and went through the motions of the dance1 while the hoopaa maintained the kneeling position and operated the big drum with the left hand4 ,while his left hand was thus engaged1 the ,page #ajd musician with a thong held in his right hand struck a tiny drum1 the pu-niu1 that was conveniently strapped to the thigh of the same side4 ,as its name signifies1 the pu-niu was made from coconut shell1 being headed with fish-skin4 ,the harmonious and rhythmic timing of these two instruments called for strict attention on the part of the performer4 ,the pahu1 having a tone of lower pitch and greater volume than the other1 was naturally sounded at longer intervals1 while the pu-niu delivered its sharp crisp tones in closer order4 ,mele 7,ko'i-honua7 ,o ,hilo oe1 ,hilo1 muliwai a ka ua i ka lani1 ,i hana ia ,hilo1 ko- ana e ka ua4 ,e hal ko ,hilo ma i-o1 i-anei2 ,lenalena ,hilo e1 panopano i ka ua4 #e ,ua lono ,pili-keko o ,hilo i ka wai2 ,o-kakala ka hulu o ,hilo i ke anu2 ,ua ku o ka paka a ka ua i ke one2 ,ua moe oni ole ,hilo i-luna ke alo2 ,ua hana ka uluna lehu o ,hana-kahi4 #aj ,haule ka onohi ,hilo o ka ua i ke one2 ,loku kapa ka hi-hilo kai o ,pai-kaka4 ,ha1 e6 #b ,a ,puna au1 i ,kuki'i au1 i ,ha'eha'e1 ,ike au i ke a kino-lau lehua4 ,he laau malalo o ia pohaku4 ,hanohano ,puna e1 kehakeha i ka ua1 #e ,khiko mau no ia no-laila4 ,he aina haaheo loa no ,puna2 ,i haaheo i ka hala me ka lehua2 ,he maikai maluna1 he a malalo2 ,he kelekele ka papa o ,mau-kele4 #aj ,kahuli ,apua e1 kele ana i ,mau-kele4 ,translation4 ,song 7,bombastic style7 ,thou art ,hilo1 ,hilo1 flood-gate of heaven4 ,hilo has power to wring out the rain4 ,let ,hilo turn here and turn there2 ,hilo's kept from employ1 somber with rain2 #e ,pili-keko roars with full stream2 ,the feathers of ,hilo bristle with cold1 ,and her hail-stones smite on the sand4 ,she lies without motion1 with upturned face1 ,the fire-places pillowed with ashes2 #aj ,the bullets of rain are slapping the land1 ,pitiless rain turmoiling ,pai-kaka4 ,so1 indeed4 ,page #aje #b ,in ,puna was ,i1 in ,ku-ki'i1 in ,ha'e-ha'e1 ,i saw a wraith of lehua1 a burning bush1 ,a fire-tree beneath the lava plate4 ,magnificent ,puna1 fertile from rain1 #e ,at all times weaving its mantle4 ,aye ,puna's a land of splendor1 ,proudly bedight with palm and lehua2 ,beauteous above1 but horrid below1 ,and miry the plain of ,mau-kele4 #aj ,apua upturned1 plod on to ,mau-kele4 ,mele ,kau lilua i ke anu ,wai-aleale2 ,he maka halalo ka lehua makanoe2#bcg ,he lihilihi kuku ia no ,aipo1#bch e2 ,o ka hulu a'a ia o ,hau-a-iliki2#bci #e ,ua pehi 'a e ka ua a ha ka nahele1 ,maui ka pua1 uwe ha i ke anu1 ,i ke kukuna la-wai o ,mokihana4#bdj ,ua hana ia aku ka pono a ua pololei2 ,ua hai 'na ia aku no ia oe2 #aj ,o ke ola no ia4 ,o kia'i loko1 kia'i ,ka-ula1#bda ,nana i ka makani1 hoolono ka leo1 ,ka halulu o ka ,malua-kele2#bdb ,kiei1 halo i ,maka-ike-ole4 #ae ,kamau ke ea i ka halau#bdc a ola2 ,he kula lima ia no ,wawae-noho1#bdd ,me he puko'a hakahaka la i ,waahila ,ka momoku a ka unu-lehua o ,lehua4 ,a lehulehu ka hale pono ka noho ana1 #bj ,loaa kou haawina--o ke aloha1 ,ke hauna#bde mai nei ka puka o ka hale4 ,ea6 ,footnote #bcg3 ,lehua makanoe4 ,the lehua trees that grow on the top of ,wai-aleale1 the mountain mass of ,kauai1 are of peculiar form1 low1 stunted1 and so furzy as to be almost thorny1 kuku1 as mentioned in the next line4 ,footnote #bch3 ,ai-po4 ,a swamp that occupies the summit basin of the mountain1 in and about which the thorny lehua trees above mentioned stand as a fringe4 ,footnote #bci3 ,hau-a-iliki4 ,a word made up of hau1 dew or frost1 and iliki1 to smite4 ,the a is merely a connective4 ,footnote #bdj3 ,mokihana4 ,the name of a region on the flank of ,wai-aleale1 also a plant that grows there1 whose berry is fragrant and is used in making wreaths4 ,footnote #bda3 ,ka-ula4 ,a small rocky island visible from ,kauai4 ,footnote #bdb3 ,malua-kele4 ,a wind4 ,footnote #bdc3 ,halau4 ,the shed or house which sheltered the canoe1 wa'a1 which latter1 as we have seen1 was often used figuratively to mean the human body1 especially the body of a woman4 ,kamau ke ea i ka halau might be translated 8persistent the breath from her body40 8,there's kames o' hinny 'tween my luve's lips40 ,footnote #bdd3 ,wawae-noho4 ,literally the foot that abides2 it is the name of a place4 ,here it is to be understood as meaning constancy4 ,it is an instance in which the concrete stands for the abstract4 ,footnote #bde3 ,hauna4 ,an odor4 ,in this connection it means the odor that hangs about a human habitation4 ,the hidden allusion1 it is needless to say1 is to sexual attractiveness4 ,page #ajf ,translation4 ,song ,wai-aleale stands haughty and cold1 ,her lehua bloom1 fog-soaked1 droops pensive2 ,the thorn-fringe set about swampy ,ai-po is ,a feather that flaunts in spite of the pinching frost4 #e ,her herbage is pelted1 stung by the rain2 ,bruised all her petals1 and moaning in cold ,mokihana's sun1 his wat'ry beams4 ,i have acted in good faith and honor1 ,my complaint is only to you-- #aj ,a matter that touches my life4 ,best watch within and toward ,ka-ula2 ,question each breeze1 note every rumor1 ,even the whisper of ,malua-kele4 ,search high and search low1 unobservant4 #ae ,there is life in the breath from her body1 ,fond caress by a hand not inconstant4 ,like fissured groves of coral ,stand the ragged clumps of lehua4 ,many the houses1 easy the life4 #bj ,you have your portion--of love2 ,humanity smells at the door4 ,aye1 indeed4 ,the imagery of this poem is peculiarly obscure and the meaning difficult of translation4 ,the allusions are so local and special that their meaning does not carry to a distance4 ,wai-aleale is the central mountain mass of ,kauai1 about #f1jjj feet high4 ,its summit1 a cold1 fog-swept wilderness of swamp and lake beset with dwarfish growths of lehua1 is used as the symbol of a woman1 impulsively kind1 yet in turn passionate and disdainful4 ,the physical attributes of the mountain are ascribed to her1 its spells of frosty coldness1 its gloom and distance1 its fickleness of weather1 the repellant hirsuteness of the stunted vegetation that fringes the central swamp--these things are described as symbols of her temper1 character1 and physical make-up4 ,the bloom and herbage of the wilderness1 much pelted by the storm1 are figures to represent her physical charms4 ,but spite of all these faults and imperfections1 a perennial fragrance1 as of mokihana1 clings to her person1 and she is the object of devoted love1 capable of weaving the spell of fascination about her victims4 ,this poem furnishes a good example of a peculiarity that often is an obstacle to the understanding of ,hawaiian poetry4 ,it is the breaking up of the composition into a number of parts that have but a loose seeming connection the one with the other4 ,illustration3 ,,bulletin #ch ,,plate ,,xi ,,li-,,ul1 ,a ,,gourd ,,rattle ,page #ajg ,,xiii4--,,the ,,hula ,,li-,,ul ,the hula li-ul was so called from the rattle which was its sole instrument of accompaniment4 ,this consisted of a small gourd about the size of a large orange1 into the cavity of which were put shot-like seeds1 like those of the canna2 a handle was then attached 7pl4 xi74 ,the actors who took part in this hula belonged1 it is said1 to the class termed hoopaa1 and went through with the performance while kneeling or squatting1 as has been described4 ,while cantillating the mele they held the rattle1 li-ul1 in the right hand1 shaking it against the palm of the other hand or the thigh1 or making excursions in one direction and another4 ,in some performances of this hula which the author has witnessed the olapa also took part1 in one case a woman1 who stood and cantillated the song with movement and gesture1 while the hoopaa devoted themselves exclusively to handling the li-ul rattles4 ,the sacrificial offerings that preceded the old-time performances of this hula are said to have been awa and a roast porkling1 in honor of the goddess ,laka4 ,if the dignity and quality of the meles now used1 or reported to have been used1 in the hula li-ul are to be taken as any criterion of the quality and dignity of this hula1 one has to conclude that it must be assigned to a rank below that of some others1 such1 for instance1 as the ala'a-papa1 pa-ipu1 ,pele1 and others4 ,david ,malo1 the ,hawaiian historian1 author of ,ka ,moolelo ,hawaii1#bdf in the short chapter that he devotes to the hula1 mentions only ten hulas by name1 the ka-laau1 pa'i-umauma1 pahu1 pahu'a1 ala'a-papa1 pa'i-pa'i1 pa-ipu1 ulili1 kolani1 and the kielei4 ,ulili is but another form of the word li-ul4 ,any utterance of ,malo is to be received seriously2 but it seems doubtful if he deliberately selected for mention the ten hulas that were really the most important4 ,it seems more probable that he set down the first ten that stood forth prominent in his memory4 ,it was not ,malo's habit1 nor part of his education1 to make an exhaustive list of sports and games1 or in fact of anything4 ,he spoke of what occurred to him4 ,it must also be remembered that1 being an ardent convert to ,christianity1 ,page #ajh ,malo felt himself conscience-bound to set himself in opposition to the amusements1 sports1 and games of his people1 and he was unable1 apparently1 to see in them any good whatsoever4 ,malo was a man of uncompromising honesty and rigidity of principles4 ,his nature1 acting under the new influences that surrounded him after the introduction of ,christianity1 made it impossible for him to discriminate calmly between the good and the pernicious1 between the purely human and poetic and the depraved elements in the sports practised by his people during their period of heathenism4 ,there was nothing halfway about ,malo4 ,having abandoned a system1 his nature compelled him to denounce it root and branch4 ,footnote #bdf3 ,translated by ,n4,b4 ,emerson1 ,m4,d41 under the title 8,hawaiian ,antiquities10 and published by the ,b4,p4 ,bishop ,museum4 ,hawaiian ,gazette ,company 7,limited71 ,honolulu1 #aijc4 ,the first mele here offered as an accompaniment to this hula can boast of no great antiquity2 it belongs to the middle of the nineteenth century1 and was the product of some gallant at a time when princes and princesses abounded in ,hawaii3 ,mele ,aole i manao ia4 ,kahi wai a o ,alekoki4 ,hookohu ka ua i uka1 ,noho mai la i ,nuuanu4 #e ,anuanu1 makehewa au ,ke kali ana i-laila4 ,ea ino paha ua paa ,kou manao i ane'i1 ,au i hoomalu ai4 #aj ,hoomalu oe a malu2 ,ua malu keia kino ,mamuli a o kou leo4 ,kau nui aku ka manao ,kani wai a o ,kapena4 #ae ,pani'a paa ia mai ,na manowai a o uka2 ,ahu wale na ki'owai1 ,na papa-hale o luna4 ,maluna a'e no wau1 #bj ,ma ke kuono liilii4 ,a waho1 a o ,mamala1 ,hao mai nei ehu-ehu2 ,pulu au i ka huna-kai1 ,kai heahea i ka ili4 #be ,hookahi no koa nui1 ,nana e alo ia ino4 ,ino-ino mai nei luna1 ,i ka hao a ka makani4 ,he makani ahai-lono2 #cj ,lohe ka luna i ,pelekane4 ,o ia pouli nui ,mea ole i ku'u manao4 ,i o1 i a-ne'i au1 ,ka piina la o ,ma'ema'e1 ,page #aji #ce ,e kilohi au o ka nani ,na pua i ,mauna-ala4 ,he ala ona-ona kou1 ,ke pili mai i ane'i1 ,o a'u lehua ula i-luna1 #dj ,ai ono a na manu4 ,translation4 ,song ,i spurn the thought with disdain ,of that pool ,alekoki3 ,on the upland lingers the rain ,and fondly haunts ,nuuanu4 #e ,sharp was the cold1 bootless ,my waiting up there4 ,i thought thou wert true1 ,wert loyal to me1 ,whom thou laids't under bonds4 #aj ,take oath now and keep it2 ,this body is sacred to thee1 ,bound by the word of thy mouth4 ,my heart leaps up at thought ,of the pool1 pool of ,kapena2 #ae ,to me it is fenced1 shut off1 ,the water-heads tightly sealed up4 ,the fountains must be a-hoarding1 ,for skies are ever down-pouring2 ,the while ,i am lodged up aloft1 #bj ,bestowed in the cleft of a rock4 ,now1 tossed by sea at ,mamala1 ,the wind drives wildly the surf2 ,i'm soaked with the scud of the ocean1 ,my body is rough with the rime4 #be ,but one stout hero and soldier1 ,with heart to face such a storm4 ,wild scud the clouds1 ,hurled by the tempest1 ,a tale-bearing wind1 #cj ,that gossips afar4 ,the darkness and storm ,are nothing to me4 ,this way and that am ,i turning1 ,climbing the hill ,ma'e-ma'e1 #ce ,to look on thy charms1 dear one1 ,the fragrant buds of the mountain4 ,what perfume breathes from thy body1 ,such time as to thee ,i come close1 ,my scarlet bloom of lehua #dj ,yields nectar sought by the birds4 ,this mele is said to have been the production of ,prince ,page #aaj ,william ,lunalilo--afterward ,king of the ,hawaiian islands--and to have been addressed to the ,princess ,victoria ,kamamalu1 whom he sought in marriage4 ,both of them inherited high chief rank1 and their offspring1 according to ,hawaiian usage1 would have outranked her brothers1 kings ,kamehameha ,,iv and ,v4 ,selfish and political considerations1 therefore1 forbade the match1 and thereby hangs a tale1 the shadow of which darkens this song4 ,every lover is one part poet2 and ,lunalilo1 even without the love-flame1 was more than one part poet4 ,the poem shows the influence of foreign ways and teachings and the pressure of the new environment that had entered ,hawaii1 in its form1 in the moderation of its language and imagery1 and in the coherence of its parts2 at the same time the spirit of the song and the color of its native imagery mark it as the product of a ,polynesian mind4 ,according to the author's interpretation of the song1 ,alekoki 7verse #b71 a name applied to a portion of the ,nuuanu stream lower down than the basin and falls of ,kapena 7,kahiwai a o ,kapena--verse #ad71 symbolizes a flame that may once have warmed the singer's imagination1 but which he discards in favor of his new love1 the pool of ,kapena4 ,the rain1 which prefers to linger in the upland regions of ,nuuanu 7verses #c and #d7 and which often reaches not the lower levels1 typifies his brooding affection4 ,the cold1 the storm1 and the tempest that rage at ,mamala 7verse #ba7--;a name given to the ocean just outside ,honolulu harbor--and that fill the heavens with driving scud 7verses #bg and #bh7 represent the violent opposition in high quarters to the love-match4 ,the tale-bearing wind1 makani ahai-lono 7verse #bi71 refers1 no doubt1 to the storm of scandal4 ,the use of the place-names ,ma'ema'e and ,mauna-ala seem to indicate ,nuuanu as the residence of the princess4 ,mele ,,pale ,i ,auhea wale oe1 e ka ,makani ,inu-wai8 ,pa kolonahe i ka ili-kai1 ,hoonui me ka ,naulu1 ,na ulu hua i ka hapapa4 #e ,an au ike i ke ko ,hala-li'i1 ,i keia wa nana ia ,lehua4 ,,pale ,,ii ,aia i ,waimea ku'u haku-lei8 ,hui pu me ka wai ula iliahi1 ,mohala ka pua i ke one o ,pawene2 #aj ,ka lawe a ke ,koolau ,noho pu me ka ua punonohu ula i ka nahele1 ,ike i ka wai kea o ,makaweli2 ,page #aaa ,ua noho pu i ka nahele ,me ka lei hinahina o ,maka-li'i4 #ae ,liilii ka uka o ,koae'a2 ,nana i ka ua lani-pili1 ,ka -1 manu le'a o ka nahele4 ,i ,pa-ie-ie au1 noho pu me ke anu4 ,e ha'i a'e oe i ka puana3 #bj ,ke kahuna kalai-hoe o ,puu-ka-,pele4 ,translation4 ,song ,,canto ,i ,whence art thou1 thirsty wind1 ,that gently kissest the sea1 ,then1 wed to the ocean breeze1 ,playest fan with the breadfruit tree8 #e ,here sprawl ,hala-lii's canes1 ,there stands bird-haunted ,lehua4 ,,canto ,,ii ,my wreath-maker dwells at ,waimea4 ,partnered is she to the swirling river2 ,they plant with flowers the sandy lea1 #aj ,while the bearded surf1 tossed by the breeze1 ,vaunts on the hills as the sun-bow1 ,looks on the crystal stream ,makaweli1 ,and in the wildwood makes her abode ,with ,hinahina of silvern wreaths4 #ae ,koaea's a speck to the eye1 ,under the low-hanging rain-cloud1 ,woodland home of the plaintive -4 ,from frost-bitten ,pa-ie-ie ,i bid you1 guess me the fable3 #bj ,paddle-maker on ,pele's mount4 ,this mele comes from ,kauai1 an ,island in many respects individualized from the other parts of the group and that seems to have been the nurse of a more delicate imagination than was wont to flourish elsewhere4 ,its tone is archaic1 and it has the rare merit of not transfusing the more crudely erotic human emotions into the romantic sentiments inspired by nature4 ,the ,hawaiians dearly loved fable and allegory4 ,argument or truth1 dressed out in such fanciful garb1 gained double force and acceptance4 ,we may not be able to follow a poet in his wanderings2 his local allusions may obscure to us much of his meaning2 the doctrine of his allegory may be to us largely a riddle2 and the connection between the body of its thought and illustration and the application1 or solution1 of the poetical conundrum may be past our comprehension2 but the ,page #aab play of the poet's fancy1 whether childish or mature1 is an interesting study1 and brings us closer in human sympathy to the people who took pleasure in such things4 ,in translating this poem1 while not following literally the language of the poet1 the aim has been to hit the target of his deeper meaning1 without hopelessly involving the reader in the complexities of ,hawaiian color and local topography4 ,a few words of explanation must suffice4 ,the ,makani ,inu-wai 7verse #a7--known to all the islands--is a wind that dries up vegetation1 literally a water-drinking wind4 ,the ,naulu 7verse #c7 is the ordinary sea-breeze at ,waimea1 ,kauai1 sometimes accompanied by showers4 ,hala-li'i 7verse #e7 is a sandy plain on ,niihau1 and the peculiarity of its canes is that they sprawl along on the ground1 and are often to a considerable extent covered by the loose soil4 ,lehua 7verse #f7 is the well-known bird-island1 lying north of ,niihau and visible from the ,waimea side of ,kauai4 ,the wreath-maker1 haku-lei 7verse #g71 who dwells at ,waimea1 is perhaps the ocean-vapor1 or the moist sea-breeze1 or1 it may be1 some figment of the poet's imagination--the author can not make out exactly what4 ,the hinahina 7verse #ad71 a native geranium1 is a mountain shrub that stands about #c feet high1 with silver-gray leaves4 ,maka-weli1 ,maka-li'i1 ,koae'a1 and ,pa-ie-ie are names of places on ,kauai4 ,puu-ka-,pele 7verse #bj7 as the name indicates1 is a volcanic hill1 situated near ,waimea4 ,the key or answer 7puana71 to the allegory given in verse #bj1 ,ke kahuna kalai-hoe o ,puu-ka-,pele1 the paddle-making kahuna of ,pele's mount1 when declared by the poet 7haku-mele71 is not very informing to the foreign mind2 but to the ,hawaiian auditor it1 no doubt1 took the place of our haec fabula docet1 and it at least showed that the poet was not without an intelligent motive4 ,in the poem in point the author acknowledges his inability to make connection between it and the body of the song4 ,one merit we must concede to ,hawaiian poetry1 it wastes no time in slow approach4 ,the first stroke of the artist places the auditor in medias res4 ,page #aac ,,xiv4--,,the ,,hula ,,pu,,li ,the character of a hula was determined to some extent by the nature of the musical instrument that was its accompaniment4 ,in the hula puli it certainly seems as if one could discern the influence of the rude1 but effective1 instrument that was its musical adjunct4 ,this instrument1 the puli 7fig4 #a71 consisted of a section of bamboo from which one node with its diaphragm had been removed and the hollow joint at that end split up for a considerable distance into fine divisions1 which gave forth a breezy rustling when the instrument was struck or shaken4 ,the performers1 all of them hoopaa1 were often placed in two rows1 seated or kneeling and facing one another1 thus favoring a responsive action in the use of the puli as well as in the cantillation of the song4 ,one division would sometimes shake and brandish their instruments1 while the others remained quiet1 or both divisions would perform at once1 each individual clashing one puli against the other one held by himself1 or against that of his vis-a-vis2 or they might toss them back and forth to each other1 one bamboo passing another in mid air4 ,illustration3 ,,fig4 #a4--,puli1 bamboo-rattle4 ,while the hula puli is undeniably a performance of classical antiquity1 it is not to be regarded as of great dignity or importance as compared with many other hulas4 ,its character1 like that of the meles associated with it1 is light and trivial4 ,the mele next presented is by no means a modern production4 ,it seems to be the work of some unknown author1 a fragment of folklore1 it might be called by some1 that has drifted down to the present generation and then been put to service in the hula4 ,if hitherto the word folklore has not been used it is not from any prejudice against it1 but rather from a feeling that there exists an inclination to stretch the application of it beyond its true limits and to make it include popular songs1 stories1 myths1 and the like1 regardless of its fitness of application4 ,some writers1 no doubt1 would apply this vague term to a large part of the poetical pieces which are given in this book4 ,page #aad ,on the same principle1 why should they not apply the term folklore to the myths and stories that make up the body of ,roman and ,greek mythology8 ,the present author reserves the term folklore for application to those unappropriated scraps of popular song1 story1 myth1 and superstition that have drifted down the stream of antiquity and that reach us in the scrap-bag of popular memory1 often bearing in their battered forms the evidence of long use4 ,mele ,hiki mai1 niki mai ka ,la1 e4 ,aloha wale ka ,la e kau nei1 ,aia malalo o ,ka-wai-hoa1#bdg ,a ka lalo o ,kauai1 o ,lehua4 #e ,a ,kauai au1 ike i ka pali2 ,a ,milo-lii#bdh pale ka pali loloa4 ,e kolo ana ka pali o ,makua-iki2#bdi ,kolo o ,pu-1 he keiki1 ,he keiki makua-ole ke uwe nei4 ,translation4 ,song ,it has come1 it has come2 lo the ,sun6 ,how ,i love the ,sun that's on high2 ,below it swims ,ka-wai-hoa1 ,on the slope inclined from ,lehua4 #e ,on ,kauai met ,i a pali1 ,a beetling cliff that bounds ,milo-lii1 ,and climbing up ,makua-iki1 ,crawling up was ,pua1 the child1 ,an orphan that weeps out its tale4 ,the writer has rescued the following fragment from the wastebasket of ,hawaiian song4 ,a lean-to of modern verse has been omitted2 it was evidently added within a generation3 ,mele ,malua1#bej ki'i wai ke aloha1 ,hoopulu i ka liko mamane4 ,uleuleu mai na manu1 ,inu wai lehua o ,panaewa1#bea #e ,e walea ana i ke onaona1 ,ke one wali o ,ohele4 ,page #aae ,hele mai nei kou aloha ,a lalawe i ko'u nui kino1 ,au i hookohu ai1 #aj ,e kuko i ka manao4 ,kuhi no paha oe no ,hopoe#beb ,nei lehua au i ka hana ohi ai4 ,footnote #bdg3 ,kawaihoa4 ,the southern point of ,niihau1 which is to the west of ,kauai1 the evident standpoint of the poet1 and therefore 8below0 ,kauai4 ,footnote #bdh3 ,milo-lii4 ,a valley on the northwestern angle of ,kauai1 a precipitous region1 in which travel from one point to another by land is almost impossible4 ,footnote #bdi3 ,makua-iki4 ,literally 8little father10 a name given to an overhanging pali1 where was provided a hanging ladder to make travel possible4 ,the series of palis in this region comes to an end at ,milo-lii4 ,footnote #bej3 ,the ,malua was a wind1 often so dry that it sucked up the moisture from the land and destroyed the tender vegetation4 ,footnote #bea3 ,panaewa was a woodland region much talked of in poetry and song4 ,footnote #beb3 ,hopoe was a beautiful young woman1 a friend of ,hiiaka1 and was persecuted by ,pele owing to jealousy4 ,one of the forms in which she as a divinity showed herself was as a lehua tree in full bloom4 ,translation4 ,song ,malua1 fetch water of love1 ,give drink to this mamane bud4 ,the birds1 they are singing ecstatic1 ,sipping ,panaewa's nectared lehua1 #e ,beside themselves with the fragrance ,exhaled from the garden ,ohele4 ,your love comes to me a tornado2 ,it has rapt away my whole body1 ,the heart you once sealed as your own1 #aj ,there planted the seed of desire4 ,thought you 'twas the tree of ,hopoe1 ,this tree1 whose bloom you would pluck8 ,what is the argument of this poem8 ,a passion-stricken swain1 or perhaps a woman1 cries to ,malua to bring relief to his love-smart1 to give drink to the parched mamane buds--emblems of human feeling4 ,in contrast to his own distress1 he points to the birds caroling in the trees1 reveling in the nectar of lehua bloom1 intoxicated with the scent of nature's garden4 ,what answer does the lovelorn swain receive from the nymph he adores8 ,in lines #aa and #ab she banteringly asks him if he took her to be like the traditional lehua tree of ,hopoe1 of which men stood in awe as a sort of divinity1 not daring to pluck its flowers8 ,it is as if the woman had asked--if the poet's meaning is rightly interpreted--8,did you really think me plighted to vestal vows1 a tree whose bloom man was forbidden to pluck80 ,page #aaf ,,xv4--,,the ,,hula ,,ka-,,laau ,the hula ka-laau 7ka1 to strike2 laau1 wood7 was named from the instruments of wood used in producing the accompaniment1 a sort of xylophone1 in which one piece of resonant wood was struck against another4 ,both divisions of the performers1 the hoopaa and the olapa1 took part and each division was provided with the instruments4 ,the cantillation was done sometimes by one division alone1 sometimes by both divisions in unison1 or one division would answer the other1 a responsive chanting that was termed haawe aku1 haawe mai--8to give1 to return40 ,ellis gives a quotable description of this hula1 which he calls the 8hura ka raau30 ,five musicians advanced first1 each1 with a staff in his left hand1 five or six feet long1 about three or four inches in diameter at one end1 and tapering off to a point at the other4 ,in his right hand he held a small stick of hard wood1 six or nine inches long1 with which he commenced his music by striking the small stick on the larger one1 beating time all the while with his right foot on a stone placed on the ground beside him for that purpose4 ,six women1 fantastically dressed in yellow tapas1 crowned1 with garlands of flowers1 having also wreaths of native manufacture1 of the sweet-scented flowers of the gardenia1 on their necks1 and branches of the fragrant mairi 7another native plant17 bound round their ankles1 now made their way by couples through the crowd1 and1 arriving at the area1 on one side of which the musicians stood1 began their dance4 ,their movements were slow1 and1 though not always graceful1 exhibited nothing offensive to modest propriety4 ,both musicians and dancers alternately chanted songs in honor of former gods and chiefs of the islands1 apparently much to the gratification of the spectators4 7,polynesian ,researches1 by ,william ,ellis1 ,,iv1 #gh-gi1 ,london1 #ahcf47 ,the mele here first presented is said to be an ancient mele that has been modified and adapted to the glorification of that astute politician1 genial companion1 and pleasure-loving king1 ,kalakaua4 ,it was not an uncommon thing for one chief to appropriate the mele inoa of another chief4 ,by substituting one name for another1 by changing a genealogy1 or some such trifle1 the skin of the lion1 so to speak1 could be made to cover with more or less grace and to serve as an apparel of masquerade for the ass1 and without interruption so long as there was no lion1 or lion's whelp1 to do the unmasking4 ,the poets who composed the mele for a king have been spoken of as 8the king's washtubs40 ,mele inoa were not crown-jewels ,page #aag to be passed from one incumbent of the throne to another4 ,the practice of appropriating the mele inoa composed in honor of another king and of another line was one that grew up with the decadence of honor in times of degeneracy4 ,mele ,o ,kalakaua1 he inoa1 ,o ka pua mae ole i ka la2 ,ke pua mai la i ka mauna1 ,i ke kuahiwi o ,mauna-kea2 #e ,ke a la i ,ki-lau-e-a1 ,malamalama i ,wahine-kapu1 ,i ka luna o ,uwe-kahuna1 ,i ka pali kapu o ,ka-au-e-a4 ,e a mai ke alii kia-manu2 #aj ,ua ,wah i ka hulu o ka mamo1 ,ka pua nani o ,hawaii2 ,o ,ka-la-kaua1 he inoa6 ,translation4 ,song ,ka-la-kaua1 a great name1 ,a flower not wilted by the sun2 ,it blooms on the mountains1 ,in the forests of ,mauna-kea2 #e ,it burns in ,ki-lau-e-a1 ,illumines the cliff ,wahine-kapu1 ,the heights of ,uwe-kabuna1 ,the sacred pali of ,ka-au-e-a4 ,shine forth1 king of bird-hunters1 #aj ,resplendent in plumage of mamo1 ,bright flower of ,hawaii3 ,ka-la-kaua1 the ,illustrious6 ,the proper names ,wahine-kapu1 ,uwe-kahuna1 and ,ka-au-e-a in the sixth1 seventh1 and eighth verses are localities1 cliffs1 bluffs1 precipices1 etc41 in and about the great caldera of ,kilauea1 following up the mention 7in the fifth verse7 of that giant among the world's active volcanoes4 ,the purpose of the poem seems to be to magnify the prowess of this once famous king as a captivator of the hearts and loving attentions of the fair sex4 ,mele ,kona kai opua#bec i kala i ka la'i2 ,opua hinano ua i ka malie2 ,hiolo na wai naoa a ke kehau1 ,page #aah ,ke' na-#bed la na kamalii1 #e ,ke kaohi la i ke kukuna o ka la2 ,ku'u la koili i ke kai-- ,pumehana wale ia aina6 ,aloha wale ke kini o ,hoolulu1 ,aohe lua ia oe ke aloha1 #aj ,o ku'u puni1 o ka me' ow4 ,footnote #bec3 ,opua means a distinct cloud-pile1 an omen1 a weather-sign4 ,footnote #bed3 ,the word na- refers to a sportive contest involving a trial of lung-power1 that was practised by the youth of ,kona1 ,hawaii1 as well as of other places4 ,they stood on the shore at sunset1 and as the lower limb of the sun touched the ocean horizon each one1 having filled his lungs to the utmost1 began the utterance of the sound na-u-u-u-u1 which he must1 according to the rules of the game1 maintain continuously until the sun had disappeared1 a lapse of about two minutes' time4 ,this must be done without taking fresh breath4 ,anyone inhaling more air into his lungs or intermitting the utterance of the sound was compelled by the umpire to withdraw from the contest and to sit down1 while anyone who maintained the droning utterance during the prescribed time was declared victor4 ,it was no mean trial4 ,translation4 ,song ,the cloud-piles o'er ,kona's sea whet my joy1 ,clouds that drop fain in fair weather4 ,the clustered dew-pearls shake to the ground2 ,the boys drone out the na- to the ,west1 #e ,eager for ,sol to sink to his rest4 ,this my day for a plunge in the sea-- ,the ,sun will be warming other shores-- ,happy the tribes of that land of calm6 ,fathomless1 deep is my love #aj ,to thee1 my passion1 my mate4 ,the author of this love-song1 mele ipo1 is said to have been ,kalola1 a widow of ,kamehameha ,i1 at a time when she was an old woman2 the place was ,lahaina1 and the occasion an amour between ,liholiho 7,kamehameha ,,ii7 and a woman of rank4 ,the last two verses of the poem have been omitted from the present somewhat free1 yet faithful translation1 as they do not seem to be of interest or pertinent from our point of view1 and there is internal evidence that they were added as an afterthought4 ,the hulas on the various islands differed somewhat from one another4 ,in general1 it may be said that on ,kauai they were presented with more spirit and in greater variety than in other parts of the group4 ,the following account will illustrate this fact3 ,about the year #ahgj the late ,queen ,emma made the tour of the island of ,kauai1 and at some places the hula was performed as a recreation in her honor4 ,the hula ka-laau was thus presented2 it was marked1 however1 by such peculiarities as to make it hardly recognizable as being the same performance as the one elsewhere known by that name4 ,as given on ,kauai1 both the olapa and the hoopaa took part1 as they do on the ,page #aai other islands1 but in the ,kauai performance the olapa alone handled the two sticks of the xylophone1 which in other parts formed the sole instrument of musical accompaniment to this hula4 ,other striking novelties also were introduced4 ,the olapa held between their toes small sticks with which they beat upon a resonant beam of wood that lay on the floor1 thus producing tones of a low pitch4 ,another departure from the usual style of this hula was that the hoopaa1 at the same time1 devoted themselves with the right hand to playing upon the pu-niu1 the small drum1 while with the left they developed the deep bass of the pahu4 ,the result of this outre combination must have been truly remarkable4 ,it is a matter of observation that on the island of ,kauai both the special features of its spoken language and the character of its myths and legends indicate a closer relationship to the groups of the southern ,pacific1 to which the ,hawaiian people owe their origin1 than do those of the other islands of the ,hawaiian group4 ,page #abj ,,xvi4--,,the ,,hula ,,li-,,li ,the hula li-li1 pebble-dance1 was a performance of the classical times1 in which1 according to one who has witnessed it1 the olapa alone took part4 ,the dancers held in each hand a couple of pebbles1 ili-ili--hence the name of the dance--which they managed to clash against each other1 after the fashion of castanets1 thus producing a rude music of much the same quality as that elicited from the 8bones0 in our minstrel performances4 ,according to another witness1 the drum also was sometimes used in connection with the pebbles as an accompaniment to this hula4 ,the ili-ili was at times a hula of intensity--that is to say1 was acted with that stress of voice and manner which the ,hawaiians termed ai-ha'a2 but it seems to have been more often performed in that quiet natural tone of voice and of manner termed ko'i-honua1 which may be likened to utterance in low relief4 ,the author can present only the fragment of a song to illustrate this hula3 ,mele ,a lalo maua o ,wai-pi'o1 ,ike i ka nani o ,hi'i-lawe4 ,e lawe mai a oki ,i na hala o ,naue i ke kai1 #e ,i na lehua lu-lu'u pali2 ,noho ana lohe i ke kani o ka o-1 ,hoolono aku i ka leo o ke kahuli4 ,translation4 ,song ,we twain were lodged in ,wai-pi'o1 ,beheld ,hi'i-lawe1 the grand4 ,we brought and cut for our love-wreath ,the rich hala drupe from ,naue's strand1 #e ,tufted lehua that waves on the cliff2 ,then sat and gave ear to song of o-1 ,or harked the chirp of the tree-shell4 ,wai-pi'o1 the scene of this idyl1 is a valley deep and broad which the elements have scooped out in the windward exposure of ,hawaii1 and scarce needs mention to ,hawaiian ,page #aba tourists4 ,hi'i-lawe is one of several high waterfalls that leap from the world of clouds into the valley-basin4 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xii ,illustration3 ,,pupu-,,kani-,,oe1 ,,poetically ,,styled ,,kahuli ,,hawaiian ,,tree-,,shells 7,,achatinella7 ,kahuli is a fanciful name applied to the beautiful and unique genus of tree-shells 7,achatinella71 plate ,,xii1 that inhabit the ,hawaiian woods4 ,the natives are persuaded that these shells have the power of chirping a song of their own1 and the writer has often heard the note which they ascribe to them2 but to his ear it was indistinguishable from the piping of the cricket4 ,this is the song that the natives credit to the tree-shells3 ,mele ,kahuli aku1 ,kahuli mai1 ,kahuli lei ula1 ,lei akolea4#bee #e ,kolea1 kolea1#bef ,ki'i ka wai1 ,wai akolea4 ,translation4 ,song of the ,tree-shell ,trill a-far1 ,trill a-near1 ,a dainty song-wreath1 ,wreath akolea4 #e ,kolea1 ,kolea1 ,fetch me some dew1 ,dew from pink akolea4 ,this little piece of rustic imagination is said to have been used in the hula1 but in connection with what dance the author has not been able to learn4 ,footnote #bee3 ,the akolea is a fern 7by some classed as a ,polypodium7 which1 according to ,doctor ,hillebrand 7,flora of the ,hawaiian ,islands71 8sustains its extraordinary length by the circinnate tips which twine round the branches of neighboring shrubs or trees40 ,footnote #bef3 ,kolea4 ,the red-breasted plover4 ,page #abb ,,xvii4--,,the ,,hula ,k-,,ke-,,ke ,the kaekeeke was a formal hula worthy of high consideration4 ,some authorities assert that the performers in this dance were chosen from the hoopaa alone1 who1 it will be remembered1 maintained the kneeling position1 while1 according to another authority1 the olapa also took part in it4 ,there is no reason for doubting the sincerity of both these witnesses4 ,the disagreement probably arose from hasty generalization4 ,one is reminded of the wise ,hawaiian saw1 already noted1 8,do not think that your halau holds all the knowledge40 ,this hula took its name from the simple instrument that formed its musical accompaniment4 ,this consisted of a single division of the long-jointed bamboo indigenous to ,hawaii1 which was left open at one end4 7,the varieties of bamboo imported from ,china or the ,east ,indies have shorter joints and thicker walls1 and will not answer the purpose1 being not sufficiently resonant47 ,the joints used in the kaekeeke were of different sizes and lengths1 thus producing tones of various pitch4 ,the performer held one in each hand and the tone was elicited by striking the base of the cylinder sharply against the floor or some firm1 nonresonant body4 ,on making actual trial of the kaekeeke1 in order to prove by experience its musical quality and capabilities1 the writer's pleasure was as great as his surprise when he found it capable of producing musical tones of great purity and of the finest quality4 ,experiment soon satisfied him that for the best production of the tone it was necessary to strike the bamboo cylinder smartly upon some firm1 inelastic substance1 such as a bag of sand4 ,the tone produced was of crystalline purity1 and by varying the size and length of the cylinders it proved possible to represent a complete musical scale4 ,the instrument was the germ of the modern organ4 ,the first mele to be presented partakes of the nature of the allegory1 a form of composition not a little affected by the ,hawaiians3 ,mele ,a ,hamakua au1 ,noho i ka ulu hala4 ,malihini au i ka hiki ana1 ,i ka ua pe'epe'e pohaku4 #e ,noho oe a li'u-li'u1 ,a luli-luli malie iho4 ,page #abc ,he keiki akamai ko ia pali2 ,elima no pua i ka lima4 ,kui oe a lawa #aj ,i lei no ku'u aloha2 ,malama malie oe i ka makemake1 ,i lei hooheno no ke aloha ole4 ,moe oe a ala mai2 ,nana iho oe i kou pono4 #ae ,hai'na ia ka puana3 ,keiki noho pali o ,hamakua2 ,a waka-waka1 a waka-waka4 ,translation4 ,song ,it was in ,hamakua2 ,i sat in a grove of ,pandanus1 ,a stranger at my arrival1 ,a rock was my shelter from rain4 #e ,i found it a wearisome wait1 ,cautiously shifting about4 ,there's a canny son of the cliff ,that has five buds to his hand4 ,you shall twine me a wreath of due length1 #aj ,a wreath to encircle my love1 ,whilst you hold desire in strong curb1 ,till love-touch thaws the cold-hearted4 ,when you rise from sleep on the mat1 ,look down1 see the conquest of love4 #ae ,the meaning of this short story8 ,what child fondly clings to the cliff8 ,waka-waka1 the shell-fish4 ,the scene of this idyl1 this love-song1 mele hoipoipo1 is ,hamakua1 a district on the windward side of ,hawaii1 subject to rain-squalls4 ,the poet in his allegory represents himself as a stranger sitting in a pandanus grove1 ulu hala 7verse #b72 sheltering himself from a rain-squall by crouching behind a rock1 ua pe'epe'e pohaku 7verse #d72 shifting about on account of the veering of the wind1 luli-luli malie iho 7verse #f74 ,interpreting this figuratively1 ,hamakua1 no doubt1 is the woman in the case2 the grove an emblem of her personality and physical charms2 the rain-squall1 of her changeful moods and passions4 ,the shifting about of the traveler to meet the veering of the wind would seem to mean the man's diplomatic efforts to deal with the woman's varying caprices and outbursts4 ,he now takes up a parable about some creature1 a child of the cliff--,hamakua's ocean boundary is mostly a precipitous wall--which he represents as a hand with five buds4 ,addressing it as a servant1 he bids this creature twine a ,page #abd wreath sufficient for his love1 kui oe a lawa 7verse #i71 ,i lei no ku'u aloha 7verse #aj74 ,this creature with five buds1 what is it but the human hand1 the errand-carrier of man's desire1 makemake 7verse #aa78 ,the pali1 by the way1 is a figure often used by ,hawaiian poets to mean the glory and dignity of the human body4 ,that is a fine imaginative touch in which the poet illustrates the power of the human hand to kindle love in one that is cold-hearted1 as if he had declared the hand itself to be not only the wreath-maker1 but the very wreath that is to encircle and warm into response the unresponsive loved one1 ,i lei hooheno no ke aloha ole 7verse #ab74 ,differences of physical environment1 of social convention1 of accepted moral and esthetic standards interpose seemingly impassable barriers between us and the savage mind1 but at the touch of an all-pervading human sympathy these barriers dissolve into very thin air4 ,mele ,kahiki-nui1 auwahi#beg ka makani6 ,nana aku au ia ,kona1 ,me ke kua lei ahi#beh la ka moku2 ,me ke lawa uli e1 la1 no #e ,ku'u kai pa- hala-k#bei ,i ka lae o ,hana-mal2#bfj ,me he olohe ili polohiwa1 ,ke ku a mauna1 ,ma ka ewa lewa#bfa ,hawaii4 #aj ,me he ihu leiwi la1 ka moku1 ,kou mauna1 kou palamoa3#bfb ,kau a waha mai ,mauna-kea#bfc ,a me ,mauna-loa1#bfc ,ke ku a ,maile-hahi4#bfd #ae ,uluna mai ,mauna ,kilohana#bfe ,i ka poohiwi o ,hu'e-,hu'e4#bfe ,footnote #beg3 ,auwahi 7a word not found in any dictionary7 is said by a scholarly ,hawaiian to be an archaic form of the word uwahi1 or uahi 7milk of fire71 smoke1 ,kahiki-nui is a dry region and the wind 7makani7 often fills the air with dust4 ,footnote #beh3 ,kua lei ahi4 ,no ,hawaiian has been found who professes to know the true meaning of these words4 ,the translation of them here given is1 therefore1 purely formal4 ,footnote #bei3 ,pa- halak4 ,an expression sometimes applied to the hand when used as a shield to one's modesty2 here it is said of the ocean 7kai7 when one's body is immersed in it4 ,footnote #bfj3 ,hana-mal4 ,a cape that lies between ,kawaihae and ,kailua in north ,kona4 ,footnote #bfa3 ,ewa lew4 ,in this reading the author has followed the authoritative suggestion of a ,hawaiian expert1 substituting it for that first given by another1 which was elewa4 ,the latter was without discoverable meaning4 ,even as now1 given conjectures as to its meaning are at variance4 ,the one followed presents the less difficulty4 ,footnote #bfb3 ,palamoa4 ,the name of a virulent kupua that acted as errand-carrier and agent for sorcerers 7kahuna naan72 also the name of a beautiful grass found on ,hawaii that has a pretty red seed4 ,following the line of least resistance1 the latter meaning has been adopted2 in it is found a generic expression for the leafy covering of the island4 ,footnote #bfc3 ,mauna-kea and ,mauna-loa4 ,the two well-known mountains of the big island of ,hawaii4 ,footnote #bfd3 ,maile-hahei4 ,said to be a hill in ,kona4 ,footnote #bfe3 ,kilohana and ,hu'e-hu'e4 ,the names of two hills in ,kona1 ,hawaii4 ,page #abe ,translation4 ,song ,kahiki-nui1 land of wind-driven smoke6 ,mine eyes gaze with longing on ,kona2 ,a fire-wreath glows aback of the district1 ,and a robe of wonderful green #e ,lies the sea that has aproned my loins ,off the point of ,hana-malo4 ,a dark burnished form is ,hawaii1 ,to one who stands on the mount-- ,a hamper swung down from heaven1 #aj ,a beautiful carven shape is the island-- ,thy mountains1 thy splendor of herbage3 ,mauna-kea and ,loa stand 7in glory7 apart1 ,to him who looks from ,maile-hahi2 ,and ,kilohana pillows for rest #ae ,on the shoulder of ,hu'e-hu'e4 ,this love-song--mele hoipoipo--which would be the despair of a strict literalist--what is it all about8 ,a lover in ,kahiki-nui--of the softer sex1 it would appear-- looks across the wind-swept channel and sends her thoughts lovingly1 yearningly1 over to ,kona of ,hawaii1 which district she personifies as her lover4 ,the mountains and plains1 valleys and capes of its landscapes1 are to her the parts and features of her beloved4 ,even in the ocean that flows between her and him1 and which has often covered her nakedness as with a robe1 she finds a link in the chain of association4 ,page #abf ,,xviii4--,,an ,,intermission ,during the performance of a hula the halau and all the people there assembled are under a tabu1 the imposition of which was accomplished by the opening prayer that had been offered before the altar4 ,this was a serious matter and laid everyone present under the most formal obligations to commit no breach of divine etiquette2 it even forbade the most innocent remarks and expressions of emotion4 ,but when the performers1 wearied of the strait-jacket1 determined to unbend and indulge in social amenities1 to lounge1 gossip1 and sing informal songs1 to quaff a social bowl of awa1 or to indulge in an informal dance1 they secured the opportunity for this interlude1 by suspending the tabu4 ,this was accomplished by the utterance of a pule hoo-noa1 a tabu-lifting prayer4 ,if the entire force of the tabu was not thus removed1 it was at least so greatly mitigated that the ordinary conversations of life might be carried on without offense4 ,the pule was uttered by the kumu or some person who represented the whole-company3 ,pule ,hoo-noa ,lehua#bff i-luna1 ,lehua i-lalo1 ,a wawae1 ,a ,ka-ulua1#bfg #e ,a o ,haumea1#bfh ,kou makua-kane1#bfi ,manu o ,kae2#bgj ,a-koa-koa1 ,o ,pe-kau1#bga #aj ,o ,pe-ka-nana1#bgb ,page #abg ,papa pau4 ,pau a'e iluna2 ,o ,ku-mauna1 ,a me ,laka1 #ae ,a me ,ku4 ,ku i ka wao1 ,a me ,hina1 ,huna mele-lani4 ,a ua pau2 #bj ,pau kakou2 ,a ua noa2 ,noa ke kahua2 ,noa6 ,footnote #bff3 ,lehua4 ,see plate ,,xiii4 ,footnote #bfg3 ,ka-ulua4 ,the name of the third month of the ,hawaiian year1 corresponding to late ,january or ,february1 a time when ,in the latitude of ,hawaii nature does not refrain from leafing and flowering4 ,footnote #bfh3 ,haumea4 ,the name applied after her death and apotheosis to ,papa1 the wife of ,wakea1 and the ancestress of the ,hawaiian race4 7,the ,polynesian ,race1 ,a4 ,fornander1 #a1 #bje4 ,london1 #ahgh47 ,footnote #bfi3 ,it is doubtful to whom the expression 8makua-kane0 refers1 possibly to ,wakea1 the husband of ,papa2 and if so1 very properly termed father1 ancestor1 of the people4 ,footnote #bgj3 ,manu o ,kae 7,manu-o-,kae it might be written7 is said to have been a goddess1 one of the family of ,pele1 a sister of the sea nymph ,moana-nui-ka-lehua1 whose dominion was in the waters between ,oahu and ,kauai4 ,she is said to have had the gift of eloquence4 ,footnote #bga3 ,pe-ku refers to the ranks and classes of the gods4 ,footnote #bgb3 ,pe-ka-nan refers to men1 their ranks and classes4 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xiii ,illustration3 ,,lehua 7,,metrosideros ,,polymorpha7 ,,flowers ,,and ,,leaves ,translation4 ,power to ,remove ,tabu ,bloom of lehua on altar piled1 ,bloom of lehua below1 ,bloom of lehua at altar's base1 ,in the month ,ka-ulua4 #e ,present here is ,haumea1 ,and the father of thee1 ,and the goddess of eloquent speech2 ,gather1 now gather1 ,ye ranks of gods1 #aj ,and ye ranks of men1 ,complete in array4 ,the heavenly service is done1 ,service of ,ku of the mount1 ,service of ,laka1 #ae ,and the great god ,ku1 ,ku of the wilds1 ,and of ,hina1 ,hina1 the heavenly singer4 ,now it is done1 #bj ,our work is done2 ,the tabu is lifted1 ,free is the place1 ,tabu-free6 ,here also is another pule hoo-noa1 a prayer-song addressed to ,laka1 an intercession for the lifting of the tabu4 ,it will be noticed that the request is implied1 not explicitly stated4 ,all heads are lifted1 all eyes are directed heavenward or to the altar1 and the hands with a noiseless motion keep time as the voices of the company1 led by the kumu1 in solemn cantillation1 utter the following prayer3 ,page #abh ,pule ,hoo-noa no ,laka ,pupu we'u-we'u#bgc e1 ,lka e1 ,o kona we'u-we'u e ku-w2#bgd ,o ,ku-ka-ohia-,lak1#bge e2 ,laua me ,ku-pulu-pulu2#bgf #e ,ka ,lehua me ke ,koa lau-lii2 ,o ka ,lama me ,moku-halii1 ,k-i-k-i#bgg me ka ,hala-pepe2 ,lakou me ,lau-ka-ie-ie1 ,ka ,palai me ,maile-lau-lii4 #aj ,noa1 noa i kou kuahu2 ,noa1 noa ia oe1 ,lka2 ,pa-p-la noa6 ,translation4 ,tabu-lifting ,prayer 7to ,laka7 ,oh wildwood bouquet1 ,o ,lka6 ,set her greenwood leaves in order due2 ,and ,ku1 god of ,ohia-,la-k1 ,he and ,ku1 the shaggy1 #e ,lehua with small-leafed ,koa1 ,and ,lama and ,moku-hali'i1 ,k-i-k-i and ,hla-p-p2 ,and with these leafy ,i-e-i-e1 ,fern and small-leafed ,maile4 #aj ,free1 the altar is free6 ,free through1 you1 ,laka1 ,doubly free6 ,footnote #bgc3 ,pupu we'u-we'u4 ,a bouquet4 ,the reference is to the wreaths and floral decorations that bedecked the altar1 and that were not only offerings to the goddess1 but symbols of the diverse forms in which she manifested herself4 ,at the conclusion of a performance the players laid upon the altar the garlands they themselves had worn4 ,these were in addition to those which were placed there before the play began4 ,footnote #bgd3 ,ku-w4 ,it has cost much time and trouble to dig out the meaning of this word4 ,the fundamental notion is that contained in its two parts1 ku1 to stand1 and wa1 an interval or space1 the whole meaning to arrange or set in orderly intervals4 ,footnote #bge3 ,la-k4 ,a ,tahitian name for the tree which in ,hawaii is called lehua1 or ohia4 ,in verse #c the ,hawaiian name ohia and the ,tahitian lak 7accented on the final syllable1 thus distinguishing it from the name of the goddess ,lka1 with which it has no discoverable connection7 are combined in one form as an appellation of the god ,ku-ku-ka-ohia-,lak4 ,this is a notable instance of the survival of a word as a sacred epithet in a liturgy1 which otherwise1 had been lost to the language4 ,footnote #bgf3 ,ku-pulu-pulu4 ,ku1 the fuzzy or shaggy1 a deity much worshiped by canoe-makers1 represented as having the figure of an old man with a long beard4 ,in the sixth verse the full form of the god's name here given as ,moku-ha-li'i would be ,ku-moku-hali'i1 the last part being an epithet applied to ,ku working in another capacity4 ,moku-hali'i is the one who bedecks the island4 ,his special emblem1 as here implied1 was the lama1 a beautiful tree1 whose wood was formerly used in making certain sacred inclosures4 ,from this comes the proper name ,palama1 one of the districts of ,honolulu4 ,footnote #bgg3 ,k-i-k-i4 ,the same as the tree now called ku-k-i1 the tree whose nuts were used as candles and flambeaus4 ,the ,samoan name of the same tree is t-i-t-i4 ,but even now1 when the tabu has been removed and the assembly is supposed to have assumed an informal character1 before they may indulge themselves in informalities1 there remains to be chanted a dismissing prayer1 pule hooku'u1 in which all voices must join3 ,page #abi ,pule ,hooku'u ,ku ka makaia a ka huaka'i moe ipo2#bgh ,ku au1 hele2 ,noho oe1 aloha6 ,aloha na hale o makou i makamaka ole1 #e ,ke alanui hele mauka o ,huli-wale1#bgi la2 ,h-u-l-i4 ,e huli a'e ana i ka makana1 ,i ke alana ole e kanaenae aku ia oe4 ,eia ke kanaenae1 o ka leo4 ,translation4 ,dismissing ,prayer ,doomed sacrifice ,i in the love-quest1 ,i stand loin-girt#bhj for the journey2 ,to you who remain1 farewell6 ,farewell to our homes forsaken4 #e ,on the road beyond ,in-decision1 ,i turn me about-- ,turn me about1 for lack of a gift1 ,an offering1 intercession1 for thee-- ,my sole intercession1 the voice4 ,footnote #bgh3 ,a literal translation of the first line would be as follows3 7,here7 stands the doomed sacrifice for the journey in search of a bed-lover4 ,footnote #bgi3 ,huli-wale4 ,to turn about1 here used as the name of a place1 is evidently intended figuratively to stand for mental indecision4 ,footnote #bhj3 ,the bracketed phrase is not in the text of the original4 ,this fragment--two fragments1 in fact1 pieced together--belongs to the epic of ,pele4 ,as her little sister1 ,hiiaka1 is about to start on her adventurous journey to bring the handsome ,prince ,lohiau from the distant island of ,kauai she is overcome by a premonition of ,pele's jealousy and vengeance1 and she utters this intercession4 ,the formalities just described speak for themselves4 ,they mark better than any comments can do the superstitious devotion of the old-timers to formalism1 their remoteness from that free touch of social and artistic pleasure1 the lack of which we moderns often lament in our own lives and sigh for as a lost art1 conceiving it to have been once the possession of 8the children of nature40 ,the author has already hinted at the form and character of the entertainments with which hula-folk sometimes beguiled their professional interludes4 ,fortunately the author is able to illustrate by means of a song the very form of entertainment they provided for themselves on such an occasion4 ,the following mele1 cantillated with an accompaniment of expressive gesture1 is one that was actually given at an awa-drinking bout indulged in by hula-folk4 ,the author has an account of its recital at ,kahuku1 island of ,oahu1 so late as the year #ahdi1 during a circuit of that ,page #acj island made by ,king ,kamehameha ,,iii4 ,this mele is reckoned as belonging to the ordinary repertory of the hula2 but to which particular form of the dance it was devoted has not been learned3 ,mele ,ua ona o ,kane i ka awa2 ,ua kau ke kha#bha i ka uluna2 ,ua hi'o-lani#bhb i ka moena4 ,kip mai la i ke kapa o ka noe4 #e ,noe-noe na hok o ka lani-- ,imo-imo mai la i ka po a'e-a'e4 ,mahana-lua#bhc na kukui a ,lanikaula1#bgd ,he kaula no ,kane4#bhe ,meha na pali o ,wai-pi'o #aj ,i ke kani mau o ,kiha-p2 ,a ono ole ka awa a ke alii ,i ke kani mau o ,kiha-p2 ,moe ole kona po o ka ,hooilo2 ,uluhua1 a uluhua1 #ae ,i ka mea nana e huli a loaa ,i kela kupua ino i ka pali1 ,olali la1 a olali4 ,translation4 ,song ,kane is drunken with awa2 ,his head is laid on the pillow2 ,his body stretched on the mat4 ,a trumpet sounds through the fog1 #e ,dimmed are the stars in the sky2 ,when the night is clear1 how they twinkle6 ,lani-kaula's torches look double1 ,the torches that burn for ,kane4 ,ghostly and drear the walls of ,waipio #aj ,at the endless blasts of ,kiha-p4 ,the king's awa fails to console him2 ',tis the all-night conching of ,kiha-p4 ,broken his sleep the whole winter2 ,downcast and sad1 sad and downcast1 #ae ,at loss to find a brave hunter ,shall steal the damned conch from the cliff4 ,look1 how it gleams through the fog6 ,footnote #bha3 ,kha is an elegant expression for the side of the head4 ,footnote #bhb3 ,hi'o-lani1 literally to turn the side to heaven1 is a classic expression of refinement4 ,footnote #bhc3 ,mahana-lua1 literally to see double1 was an accepted test of satisfactory drunkenness4 ,it reminds the author of an expression he once heard used by the comedian ,clarke in the play of ,toodles4 ,while in a maudlin state from liquor he spoke of the lighted candle that was in his hand as a 8double-barreled candle40 ,footnote #bhd3 ,lani-kaula was a prophet who lived on ,molokai at a place that still bears his name4 ,he had his residence in the midst of a grove of fine kukui trees1 the remnants of which remain to this day4 ,torches made from the nuts of these trees were supposed to be of superior quality and they furnished the illumination for the revelries of ,kane and his fellows4 ,footnote #bhe3 ,he kaula no ,kane4 ,a literal translation would be1 a prophet of ,kane4 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xiv ,illustration3 ,,hawaiian ,,trumpet1 ,,pu 7,,cassis ,,madagascarensis7 ,page #aca ,kane1 the chief god of the ,hawaiian pantheon1 in company with other immortals1 his boon companions1 met in revelry on the heights bounding ,wai-pi'o valley4 ,with each potation of awa they sounded a blast upon their conch-shells1 and the racket was almost continuous from the setting of the sun until drowsiness overcame them or the coming of day put an end to their revels4 ,the tumult of sound made it impossible for the priests to perform acceptably the offices of religion1 and the pious king1 ,liloa1 was distressed beyond measure4 ,the whole valley was disturbed and troubled with forebodings at the suspension of divine worship4 ,the chief offender was ,kane himself4 ,the trumpet which he held to his lips was a conch of extraordinary size 7pl4 ,,xiv7 and credited with a divine origin and the possession of supernatural power2 its note was heard above all the others4 ,this shell1 the famed ,kiha-p1 had been stolen from the heiau of ,paka'a-lna1 ,liloa's temple in ,waipi'o valley1 and after many adventures had come into the hands of god ,kane1 who used it1 as we see1 for the interruption of the very services that were intended for his honor4 ,the relief from this novel and unprecedented situation came from an unexpected quarter4 ,king ,liloa's awa-patches were found to be suffering from the nocturnal visits of a thief4 ,a watch was set2 the thief proved to be a dog1 ,puapua-lenalena1 whose master was a confirmed awa-toper4 ,when master and dog were brought into the presence of ,king ,liloa1 the shrewd monarch divined the remarkable character of the animal1 and at his suggestion the dog was sent on the errand which resulted in the recovery by stealth of the famed conch ,kiha-p4 ,as a result of his loss of the conch1 ,kane put an end to his revels1 and the valley of ,wai-pi'o again had peace4 ,this mele is an admirable specimen of ,hawaiian poetry1 and may be taken as representative of the best product of ,hawaii's classical period4 ,the language is elegant and concise1 free from the redundancies that so often load down ,hawaiian compositions4 ,no one1 it is thought1 will deny to the subject-matter of this mele an unusual degree of interest4 ,there is a historic side to the story of the conch-shell ,kiha-p4 ,not many years ago the ,hawaiian ,museum contained an ethnological specimen of great interest1 the conch-shell ,kiha-p4 ,it was fringed1 after the fashion of a witch-doll1 with strings1 beads1 and wampumlike bits of mother-of-pearl1 and had great repute as a kupua or luckbringer4 ,king ,kalakaua1 who affected a sentimental leaning to the notions of his mother's race1 took possession of this famous 8curio0 and it disappeared from public view4 ,page #acb ,,xix4--,,the ,,hula ,,niau-,,kani ,the hula niau-kani was one of the classic dances of the halau1 and took its name from the musical instrument that was its accompaniment4 ,this was a simple1 almost extemporaneous1 contrivance1 constructed1 like the ,jew's-harp1 on the principle of a reed instrument4 ,it was made of two parts1 a broad piece of bamboo with a longitudinal slit at one end and a thin narrow piece of the same material1 the reed1 which was held firmly against the fenestra on the concave side of part number one4 ,the convexity of the instrument was pressed against the lips and the sound was produced by projecting the breath through the slit in a speaking or singing tone in such a way as to cause vibrations in the reed4 ,the manner of constructing and operating this reed instrument is suggestive of the jew's-harp4 ,it is asserted by those who should know that the niau-kani was an instrument of purely ,hawaiian invention4 ,the performer did not depend simply upon the musical tone1 but rather upon the modification it produced in the utterances that were strained through it4 ,it would certainly require a quick ear1 much practice1 and a thorough acquaintance with the peculiarities of ,hawaiian mele to enable one to distinguish the words of a song after being transformed by passage through the niau-kani4 ,as late as about thirty or forty years ago the niau-kani was often seen in the hands of the native ,hawaiian youth1 who used it as a means of romantic conversations and flirtation4 ,since the coming in of the ,portuguese and their importation of the uku-lele1 the taro-patch-fiddle1 and other cheap stringed instruments1 the niau-kani has left the field to them and disappeared4 ,the author's informant saw the niau-kani dance performed some years ago at ,moana-lua1 near ,honolulu1 and again on the island of ,kauai4 ,the dance in each case was the same4 ,the kumu1 aided by a pupil1 stood and played on the niau-kani1 straining the cantillations through the reed-protected aperture1 while the olapa1 girls1 kept time to the music with the movements of their dancing1 ,page #acc ,mele ,e pi'i ka wai ka nahele1 ,u'ina1 nakolo i na ,molo-kama2#bhf ,ka ua lele mawaho o ,mamala-hoa4 ,he manao no ko'u e ike #e ,i na pua ohi'a o ,kupa-koili1#bhg ,i hoa kaunu no ,manu'a-kepa2#bhh ,ua like laua me ,maha-moku4#bhi ,anapa i ke kai o ,mono-lau4#bij ,lalau ka lima a noa ia ia la1 #aj ,i hoa pili no ,lani-huli4#bia ,e huli oe i ku'u makemake1 ,a loa'a i ,kau-ka-opua4#bib ,elua no pua kau ,a ka manao i makemake ai4 #ae ,hoohihi oe a hihi ,i lei kohu no neia kino4 ,ahea oe hiki mai8 ,a kau ka ,la i na pali2#bic ,ka huli a ka makani ,wai-a-ma'o1#bid #bj ,makemake e iki ia ka ,hala-mapu-ana1 ,ka wai halana i ,wai-p4#bie ,,note4--,the proper names belong to localities along the course of the ,wai-oli stream4 ,footnote #bhf3 ,molokama 7more often given as ,na ,molo-kama74 ,the name applied to a succession of falls made by the stream far up in the mountains4 ,the author has here used a versifier's privilege1 compressing this long word into somewhat less refractory shape4 ,footnote #bhg3 ,kupa-koili4 ,a grove of mountain-apples1 ohia ai1 that stand on the bank of the stream not far from the public road4 ,footnote #bhh3 ,manu'a-kepa4 ,a sandy1 grass-covered meadow on the opposite side of the river from ,kupa-koili4 ,footnote #bhi3 ,maha-moku4 ,a sandy beach near the mouth of the river1 on the same bank as ,manu'a-kepa4 ,footnote #bij3 ,mono-lau4 ,that part of the bay into which the river flows1 that is used as an anchorage for vessels4 ,footnote #bia3 ,lani-huli4 ,the side of the valley ,kilauea of ,wai-oli toward which the river makes a bend before it enters the ocean4 ,footnote #bib3 ,kau-ka-opua4 ,originally a phrase meaning 8the cloud-omen hangs10 has come to be used as the proper name of a place4 ,it is an instance of a form of personification often employed by the ,hawaiians1 in which words having a specific meaning--such1 for instance1 as our 8jack-in-the-box0--have come to be used as a noun for the sake of the meaning wrapped up in the etymology4 ,this figure of speech is1 no doubt1 common to all languages1 markedly so in the ,hawaiian4 ,it may be further illustrated by the ,hebrew name ,ichabod--8his glory has departed40 ,footnote #bic3 ,a kau ka ,la1 i na pali4 ,when stands the sun o'er the pali1 evening or late in the afternoon4 ,on this part of ,kauai the sun sets behind the mountains4 ,footnote #bid3 ,wai-a-ma'o4 ,the land-breeze1 which sometimes springs up at night4 ,footnote #bie3 ,wai-p4 ,a spot on the bank of the stream where grew a pandanus tree1 hala1 styled ,ka-hala-mapu-ana1 the hala-breathing-out-its-fragrance4 ,translation4 ,song ,up to the streams in the wildwood1 ,where rush the falls ,molo-kama1 ,while the rain sweeps past ,mala-hoa1 ,i had a passion to visit #e ,the forest of bloom at ,koili1 ,page #acd ,to give love-caress to ,manu'a1 ,and her neighbor ,maha-moku1 ,and see the waters flash at ,mono-lau2 ,my hand would quiet their rage1 #aj ,would sidle and touch ,lani-huli4 ,grant me but this one entreaty1 ,we'll meet 'neath the omens above4 ,two flowers there are that bloom ,in your garden of being2 #ae ,entwine them into a garland1 ,fit emblem and crown of our love4 ,and what the hour of your coming8 ,when stands the ,sun o'er the pali1 ,when turns the breeze of the land1 #bj ,to breathe the perfume of hala1 ,while the currents swirl at ,wai-p4 ,this mele is the language of passion1 a song in which the lover frankly pours into the ear of his inamorata the story of his love up to the time of his last enthrallment4 ,verses #aa1 #ab1 and #ag are the language of the woman4 ,the scene is laid in the rainy valley of ,hanalei1 ,kauai1 a broad and deep basin1 to the finishing of which the elements have contributed their share4 ,the rush and roar of the waters that unite to form the river ,wai-oli1 from their wild tumbling in the falls of ,molo-kama till they pass the river's mouth and mingle with the flashing waves of the ocean at ,mono-lau1 ,anapa i ke kai o ,mono-lau 7verse #h71 are emblematic of the man's passion and his quest for satisfaction4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xv ,,woman ,,playing ,,on ,,the ,,nose-,,flute 7,,ohe-,,hano-,,ihu7 ,page #ace ,,xx4--,,the ,,hula ,,ohe ,the action of the hula ohe had some resemblance to one of the figures of the ,virginia reel4 ,the dancers1 ranged in two parallel rows1 moved forward with an accompaniment of gestures until the head of each row had reached the limit in that direction1 and then1 turning outward to right and left1 countermarched in the same manner to the point of starting1 and so continued to do4 ,they kept step and timed their gestures and movements to the music of the bamboo nose-flute1 the ohe4 ,in a performance of this hula witnessed by an informant the chorus of dancers was composed entirely of girls1 while the kumu operated the nose-flute and at the same time led the cantillation of the mele4 ,this seemed an extraordinary statement1 and the author challenged the possibility of a person blowing with the nose into a flute and at the same time uttering words with the mouth4 ,the ,hawaiian asserted1 nevertheless1 that1 the leader of the hula1 the kumu1 did accomplish these two functions2 yet his answer did not remove doubt that they were accomplished jointly and at the same time4 ,the author is inclined to think that the kumu performed the two actions alternately4 ,the musical range of the nose-flute was very limited2 it had but two or1 at the most1 three stops4 ,the player with his left hand held the flute to the nostril1 at the same time applying a finger of the same hand to keep the other nostril closed4 ,with the fingers of his right hand he operated the stops 7pl4 xv74 ,mele ,e pi' i ka nahele1 ,e ike ia ,ka-wai-kini1#bif ,nana ia ,pihaua-ka-lani1#big ,page #acf ,i kela manu hulu ma'e-ma'e1#bih #e ,noho pu me ,ka-hale-lehua1 ,punahele ia ,kaua-kahi-alii4#bii ,e ,kaili1#cjj e ,kaili1 e6 ,e ,kaili1 lau o ke koa1 ,e ,kaili1 lau o ke koa1 #aj ,moopuna a ,hooipo-i-ka-,malanai1#cja ,hiwa-hiwa a ka ,lehua-wehe6#cjb ,aia ka nani i ,wai-ehu1 ,i ka wai kaili puuwai o ka makemake4 ,makemake au i ke kalukalu o ,kew1#cjc #ae ,e he'e ana i ka nalu o ,maka-iwa4 ,he iwa-iwa oe na ke aloha1 ,i ,wai-lua nui hoano4 ,ano-ano ka hale1 aohe kanaka1 ,ua la'i oe no ke one o ,ali-4 #bj ,aia ka ipo i ka nahele4 ,footnote #bif3 ,ka-wai-kini4 ,the name of a rocky bluff that stands on the side of ,mount ,wai-ale-ale1 looking to ,wailua4 ,it as said to divide the flow from the great morass1 the natural reservoir formed by the hollow at the top of the mountain1 turning a part of it in the direction of ,wai-niha1 a valley not far from ,hanalei1 which otherwise would1 it is said by ,hawaiians1 go to swell the stream that forms the ,wailua river4 ,this rock1 in the old times1 was regarded as a demigod1 a kupua1 and had a lover who resided in ,wai-lua1 also another who resided in the mountains4 ,the words in the first two or three verses may be taken as if they were the utterance of this ,wai-lua lover1 saying 8,i will go up and see my sweetheart ,ka-wai-kini40 ,footnote #big3 ,pihana-ka-lani4 ,literally1 the fullness of heaven4 ,this was a forest largely of lehua that covered the mountain slope below ,ka-wai-kini4 ,it seems as if the purpose of its mention was to represent the beauties and charms of the human body4 ,in this romantic region lived the famous mythological princes--alii kupua1 the ,hawaiians called them--named ,kaua-kahi-alii and ,aiwohi-kupua1 with their princess sister ,ka-hale-lehua4 ,the second name mentioned was the one who married the famous heroine of the romantic story of ,laie-i-ka-wai4 ,footnote #bih3 ,manu hulu ma'ema'e4 ,an allusion to the great number of plumage birds that were reputed to be found in this place4 ,footnote #bii3 ,puna-hele ia ,kaua-kahi-alii4 ,the birds of the region are said to have been on very intimate and friendly terms with ,kaua-kahi-alii4 7,see note b1 p4 #ace47 ,footnote #cjj3 ,kaili4 ,the full form is said to be ,ka-ili-lau-o-ke-koa--,skin-like-the-lea f-of-the-koa4 ,in the text of the mele this name is analyzed into its parts and written as if the phrase at the end were an appellative and not an integral part of the name itself4 ,this was a mythical character of unusual beauty1 a person of superhuman power1 kupua1 a mistress of the art of surf-riding1 which passion she indulged in the waters about ,wai-lua4 ,footnote #cja3 ,hooipo-i-ka-,malanai4 ,a mythical princess of ,wailua1 the grandmother of ,kaili4 ,this oft-quoted phrase1 literally meaning to make love in the 7gently-blowing7 trade-wind1 has become almost a stock expression1 standing for romantic love1 or love-making4 ,footnote #cjb3 ,lehua-wehe4 ,the piece of ocean near the mouth of the ,wailua river in which ,kaili indulged her passion for surf-riding4 ,footnote #cjc3 ,kalu-kalu o ,kew4 ,kalu-kalu may mean a species of soft1 smooth grass specially fitted for sliding upon1 which flourished on the inclined plain of ,kew1 ,kauai4 ,one would sit upon a mat1 the butt end of a coconut leaf1 or a sled1 while another dragged it along4 ,the ,hawaiian name for this sport is pahe'e4 ,kalu-kalu is also the name applied to 8a very thin gauze-like kapa40 7,see ,andrews's ,hawaiian ,dictionary47 ,if we suppose the poet to have clearly intended the first meaning1 the figure does not tally with the following verse1 the fifteenth4 ,verses #ad and #ae would thus be made to read3 ,i desire the kalu-kalu 7grass7 of ,kew1 ,that is riding the surf of ,maka-iwa4 ,this is an impossible figure and makes no sense4 ,if1 on the other hand1 we take another version and conceive that the bard had in mind the gauze-like robe of kalu-kalu--using this1 of course1 as a figure for the person clad in such a robe--the rendering ,i have given1 ,i pine for the sylph1 robed in gauze1 ,who rides the surf ,maka-iwa1 would not only make a possible1 but a poetic1 picture4 ,let the critical reader judge which of these two versions hits closer to common sense and probability4 ,translation4 ,song4 ,come up to the wildwood1 come2 ,let us visit ,wai-kini1 ,and gaze on ,pihna-ka-lani1 ,page #acg ,its birds of plumage so fine2 #e ,be comrade to ,hale-lehua1 ,soul-mate to ,kau'kahi-alii4 ,o1 ,kaili1 ,kaili6 ,kaili1 leaf of the koa1 ,graceful as leaf of the koa1 #aj ,granddaughter of goddess1 ,whose name is the breath of love1 ,darling of blooming ,lehua4 ,my lady rides with the gray foam1 ,on the surge that enthralls the desire4 #ae ,i pine for the sylph robed in gauze1 ,who rides on the surf ,maka-iwa-- ,aye1 cynosure thou of all hearts1 ,in all of sacred ,wailua4 ,forlorn and soul-empty the house2 #bj ,you pleasure on the beach ,ali-2 ,your love is up here in the wildwood4 ,this mele hoipoipo1 love-song1 like the one previously given1 is from ,kauai4 ,the proper names that abound in it1 whether of places1 of persons1 or of winds1 seem to have been mostly of ,kauaian origin1 furnished by its topography1 its myths and legends4 ,they have1 however1 become the common property of the whole group through having been interwoven in the national songs that pass current from island to island4 ,page #ach ,,xxi4--,,the ,,music ,,and ,,musical ,,instruments ,,of ,,the ,,hawaiians ,a bird is easier captured than the notes of a song4 ,the mele and oli of ,hawaii's olden time have been preserved for us2 but the music to which they were chanted1 a less perdurable essence1 has mostly exhaled4 ,in the sudden transition from the tabu system to the new order of things that came in with the death of ,kamehameha in #ahai1 the old fashion of song soon found itself antiquated and outdistanced4 ,its survival1 so far as it did survive1 was rather as a memorial and remembrance of the past than as a register of the living emotions of the present4 ,the new music1 with its pa1 ko1 li--answering to our do1 re1 mi#cjd--was soon in everybody's mouth4 ,from the first it was evidently destined to enact a role different from that of the old cantillation2 none the less the musical ideas that came in with it1 the air of freedom from tabu and priestcraft it breathed1 and the diatonic scale1 the highway along which it marched to conquest1 soon produced a noticeable reaction in all the musical efforts of the people4 ,this new seed1 when it had become a vigorous plant1 began to push aside the old indigenous stock1 to cover it with new growths1 and1 incredible as it may seem1 to inoculate it with its own pollen1 thus producing a cross which to-day is accepted in certain quarters as the genuine article of ,hawaiian song4 ,even now1 the people of northwestern ,america are listening with demonstrative interest to songs which they suppose to be those of the old hula1 but which in reality have no more connection with that institution than our negro minstrelsy has to do with the dark continent4 ,footnote #cjd3 ,the early ,american missionaries to ,hawaii named the musical notes of the scale pa1 ko1 li1 ha1 no1 la1 mi4 ,the one regrettable fact1 from a historical point of view1 is that a record was not made of indigenous ,hawaiian song before this process of substitution and adulteration had begun4 ,it is no easy matter now to obtain the data for definite knowledge of the subject4 ,while the central purpose of this chapter will be a study of the music native to old ,hawaii1 and especially of that produced in the halau1 ,hawaiian music of later times and of the present day can not be entirely neglected2 nor will it be without its value for the indirect light it will shed on ancient conditions and on racial characteristics4 ,the reaction that has taken place in ,hawaii within historic times in response to the stimulus from abroad can not fail to be of ,page #aci interest in itself4 ,there is a peculiarity of the ,hawaiian speech which can not but have its effect in determining the lyric tone-quality of ,hawaiian music2 this is the predominance of vowel and labial sounds in the language4 ,the phonics of ,hawaiian speech1 we must remember1 lack the sounds represented by our alphabetic symbols b1 c or s1 d1 f1 g1 j1 q1 x1 and z--a poverty for which no richness in vowel sounds can make amends4 ,the ,hawaiian speech1 therefore1 does not call into full play the uppermost vocal cavities to modify and strengthen1 or refine1 the throat and mouth tones of the speaker and to give reach and emphasis to his utterances4 ,when he strove for dramatic and passional effect1 he did not make his voice resound in the topmost cavities of the voice-trumpet1 but left it to rumble and mutter low down in the throat-pipe1 thus producing a feature that colors ,hawaiian musical recitation4 ,this feature1 or mannerism1 as it might be called1 specially marks ,hawaiian music of the bombastic bravura sort in modern times1 imparting to it in its strife for emphasis a sensual barbaric quality4 ,it can be described further only as a gurgling throatiness1 suggestive at times of ventriloquism1 as if the singer were gloating over some wild physical sensation1 glutting his appetite of savagery1 the meaning of which is almost as foreign to us and as primitive as are the mewing of a cat1 the gurgling of an infant1 and the snarl of a mother-tiger4 ,at the very opposite pole of development from this throat-talk of the ,hawaiian must we reckon the highly-specialized tones of the ,french speech1 in which we find the nasal cavities are called upon to do their full share in modifying the voice-sounds4 ,the vocal execution of ,hawaiian music1 like the recitation of much of their poetry1 showed a surprising mastery of a certain kind of technique1 the peculiarity of which was a sustained and continuous outpouring of the breath to the end of a certain period1 when the lungs again drank their fill4 ,this seems to have been an inheritance from the old religious style of prayer-recitation1 which required the priest to repeat the whole incantation to its finish with the outpour of one lungful of breath4 ,satisfactory utterance of those old prayer-songs of the ,aryans1 the mantras1 was conditioned likewise on its being a one-breath performance4 ,a logical analogy may be seen between all this and that unwritten law1 or superstition1 which made it imperative for the heroes and demigods1 kupua1 of ,hawaii's mythologic age to discontinue any unfinished work on the coming of daylight4#cje ,footnote #cje3 ,the author can see no reason for supposing that this prolonged utterance had anything to do with that ,hindoo practice belonging to the yoga1 the exercise of which consists in regulating the breath4 ,page #adj ,when one listens for the first time to the musical utterance of a ,hawaiian poem1 it may seem only a monotonous onflow of sounds faintly punctuated by the primary rhythm that belongs to accent1 but lacking those milestones of secondary rhythm which set a period to such broader divisions as distinguish rhetorical and musical phrasing4 ,further attention will correct this impression and show that the ,hawaiians paid strict attention not only to the lesser rhythm which deals with the time and accent of the syllable1 but also to that more comprehensive form which puts a limit to the verse4 ,with the ,hawaiians musical phrasing was arranged to fit the verse of the mele1 not to express a musical idea4 ,the cadencing of a musical phrase in ,hawaiian song was marked by a peculiarity all its own4 ,it consisted of a prolonged trilling or fluctuating movement called i'i1 in which the voice went up and down in a weaving manner1 touching the main note that formed the framework of the melody1 then springing away from it for some short interval--a half of a step1 or even some shorter interval--like an electrified pith-ball1 only to return and then spring away again and again until the impulse ceased4 ,this was more extensively employed in the oil proper1 the verses of which were longer drawn out1 than in the mele such as formed the stock pieces of the hula4 ,these latter were generally divided into shorter verses4 ,,musical ,,instruments ,the musical instruments of the ,hawaiians included many classes1 and their study can not fail to furnish substantial data for any attempt to estimate the musical performances1 attainments1 and genius of the people4 ,of drums1 or drumlike instruments of percussion1 the ,hawaiians had four3 #a4 ,the pahu1 or pahu-hula 7pl4 x71 was a section of hollowed log4 ,breadfruit and coconut were the woods generally used for this purpose4 ,the tough skin of the shark was the choice for the drumhead1 which was held in place and kept tense by tightening cords of coconut fiber1 that passed down the side of the cylinder4 ,the workmanship of the pahu1 though rude1 was of tasteful design4 ,so far as the author has studied them1 each pahu was constructed with a diaphragm placed about two-thirds the distance from the head1 obtained by leaving in place a cross section of the log1 thus making a closed chamber of the drum-cavity proper1 after the fashion of the kettledrum4 ,the lower part of the drum also was hollowed out and carved1 as will be seen in the illustration4 ,in the carving of all the specimens examined the artists have shown a notable fondness for a fenestrated design representing a series of arches1 ,page #ada after the fashion of a two-storied arcade1 the haunch of the superimposed arch resting directly on the crown of that below4 ,in one case the lower arcade was composed of ,roman1-while the upper was of ,gothic1 arches4 ,the grace of the design and the manner of its execution are highly pleasing1 and suggest the inquiry1 ,whence came the opportunity for this intimate study of the arch8 ,the tone of the pahu was produced by striking its head with the finger-tips1 or with the palm of the hand2 never with a stick1 so far as the writer has been able to learn4 ,being both heavy and unwieldly1 it was allowed to rest upon the ground1 and1 if used alone1 was placed to the front of the operator2 if sounded in connection with the instrument next to be mentioned1 it stood at his left side4 ,the pahu1 if not the most original1 was the most important instrument used in connection with the hula4 ,the drum1 with its deep and solemn tones1 is an instrument of recognized efficiency in its power to stir the heart to more vigorous pulsations1 and in all ages it has been relied upon as a means of inspiring emotions of mystery1 awe1 terror1 sublimity1 or martial enthusiasm4 ,tradition of the most direct sort ascribes the introduction of the pahu to ,la'a--generally known as ,la'a-mai-,kahiki 7,la'a-from-,kahiki7--a prince who flourished about six centuries ago4 ,he was of a volatile1 adventurous disposition1 a navigator of some renown1 having made the long voyage between ,hawaii and the archipelagoes in the southern ,pacific--,kahiki--not less than twice in each direction4 ,on his second arrival from the ,south he brought with him the big drum1 the pahu1 which he sounded as he skirted the coast quite out to sea1 to the wonder and admiration of the natives on the land4 ,la'a1 being of an artistic temperament and an ardent patron of the hula1 at once gave the divine art of ,laka the benefit of this newly imported instrument4 ,he traveled from place to place1 instructing the teachers and inspiring them with new ideals4 ,it was he also who introduced into the hula the kakeke as an instrument of music4 #b4 ,the pu-niu 7pl4 ,,xvi7 was a small drum made from the shell of a coconut4 ,the top part1 that containing the eyes1 was removed1 and the shell having been smoothed and polished1 the opening was tightly covered with the skin of some scaleless fish--that of the kala 7,acanthurus unicornis7 was preferred4 ,a venerable kumu-hula states that it was his practice to use only the skin taken from the right side of the fish1 because he found that it produced a finer quality of sound than that of the other side4 ,the ,hawaiian mind was very insistent on little matters of this sort--the mint1 anise1 and cummin of their system4 ,the drumhead was stretched and placed in position while moist and flexible1 and was then made fast to a ring-shaped cushion--poaha--of fiber or tapa that hugged the base of the shell4 ,page #adb ,the ,hawaiians sometimes made use of the clear gum of the kukui tree to aid in fixing the drumhead in place4 ,when in use the pu-niu was lashed to the right thigh for the convenience of the performer1 who played upon it with a thong of braided fibers held in his right hand 7fig4 #b71 his left thus being free to manipulate the big drum that stood on the other side4 ,of three pu-niu in the author's collection1 one1 when struck1 gives off the sound of c below the staff2 another that of c below the staff1 and a third that of c in the staff4 ,while the grand vibrations of the pahu filled the air with their solemn tremor1 the lighter and sharper tones of the pu-niu gave a piquancy to the effect1 adding a feature which may be likened to the sparkling ripples which the breeze carves in the ocean's swell4 ,illustration3 ,,fig4 #b4--,ka1 drumstick for pu-niu4 7,pl4 ,,xvi47 #c4 ,the ipu or ipu-hula 7pl4 ,,vii71 though not strictly a drum1 was a drumlike instrument4 ,it was made by joining closely together two pear-shaped gourds of large size in such fashion as to make a body shaped like a figure #h4 ,an opening was made in the upper end of the smaller gourd to give exit to the sound4 ,the cavities of the two gourds were thrown into one1 thus making a single column of air1 which1 in vibration1 gave off a note of clear bass pitch4 ,an ipu of large size in the author's collection emits the tone of c in the bass4 ,though of large volume1 the tone is of low intensity and has small carrying power4 ,for ease in handling1 the ipu is provided about its waist with a loop of cord or tapa1 by which device the performer was enabled to manipulate this bulky instrument with one hand4 ,the instrument was sounded by dropping or striking it with well-adjusted force against the padded earth-floor of the ,hawaiian house4 ,the manner and style of performing on the ipu varied with the sentiment of the mele1 a light and caressing action when the feeling was sentimental or pathetic1 wild and emphatic when the subject was such as to stir the feelings with enthusiasm and passion4 ,musicians inform us that the drum--exception is made in the case of the snare and the kettle drum--is an instrument in which the pitch is a matter of comparative indifference1 its function being to mark the time and emphasize the rhythm4 ,page #adc ,there are other elements1 it would seem1 that must be taken into the account in estimating the value of the drum4 ,attention may be directed first to its tone-character1 the quality of its note which touches the heart in its own peculiar way1 moving it to enthusiasm or bringing it within the easy reach of awe1 fear1 and courage4 ,again1 while1 except in the orchestra1 the drum and other instruments of percussion may require no exact pitch1 still this does not necessarily determine their effectiveness4 ,the very depth and gravity of its pitch1 made pervasive by its wealth of overtones1 give to this primitive instrument a weird hold on the emotions4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ih ,,plate ,,xvi ,,pu-,,niu1 ,a ,,drum ,this combination of qualities we find well illustrated in the pahu and the ipu1 the tones of which range in the lower registers of the human voice4 ,the tone-character of the pu-niu1 on the other hand1 is more subdued1 yet lively and cheerful1 by reason in part of the very sharpness of its pitch1 and thus affords an agreeable offset to the solemnity of the other two4 ,ethnologically the pahu is of more world-wide interest than any other member of its class1 being one of many varieties of the kettle-drum that are to be found scattered among the tribes of the ,pacific1 all of them1 perhaps1 harking back to ,asiatic forbears1 such as the tom-tom of the ,hindus4 ,the sound of the pahu carries one back in imagination to the dread sacrificial drum of the ,aztec teocallis and the wild kettles of the ,tartar hordes4 ,the drum has cruel and bloody associations4 ,when listening to its tones one can hardly put away a thought of the many times they have been used to drown the screams of some agonized creature4 ,for more purely local interest1 inventive originality1 and simplicity1 the round-bellied ipu takes the palm1 a contrivance of strictly ,hawaiian1 or at least ,polynesian1 ingenuity4 ,it is an instrument of fascinating interest1 and when its crisp rind puts forth its volume of sound one finds his imagination winging itself back to the mysterious caverns of ,hawaiian mythology4 ,the gourd1 of which the ipu is made1 is a clean vegetable product of the fields and the garden1 the gift of ,lono-wahine--unrecognized daughter of mother ,ceres--and is free from all cruel alliances4 ,no bleating lamb was sacrificed to furnish parchment for its drumhead4 ,its associations are as innocent as the pipes of ,pan4 #d4 ,the ka-ke-ke1 though not drumlike in form1 must be classed as an instrument of percussion from the manner of eliciting its note4 ,it was a simple joint of bamboo1 open at one end1 the other end being left closed with the diaphragm provided by nature4 ,the tone is produced by striking the closed end of the cylinder1 while held in a vertical position1 with a sharp blow against some solid1 nonresonant body1 such as the matted earth floor of the old ,hawaiian ,page #add house4 ,in the author's experiments with the kakeke an excellent substitute was found in a bag filled with sand or earth4 ,in choosing bamboo for the kakeke it is best to use a variety which is thin-walled and long-jointed1 like the indigenous ,hawaiian varieties1 in preference to such as come from the ,orient1 all of which are thick-walled and short-jointed1 and therefore less resonant than the ,hawaiian4 ,the performer held a joint in each hand1 the two being of different sizes and lengths1 thus producing tones of diverse pitch4 ,by making a proper selection of joints it would be possible to obtain a set capable of producing a perfect musical scale4 ,the tone of the kakeke is of the utmost purity and lacks only sustained force and carrying power to be capable of the best effects4 ,an old ,hawaiian once informed the writer that about the year #ahej1 in the reign of ,kamehameha ,,iii1 he was present at a hula kakeke given in the royal palace in ,honolulu4 ,the instrumentalists numbered six1 each one of whom held two bamboo joints4 ,the old man became enthusiastic as he described the effect produced by their performance1 declaring it to have been the most charming hula he ever witnessed4 #e4 ,the li-ul 7pl4 ,,xi7 consisted of a small gourd of the size of one's two fists1 into which were introduced shotlike seeds1 such as those of the canna4 ,in character it was a rattle1 a noise-instrument pure and simple1 but of a tone by no means disagreeable to the ear1 even as the note produced by a woodpecker drumming on a log is not without its pleasurable effect on the imagination4 ,the illustration of the liul faithfully pictured by the artist reproduces a specimen that retains the original simplicity of the instrument before the meretricious taste of modern times tricked it out with silks and feathers4 7,for a further description of this instrument1 see p4 #ajg47 #f4 ,the pu-li was also a variety of the rattle1 made by splitting a long joint of bamboo for half its length into slivers1 every alternate sliver being removed to give the remaining ones greater freedom and to make their play the one upon the other more lively4 ,the tone is a murmurous breezy rustle that resembles the notes of twigs1 leaves1 or reeds struck against one another by the wind--not at all an unworthy imitation of nature-tones familiar to the ,hawaiian ear4 ,the performers sat in two rows facing each other1 a position that favored mutual action1 in which each row of actors struck their instruments against those of the other side1 or tossed them back and forth4 7,for further account of the manner in which the puili was used in the hula of the same name1 see p4 #aac47 #g4 ,the laau was one of the noise-instruments used in the hula4 ,it consisted of two sticks of hard resonant wood1 the ,page #ade smaller of which was struck against the larger1 producing a clear xylophonic note4 ,while the pitch of this instrument is capable of exact determination1 it does not seem that there was any attempt made at adjustment4 ,a laau in the author's collection1 when struck1 emits tones the predominant one of which is d 7below the staff74 #h4 ,the ohe1 or ohe-hano-ihu 7fig4 #c71 is an instrument of undoubted antiquity4 ,in every instance that has come under the author's observation the material has been1 as its name--ohe--signifies1 a simple joint of bamboo1 with an embouchure placed about half an inch from the closed end1 thus enabling the player to supply the instrument with air from his right nostril4 ,in every nose-flute examined there have been two holes1 one #b or #c inches away from the embouchure1 the older about a third of the distance from the open end of the flute4 ,illustration3 ,,fig4 #c4--,ohe-hano-ihu1 nose-flute4 ,the musician with his left hand holds the end of the pipe squarely against his lip1 so that the right nostril slightly overlaps the edge of the embouchure4 ,the breath is projected into the embouchure with modulated force4 ,a nose-flute in the author's collection with the lower hole open produces the sound of f2 with both holes unstopped it emits the sound a2 and when both holes are stopped it produces the sound of c1 a series of notes which are the tonic1 mediant1 and dominant of the chord of ,f minor4 ,an ohe played by an old ,hawaiian named ,keaonaloa1 an inmate of the ,lunalilo ,home1 when both holes were stopped sounded f2 with the lower hole open it sounded a1 and when both holes were open it sounded c4 ,the music made by ,keaonaloa with his ohe was curious1 but not soul-filling4 ,we must bear in mind1 however1 that it was intended only as an accompaniment to a poetical recitation4 ,some fifty or sixty years ago it was not uncommon to see bamboo flutes of native manufacture in the hands of ,hawaiian musicians of the younger generation4 ,these instruments were avowedly imitations of the ,d-flute imported from abroad4 ,the idea of using bamboo for this purpose must have been suggested by its previous use in the nose-flute4 8,the tonal capacity of the ,hawaiian nose-flute10 says ,miss ,jennie ,elsner1 8which has nothing harsh and strident about it1 embraces five tones1 f and g in the middle ,page #adf register1 and f1 g1 and a an octave above4 ,these flutes are not always pitched to the same key1 varying half a tone or so40 ,on inquiring of the native who kindly furnished the following illustrations1 he stated that he had bored the holes of his ohe without much measurement1 trusting to his intuitions and judgment4 ,i--,range of the ,nose-flute ,music ,the player began with a slow1 strongly accented1 rhythmical movement1 which continued to grow more and more intricate4 ,rhythmical diminution continued in a most astounding manner until a frenzied climax was reached2 in other words1 until the player's breath-capacity was exhausted4 ,a peculiar effect1 as of several instruments being used at the same time1 was produced by the two lower tones being thrown in wild profusion1 often apparently simultaneously with one of the upper tones4 ,as the tempo in any one of these increased1 the rhythm was lost sight of and a peculiar syncopated effect resulted4#cjf ,footnote #cjf3 ,the writer is indebted to ,miss ,elsner not only for the above comments but for the following score which she has cleverly arranged as a sample of nose-flute music produced by ,keaonaloa4 ,,ii--,music from the ,nose-flute ,arranged by ,,jennie ,,elsner ,music #i4 ,the pu- was a whistle-like instrument4 ,it was made from a gourd of the size of a lemon1 and was pierced with three holes1 or sometimes only two1 one for the nose1 by which it ,page #adg was blown1 while the others were controlled by the fingers4 ,this instrument has been compared to the ,italian ocarina4 #aj4 ,the li-li was a noise-instrument pure and simple4 ,it consisted of two pebbles that were held in the hand and smitten together1 after the manner of castanets1 in time to the music of the voices4 7,see p4 #abj47 #aa4 ,the niau-kani--singing splinter--was a reed-instrument of a rude sort1 made by holding a reed of thin bamboo against a slit cut out in a larger piece of bamboo4 ,this was applied to the mouth1 and the voice being projected against it produced an effect similar to that of the ,jew's harp4 7,see p4 #acb47 #ab4 ,even still more extemporaneous and rustic than any of these is a modest contrivance called by the ,hawaiians p-la-4 ,it is nothing more than a ribbon torn from the green leaf of the ti plant1 say three-quarters of an inch to an inch in width by #e or #f inches long1 and rolled up somewhat after the manner of a lamplighter1 so as to form a squat cylinder an inch or more in length4 ,this was compressed to flatten it4 ,placed between the lips and blown into with proper force1 it emits a tone of pure reedlike quality1 that varies in pitch1 according to the size of the whistle1 from ,g in the middle register to a shrill piping note more than an octave above4 ,the hula girl who showed this simple device offered it in answer to reiterated inquiries as to what other instruments1 besides those of more formal make already described1 the ,hawaiians were wont to use in connection with their informal rustic dances4 8,this10 said she1 8was sometimes used as an accompaniment to such informal dancing as was indulged in outside the halau40 ,this little rustic pipe1 quickly improvised from the leaf that every ,hawaiian garden supplies1 would at once convert any skeptic to a belief in the pipes of god ,pan4 #ac4 ,the ukek1 the one ,hawaiian instrument of its class1 is a mere strip of wood bent into the shape of a bow that its elastic force may keep tense the strings that are stretched upon it4 ,these strings1 three in number1 were originally of sinnet1 later after the arrival of the white man1 of horsehair4 ,at the present time it is the fashion to use the ordinary gut designed for the violin or the taro-patch guitar4 ,every ukek seen followed closely a conventional pattern1 which1 argues for the instrument a historic age sufficient to have gathered about itself some degree of traditional reverence4 ,one end of the stick is notched or provided with holes to hold the strings1 while the other end is wrought into a conventional figure resembling the tail of a fish and serves as an attachment about which to wind the free ends of the strings4 ,no ukek seen by the author was furnished with pins1 pegs1 or any similar device to facilitate tuning4 ,nevertheless1 the ,page #adh musician does tune his ukek1 as the writer can testify from his own observation4 ,this ,hawaiian musician was the one whose performances on the nose-flute are elsewhere spoken of4 ,when asked to give a sample of his playing on the ukek1 he first gave heed to his instrument as if testing whether it was in tune4 ,he was evidently dissatisfied and pulled at one string as if to loosen it2 then1 pressing one end of the bow against his lips1 he talked to it in a singing tone1 at the same time plucking the strings with a delicate rib of grass4 ,the effect was most pleasing4 ,the open cavity of the mouth1 acting as a resonator1 reenforced the sounds and gave them a volume and dignity that was a revelation4 ,the lifeless strings allied themselves to a human voice and became animated by a living soul4 ,with the assistance of a musical friend it was found that the old ,hawaiian tuned his strings with approximate correctness to the tonic1 the third and the fifth4 ,we may surmise that this self-trained musician had instinctively followed the principle or rule proposed by ,aristoxenus1 who directed a singer to sing his most convenient note1 and then1 taking this as a starting point1 to tune the remainder of his strings--the ,greek kithara1 no doubt--in the usual manner from this one4 ,while the ukek was used to accompany the mele and the oli1 its chief employment was in serenading and serving the young folk in breathing their extemporized songs and uttering their love-talk--hoipoipo4 ,by using a peculiar lingo or secret talk of their own invention1 two lovers could hold private conversation in public and pour their loves and longings into each other's ears without fear of detection--a thing most reprehensible in savages4 ,this display of ingenuity has been the occasion for outpouring many vials of wrath upon the sinful ukek4 ,experiment with the ukek impresses one with the wonderful change in the tone of the instrument that takes place when its lifeless strings are brought into close relation with the cavity of the mouth4 ,let anyone having normal organs of speech contract his lips into the shape of an ,o1 make his cheeks tense1 and then1 with the pulp of his finger as a plectrum1 slap the center of his cheek and mark the tone that is produced4 ,practice will soon enable him to render a full octave with fair accuracy and to perform a simple melody that shall be recognizable at a short distance4 ,the power and range thus acquired will1 of course1 be limited by the skill of the operator4 ,one secret of the performance lies in a proper management of the tongue4 ,this function of the mouth ,page #adi familiarly illustrated in the jew's-harp4 ,the author is again indebted to ,miss ,elsner for the following comments on the ukek3 8,the strings of this ukek1 the ,hawaiian fiddle1 are tuned to e2 to b and to d4 ,these three strings are struck nearly simultaneously1 but the sound being very feeble1 it is only the first which1 receiving the sharp impact of the blow1 gives out enough volume to make a decided impression40 ,,iii--,the ,ukek 7as played by ,keaonaloa7 ,arranged by ,,jennie ,,elsner ,music ,the early visitors to these islands1 as a rule1 either held the music of the savages in contempt or they were unqualified to report on its character and to make record of it4 ,we know that in ancient times the voices of the men as well as of the women were heard at the same time in the songs of the hula4 ,one of the first questions that naturally arises is1 ,did the men and the women sing in parts or merely in unison8 ,it is highly gratifying to find clear historical testimony on this point from a competent authority4 ,the quotation that follows is from the pen of ,capt4 ,james ,king1 who was with ,capt4 ,james ,cook on the latter's last voyage1 in which he discovered the ,hawaiian islands 7,january #ah1 #aggh74 ,the words were evidently penned after the death of ,captain ,cook1 when the writer of them1 it is inferred1 must have succeeded to the command of the expedition4 ,the fact that ,captain ,king weighs his words1 as evidenced in the footnote1 and that he appreciates the bearing and significance of his testimony1 added to the fact that he was a man of distinguished learning1 gives unusual weight to his statements4 ,the subject is one of so great interest and importance1 that the whole passage is here quoted4#cjg ,it adds not a little to its value that the writer thereof did not confine his remarks to the music1 but enters into a general description of the hula4 ,the only regret is that he did not go still further into details4 ,footnote #cjg3 ,italics used are those of the present author4 ,their dances have a much nearer resemblance to those of the ,new ,zealanders than of the ,otaheitians or ,friendly ,islanders4 ,they are prefaced with a slow1 solemn song1 in which all the party join1 moving their legs1 and gently striking their breasts in a manner and with attitudes that are perfectly easy and graceful2 and so far they are the same with the dances of the ,society ,islands4 ,when this has lasted about ten minutes1 both the tune and the motions gradually quicken1 and ,page #aej end only by their inability to support the fatigue1 which part of the performance is the exact counterpart of that of the ,new ,zealanders2 and 7as it is among them7 the person who uses the most violent action and holds out the longest is applauded as the best dancer4 ,it is to be observed that in this dance the women only took part and that the dancing of the men is nearly of the same kind with what we saw at the ,friendly ,islands2 and which may1 perhaps1 with more propriety1 be called the accompaniment of the songs1 with corresponding and graceful motions of the whole body4 ,yet as we were spectators of boxing exhibitions of the same kind with those we were entertained with at the ,friendly ,islands1 it is probable that they had likewise their grand ceremonious dances1 in which numbers of both sexes assisted4 ,their music is also of a ruder kind1 having neither flutes nor reeds1 nor instruments of any other sort1 that we saw1 except drums of various sizes4 ,but their songs1 which they sing in parts1 and accompany with a gentle motion of the arms1 in the same manner as the ,friendly ,islanders1 had a very pleasing effect4 ,to the above ,captain ,king adds this footnote3 ,as this circumstance of their singing in parts has been much doubted by persons eminently skilled in music1 and would be exceedingly curious if it was clearly ascertained1 it is to be lamented that it can not be more positively authenticated4 ,captain ,burney and ,captain ,phillips of the ,marines1 who have both a tolerable knowledge of music1 have given it as their opinion they did sing in parts2 that is to say1 that they sang together in different notes1 which formed a pleasing harmony4 ,these gentlemen have fully testified that the ,friendly ,islanders undoubtedly studied their performances before they were exhibited in public2 that they had an idea of different notes being useful in harmony2 and also that they rehearsed their compositions in private and threw out the inferior voices before they ventured to appear before those who were supposed to be judges of their skill in music4 ,in their regular concerts each man had a bamboo#cjh which was of a different length and gave a different tone4 ,these they beat against the ground1 and each performer1 assisted by the note given by this instrument1 repeated the same note1 accompanying it with words1 by which means it was rendered sometimes short and sometimes long4 ,in this manner they sang in chorus1 and not only produced octaves to each other1 according to their species of voice1 but fell on concords such as were not disagreeable to the ear4 ,footnote #cjh3 ,these bamboos were1 no doubt1 the same as the kakeke1 elsewhere described4 7,see ,p4 #abb47 ,now1 to overturn this fact1 by the reasoning of persons who did not hear these performances1 is rather an arduous task4 ,and yet there is great improbability that any uncivilized people should by accident arrive at this perfection in the art of music1 which we imagine can only be attained by dint of study and knowledge of the system and the theory on which musical composition is founded4 ,such miserable jargon as our country psalm-singers practice1 which may be justly deemed the lowest class of counterpoint1 or singing in several parts1 can not be acquired in the coarse manner in which it is performed in the churches without considerable time and practice4 ,it is1 therefore1 scarcely credible that a people1 semibarbarous1 should naturally arrive at any perfection in that art which it is much doubted whether the ,greeks and ,romans1 with all their refinements in music1 ever attained1 and which the ,chinese1 who have been longer civilized than any people on the globe1 have not yet found out4 ,page #aea ,if ,captain ,burney 7who1 by the testimony of his father1 perhaps the greatest musical theorist of this or any other age1 was able to have done it7 has written down in ,european notes the concords that these people sung1 and if these concords had been such as ,european ears could tolerate1 there would have been no longer doubt of the fact2 but1 as it is1 it would1 in my opinion1 be a rash judgment to venture to affirm that they did or did not understand counterpoint2 and therefore ,i fear that this curious matter must be considered as still remaining undecided4 7,a ,voyage to the ,pacific ,ocean1 undertaken by the command of ,his ,majesty1 for making discoveries in the ,northern ,hemisphere4 ,performed under the direction of ,captains ,cook1 ,clerke1 and ,gore1 in ,his ,majesty's ships the ,resolution and ,discovery1 in the years #aggf1 #aggg1 #aggh1 and #aghj1 #c volumes1 ,london1 #aghd1 ,,iii1 #b;d ed41 #adb1 #adc1 #add47 ,while we can not but regret that ,captain ,king did not go into detail and inform us specifically what were the concords those old-time people 8fell on10 whether their songs were in the major or minor key1 and many other points of information1 he has1 nevertheless1 put science under obligations to him by his clear and unmistakable testimony to the fact that they did arrange their music in parts4 ,his testimony is decisive3 8,in this manner they sang in chorus1 and not only produced octaves to each other1 according to their species of voice1 but fell on concords such as were not disagreeable to the ear40 ,when the learned doctor argues that to overturn this fact would be an arduous task1 we have to agree with him--an arduous task indeed4 ,he well knew that one proven fact can overthrow a thousand improbabilities4 8,what man has done man can do0 is a true saying2 but it does not thence follow that what man has not done man can not do4 ,if the contention were that the ,hawaiians understood counterpoint as a science and a theory1 the author would unhesitatingly admit the improbability with a readiness akin to that with which he would admit the improbability that the wild ,australian understood the theory of the boomerang4 ,but that a musical people1 accustomed to pitch their voices to the clear and unmistakable notes of bamboo pipes cut to various lengths1 a people whose posterity one generation later appropriated the diatonic scale as their own with the greatest avidity and readiness1 that this people should recognize the natural harmonies of sound1 when they had chanced upon them1 and should imitate them in their songs--the improbability of this the author fails to see4 ,the clear and explicit statement of ,captain ,king leaves little to be desired so far as this sort of evidence can go4 ,there are1 however1 other lines of inquiry that must be developed3 #a4 ,the testimony of the ,hawaiians themselves on this matter4 ,this is vague4 ,no one of whom inquiry has been made is able to affirm positively the existence of part-singing in the olden times4 ,most of those with whom the writer has talked are inclined to the view that the ancient cantillation was not in any sense part-singing as now practised4 ,one must not1 ,page #aeb however1 rely too much on such testimony as this1 which at the best is only negative4 ,in many cases it is evident the witnesses do not understand the true meaning and bearing of the question4 ,the ,hawaiians have no word or expression synonymous with our expression 8musical chord40 ,in all inquiries the writer has found it necessary to use periphrasis or to appeal to some illustration4 ,the fact must be borne in mind1 however1 that people often do a thing1 or possess a thing1 for which they have no name4 #b4 ,as to the practice among ,hawaiians at the present time1 no satisfactory proof has been found of the existence of any case in which in the cantillations of their own songs the ,hawaiians--those uninfluenced by foreign music--have given an illustration of what can properly be termed part-singing2 nor can anyone be found who can testify affirmatively to the same effect4 ,search for it has thus far been as fruitless as pursuit of the will-o'-the-wisp4 #c4 ,the light that is thrown on this question by the study of the old ,hawaiian musical instruments is singularly inconclusive4 ,if it were possible1 for instance1 to bring together a complete set of kaekeeke bamboos which were positively known to have been used together at one performance1 the argument from the fact of their forming a musical harmony1 if such were found to be the case--or1 on the other hand1 of their producing only a haphazard series of unrelated sounds1 if such were the fact--would bring to the decision of the question the overwhelming force of indirect evidence4 ,but such an assortment the author has not been able to find4 ,bamboo is a frail and perishable material4 ,of the two specimens of kaekeeke tubes found by him in the ,bernice ,pauahi ,bishop ,museum one was cracked and voiceless2 and so the testimony of its surviving partner was of no avail4 ,the ,hawaiians of the present day are so keenly alive to musical harmony that it is hardly conceivable that their ancestors two or three generations ago perpetrated discords in their music4 ,they must either have sung in unison or hit on 8concords such as were not disagreeable to the ear40 ,if the music heard in the halau to-day in any close degree resembles that of ancient times--it must be assumed that it does--no male voice of ordinary range need have found any difficulty in sounding the notes1 nor do they scale so low that a female voice would not easily reach them4 ,granting1 then1 as we must1 the accuracy of ,captain ,king's statement1 the conclusion to which the author of this paper feels forced is that since the time of the learned doctor's visit to these shores1 more than one hundred and twenty-eight years ago1 the art and practice of singing or cantillating after the old fashion has declined among the ,hawaiians4 ,the hula of the old times1 in spite of all the efforts to ,page #aec maintain it1 is becoming more and more difficult of procurement every day4 ,almost none of the singing that one hears at the so-called hula performances gotten up for the delectation of sightseers is ,hawaiian music of the old sort4 ,it belongs rather to the second or third rattoon-crop1 which1 has sprung up under the influence of foreign stimuli4 ,take the published hula songs1 such as 8,tomitomi10 8,wahine ,poupou0 and a dozen others that might be mentioned1 to say nothing about the words--the music is no more related to the genuine ,hawaiian article of the old times than is 8ragtime0 to a ,gregorian chant4 ,the bare score of a hula song1 stripped of all embellishments and reduced by the logic of our musical science to the merest skeleton of notes1 certainly makes a poor showing and gives but a feeble notion of the song itself--its rhythm1 its multitudinous grace-notes1 its weird tone-color4 ,the notes given below offer such a skeletal presentation of a song which the author heard cantillated by a skilled hula-master4 ,they were taken down at the author's request by ,capt4 ,h4 ,berger1 conductor of the ,royal ,hawaiian ,band3 ,,iv--,song from the ,hula ,pa'i-umauma ,arranged by ,h4 ,,berger ,music ,the same comment may be made on the specimen next to be given as on the previous one3 there is an entire omission of the trills and flourishes with which the singer garlanded his scaffolding of song1 and which testified of his adhesion to the fashion of his ancestors1 the fashion according to which songs have been sung1 prayers recited1 brave deeds celebrated since the time when ,kane and ,pele and the other gods dipped paddle for the first time into ,hawaiian waters4 ,unfortunately1 in this as in the previous piece and as in the one next to be given1 the singer escaped the author before he was able to catch the words4 ,v--,song from the ,hula ,pa-ipu ,arranged by ,h4 ,,berger ,music ,page #aed ,here1 again1 is a piece of song that to the author's ear bears much the same resemblance to the original that an oiled ocean in calm would bear to the same ocean when stirred by a breeze4 ,the fine dimples which gave the ocean its diamond-flash have been wiped out4 ,,vi--,song for the ,hula ,pele ,arranged by ,h4 ,,berger ,music ,is it our ear that is at fault8 ,is it not rather our science of musical notation1 in not reproducing the fractions of steps1 the enharmonics that are native to the note-carving ear of the ,chinaman1 and that are perhaps essential to the perfect scoring of an oli or mele as sung by a ,hawaiian8 ,none of the illustrations thus far given have caught that fluctuating trilling movement of the voice which most musicians interviewed on the subject declare to be impossible of representation1 while some flout the assertion that it represents a change of pitch4 ,one is reminded by this of a remark made by ,pietro ,mascagni3#cji ,footnote #cji3 ,the ,evolution of ,music from the ,italian ,standpoint1 in the ,century ,library of ,music1 ,,xvi1 #eba4 8,the feeling that a people displays in its character1 its habits1 its nature1 and thus creates an overprivileged type of music1 may be apprehended by a foreign spirit which has become accustomed to the usages and expressions common from that particular people4 ,but popular music1 being void of any scientific basis1 will always remain incomprehensible to the foreigner who seeks to study it technically40 ,when we consider that the ,chinese find pleasure in musical performances on instruments that divide the scale into intervals less than half a step1 and that the ,arabian musical scale included quarter-steps1 we shall be obliged to admit that this statement of ,mascagni is not merely a fling at our musical science4 ,here are introduced the words and notes of a musical recitation done after the manner of the hula by a ,hawaiian professional and his wife4 ,acquaintance with the ,hawaiian language and a feeling for the allusions connoted in the text of the song would1 of course1 be a great aid in enabling one to enter into the spirit of the performance4 ,as these ,page #aee adjuncts will be available to only a very few of those who will read these words1 in the beginning are given the words of the oli with which he prefaced the song1 with a translation of the same1 and then the mele which formed the bulk of the song1 also with a translation1 together with such notes and comments as are necessary to bring one into intellectual and sympathetic relation with the performance1 so far as that is possible under the circumstances4 ,it is especially necessary to familiarize the imagination with the language1 meaning1 and atmosphere of a mele1 because the ,hawaiian approached song from the side of the poet and elocutionist4 ,further discussion of this point must1 however1 be deferred to another division of the subject3 ,he ,oli ,halau#caj ,hanalei i ka nini a ka ua2 ,kumano#caa ke po'o-wai a ka liko2#cab ,nah ka opi-wai#cac a a ,wai-aloha2 ,o ke kahi koe a hiki i ,wai-oli4#cad ,ua ike 'a4 ,translation4 ,a ,song ,hanalei is a hall for the dance in the pouring rain2 ,the stream-head is turned from its bed of fresh green2 ,broken the dam that pent the water of love-- ,naught now to hinder its rush to the vale of delight4 ,you've seen it4 ,footnote #caj3 ,halau4 ,the rainy valley of ,hanalei1 on ,kauai1 is here compared to a halau1 a dance-hall1 apparently because the rain-columns seem to draw together and inclose the valley within walls1 while the dark foreshortened vault of heaven covers it as with a roof4 ,footnote #caa3 ,kumano4 ,a water-source1 or1 as here1 perhaps1 a sort of dam or loose stone wall that was run out into a stream for the purpose of diverting a portion of it into a new channel4 ,footnote #cab3 ,liko4 ,a bud2 fresh verdure2 a word much used in modern ,hawaiian poetry4 ,footnote #cac3 ,opiwai4 ,a watershed4 ,in ,hawaii a knife-edged ridge as narrow as the back of a horse will often decide the course of a stream1 turning its direction from one to the other side of the island4 ,footnote #cad3 ,waioli 7wai1 water2 oli1 joyful74 ,the name given to a part of the valley of ,hanalei1 also the name of a river4 ,the mele to which the above oli was a prelude is as follows3 ,mele ,noluna ka hale kai1 e ka ma'a-lewa1 ,nana ka maka ia ,moana-nui-ka-,leha4 ,noi au i ke kai e mali'o4 ,ane ku a'e la he leha ilaila-- #e ,hopoe ,leha ki'eki'e4 ,maka'u ka ,leha i ke kanka1 ,lilo ilalo e hele ai1 ilalo1 e4 ,keaau iliili nehe2 olelo ke kai o ,puna ,i ka ulu hala la1 e1 kaiko'o ,puna4 #aj ,ia hoone'ene'e ia pili mai kaua1 ,e ke hoa1 ke waiho e mai la oe2 ,eia ka mea ino1 he anu1 e4 ,aohe anu e6 ,me he mea la iwaho kaua1 e ke hoa1 #ae ,me he wai la ko kaua ili1 e4 ,page #aef ,,vii--,oli and ,mele from the ,hula ,ala'a-papa ,oli--,a prelude ,arranged by ,mrs4 ,,yarndley ,music3 ,page #aeg ,music3 7#d times r47 ,translation4 ,song from the ,hula ,ala'a-papa ,from mountain-retreat and root-woven ladder ,mine eye looks down on goddess ,moana-,leha4 ,then ,i pray to the ,sea1 be thou calm2 ,would there might stand on thy shore a leha-- #e ,leha tree tall of ,hopoe4 ,the ,leha is fearful of man1 ,leaves him to walk on the ground below1 ,to walk on the ground far below4 ,the pebbles at ,keaau grind in the surf2 #aj ,the sea at ,keaau shouts to ,puna's palms1 8,fierce is the sea of ,puna40 ,move hither1 snug close1 companion mine2 ,you lie so aloof over there4 ,oh what a bad fellow is ,cold6 #ae ,not cold1 do you say8 ,it's as if we were out in the wold1 ,our bodies so clammy and chill1 friend4 ,,explanatory ,,remarks ,the acute or stress accent is placed over syllables that take the accent in ordinary speech4 ,a word or syllable italicized indicates drum-down-beat4 ,page #aeh ,it will be noticed that the stress-accent and the rhythmic accent1 marked by the down-beat1 very frequently do not coincide4 ,the time marked by the drum-down-beat was strictly accurate throughout4 ,the tune was often pitched on some other key than that in which it is here recorded4 ,this fact was noted when1 from time to tune1 it was found necessary to have the singer repeat certain passages4 ,the number of measures devoted to the i'i1 or fluctuation1 which is indicated by the wavering line ,illustration31 varied from time to time1 even when the singer repeated the same passage4 7,see remarks on the i'i p4 #adj47 ,redundancies of speech 7interpolations7 which are in disagreement with the present writer's text 7pp4 #aee-aef7 are inclosed in brackets4 ,it will be seen that in the fifth verse he gives the version ,maka'u ke kanaka i ka lehua instead of the one given by the author1 which is ,maka'u ka ,lehua i ke kanaka4 ,each version has its advocates1 and good arguments are made in favor of each4 ,on reaching the end of a measure that coincided with the close of a rhetorical phrase the singer1 ,kualii1 made haste to snatch1 as it were1 at the first word or syllable of the succeeding phrase4 ,this is indicated by the word 8anticipating10 or 8anticipatory0--written anticip4--placed over the syllable or word thus snatched4 ,it was somewhat puzzling to determine whether the tones which this man sang were related to each other as five and three of the major key1 or as three and one of the minor key4 ,continued and strained attention finally made it seem evident that it was the major key which he intended1 i4e41 it was f and d in the key of ,b1 rather than f and d in the key of ,d minor4 ,,elocution ,,and ,,rhythmic ,,accent ,,in ,,hawaiian ,,song ,in their ordinary speech the ,hawaiians were good elocutionists--none better4 ,did they adhere to this same system of accentuation in their poetry1 or did they punctuate their phrases and words according to the notions of the song-maker and the conceived exigencies of poetical composition8 ,after hearing and studying this recitation of ,kualii the author is compelled to say that he does depart in a great measure from the accent of common speech and charge his words with intonations and stresses peculiar to the mele4 ,what artificial influence has come in to produce this result8 ,is it from some demand of poetic or of musical rhythm8 ,which8 ,it was observed that he substituted the soft sound of t for the stronger sound of k1 8because10 as he explained1 8the sound of the t is lighter40 ,thus he said te tanata instead of ke kanaka1 the man4 ,the ,hawaiian ear has always a delicate feeling for tone-color4 ,page #aei ,in all our discussions and conclusions we must bear in mind that the ,hawaiian did not approach song merely for its own sake2 the song did not sing of itself4 ,first in order came the poem1 then the rhythm of song keeping time to the rhythm of the poetry4 ,the ,hawaiian sang not from a mere bubbling up of indefinable emotion1 but because he had something to say for which he could find no other adequate form of expression4 ,the ,hawaiian boy1 as he walks the woods1 never whistles to keep his courage up4 ,when he paces the dim aisles of ,kaliuwa'a1 he sets up an altar and heaps on it a sacrifice of fruit and flowers and green leaves1 but he keeps as silent as a mouse4 ,during his performance ,kualii cantillated his song while handling a round wooden tray in place of a drum2 his wife meanwhile performed the dance4 ,this she did very gracefully and in perfect time4 ,in marking the accent the left foot was1 if anything1 the favorite1 yet each foot in general took two measures2 that is1 the left marked the down-beat in measures #a and #b1 #e and #f1 and so on1 while the right1 in turn1 marked the rhythmic accent that comes with the down-beat in measures #c and #d1 #g and #h1 and so on4 ,during the four steps taken by the left foot1 covering the time of two measures1 the body was gracefully poised on the other foot4 ,then a shift was made1 the position was reversed1 and during two measures the emphasis came on the right foot4 ,the motions of the hands1 arms1 and of the whole body1 including the pelvis--which has its own peculiar orbital and sidelong swing--were in perfect sympathy one part with another4 ,the movements were so fascinating that one was at first almost hypnotized and disqualified for criticism and analytic judgment4 ,not to derogate from the propriety and modesty of the woman's motions1 under the influence of her ,delsartian grace one gained new appreciation of 8the charm of woven paces and of waving hands40 ,throughout the whole performance of ,kualii and his wife ,abigaila it was noticed that1 while he was the reciter1 she took the part of the olapa 7see p4 #bh7 and performed the dance2 but to this rle she added that of prompter1 repeating to him in advance the words of the next verse1 which he then took up4 ,her verbal memory1 it was evident1 was superior to his4 ,experience with ,kualii and his partner1 as well as with others1 emphasizes the fact that one of the great difficulties encountered in the attempt to write out the slender thread of music 7leo7 of a ,hawaiian mele and fit to it the words as uttered by the singer arises from the constant interweaving of meaningless vowel sounds4 ,this1 which the ,hawaiians call i'i1 is a phenomenon comparable to the weaving of a vine about a framework1 or to the ,page #afj pen-flourishes that illuminate old ,german text4 ,it consists of the repetition of a vowel sound--generally i 7ee7 or e 7a1 as in fate71 or a rapid interchange of these two4 ,to the ear of the author the pitch varies through an interval somewhat less than a half-step4 ,exactly what is the interval he can not say4 ,the musicians to whom appeal for aid in determining this point has been made have either dismissed it for the most part as a matter of little or no consequence or have claimed the seeming variation in pitch was due simply to a changeful stress of voice or of accent4 ,but the author can not admit that the report of his senses is here mistaken4 ,a further embarrassment comes from the fact that this tone-embroidery found in the i'i is not a fixed quantity4 ,it varies seemingly with the mood of the singer1 so that not unfrequently1 when one asks for the repetition of a phrase1 it will1 quite likely1 be given with a somewhat different wording1 calling for a readjustment of the rhythm on the part of the musician who is recording the score4 ,but it must be acknowledged that the singer sticks to his rhythm1 which1 so far as observed1 is in common time4 ,in justice to the ,hawaiian singer who performs the accommodating task just mentioned it must be said that1 under the circumstances in which he is placed1 it is no wonder that at times he departs from the prearranged formula of song4 ,his is the difficult task of pitching his voice and maintaining the same rhythm and tempo unaided by instrumental accompaniment or the stimulating movements of the dance4 ,let any stage-singer make the attempt to perform an aria1 or even a simple recitative1 off the stage1 and without the support--real or imaginary--afforded by the wonted orchestral accompaniment as well as the customary stage-surroundings1 and he will be apt to find himself embarrassed4 ,the very fact of being compelled to repeat is of itself alone enough to disconcert almost anyone4 ,the men and women who to-day attempt the forlorn task of reproducing for us a hula mele or an oli under what are to them entirely unsympathetic and novel surroundings are1 as a rule1 past the prime of life1 and not unfrequently acknowledge themselves to be failing in memory4 ,after making all of these allowances we must1 it would seem1 make still another allowance1 which regards the intrinsic nature and purpose of ,hawaiian song4 ,it was not intended1 nor was it possible under the circumstances of the case1 that a ,hawaiian song should be sung to an unvarying tempo or to the same key2 and even in the words or sounds that make up its fringework a certain range of individual choice was allowed or even expected of the singer4 ,this privilege of exercising individuality might even extend to the solid framework of the mele or oli and not merely to the filigree1 the i'i1 that enwreathed it4 ,page #afa ,it would follow from this1 if the author is correct1 that the musical critic of to-day must be content to generalize somewhat and must not be put out if the key is changed on repetition and if tempo and rhythm depart at times from their standard gait4 ,it is questionable if even the experts in the palmy days of the hula attained such a degree of skill as to be faultless and logical in these matters4 ,it has been said that modern music has molded and developed itself under the influence of three causes1 7#a7 a comprehension of the nature of music itself1 7#b7 a feeling or inspiration1 and 7#c7 the influence of poetry4 ,guided by this generalization1 it may be said that ,hawaiian poetry was the nurse and pedagogue of that stammering infant1 ,hawaiian music2 that the words of the mele came before its rhythmic utterance in song2 and that the first singers were the priests and the eulogists4 ,hawaiian poetry is far ahead of ,hawaiian song in the power to move the feelings4 ,a few words suffice the poet with which to set the picture before one's eyes1 and one picture quickly follows another2 whereas the musical attachment remains weak and colorless1 reminding one of the nursery pictures1 in which a few skeletal lines represent the human frame4 ,let us now for refreshment and in continued pursuit of our subject listen to a song in the language and spirit of old-time ,hawaii1 composed1 however1 in the middle of the nineteenth century4 ,it is given as arranged by ,miss ,lillian ,byington1 who took it down as she heard it sung by an old ,hawaiian woman in the train of ,queen ,liliuokalani1 and as the author has since heard it sung by ,miss ,byington's pupils of the ,kamehameha ,school for ,girls4 ,the song has been slightly idealized1 perhaps1 by trimming away some of the superfluous i'i1 but not more than is necessary to make it highly acceptable to our ears and not so much as to take from it the plaintive bewitching tone that pervades the folk-music of ,hawaii4 ,the song1 the mele1 is not in itself much--a hint1 a sketch1 a sweep of the brush1 a lilt of the imagination1 a connotation of multiple images which no jugglery of literary art can transfer into any foreign speech4 ,its charm1 like that of all folk-songs and of all romance1 lies in its mysterious tug at the heartstrings4 ,page #afb ,,viii--,he ,inoa no ,kamehameha 7,old ,mele--,kindness of ,h4,r4,h4 ,liliuokalani7 ,arranged by ,,lillian ,,byington ,music3 ,he ,inoa no ,kamehameha ,aia i ,waipi'o#cae ,paka'alana1#caf ,paepae#cag kapu ia o ,liloa4#cah ,he aloha ka wahine pi'i ka pali1#cai ,puili ana i ka hua ulei1 #e ,i ka ai mo'a i ka lau laau4#cbj ,hoolaau#cba mai o ka welowelo4 ,ua pe'e pa ,kai-a-ulu o ,waimea1#cbb ,ua ola i ku'u kai1#cbc ,keoloewa1#cbd e4 ,footnote #cae3 ,waipi'o4 ,a deep valley on the windward side of ,hawaii4 ,footnote #caf3 ,paka'alana4 ,a temple and the residence of ,king ,liloa in ,waipi'o4 ,footnote #cag3 ,paepae4 ,the doorsill 7of this temple71 always an object of superstitious regard1 but especially so in the case of this temple4 ,here it stands for the whole temple4 ,footnote #cah3 ,liloa4 ,a famous king of ,hawaii who had his seat in ,waipi'o4 ,footnote #cai3 ,wahine pii ka pali1 ,haina-kolo1 a mythical character1 is probably the one alluded to4 ,she married a king of ,kukulu o ,kahiki1 and1 being deserted by him1 swam back to ,hawaii4 ,arrived at ,waipi'o in a famishing state1 she climbed the heights and ate of the ulei berries without first propitiating the local deity with a sacrifice4 ,as an infliction of the offended deity1 she became distraught and wandered away into the wilderness4 ,her husband repented of his neglect and after long search found her4 ,under kind treatment she regained her reason and the family was happily reunited4 ,footnote #cbj3 ,lau laau4 ,leaves of plants4 ,footnote #cba3 ,hoolaau4 ,the last part of this word1 laau1 taken in connection with the last word of the previous verse1 form a capital instance of word repetition4 ,this was an artifice much used in ,hawaiian poetry1 both as a means of imparting tone-color and for the punning wit it was supposed to exhibit4 ,footnote #cbb3 ,ua pe'e pa ,kai-a-ulu o ,waimea4 ,kai-a-ulu is a fierce rain-squall such as arises suddenly in the uplands of ,waimea1 ,hawaii4 ,the traveler1 to protect himself1 crouches 7pe'e7 behind a hummock of grass1 or builds up in all haste a barricade 7pa7 of light stuff as a partial shelter against the oncoming storm4 ,footnote #cbc3 ,kai4 ,taken in connection with ,kai-a-ulu in the preceding verse1 this is another instance of verse repetition4 ,this word1 the primary meaning of which is sea1 or ocean1 is used figuratively to represent a source of comfort or life4 ,footnote #cbd3 ,keoloewa4 ,the name of one of the old gods belonging to the class called akua noho1 a class of deities that were sent by the necromancers on errands of demoniacal possession4 ,page #afc ,translation4 ,a ,name-song of ,kamehameha ,in ,waipi'o stands ,paka'alana1 ,the sacred shrine of ,liloa4 ,love to the woman climbing the steep1 ,who gathered the ulei berries1 #e ,who ate of the uncooked herbs of the wild1 #e ,craving the swaying fruit like a hungry child4 ,a covert ,i found from the storm1 ,life in my sea of delight4 ,the text of this mele--said to be a name-song of ,kamehameha ,v--as first secured had undergone some corruption which obscured the meaning4 ,by calling to his aid an old ,hawaiian in whose memory the song had long been stored the author was able to correct it4 ,hawaiian authorities are at variance as to its meaning4 ,one party reads in it an exclusive allusion to characters that have flitted across the stage within the memory of people now living1 while another1 taking a more romantic and traditional view1 finds in it a reference to an old-time myth--that of ,ke-anini-ula-o-ka-lani--the chief character in which was ,haina-kolo4 7,see note e47 ,after carefully considering both sides of the question it seems to the author that1 while the principle of double allusion1 so common in ,hawaiian poetry1 may here prevail1 one is justified in giving prominence to the historico-mythological interpretation that is inwoven in the poem4 ,it is a comforting thought that adhesion to this decision will suffer certain unstaged actions of crowned heads to remain in charitable oblivion4 ,the music of this song is an admirable and faithful interpretation of the old ,hawaiian manner of cantillation1 having received at the hands of the foreign musician only so much trimming as was necessary to idealize it and make it reducible to our system of notation4 ,,explanatory ,,note ,hoaeae4--,this term calls for a quiet1 sentimental style of recitation1 in which the fluctuating trill i'i1 if it occurs at all1 is not made prominent4 ,it is contrasted with the olioli1 in which the style is warmer and the fluctuations of the i'i are carried to the extreme4 ,thus far we have been considering the traditional indigenous music of the land4 ,to come now to that which has been and is being produced in ,hawaii by ,hawaiians to-day1 under influences from abroad1 it will not be possible to mistake the presence in it of two strains3 ,the foreign1 showing its hand in the lopping away of much redundant foliage1 has brought it largely within the compass of scientific and technical expression2 the native element reveals itself1 now ,page #afd in plaintive reminiscence and now in a riotous bonhommie1 a rollicking love of the sensuous1 and in a style of delivery and vocal technique which demands a voluptuous throatiness1 and which must be heard to be appreciated4 ,the foreign influence has repressed and well-nigh driven from the field the monotonous fluctuations of the i'i1 has lifted the starveling melodies of ,hawaii out of the old ruts and enriched them with new notes1 thus giving them a spring and lan that appeal alike to the cultivated ear and to the popular taste of the day4 ,it has1 moreover1 tapped the springs of folk-song that lay hidden in the ,hawaiian nature4 ,this same influence has also caused to germinate a ,hawaiian appreciation of harmony and has endowed its music with new chords1 the tonic and dominant1 as well as with those of the subdominant and various minor chords4 ,the persistence of the ,hawaiian quality is1 however1 most apparent in the language and imagery of the song-poetry4 ,this will be seen in the text of the various mele and oli now to be given4 ,every musician will also note for himself the peculiar intervals and shadings of these melodies as well as the odd effects produced by rhythmic syncopation4 ,the songs must speak for themselves4 ,the first song to be given1 though dating from no longer ago than about the sixth decade of the last century1 has already scattered its wind-borne seed and reproduced its kind in many variants1 after the manner of other folklore4 ,this love-lyric represents a type1 very popular in ,hawaii1 that has continued to grow more and more personal and subjective in contrast with the objective epic style of the earliest ,hawaiian mele4 ,,ix--,song1 ,poli ,anuanu ,arranged by ,mrs4 ,,yarndley ,andante cantabile ,music ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xvii ,,hawaiian ,,musician ,,playing ,,on ,,the ,,uku-,,lele 7,by permission of ,hubert ,voss7 ,page #afe ,poli ,anuanu #a4 ,aloha wale oe1 ,poli anuanu2 ,mele au ,i ke nu1 e4 #b4 ,he anu e ka ua1 ,he anu e ka wai1 ,li'a kuu ili ,i ke anu1 e4 #c4 ,ina paha1 ,ooe a owau ,ka i pu-kuk'i1 ,i ke anu1 e4 ,he who would translate this love-lyric for the ear as well as for the mind finds himself handicapped by the limitations of our ,english speech--its scant supply of those orotund vowel sounds which flow forth with their full freight of breath in such words as a-l-ha1 p-li1 and -nu--nu4 ,these vocables belong to the very genius of the ,hawaiian tongue4 ,translation4 ,cold ,breast #a4 ,love fain compels to greet thee1 ,breast so cold1 so cold4 ,chilled1 benumbed am ,i ,with the pinching cold4 #b4 ,how bitter cold the rainfall1 ,bitter cold the stream1 ,body all a-shiver1 ,from the pinching cold4 #c4 ,pray1 what think you8 ,what if you and ,i ,should our arms enfold1 ,just to keep off the cold8 ,the song next given1 dating from a period only a few years subsequent1 is of the same class and general character as ,poli ,anuanu4 ,both words and music are peculiarly ,hawaiian1 though one may easily detect the foreign influence that presided over the shaping of the melody4 ,page #aff ,x--,song1 ,hua-hua'i ,arranged by ,mrs4 ,,yarndley ,moderato ,music3 ,huahua'i ,he aloha wau ia oe1 ,i kau hana1 hana pono2 ,la'i ai ke kaunu me ia la1 ,hoapaapa i ke kino4 ,chorus3 ,kaua i ka huahua'i1 ,e uhene la'i pili koolua1 ,pu-kuku'i aku i ke koekoe1 ,anu lipo i ka palai4 ,page #afg ,translation4 ,outburst ,o my love goes out to thee1 ,for thy goodness and thy kindness4 ,fancy kindles at that other1 ,stirs1 with her arts1 my blood4 ,chorus3 ,you and ,i1 then1 for an outburst6 ,sing the joy of love's encounter1 ,join arms against the invading damp1 ,deep chill of embowering ferns4 ,the following is given1 not for its poetical value and significance1 but rather as an example of a song which the trained ,hawaiian singer delights to roll out with an unctuous gusto that bids defiance to all description3 ,,xi--,song1 ,ka ,mawae ,by permission of the ,hawaiian ,news ,co41 of ,honolulu ,arranged by ,h4 ,,berger ,music3 ,,note4--,the music to which this hula song is set was produced by a member of the ,hawaiian ,band1 ,mr4 ,solomon ,a4 ,hiram1 and arranged by ,capt4 ,h4 ,berger1 to whom the author is indebted for permission to use it4 ,ka ,mawae ,a e ho'i ke aloha i ka mawae1 ,i ke ,kawelu-holu1 ,papi'ohli4#cbe ,huli mai kou alo1 ua anu wau1 ,ua pulu i ka ua1 malule o-luna4 ,footnote #cbe3 ,papi'o-huli4 ,a slope in the western valley-side at the head of ,nuuanu1 where the tall grass 7kawelu7 waves 7holu7 in the wind4 ,page #afh ,translation4 ,the ,refuge ,return1 ,o love1 to the refuge1 ,the wind-tossed covert of ,papi'ohli4 ,face now to my face2 ,i'm smitten with cold1 ,soaked with the rain and benumbed4 ,,xii--,like no a ,like ,by permission of the ,hawaiian ,news ,co4 7,ltd47 ,arranged by ,h4 ,,berger ,music ,like no a ,like #a4 ,ua like no a like ,me ka ua kani-lehua2 ,me he la e i mai ana1 ,aia ilaila ke aloha4 ,chorus3 ,ooe no ka'u i upu ai1 ,ku'u lei hiki ahiahi1 ,o ke kani o na manu1 ,i na hora o ke aumoe4 #b4 ,maanei mai kaua1 ,he welina pa'a i ka piko1 ,a nau no wau i imi mai1 ,a loaa i ke aheahe a ka makani4 ,chorus4 ,page #afi ,translation4 ,resemblance #a4 ,when the rain drums loud on the leaf1 ,it makes me think of my love2 ,it whispers into my ear1 ,your love1 your love--she is near4 ,chorus3 ,thou art the end of my longing1 ,the crown of evening's delight1 ,when ,i hear the cock blithe crowing1 ,in the middle watch of the night4 #b4 ,this way is the path for thee and me1 ,a welcome warm at the end4 ,i waited long for thy coming1 ,and found thee in waft of the breeze4 ,chorus4 ,,xiii--,song1 ,pili ,aoao ,by permission of the ,hawaiian ,news ,co4 7,ltd47 ,arranged by ,h4 ,,berger ,music ,,note4--,the composer of the music and the author of the mele was a ,hawaiian named ,john ,meha1 of the ,hawaiian ,band1 who died some ten years ago1 at the age of #dj years4 #a4 ,o ka ponaha iho a ke ao4 ,ka pipi'o malie maluna1 ,ike oe i ka hana1 mikiala1 ,nowelo i ka pili aoao4 ,chorus3 ,maikai ke aloha a ka ipo-- ,hana mao ole i ka puuwai1 ,houhou liilii i ka poli-- ,nowelo i ka pili aoao4 #b4 ,a mau ka pili'na olu pono2 ,huli a'e1 hooheno malie1 ,hanu liilii nahenahe1 ,nowelo i ka pili aoao4 ,chorus4 ,page #agj ,the author of the mele was a ,hawaiian named ,john ,meha1 who died some years ago4 ,he was for many years a member of the ,hawaiian ,band and set the words to the music given below1 which has since been arranged by ,captain ,berger4 ,translation4 ,side by ,side #a4 ,outspreads now the dawn1 ,arching itself on high-- ,but look6 a wondrous thing1 ,a thrill at touch of the side4 ,chorus3 ,most dear to the soul is a love-touch2 ,its pulse stirs ever the heart ,and gently throbs in the breast-- ,at thrill from the touch of the side4 #b4 ,in time awakes a new charm ,as you turn and gently caress2 ,short comes1 the breath--at ,the thrill from the touch of the side4 ,chorus4 ,the fragments of ,hawaiian music that have drifted down to us no doubt remain true to the ancient type1 however much they may have changed in quality4 ,they show the characteristics that stamp all primitive music--plaintiveness to the degree almost of sadness1 monotony1 lack of acquaintance with the full range of intervals that make up our diatonic scale1 and therefore a measurable absence of that ear-charm we call melody4 ,these are among its deficiencies4 ,if1 on the other hand1 we set down the positive qualities by the possession of which it makes good its claim to be classed as music1 we shall find that it has a firm hold on rhythm4 ,this is indeed one of the special excellencies of ,hawaiian music4 ,added to this1 we find that it makes a limited use of such-intervals as the third1 fifth1 fourth1 and at the same time resorts extravagantly1 as if in compensation1 to a fine tone-carving that divides up the tone-interval into fractions so much less than the semitone that our ears are almost indifferent to them1 and are at first inclined to deny their existence4 ,this minute division of the tone1 or step1 and neglect at the same time of the broader harmonic intervals1 reminds one of work in which the artist charges his picture with unimportant detail1 while failing in attention to the strong outlines4 ,among its merits we must not forget to mention a certain quality of tone-color which inheres in the ,hawaiian tongue and which greatly tends to the enhancement of ,hawaiian music1 especially when thrown into rhythmic forms4 ,the first thing1 then1 to repeat1 that will strike the auditor on listening to this primitive music will be its lack of melody4 ,the voice goes wavering and lilting along like a canoe on a rippling ocean4 ,illustration3 ,,plate ,,xviii ,,hala ,,fruit ,,bunch ,,and ,,drupe ,,with ,a 8,,lei0 7,,pandanus ,,odoratissimus7 ,page #aga ,then1 of a sudden1 it swells upward1 as if lifted by some wave of emotion2 and there for a time it travels with the same fluctuating movement1 soon descending to its old monotone1 until again moved to rise on the breast of some fresh impulse4 ,the intervals sounded may be1 as already said1 a third1 or a fifth1 or a fourth2 but the whole movement leads nowhere2 it is an unfinished sentence4 ,yet1 in spite of all these drawbacks and of this childish immaturity1 the amateur and enthusiast finds himself charmed and held as if in the clutch of some ,old-,world spell1 and this at what others will call the dreary and monotonous intoning of the savage4 ,in matters that concern the emotions it is rarely possible to trace with certainty the lines that lead up from effect to cause4 ,such is the nature of art4 ,if we would touch the cause which lends attractiveness to ,hawaiian music1 we must look elsewhere than to melody4 ,in the belief of the author the two elements that conspire for this end are rhythm and tone-color1 which comes of a delicate feeling for vowel-values4 ,the hall-mark of ,hawaiian music is rhythm1 for the ,hawaiians belong to that class of people who can not move hand or foot or perform any action except they do it rhythmically4 ,not alone in poetry and music and the dance do we find this recurring accent of pleasure1 but in every action of life it seems to enter as a timekeeper and regulator1 whether it be the movement of a fingerful of poi to the mouth or the swing of a kahili through the incense-laden air at the burial of a chief4 ,the typical ,hawaiian rhythm is a measure of four beats1 varied at times by a #b-rhythm1 or changed by syncopation into a #c-rhythm4 ,these people have an emotional susceptibility and a sympathy with environment that belongs to the artistic temperament2 but their feelings1 though easily stirred1 are not persistent and ideally centered2 they readily wander away from any example or pattern4 ,in this way may be explained their inclination to lapse from their own standard of rhythm into inexplicable syncopations4 ,as an instance of sympathy with environment1 an experience with a hula dancer may be mentioned4 ,wishing to observe the movement of the dance in time with the singing of the mele1 the author asked him to perform the two at one time4 ,he made the attempt1 but failed4 ,at length1 bethinking himself1 he drew off his coat and bound it about his loins after the fashion of a pa-1 such as is worn by hula dancers4 ,he at once caught inspiration1 and was thus enabled to perform the double rle of dancer and singer4 ,it has been often remarked by musical teachers who have had experience with these islanders that as singers they are prone to flat the tone and to drag the time1 yet under the stimulus of emotion they show the ability to acquit themselves in these respects with great credit4 ,the native ,page #agb inertia of their being demands the spur of excitement to keep them up to the mark4 ,while human nature everywhere shares in this weakness1 the tendency seems to be greater in the ,hawaiian than in some other races of no higher intellectual and esthetic advancement4 ,another quality of the ,hawaiian character which reenforces this tendency is their spirit of communal sympathy4 ,that is but another way of saying that they need the stimulus of the crowd1 as well as of the occasion1 even to make them keep step to the rhythm of their own music4 ,in all of these points they are but an epitome of humanity4 ,before closing this special subject1 the treatment of which has grown to an unexpected length1 the author feels constrained to add one more illustration of ,hawaii's musical productions4 ,the ,hawaiian national hymn on its poetical side may be called the last appeal of royalty to the nation's feeling of race-pride4 ,the music1 though by a foreigner1 is well suited to the words and is colored by the environment in which the composer has spent the best years of his life4 ,the whole production seems well fitted to serve as the clarion of a people that need every help which art and imagination can offer4 ,,xiv--,hawaii ,pono ,words by ,king ,,kalakaua ,composed by ,h4 ,,berger ,music3 ,illustration3 ,,pu 7,,triton ,,tritonis7 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xix ,page #agc ,page #agd ,,hawai',i ,,ponoi #a4 ,hawai'i ponoi1 ,nana i kou ,moi1 ,ka lani ,ali'i1 ,ke ,ali'i4 ,refrain3 ,makua lani1 e1 ,kamehameha1 e1 ,na kaua e pale1 ,me ka ihe4 #b4 ,hawai'i ponoi1 ,nana i na 'li'i1 ,na pua muli kou1 ,na poki'i4 ,refrain3 #c4 ,hawai'i ponoi ,e ka lahui1 e1 ,o kau hana nui ,e ui1 e4 ,refrain4 ,page #age ,translation4 ,hawaii ,ponoi #a4 ,hawaii's very own1 ,look to your sovran ,lord1 ,your chief that's heaven-born1 ,who is your ,king4 ,refrain3 ,protector1 heaven-sent1 ,kamehameha great1 ,to vanquish every foe1 ,with conquering spear4 #b4 ,men of ,hawaii's land1 ,look to your native chiefs1 ,your sole surviving lords1 ,the nation's pride4 ,refrain3 #c4 ,men of ,hawaiian stock1 ,my nation ever dear1 ,with loins begirt for work1 ,strive with your might4 ,refrain4 ,page #agf ,,xxii4--,,gesture ,gesture is a voiceless speech1 a short-hand dramatic picture4 ,the ,hawaiians were adepts in this sort of art4 ,hand and foot1 face and eye1 and those convolutions of gray matter which are linked to the organs of speech1 all worked in such harmony that1 when the man spoke1 he spoke not alone with his vocal organs1 but all over1 from head to foot1 every part adding its emphasis to the utterance4 ,von ,moltke could be reticent in six languages2 the ,hawaiian found it impossible to be reticent in one4 ,the hands of the hula dancer are ever going out in gesture1 her body swaying and pivoting itself in attitudes of expression4 ,her whole physique is a living and moving picture of feeling1 sentiment1 and passion4 ,if the range of thought is not always deep or high1 it is not the fault of her art1 but the limitations of her original endowment1 limitations of hereditary environment1 the universal limitations imposed on the translation from spirit into matter4 ,the art of gesture was one of the most important branches taught by the kumu4 ,when the hula expert1 the olohe1 who has entered the halau as a visitor1 utters the prayer 7p4 #dg71 8,o ,laka1 give grace to the feet of ,pohaku1 and to her bracelets and anklets2 give comeliness to the figure and skirt of ,luukia4 ,to each one give gesture and voice4 ,o ,laka1 make beautiful the lei2 inspire the dancers to stand before the assembly10 his meaning was clear and unmistakable1 and showed his high valuation of this method of expression4 ,we are not1 however1 to suppose that the kumu-hula1 whatever his artistic attainments1 followed any set of formulated doctrines in his teaching4 ,his science was implicit1 unformulated1 still enfolded in the silence of unconsciousness1 wrapped like a babe in its mother's womb4 ,to apply a scientific name to his method1 it might be called inductive1 for he led his pupils along the plain road of practical illustration1 adding example to example1 without the confusing aid of preliminary rule or abstract proposition1 until his pupils had traveled over the whole ground covered by his own experience4 ,each teacher went according to the light that was in him1 not forgetting the instructions of his own kumu1 but using them as a starting point1 a basis on which to build as best he knew4 ,there were no books1 no manuals of instruction1 to pass from hand to hand and thus secure uniformity of instruction4 ,then1 again1 it was a long journey from ,hawaii to ,kauai1 or ,page #agg even from one island to another4 ,the different islands1 as a rule1 were not harnessed to one another under the same political yoke2 even districts of the same island were not unfrequently under the independent sway of warring chiefs2 so that for long periods the separation1 even the isolation1 in matters of dramatic art and practice was as complete as in politics4 ,the method pursued by the kumu may be summarized as follows3 ,having labored to fix the song1 the mele or oli1 in the minds of his pupils1 the haumana1 he appointed some one to recite the words of the piece1 while the class1 standing with close attention to the motions of the kumu and with ears open at the same time to the words of the leader1 were required to repeat the kumu's gestures in pantomime until he judged them to have arrived at a sufficient degree of perfection4 ,that done1 the class took up the double task of recitation joined to that of gesture4 ,in his attempt to translate his concepts into physical signs the ,hawaiian was favored not only by his vivid power of imagination1 but by his implicit philosophy1 for the ,hawaiian looked at things from a physical plane--a safe ground to stand upon--albeit he had glimpses at times far into the depths of ether4 ,when he talked about spirit1 he still had in mind a form of matter4 ,a god was to him but an amplified human being4 ,it is not the purpose to attempt a scientific classification of gesture as displayed in the halau4 ,the most that can be done will be to give a few familiar generic illustrations which are typical and representative of a large class4 ,the pali1 the precipice1 stands for any difficulty or obstacle of magnitude4 ,the ,hawaiian represents this in his dramatic1 pictorial manner with the hand vertically posed on the outstretched arm1 the palm of the hand looking away4 ,if it is desired to represent this wall of obstacle as being surmounted1 the hand is pushed forward1 and at the same time somewhat inclined1 perhaps1 from its rigid perpendicularity1 the action being accompanied by a series of slight lifting or waving movements as of climbing4 ,another way of dramatically picturing this same concept1 that of the pali as a wall of obstacle1 is by holding the forearm and hand vertically posed with the palmar aspect facing the speaker4 ,this method of expression1 while perhaps bolder and more graphic than that before mentioned1 seems more purely oratorical and less graceful1 less subtly pictorial and elegant than the one previously described1 and therefore less adapted to the hula4 ,for it must be borne in mind that the hula demanded the subordination of strength to grace and elegance4 ,we may at the same time be sure that the halau showed individuality in its choice of methods1 that it varied its technique and manner of expression at different times and places1 according to the different conception of one or another kumu4 ,page #agh ,progression1 as in walking or traveling1 is represented by means of a forward undulatory movement of the outstretched arm and hand1 palm downward1 in a horizontal plane4 ,this gesture is rhythmic and beautifully pictorial4 ,if the other hand also is made a partner in the gesture1 the significance would seem to be extended1 making it include1 perhaps1 a larger number in the traveling company4 ,the mere extension of the arm1 the back-hand advanced1 would serve the purpose of indicating removal1 travel1 but in a manner less gracious and caressing4 ,to represent an open level space1 as of a sand-beach or of the earth-plain1 the ,hawaiian very naturally extended his arms and open hands--palms downward1 of course--the degree of his reaching effort being in a sense a measure of the scope intended4 ,to represent the act of covering or protecting oneself with clothing1 the ,hawaiian placed the hollow of each hand over the opposite shoulder with a sort of hugging action4 ,but here1 again1 one can lay down no hard and fast rule4 ,there was differentiation2 the pictorial action might well vary according to the actor's conception of the three or more generic forms that constituted the varieties of ,hawaiian dress1 which were the mlo of the man1 the pa- of the woman1 and the decent kihe1 a toga-like robe1 which1 like the blanket of the ,north ,american ,indian1 was common to both sexes4 ,still another gesture1 a sweeping of the hands from the shoulder down toward the ground1 would be used to indicate that costly feather robe1 the ahuula1 which was the regalia and prerogative of kings and chiefs4 ,the ,hawaiian places his hands1 palms up1 edge to edge1 so that the little finger of one hand touches its fellow of the other hand4 ,by this action he means union or similarity4 ,he turns one palm down1 so that the little finger and thumb of opposite hands touch each other4 ,the significance of the action is now wholly reversed2 he now means disunion1 contrariety4 ,to indicate death1 the death of a person1 the finger-tips1 placed in apposition1 are drawn away from each other with a sweeping gesture and at the same time lowered till the palms face the ground4 ,in this case also we find diversity4 ,one old man1 well acquainted with hula matters1 being asked to signify in pantomimic fashion 8the king is sick10 went through the following motions3 ,he first pointed upward1 to indicate the heaven-born one1 the king2 then he brought his hands to his body and threw his face into a painful grimace4 ,to indicate the death of the king he threw his hands upward toward the sky1 as if to signify a removal by flight4 ,he admitted the accuracy of the gesture1 previously described1 in which the hands are moved toward the ground4 ,there are1 of course1 imitative and mimetic gestures galore1 as of paddling1 swimming1 diving1 angling1 and the like1 ,page #agi which one sees every day of his life and which are to be regarded as parts of that universal shorthand vocabulary of unvocalized speech that is used the world over from ,naples to ,honolulu1 rather than stage-conventions of the halau4 ,it will suffice to mention one motion or gesture of this sort which the author has seen used with dramatic effect4 ,an old man was describing the action of ,hiiaka 7the little sister of ,pele7 while clearing a passage for herself and her female companion with a great slaughter of the reptilian demon-horde of ma'o that came out in swarms to oppose the progress of the goddess through their territory while she was on her way to fetch ,prince ,lohiau4 ,the goddess1 a delicate piece of humanity in her real self1 made short work of the little devils who covered the earth and filled the air4 ,seizing one after another1 she bit its life out1 or swallowed it as if it had been a shrimp4 ,the old man represented the action most vividly3 pressing his thumb1 forefinger1 and middle finger into a cone1 he brought them quickly to his mouth1 while he snapped his jaws together like a dog seizing a morsel1 an action that pictured the story better than any words4 ,it might seem at first blush that facial expression1 important as it is1 owing to its short range of effectiveness1 should hardly be put in the same category with what may be called the major stage-gestures that were in vogue in the halau4 ,but such a judgment would certainly be mistaken4 ,the ,greek use of masks on the stage for their 8carrying power0 testified to their valuation of the countenance as a semaphore of emotion2 at the same time their resort to this artifice was an implicit recognition of the desirability of bringing the window of the soul nearer to the audience4 ,the ,hawaiians1 though they made no use of masks in the halau1 valued facial expression no less than the ,greeks4 ,the means for the study of this division of the subject1 from the nature of the case1 is somewhat restricted and the pursuit of illustrations makes it necessary to go outside of the halau4 ,the ,hawaiian language was one of hospitality and invitation4 ,the expression mai1 or komo mai1 this way1 or come in1 was the most common of salutations4 ,the ,hawaiian sat down to meat before an open door2 he ate his food in the sight of all men1 and it was only one who dared being denounced as a churl who would fail to invite with word and gesture the passer-by to come in and share with him4 ,this gesture might be a sweeping1 downward1 or sidewise motion of the hand in which the palm faced and drew toward the speaker4 ,this seems to have been the usual form when the two parties were near to each other2 if they were separated by any considerable distance1 the fingers would perhaps more likely be turned upward1 thus making the signal more distinctly visible and at the same time more emphatic4 ,page #ahj ,in the expression of unvoiced assent and dissent the ,hawaiian practised refinements that went beyond our ordinary conventions4 ,to give assent he did not find it necessary so much as to nod the head2 a lifting of the eyebrows sufficed4 ,on the other hand1 the expression of dissent was no less simple as well as decisive1 being attained by a mere grimace of the nose4 ,this manner of indicating dissent was not1 perhaps1 without some admixture of disdain or even scorn2 but that feeling1 if predominant1 would call for a reenforcement of the gesture by some additional token1 such as a pouting of the lips accompanied by an upward toss of the chin4 ,a more impersonal and coldly businesslike way of manifesting a negative was by an outward sweep of the hand1 the back of the hand being turned to the applicant4 ,such a gesture1 when addressed to a huckster or a beggar--a rare bird1 by the way1 in old ,hawaii--was accepted as final4 ,there was another method of signifying a most emphatic1 even contemptuous1 no4 ,in this the tongue is protruded and allowed to hang down flat and wide like the flaming banner of a panting hound4 ,a friend states that the ,maoris made great use of gestures with the tongue in their dances1 especially in the war-dance1 sometimes letting it hang down broad1 flat1 and long1 directly in front1 sometimes curving it to right or left1 and sometimes stuffing it into the hollow of the cheek and puffing out one side of the face4 ,this manner--these methods it might be said--of facial expression1 so far as observed and so far as can be learned1 were chiefly of feminine practice4 ,the very last gesture--that of the protruded tongue--is not mentioned as one likely to be employed on the stage in the halau1 certainly not in the performance of what one would call the serious hulas4 ,but it might well have been employed in the hula ki'i 7see p4 #ia71 which was devoted1 as we have seen1 to the portrayal of the lighter and more comic aspects of daily life4 ,it is somewhat difficult to interpret the meaning of the various attitudes and movements of the feet and legs4 ,their remoteness from the centers of emotional control1 their detachment from the vortices of excitement1 and their seeming restriction to mechanical functions make them seem but slightly sympathetic with those tides of emotion that speed through the vital parts of the frame4 ,but1 though somewhat aloof from1 they are still under the dominion of1 the same emotional laws that govern the more central parts4 ,man is all sympathy one part with another2 ,for head with heart hath joyful amity1 ,and both with moon and tides4 ,the illustrations brought to illuminate this division of the subject will necessarily be of the most general application and will seem to belong rather to the domain of oratory than ,page #aha to that of dramatic or stage expression1 by which is meant expression fitted for the purposes of the halau4 ,illustration3 ,,phyllodia ,,and ,,true ,,leaves ,,of ,,the ,,koa 7,,acacia ,,koa7 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xx ,to begin with a general proposition1 the attitude of the feet and legs must be sympathetic with that of the other parts of the body4 ,when standing squarely on both feet and looking directly forward1 the action may be called noncommittal1 general2 but if the address is specialized and directed to a part of the audience1 or if attention is called to some particular region1 the face will naturally turn in that direction4 ,to attain this end1 while the leg and arm of the corresponding side will be drawn back1 the leg and arm of the opposite side will be advanced1 thus causing the speaker to face the point of address4 ,if the speaker or the actor addresses himself1 then1 to persons1 or to an object1 on his right1 the left leg will be the one more in advance and the left arm will be the one on which the burden of gesture will fall1 and vice versa4 ,it would be a mistake to suppose that every motion or gesture displayed by the actors on the stage of the halau was significant of a purpose4 ,to do that would be to ascribe to them a flawless perfection and strength that no body of artists have ever attained4 ,many of their gestures1 like the rhetoric of a popular orator1 were mere flourishes and ornaments4 ,with a language so full of seemingly superfluous parts1 it could not well be otherwise than that their rhetoric of gesture should be overloaded with flourishes4 ,the whole subject of gesture1 including facial expression1 is worthy of profound study1 for it is linked to the basic elements of psychology4 ,the illustrations adduced touch only the skirts of the subject2 but they must suffice4 ,an exhaustive analysis1 the author believes1 would show an intimate and causal relation between these facial expressions and the muscular movements that are the necessary accompaniments or resultants of actual speech4 ,to illustrate1 the pronunciation of the ,hawaiian word ae 7pronounced like our aye71 meaning 8yes10 involves the opening of the mouth to its full extent2 and this action1 when accomplished1 results in a sympathetic lifting of the eyebrows4 ,it is this ultimate and completing part of the action which the ,hawaiian woman adopts as her semaphore of assent4 ,one of the puzzling things about gesture comes when we try to think of it as a science rooted in psychology4 ,it is then we discover variations presented by different peoples in different lands1 which force us to the conviction that in only a part of its domain does it base itself on the strict principles of psychology4 ,gesture1 like language1 seems to be made up in good measure of an opportunist growth that springs up in answer to man's varying needs and conditions4 ,the writer hopes he will not be charged with begging the question in suggesting that another element which we must ,page #ahb reckon with as influential in fashioning and stereotyping gesture is tradition and convention4 ,to illustrate--the actor who took the rle of ,lord ,dundreary in the first performance of the play of the same name accidentally made a fantastic misstep while crossing the stage4 ,the audience was amused1 and the actor1 quick to avail himself of any open door1 followed the lead thus hinted at4 ,the result is that he won great applause and gave birth to a mannerism which has well-nigh become a stage convention4 ,page #ahc ,,xxiii4--,,the ,,hula ,,pa-,,hua ,the hula pa-hua was a dance of the classical times that has long been obsolete4 ,its last exhibition1 so far as ascertained1 was in the year #ahdf1 on the island of ,oahu4 ,in this performance both the olapa and the hoopaa cantillated the mele1 while the latter squatted on the floor4 ,each one was armed with a sharp stick of wood fashioned like a javelin1 or a ,hawaiian spade1 the o-2 and with this he made motions1 thrusting to right and to left2 whether in imitation of the motions of a soldier or of a farmer could not be learned4 ,the gestures of these actors were in perfect time with the rhythm of the mele4 ,the dance-movements performed by the olapa1 as the author has heard them described1 were peculiar1 not an actual rotation1 but a sort of half-turn to one side and then to the other1 an advance followed by a retreat4 ,while doing this the olapa1 who were in two divisions1 marked the time of the movement by clinking together two pebbles which they held in each hand4 ,the use of the pebbles after the manner of castanets1 the division of the dancers into two sets1 their advance and retreat toward and away from each other are all suggestive of the ,spanish bolero or fandango4 ,the resemblance went deeper than the surface4 ,the prime motive of the song1 the mele1 also is the same1 love in its different phases even to its most frenzied manifestations4 ,mele ,pa au i ka ihe a ,kane2#cbf ,nana ka maka ia ,koolau2#cbg ,kau ka opua#cbg ma ka moana4 ,lu'u a e-a1 lu'u a e-a1#cbi #e ,hiki i ,wai-ko-loa4 ,aole loa ke kula ,i ka pai-lani a ,kane4#ccj ,ke kane#cca ia no hoi ia ,ka hula pe-pe'e #aj ,a ka hale ku'i4 ,ku'i oe a lono ,kahiki-nui2 ,hoolei ia iluna o ,kaua-loa1 ,ka lihilihi pua o ka makemake4 ,mao ole ke ,koolau i ka lihilihi4 #ac ,he lihi kuleana ia no ,puna4 ,o ko'u puni no ia o ka ike maka4 ,aohe makamaka o ka hale1 ua hele oe2 ,nawai la au e hookipa ,i keia mahaoi ana mai nei o ka loa8 #bj ,he makemake no au e ike maka2 ,i hookahi no po1 le'a ke kaunu1 ,ka hana mao ole a ke anu4 ,he anu mawaho1 a he hu'i ma-loko4 ,a ilaila laua la1 la'i pono iho4 #be ,ua pono oe o kaua1 ua alu ka moena2 ,ka hana mau a ka ,inu-wai2 ,mao ole i ka nui kino4 ,ku'u kino keia mauna ia ha'i4 ,e ,ku1 e hoolei la6 #cj ,a ua noa6 ,footnote #cbg3 ,ihe a ,kane4 ,the spear of ,kane4 ,what else can this he than that old enemy to man's peace and comfort1 love1 passion8 ,footnote #cbh3 ,koolau4 ,the name applied to the weather side of an island2 the direction in which one would naturally turn first to judge of the weather4 ,footnote #cbi3 ,opua4 ,a bunch of clouds2 a cloud-omen2 a heavenly phenomenon2 a portent4 ,in this case it probably means a lover4 ,the present translation1 is founded on this view4 ,footnote #ccj3 ,lu'u a e-a4 ,to dive and then come up to take breath1 as one does in swimming out to sea against the incoming breakers1 or as one might do in escaping from a pursuer1 or in avoiding detection1 after the manner of a loon4 ,footnote #cca3 ,a ,kane and ,ke kane4 ,instances of word-repetition1 previously mentioned as a fashion much used in ,hawaiian poetry4 ,see instances also of the same figure in lines #ac and #ad and in lines #af and #ag4 ,page #ahd ,translation4 ,song ,i am smitten with spear of ,kane2 ,mine eyes with longing scan ,koolau2 ,behold the love-omen hang o'er the sea4 ,i dive and come up1 dive and come up2 #e ,thus ,i reach my goal ,wai-ko-loa4 ,the width of plain is a trifle ,to the joyful spirit of ,kane4 ,aye1 a husband1 and patron is he ,to the dance of the bended knee1 #aj ,in the hall of the stamping feet4 ,stamp1 till the echo reaches ,kahiki2 ,still pluck you a wreath by the way ,to crown your fondest ambition2 ,a wreath not marred by the salt wind #ae ,that plays with the skirts of ,puna4 ,i long to look eye into eye4 ,friendless the house1 you away2 ,pray who will receive1 who welcome1 ,this guest uninvited from far8 #bj ,i long for one 7soul-deep7 gaze1 ,one night of precious communion2 ,such a flower wilts not in the cold-- ,cold without1 a tumult within4 ,what bliss1 if we two were together6 #be ,you are the blest of us twain2 ,the mat bends under your form4 ,the thirsty wind1 it still rages1 ,page #ahe ,appeased not with her whole body4 ,my body is pledged to another4 #cj ,crown it1 ,ku1 crown it4 ,now the service is free6 ,some parts of this mele1 which is a love-song1 have defied the author's most strenuous efforts to penetrate their deeper meaning4 ,no ,hawaiian consulted has made a pretense of understanding it wholly4 ,the ,philistines of the middle of the nineteenth century1 into whose hands it fell1 have not helped matters by the emendations and interpolations with which they slyly interlarded the text1 as if to set before us in a strong light the stigmata of degeneracy from which they were suffering4 ,the author has discarded from the text two verses which followed verse #bh3 ,hai'na ia mai ka puana3 ,ka wai anapa i ke kala4 ,translation4 ,declare to me now the riddle3 ,the waters that flash on the plain4 ,the author has refrained from casting out the last two verses1 though in his judgment they are entirely out of place and were not in the mele originally4 ,page #ahf ,,xxiv--,,the ,,hula ,,pele ,the ,hawaiian drama could lay hold of no worthier theme than that offered by the story of ,pele4 ,in this epic we find the natural and the supernatural1 the everyday events of nature and the sublime phenomena of nature's wonderland1 so interwoven as to make a story rich in strong human and deific coloring4 ,it is true that the genius of the ,hawaiian was not equal to the task of assembling the dissevered parts and of combining into artistic unity the materials his own imagination had spun4 ,this very fact1 however1 brings us so much nearer to the inner workshop of the ,hawaiian mind4 ,the story of ,pele is so long and complicated that only a brief abstract of it can be offered now3 ,pele1 the goddess of the volcano1 in her dreams and wanderings in spirit-form1 met and loved the handsome ,prince ,lohiau4 ,she would not be satisfied with mere spiritual intercourse2 she demanded the sacrament of bodily presence4 ,who should be the ambassador to bring the youth from his distant home on ,kauai8 ,she begged her grown-up sisters to attempt the task4 ,they foresaw the peril and declined the thankless undertaking4 ,hiiaka1 the youngest and most affectionate1 accepted the mission2 but1 knowing her sister's evil temper1 strove to obtain from ,pele a guaranty that her own forests and the life of her bosom friend ,hopoe should be safeguarded during her absence4 ,hiiaka was accompanied by ,wahine-oma'o--the woman in green--a woman as beautiful as herself4 ,after many adventures they arrived at ,haena and found ,lohiau dead and in his sepulchre1 a sacrifice to the jealousy of ,pele4 ,they entered the cave1 and after ten days of prayer and incantation ,hiiaka had the satisfaction of seeing the body of ,lohiau warmed and animated by the reentrance of the spirit2 and the company1 now of three1 soon started on the return to ,kilauea4 ,the time consumed by ,hiiaka in her going and doing and returning had been so long that ,pele was moved to unreasonable jealousy and1 regardless of her promise to her faithful sister1 she devastated with fire the forest parks of ,hiiaka and sacrificed the life of ,hiiaka's bosom friend1 the innocent and beautiful ,hopoe4 ,hiiaka and ,lohiau1 on their arrival at ,kilauea1 seated themselves on its ferny brink1 and there1 in the open view of ,pele's court1 ,hiiaka1 in resentment at the broken faith of her sister and in defiance of her power1 invited and received ,page #ahg from ,lohiau the kisses and dalliance which up to that time she had repelled4 ,pele1 in a frenzy of passion1 overwhelmed her errant lover1 ,lohiau1 with fire1 turned his body into a pillar of rock1 and convulsed earth and sea4 ,only through the intervention of the benevolent peacemaking god ,kane was the order of the world saved from utter ruin4 ,the ancient ,hawaiians naturally regarded the ,pele hula with special reverence by reason of its mythological importance1 and they selected it for performance on occasions of gravity as a means of honoring the kings and alii of the land4 ,they would have considered its presentation on common occasions1 or in a spirit of levity1 as a great impropriety4 ,in ancient times the performance of the hula ,pele1 like that of all other plays1 was prefaced with prayer and sacrifice4 ,the offering customarily used in the service of this hula consisted of salt crystals and of luau made from the delicate unrolled taro leaf4 ,this was the gift demanded of every pupil seeking admission to the school of the hula1 being looked upon as an offering specially acceptable to ,pele1 the patron of this hula4 ,in the performance of the sacrifice teacher and pupil approached and stood reverently before the kuahu while the former recited a mele1 which was a prayer to the goddess4 ,the pupil ate the luau1 the teacher placed the package of salt on the altar1 and the service was complete4 ,both olapa and hoopaa took part in the performance of this hula4 ,there was little or no moving about1 but the olapa did at times sink down to a kneeling position4 ,the performance was without instrumental accompaniment1 but with abundant appropriate gestures4 ,the subjects treated of were of such dignity and interest as to require no extraneous embellishment4 ,perusal of the mele which follows will show that the story of ,pele dated back of her arrival in this group3 ,he ,oli--,o ka mele mua keia o ka hula ,pele ,mai ,kahiki ka wahine1 o ,pele1 ,mai ka aina i ,pola-pola1 ,mai ka punohu ula a ,kane1 ,mai ke ao lalapa i ka lani1 #e ,mai ka opua lapa i ,kahiki4 ,lapa-ku i ,hawaii ka wahine1 o ,pele2 ,kalai i ka wa'a ,houna-i-a-kea1 ,kou wa'a1 e ,ka-moho-alii4 ,i apo'a ka moku i pa'a2 #aj ,ua hoa ka wa'a o ke ,akua1 ,ka wa'a o ,kane-kalai-honua4 ,holo mai ke au1 a'ea'e ,pele-honua-mea2 ,a'ea'e ka ,lani1 ai-puni'a i ka moku2 ,a'ea'e ,kini o ke ,akua1 ,page #ahh #ae ,noho a'e o ,malau4 ,ua ka ia ka liu o ka wa'a4 ,ia wai ka hope1 ka uli o ka wa'a1 e ne hoa 'lii8 ,ia ,pele-honua-mea4 ,a'ea'e kai hoe oluna o ka wa'a4 #bj ,o ,ku ma1 laua o ,lono1 ,noho i ka honua aina1 ,kau aku i hoolewa moku4 ,hiiaka1 noiau1 he akua1 ,ku ae1 hele a noho i ka hale o ,pele4 #be ,huahua'i ,kahiki1 lapa uila1 e ,pele4 ,e hua'i1 e6 ,translation4 ,a ,song--,the first song of the hula ,pele ,from ,kahiki came the woman1 ,pele1 ,from the land of ,pola-pola1 ,from the red cloud of ,kane1 ,cloud blazing in the heavens1 #e ,fiery cloud-pile in ,kahiki4 ,eager desire for ,hawaii seized the woman1 ,pele2 ,she carved the canoe1 ,honua-i-a-kea1 ,your canoe1 ,o ,ka-moho-alii4 ,they push the work on the craft to completion4 #aj ,the lashings of the god's canoe are done1 ,the canoe of ,kane1 the world-maker4 ,the tides swirl1 ,pele-honua-mea o'ermounts them2 ,the god rides the waves1 sails about the island2 ,the host of little gods ride the billows2 #ae ,malau takes his seat2 ,one bales out the bilge of the craft4 ,who shall sit astern1 be steersman1 ,o1 princes8 ,pele of the yellow earth4 ,the splash of the paddles dashes o'er the canoe4 #bj ,ku and his fellow1 ,lono1 ,disembark on solid land2 ,they alight on a shoal4 ,hiiaka1 the wise one1 a god1 ,stands up1 goes to stay at the house of ,pele4 #be ,lo1 an eruption in ,kahiki6 ,a flashing of lightning1 ,o ,pele6 ,belch forth1 ,o ,pele6 ,tradition has it that ,pele was expelled from ,kahiki by her brothers because of insubordination1 disobedience1 and disrespect to their mother1 ,honua-mea1 sacred land4 7,if ,pele in ,kahiki conducted herself as she has done in ,hawaii1 rending and scorching the bosom of mother earth--,honua-,mea--it is not to be wondered that her brothers were anxious to get rid of her47 ,she voyaged north4 ,her ,page #ahi first stop was at the little island of ,ka-ula1 belonging to the ,hawaiian group4 ,she tunneled into the earth1 but the ocean poured in and put a stop to her work4 ,she had the same experience on ,lehua1 on ,kiihau1 and on the large island of ,kauai4 ,she then moved on to ,oahu1 hoping for better results2 but though she tried both sides of the island1 first mount ,ka-ala--the fragrant--and then ,konahuanui1 she still found the conditions unsatisfactory4 ,she passed on to ,molokai1 thence to ,lanai1 and to ,west ,maui1 and ,east ,maui1 at which last place she dug the immense pit of ,hale-a-ka-la2 but everywhere she was unsuccessful4 ,still journeying east and south1 she crossed the wide ,ale-nui-haha channel and came to ,hawaii1 and1 after exploring in all directions1 she was satisfied to make her home at ,kilauea4 ,here is 7ka piko o ka honua7 the navel of the earth4 ,apropos of this effort of ,pele to make a fire-pit for herself1 see the song for the hula kuolo 7p4 #hf71 8,a pit lies 7far7 to the east40 ,mele ,a ,kauai1 a ke olewa #ccb iluna1 ,ka pua lana i kai o ,wailua2 ,nana mai ,pele ilaila2 ,e waiho aku ana o ,ahu4#ccc #e ,aloha i ka wai niu o ka aina2 ,e ala mai ana mokihana1 ,wai auau o ,hiiaka4 ,hoo-paapaa ,pele ilaila2 ,aohe ,kau #ccd e ulu ai4 #aj ,keehi aku ,pele i ka ale kua-loloa1 ,he onohi no ,pele1 ka oaka o ka lani1 la4 ,eli-eli1 kau mai6 ,translation4 ,song ,to ,kauai1 lifted in ether1 ,a floating flower at sea off ,wailua-- ,that way ,pele turns her gaze1 ,she's bidding adieu to ,oahu1 #e ,loved land of new wine of the palm4 #e ,there comes a perfumed waft--mokihana-- ,the bath of the maid ,hiiaka4 ,scene it was once of ,pele's contention1 ,put by for future attention4 #aj ,her foot now spurns the long-backed wave2 #aj ,the phosphor burns like ,pele's eye1 ,or a meteor-flash in the sky4 ,finished the prayer1 enter1 possess6 ,footnote #ccb3 ,olewa4 ,said to be the name of a wooded region high up on the mountain of ,kauai4 ,it is here treated as if it meant the heavens or the blue ether4 ,its origin is the same with the word lewa1 the upper regions of the air4 ,footnote #ccc3 ,o ,ahu4 ,in this instance the article still finds itself disunited from its substantive4 ,to-day we have ,oahu and ,ola'a4 ,footnote #ccd3 ,kau1 ,the summer2 time of warm weather2 the growing season4 ,page #aij ,the incidents and allusions in this mele belong to the story of ,pele's journey in search of ,lohiau1 the lover she met in her dreams1 and describe her as about to take flight from ,oahu to ,kauai 7verse #d74 ,hiiaka's bath1 ,wai auau o ,hiiaka 7verse #g71 which was the subject of ,pele's contention 7verse #h71 was a spring of water which ,pele had planted at ,huleia on her arrival from ,kahiki4 ,the ones with whom ,pele had the contention were ,kukui-lau-manienie and ,kukui-lauhanahana1 the daughters of ,lima-loa1 the god of the mirage4 ,these two women lived at ,huleia near the spring4 ,kamapua'a1 the swinegod1 their accepted lover1 had taken the liberty to remove the spring from the rocky bed where ,pele had planted it to a neighboring hill4 ,pele was offended and demanded of the two women3 8,where is my spring of water80 8,where1 indeed1 is your spring8 ,you belong to ,hawaii4 ,what have you to do with any spring on ,kauai80 was their answer4 8,i planted a clean spring here on this rock10 said ,pele4 8,you have no water here10 they insisted2 8your springs are on ,hawaii40 8,if ,i were not going in search of my husband ,lohiau10 said ,pele1 8,i would set that spring back again in its old place40 8,you haven't the power to do that10 said they4 8,the son of ,kahiki-ula 7,kama-puaa7 moved it over there1 and you can't undo his action40 ,the eye of ,pele1 ,he onohi no ,pele 7verse #aa71 is the phosphorescence which ,pele's footfall stirs to activity in the ocean4 ,the formal ending of this mele1 ,elieli1 kau mai1 is often found at the close of a mele in the hula ,pele1 and marks it as to all intents and purposes a prayer4 ,e waiho aku ana o ,ahu 7verse #d74 ,this is an instance of the separation of the article o from the substantive ,ahu1 to which it becomes joined to form the proper name of the island now called ,oahu4 ,mele ,ke amo la ke ko'i ke akua la i-uka2 ,haki nu'a-nu'a mai ka nalu mai ,kahiki1 ,po-po'i aku la i ke alo o ,kilauea4#cce ,kanaka hea i ka lakou puaa kanu2 #e ,he wahine kui lei lehua i uka o ,olaa1 ,ku'u moku lehua i ke alo o ,he-eia4 ,o ,kuku-ena#ccf wahine1 ,komo i ka lau-ki1 ,page #aia ,a'e-a'e a noho4 #aj ,eia makou1 kou lau kaula la4 ,eli-eli1 kau mai6 ,footnote #cce3 ,the figure in the second and third verses1 of waves from ,kahiki 7nalu mai ,kahiki7 beating against the front of ,kilauea 7,po-po'i aku la i ke alo o ,kilauea71 seems to picture the trampling of the multitude splashing the mire as if it were1 waves of ocean4 ,footnote #ccf3 ,kukuena4 ,there is some uncertainty as to who this character was2 probably the same as ,haumea1 the mother of ,pele4 ,translation4 ,song ,they bear the god's ax up the mountain2 ,trampling the mire1 like waves from ,kahiki ,that beat on the front of ,kilauea4 ,the people with offerings lift up a prayer2 #e ,a woman strings wreaths in ,olaa-- ,lehua grove mine bord'ring ,he-eia4 ,and now ,kukuena1 mother god1 ,covers her loins with a pa- of ti leaf2 ,she mounts the altar2 she sits4 #aj ,behold us1 your conclave of priests4 ,enter in1 possess us6 ,this has the marks of a ,hawaiian prayer1 and as such it is said to have been used in old times by canoe-builders when going up into the mountains in search of timber4 ,or it may have been recited by the priests and people who went up to fell the lehua tree from which to carve the ,makahiki#ccg idol2 or1 again1 may it possibly have been recited by the company of hula folk who climbed the mountain in search of a tree to be set up in the halau as a representation of the god whom they wished to honor8 ,this is a question the author can not settle4 ,that it was used by hula folk is indisputable1 but that would not preclude its use for other purposes4 ,mele ,ku i ,wailua ka pou hale#cch ,ka ipu hoolono i ka uwalo1 ,ka wawa nui1 e ,ulupo4 ,aole uwalo mai1 e4 #e ,aloha nui o ,ikuwa1 ,mahoena4 ,ke lele la ka makawao o ka hinalo4 ,aia i ,man ka oka'i o ka ua o ,eleao2 ,ke holu la ka a'ahu o ,ka- #cci i ka makani2 ,ke puhi a'e la ka ale kumupali o ,ka-1 ,honuapo2 #aj ,ke hakoko ka niu o ,paiaha'a i ka makani4 ,uki-uki oukou3 ,ke lele la ke kai2 ,lele iao1#cdj lele6 ,o ka makani ,koolau-wahine1 ,page #aib #ae ,o ka ,moa'e-ku4 ,lele ua1 lele kawa6 #cda ,lele aku1 lele mai6 ,lele o-1#cdb o- lele2 #cdc ,lele opuhi1#cdd lele2 #bj ,lele o ,kaun1#cde kaha oe4 ,e ,hiiaka e1 ku6 ,footnote #ccg3 ,for an account of the ,makahiki idol see ,hawaiian ,antiquities1 p4 #ahi1 by ,david ,malo2 translated by ,n4,b4 ,emerson1 ,a4,m41 ,m4,d41 ,honolulu1 ,hawaiian ,gazette ,company 7,limited71 #aijc4 ,footnote #cch3 ,pou hele4 ,the main post of a house1 which is here intended1 was the pou-han2 it was regarded with a superstitious reverence4 ,footnote #cci3 ,a'hu o ,ka-u4 ,a reference1 doubtless1 to the long grass that once covered ,ka-4 ,footnote #cdj3 ,i-o4 ,a small fish that took short flights in the air4 ,footnote #cda3 ,lele kawa4 ,to jump in sport from a height into the water4 ,footnote #cdb3 ,lele o-4 ,to leap feet first into the water4 ,footnote #cdc3 ,o- lele4 ,to dive head first into the water4 ,footnote #cdd3 ,lele opuhi4 ,the same as pahi'a1 to leap obliquely into the water from a height1 bending oneself so that the feet come first to the surface4 ,footnote #cde3 ,kaun4 ,a woman of ,ka- celebrated for her skill in the hula1 also the name of a cape that reaches out into the stormy ocean4 ,translation4 ,song ,at ,wailua stands the main house-post2 ,this oracle harks to wild voices1 ,tumult and clamor1 ,o ,ulu-po2 ,it utters no voice to entreaty4 #e ,alas for the prophet that's dumb6 ,but there drifts the incense of hala4 ,man sees the rain-whirl of ,eleao4 ,the robe of ,ka- sways in the wind1 ,that dashes the waves 'gainst the sea-wall1 #aj ,at ,honu-apo1 windy ,ka-2 ,the ,pai-ha'a palms strive with the gale4 ,such weather is grievous to you3 ,the sea-scud is flying4 ,my little i-ao1 ,o fly #ae ,with the breeze ,koolau6 ,fly with the ,moa'e-ku6 ,look at the rain-mist fly6 ,leap with the cataract1 leap6 ,plunge1 now here1 now there6 #bj ,feet foremost1 head foremost2 ,leap with a glance and a glide6 ,kaun1 opens the dance2 you win4 ,rise1 ,hiiaka1 arise6 ,the meaning of this mele centers about a phenomenon that is said to have been observed at ,ka-ipu-ha'a1 near ,wailua1 on ,kauai4 ,to one standing on a knoll near the two cliffs ,ikuwa and ,mahoena 7verse #e7 there came1 it is said1 an echo from the murmur and clamor of the ocean and the moan of the wind1 a confused mingling of nature's voices4 ,the listener1 however1 got no echoing answer to his own call4 ,the mele does not stick to the unities as we understand them4 ,the poets of old ,hawaii felt at liberty to run to the ends of their earth2 and the auditor must allow his imagination to be transported suddenly from one island to another2 in this ,page #aic case1 first from ,wailua to ,man on the same island1 where he is shown the procession of whirling rain clouds of ,eleao 7verse #g74 ,thence the poet carries him to ,honuapo1 ,hawaii1 and shows him the waves dashing against the ocean-walls and the clashing of the palm-fronds of ,paiaha'a in the wind4 ,the scene shifts back to ,kauai1 and one stands with the poet looking down on a piece of ocean where the people are wont to disport themselves4 7,maka-iwa1 not far from ,ka-ipu-ha'a1 is said to be such a place47 ,verses #ab to #ai in the ,hawaiian 7#ac to #ba in the translation7 describe the spirited scene4 ,it is somewhat difficult to determine whether the ,kaun mentioned in the next poem is the name of the woman or of the stormy cape4 ,in the mind of a ,hawaiian poet the inanimate and the animate are often tied so closely together in thought and in speech as to make it hard to decide which is intended4 ,mele ,ike ia ,kaun-wahine1 ,makani ,ka-1 ,he umauma i pa ia e ka ,moa'e1 ,e ka makani o-maka o ,unulau4 ,lau ka wahine kaili-pua o ,paa1 #e ,alualu puhala o ka ,milo-pae-kanka1 e-e-e-e6 ,he kanka ke koa no ka ehu ahiahi1 ,o ia nei ko ka ehu kakahiaka-- ,o maua no1 me ka makua o makou4 ,ua ike 'a6 ,translation4 ,song ,behold ,kaun1 that sprite of windy ,ka-1 ,whose bosom is slapped by the ,moa'e-k1 ,and that eye-smiting wind ,unula-- ,women by hundreds filch the bloom #e ,of ,paa1 hunt fruit of the hala1 a-ha6 ,that one was the gallant1 at evening1 ,this one the hero of love1 in the morning-- ',twas our guardian ,i had for companion4 ,now you see it1 a-ha6 ,this mele1 based on a story of amorous rivalry1 relates to a contest which arose between two young women of rank regarding the favors of that famous warrior and general of ,kamehameha1 ,kalaimoku1 whom the successful intrigante described as ka makua o makou 7verse #h71 our father1 i4e41 our guardian4 ,the point of view is that of the victorious intrigante1 and in speaking of her defeated rival she uses the ironical language of the sixth verse1 ,he kanka ke koa no ka ehu ahiahi meaning that her opponent's chance of success faded with the evening twilight1 whereas her own success was crowned with ,page #aid the glow of morning1 ,o ia ne ko ka ehu kakahiaka 7verse #g74 ,the epithet kanka hints ironically that her rival is of lower rank than herself1 though in reality the rank of her rival may have been superior to her own4 ,the language1 as pointed out by the author's informant1 is marked with an elegance that stamps it as the product of a courtly circle4 ,mele ,e oe mauna i ka ohu1 ,kah1 ka leo o ka ohi'a2 ,auwe6 make au i ke ahi a mau ,a ka luahine#cdf moe nan1 #e ,a papa enaena1 wai hau1 ,a wa'a kau-h4#cdg ,haila pepe#cdh mua me pepe waena1 ,o pepe ka muimui3 ,o kiele#cdh i na ulu#cdh #aj ,ka makah kai kea ,o ,niheu#cdi kolohe2 ,ka makaha kai kea6 ,eli-eli1 kau mai4 ,translation4 ,song ,ho6 mountain of vapor-puffs1 ,now groans the mountain-apple tree4 ,alas6 ,i burn in this deathless flame1 ,that is fed by the woman who snores #e ,on a lava plate1 now hot1 now cold2 ,now 'tis a canoe full-rigged for sea2 ,there are seats at the bow1 amidships1 abaft2 ,baggage and men--all is aboard4 ,and now the powerful thrust of the paddle1 ,page #aie #aj ,making mighty swirl of wat'ry yeast1 ,as of ,nihu1 the mischief-maker-- ,a mighty swirl of the yeasty wave4 ,in heaven's name1 come aboard6 ,footnote #cdf3 ,pele is often spoken of as ka luahine1 the old woman2 but she frequently used her power of transformation to appear as a young woman of alluring beauty4 ,footnote #cdg3 ,lava poured out in plates and folds and coils resembles many diverse things1 among others the canoe1 wa'a here characterized as complete in its appointments and ready for launching1 kauh4 ,the words are subtly intended1 no doubt1 to convey the thought of ,pele's readiness to launch on the voyage of matrimony4 ,footnote #cdh3 ,pepe1 a seat2 kiele1 to paddle2 and ulu1 a shortened form of the old word oulu1 meaning a paddle1 are archaisms now obsolete4 ,footnote #cdi3 ,nihu4 ,one of the mythological heroes of an old-time adventure1 in which his elder brother ,kana1 who had the form of a long rope1 played the principal part4 ,this one enterprise of their life in which they joined forces was for the rescue of their mother1 ,hina1 who had been kidnaped by a marauding chief and carried from her home in ,hilo to the bold headland of ,haupu1 ,molokai4 ,nihu is generally stigmatized as kolohe 7verse #aa71 mischievous1 for no other reason apparently than that he was an active spirit1 full of courage1 given to adventure and heaven-defying audacities1 such as put the ,polynesian ,mawi and the ,greek ,prometheus in bad odor with the gods of their times4 ,one of these offensive actions was ,nihu's theft of a certain ulu1 breadfruit1 which one of the gods rolled with a noise like that of thunder in the underground caverns of the southern regions of the world4 ,nihu is represented as a great sport1 an athlete1 skilled in all the games of his people4 ,the worst that could be said of him was that he had small regard for other people's rights and that he was slow to pay his debts of honor4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xxi ,,pala-,,palai ,,ferns ,after the death of ,lohiau1 his best friend1 ,paoa1 came before ,pele determined to invite death by pouring out the vials of his wrath on the head of the goddess4 ,the sisters of ,pele sought to avert the impending tragedy and persuaded him to soften his language and to forego mere abuse4 ,paoa1 a consummate actor1 by his dancing1 which has been perpetuated in the hula ,pele1 and by his skillfully-worded prayer-songs1 one of which is given above1 not only appeased ,pele1 but won her4 ,the piece next appearing is also a song that was a prayer1 and seems to have been uttered by the same mouth that groaned forth the one given above4 ,it does not seem necessary to take the language of the mele literally4 ,the sufferings that the person in the mele describes in the first person1 it seems to the author1 may be those of his friend ,lohiau2 and the first person is used for literary effect4 ,mele#cej ,aole e mao ka ohu3 ,auwe6 make au i ke ahi a mau ,a ka wahine moe nan1 ,a papa ena-ena1 #e ,a wa'a kau-h4 ,ilaila pepe mua me pepe waena1 ,o pepe ka mu'imu'i1 ,o lei'na kiele1 ,kau-meli-eli3 #cea #aj ,ka maka kakahi kea ,o ,niheu kolohe-- ,ka maka kaha-kai kea4 ,eli-eli1 kau mai6 ,translation4 ,song ,alas1 there's no stay to the smoke2 ,i must die mid the quenchless flame-- ,deed of the hag who snores in her sleep1 ,bedded on lava plate oven-hot4 #e ,now it takes the shape of canoe2 ,page #aif ,seats at the bow and amidships1 ,and the steersman sitting astern2 ,their stroke stirs the ocean to foam-- ,the myth-craft1 ,kau-meli-eli6 #aj ,now look1 the white gleam of an eye-- ,it is ,nihu1 the turbulent one-- ,an eye like the white sandy shore4 ,amen1 possess me6 ,footnote #cej3 ,the remarks on pp4 #aid and #aie regarding the mele on p4 #aid are mostly applicable to this mele4 ,footnote #cea3 ,kau-meli-eli4 ,the name of the double canoe which brought a company of the gods from the lands of the ,south--,kukulu o ,kahiki--to ,hawaii4 ,hawaiian myths refer to several migrations of the gods to ,hawaii2 one of them is that described in the mele given on p4 #ahg1 the first mele in this chapter4 ,the mele now to be given has the form of a serenade4 ,etiquette forbade anyone to wake the king by rude touch1 but it was permissible for a near relative to touch his feet4 ,when the exigencies of business made it necessary for a messenger1 a herald1 or a courtier to disturb the sleeping monarch1 he took his station at the king's feet and recited a serenade such as this3 ,mele ,hoala 7no ka ,hula ,pele7 ,e ala1 e ,kahiki-ku2#ceb ,e ala1 e ,kahiki-moe2 #ceb ,e ala1 e ke apapa nu'u2#cec ,e ala1 e ke apapa lani4#cec #e ,eia ka hoala nou1 e ka lani#ced la1 e-e6 ,e ala oe6 ,e ala1 ua ao1 ua malamalama4 ,aia o ,kape'a ma1#cee la1 i-luna2 ,ua hiki mai ka maka o ,unulau2 #cef ,page #aig #aj ,ke holal mai la ke kupa holowa'a o ,ukumehame1#ceg ,ka lae makani kaohi-wa'a o ,papawai1#ceh ,ka lae makani o',anahenahe la1 e-e6 ,e ala oe6 ,e ala1 ua ao1 ua malamalama2 #ae ,ke o a'e la ke kukuna o ka ,la i lea ili o ke kai2 ,ke hahai a'e la1 e like me ,kumukahi #cei ,e hoaikane ana me ,makanoni2 ,ka papa o ,apua1 ua lohi i ka ,la4 ,e ala oe6 #bj ,e ala1 ua ao1 ua malamalama2 ,ke kau aku la ka ,la i ,kawaihoa3 ,ke kolii aku la ka ,la i ka ili o ke kai2 ,ke anai mai la ka iwa auai-maka o ,lei-no-ai1 ,i ka lima o ,maka-iki-olea1 #be ,i ka poli wale o ,lehua la4 ,e ala oe6 ,footnote #ceb3 ,hawaiians conceived of the dome of heaven as a solid structure supported by walls that rested on the earth's plain4 ,different names were given to different sections of the wall4 ,kahiki-ku and ,kahiki-moe were names applied to certain of these sections4 ,it would1 however1 be too much1 to expect any ,hawaiian1 however intelligent and well versed in old lore1 to indicate the location of these regions4 ,footnote #cec3 ,the words apapa nu'u and apapa lani1 which convey to the mind of the author the picture of a series of terraced plains or steppes--no doubt the original meaning--here mean a family or order of gods1 not of the highest rank1 at or near the head of which stood ,pele4 ,apropos of this subject the following lines have been quoted3 ,hanau ke apapa nu'u3 ,hanau ke apapa lani2 ,hanau ,pele1 ka hihi'o na lani4 ,translation4 ,begotten were the gods of graded rank2 ,begotten were the gods of heavenly rank2 ,begotten was ,pele1 quintessence of heaven4 ,this same expression was sometimes used to mean an order of chiefs1 alii4 ,apapa lani was also used to mean the highest order of gods1 ,ku1 ,kane1 ,kanaloa1 ,lono4 ,the kings also were gods1 for which reason this expression at times applied to the alii of highest rank1 those1 for instance1 who inherited the rank of niau-pi'o or of wohi4 ,footnote #ced3 ,lani4 ,originally the heavens1 came to mean king1 chief1 alii4 ,footnote #cee3 ,there is a difference of opinion as to the meaning of ,kape'a ma4 ,after hearing diverse opinions the author concludes that it refers to the rays of the sun that precede its rising--a ,greek idea4 ,footnote #cef3 ,unulau4 ,a name for the trade-wind which1 owing to the conformation of the land1 often sweeps down with great force through the deep valleys that seam the mountains of west ,maui between ,lahaina and ,maalaea bay2 such a wind squall was called a mumuku4 ,footnote #ceg3 ,ukumehame4 ,the name of a deep valley on west ,maui in the region above described4 ,footnote #ceh3 ,papawai4 ,the principal cape on west ,maui between ,lahaina and ,maalaea bay4 ,footnote #cei3 ,kumu-kahi4 ,a cape in ,puna1 the easternmost part of ,hawaii2 by some said to be the sun's wife1 and the object of his eager pursuit after coming out of his eastern gate ,ha'eha'e4 ,the name was also applied to a pillar of stone that was planted on the northern border of this cape4 ,standing opposite to it1 on the southern side1 was the monolith ,makanoni4 ,in summer the sun in its northern excursion inclined1 as the ,hawaiians noted1 to the side of ,kumukahi1 while in the season of cool weather1 called ,makalii1 it swung in the opposite direction and passed over to ,makanoni4 ,the people of ,puna accordingly said1 8,the sun has passed over to ,makanoni10 or 8,the sun has passed over to ,kumukahi10 as the case might be4 ,these two pillars are said to be of such a form as to suggest the thought that they are phallic emblems1 and this conjecture is strengthened by consideration of the tabus connected with them and of the religious ceremonies peformed before them4 ,the ,hawaiians speak of them as pohaku eho1 which1 the author believes1 is the name given to a phallus1 and describe them as plain uncarved pillars4 ,these stones were set up in very ancient times and are said to have been tabu to women at the times of their infirmity4 ,if a woman climbed upon them at such a period or even set foot upon the platform on which one of them stood she was put to death4 ,another stringent tabu forbade anyone to perform an office of nature while his face was turned toward one of these pillars4 ,the language of the mele1 ,ke hahai ae la e like me ,kumukahi 7verse #af71 implies that the sun chased after ,kumukahi4 ,apropos of this is the following quotation from an article on the phallus in ,chambers's ,encyclopedia3 8,the common myth concerning it the phallus was the story of some god deprived of his power of generation--an allusion to the sun1 which in autumn loses its fructifying influence40 ,in modern times there seems to have grown up a curious mixture of traditions about these two stones1 in which the old have become overlaid with new superstitions2 and these last in turn seem to be dying out4 ,they are now vaguely remembered as relics of old demigods1 petrified forms of ancient kupua4#cfj ,fishermen1 it is said1 not long ago offered sacrifices to them1 hoping thus to purchase good luck4 ,any offense against them1 such as that by women1 above mentioned1 or by men1 was atoned for by offering before these ancient monuments the first fish that came to the fisherman's hook or net4 ,mention of the name ,kumu-kahi to a ,hawaiian versed in ancient lore called up to his memory the name of ,pala-moa as his associate4 ,the account this old man gave of them was that they were demigods much worshiped and feared for their power and malignity4 ,they were reputed to be cannibals on the sly1 and1 though generally appearing in human form1 were capable of various metamorphoses1 thus eluding detection4 ,they were believed to have the power of taking possession of men through spiritual obsession1 as a result of which the obsessed ones were enabled to heal sickness as well as to cause it1 to reveal secrets1 and to inflict death1 thus terrifying people beyond measure4 ,the names of these1 two demigods1 especially that of ,palamoa1 are to this day appealed to by practitioners of the black arts4 ,footnote #cfj3 ,the ,hawaiian alphabet had no letter s4 ,the ,hawaiians indicated the plural by prefixing the particle na4 ,page #aih ,translation4 ,song ,awake now1 ,kahiki-ku2 ,awake now1 ,kahiki-moe2 ,awake1 ye gods of lower grade2 ,awake1 ye gods of heavenly rank4 #e ,a serenade to thee1 ,o king4 ,awake thee6 ,awake1 it is day1 it is light2 ,the ,day-god his arrows is shooting1 ,unulau his eye far-flashing1 #aj ,canoe-men from ,uku-me-hame ,are astir to weather the windy cape1 ,the boat-baffling cape1 ,papa-wai1 ,and the boisterous ,a-nahe-nahe4 ,awake thee6 #ae ,awake1 day is come and the light2 ,the sun-rays stab the skin of the deep2 ,it pursues1 as did god ,kumu-kahi ,to companion with god ,maka-noni2 ,the plain of ,apua quivers with heat4 #bj ,awake thee6 ,awake1 'tis day1 'tis light2 ,the sun stands over ,waihoa1 ,afloat on the breast of ocean2 ,the iwa of ,leinoai is preening #be ,on the cliff ,maka-iki-olea4 ,on the breast of naked ,lehua4 ,awake thee6 awake6 ,the following is a prayer said to have been used at the time of awa-drinking4 ,when given in the hula1 the author is informed1 its recitation was accompanied by the sound of the drum4 ,he ,pule no ,pele ,,pale ,i ,o ,pele la ko'u akua3 ,miha ka lani1 miha ka honua4 ,awa iku1 awa lani2 ,kai awaawa1 ka awa nui a ,hiiaka1 #e ,i kua i ,mauli-ola2#cfa ,he awa kapu no na wahine4 ,e kapu6 ,ka'i kapu kou awa1 e ,pele a ,honua-mea2 ,e kala1 e ,haumea wahine1 #aj ,o ka wahine i ,kilauea1 ,nana i eli a hohonu ka lua ,o ,mau-wahine1 o ,kupu-ena1 ,o na wahine i ka inu-hana awa4 ,e ola na 'kua malihini6#cfb ,,pale ,,ii #ae ,i kama'a-ma'a la i ka pua-lei2 ,e loa ka wai apua1 ,ka pii'na i ,ku-ka-la-ula2#cfc ,hoopuka aku i ,puu-lena1 ,aina a ke ,akua i noho ai4 ,page #aii #bj ,kanaenae a ke ,akua malihini2#cfb ,o ka'u wale iho la no ia1 o ka leo1 ,he leo wale no1 e-e6 ,e ho-i6 ,eia ka ai6 ,footnote #cfa3 ,mauli-ola4 ,a god of health2 perhaps also the name of a place4 ,the same word also was applied to the breath of life1 or to the physician's power of healing4 ,in the ,maori tongue the word mauri1 corresponding to mauli1 means life1 the seat of life4 ,in ,samoan the word mauli means heart4 8,sneeze1 living heart0 7,tihe mauri ora71 says the ,maori mother to her infant when it sneezes4 ,for this bit of ,maori lore acknowledgment is due to ,mr4 ,s4 ,percy ,smith1 of ,new ,zealand4 ,footnote #cfb3 ,according to one authority1 at the close of the first canto the stranger gods--akua malihini--who consisted of that multitude of godlings called the ,kini ,akua1 took their departure from the ceremony1 since they did not belong to the ,pele family4 ,internal evidence1 however1 the study of the prayer itself in its two parts1 leads the writer to disagree with this authority4 ,other ,hawaiians of equally deliberate judgment support him in this opinion4 ,the etiquette connected with ceremonious awa-drinking1 which the ,samoans of to-day still maintain in full form1 long ago died out in ,hawaii4 ,this etiquette may never have been cultivated here to the same degree as in its home1 ,samoa2 but this poem is evidence that the ancient ,hawaiians paid greater attention to it than they of modern times4 ,the reason for this decline of ceremony must be sought for in the mental and esthetic make-up of the ,hawaiian people2 it was not due to any lack of fondness in the ,hawaiian for awa as a beverage or as an intoxicant4 ,it is no help to beg the question by ascribing the decline of this etiquette to the influence of social custom4 ,to do so would but add one more link to the chain that binds cause to effect4 ,the ,hawaiian mind was not favorable to the observance of this sort of etiquette2 it did not afford a soil fitted to nourish such an artificial growth4 ,footnote #cfc3 ,the meaning of the word ,ku-ka-la-ula presented great difficulty and defied all attempts at translation until the suggestion was made by a bright ,hawaiian1 which was adopted with satisfaction1 that it probably referred to that state of dreamy mental exaltation which comes with awa-intoxication4 ,this condition1 like that of frenzy1 of madness1 and of idiocy1 the ,hawaiian regarded as a divine possession4 ,translation4 ,a ,prayer to ,pele ,,canto ,i ,lo1 ,pele's the god of my choice3 ,let heaven and earth in silence wait ,here is awa1 potent1 sacred1 ,bitter sea1 great ,hiiaka's root2 #e ',twas cut at ,mauli-ola-- ,awa to the women forbidden1 ,let it tabu be6 ,exact be the rite of your awa1 ,o ,pele of the sacred land4 ,page #bjj #aj ,proclaim it1 mother4 ,haumea1 ,of the goddess of ,kilauea2 ,she who dug the pit world-deep1 ,and ,mau-wahine and ,kupu-ena1 ,who prepare the awa for drink4 #ae ,a health to the stranger gods6 ,,canto ,,ii ,bedeck now the board for the feast2 ,fill up the last bowl to the brim2 ,then pour a draught in the sun-cave ,shall flow to the mellow haze1 #bj ,that tints the land of the gods4 ,all hail to the stranger gods6 ,this my offering1 simply a voice1 ,only a welcoming voice4 ,turn in6 #be ,lo1 the feast6 ,this prayer1 though presented in two parts or cantos1 is really one1 its purpose being to offer a welcome1 kanaenae1 to the feast and ceremony to the gods who had a right to expect that courtesy4 ,one more mele of the number specially used in the hula ,pele3 ,mele ,nou paha e1 ka inoa ,e ka'i-ka'i ku ana1 ,a kau i ka nuku4 ,e hapa-hapai a'e2 #e ,a pa i ke kihi ,o ,ki-lau--a4 ,ilaila ku'u kama1 ,o ,ku-nui-akea4#cfd ,hookomo a'e iloko #aj ,a o ,hale-ma'u-ma'u2#cfe ,a ma- na pu'u ,e la-ol1 nei4 ,e kulipe'e nui ai-ahua4#cff ,e ,pele1 e ,pele6 #ae ,e ,pele1 e ,pele6 ,huai'na6 huai'na6 ,ku ia ka lani1 ,pae a huila6 ,footnote #cfd3 ,kalakaua1 for whom all these fine words are intended1 could no more claim kinship with ,ku-nui-akea1 the son of ,kau-i-ke-aouli1 than with ,julius ,csar4 ,footnote #cfe3 ,hale-mau-mau4 ,used figuratively of the mouth1 whose hairy fringe--moustache and beard--gives it a fancied resemblance to the rough lava pit where ,pele dwelt4 ,the figure1 to us no doubt obscure1 conveyed to the ,hawaiian the idea of trumpeting the name and making it famous4 ,footnote #cff3 ,e kuli-pe'e nui ai-ahua4 ,pele is here figured as an old1 infirm woman1 crouching and crawling along2 a character and attitude ascribed to her1 no doubt1 from the fancied resemblance of a lava flow1 which1 when in the form of a-1 rolls and tumbles along over the surface of the ground in a manner suggestive of the motions and attitude of a palsied crone4 ,page #bja ,translation4 ,song ,yours1 doubtless1 this name4 ,which people are toasting ,with loudest acclaim4 ,now raise it1 aye raise it1 #e ,till it reaches the niches ,of ,k-lau--a4 ,enshrined is there my kinsman1 ,k-ni-aka4 ,then give it a place #aj ,in the temple of ,pele2 ,and a bowl for the throats ,that are croaking with thirst4 ,knock-kneed eater of land1 ,o ,pele1 god ,pele6 #ae ,o ,pele1 god ,pele6 ,burst forth now6 burst forth6 ,launch a bolt from the sky6 ,let thy lightnings fly3 ,when this poem#cfg first came into the author's hands1 though attracted by its classic form and vigorous style1 he could not avoid being repelled by an evident grossness4 ,an old ,hawaiian1 to whom he stated his objections1 assured him that the mele was innocent of all bad intent1 and when the offensive word was pointed out he protested that it was an interloper4 ,the substitution of the right word showed that the man was correct4 ,the offense was at once removed4 ,this set the whole poem in a new light and it is presented with satisfaction4 ,the mele is properly a name-song1 mele-inoa4 ,the poet represents some one as lifting a name to his mouth for praise and adulation4 ,he tells him to take it to ,kilauea--that it may reecho1 doubtless1 from the walls of the crater4 ,footnote #cfg3 ,it is said to be the work of a hula-master1 now some years dead1 by the name of ,namakeelua4 ,page #bjb ,,xxv4--,,the ,,hula ,,pa',i-,,umauma ,the hula pa'i-umauma--chest-beating hula--called also hula ,pa-lni1#cfh was an energetic dance1 in which the actors1 who were also the singers1 maintained a kneeling position1 with the buttocks at times resting on the heels4 ,in spite of the restrictions imposed by this attitude1 they managed to put a spirited action into the performance2 there were vigorous gestures1 a frequent smiting of the chest with the open hand1 and a strenuous movement of the pelvis and lower part of the body called ami4 ,this consisted of rhythmic motions1 sidewise1 backward1 forward1 and in a circular or elliptical orbit1 all of which was done with the precision worthy of an acrobat1 an accomplishment attained only after long practice4 ,it was a hula of classic celebrity1 and was performed without the accompaniment of instrumental music4 ,footnote #cfh3 ,palni1 ,french1 so called at ,moanalua because a woman who was its chief exponent was a ,catholic1 one of the 8poe ,palni40 ,much odium has been laid to the charge of the hula on account of the supposed indecency of the motion termed ami4 ,there can be no doubt that the ami was at times used to represent actions unfit for public view1 and so far the blame is just4 ,but the ami did not necessarily nor always represent obscenity1 and to this extent the hula has been unjustly maligned4 ,in the mele now to be given the poet calls up a succession of pictures by imagining himself in one scenic position after another1 beginning at ,hilo and passing in order from one island to another--omitting1 however1 ,maui--until he finds himself at ,kilauea1 an historic and traditionally interesting place on the windward coast of the garden-island1 ,kauai4 ,the order of travel followed by the poet forbids the supposition that the ,kilauea mentioned is the great caldera of the volcano on ,hawaii in which ,pele had her seat4 ,it is useless to regret that the poet did not permit his muse to tarry by the way long enough to give us something more than a single eyeshot at the quickly shifting scenes which unrolled themselves before him1 that so he might have given us further reminiscence of the lands over which his ,pegasus bore him4 ,such completeness of view1 however1 is alien to the poesy of ,hawaii4 ,page #bjc ,mele ,a ,hilo au e1 hoolulu ka lehua#cfi2 ,a ,wai-luku la1 i ka ,lua-kanka#cgj2 ,a ,lele-iwi#cga la1 au i ke kai2 ,a ,pana-ewa#cgb1 i ka ulu-lehua2 #e ,a ,ha-ili#cgc1 i ke kula-manu2 ,a ,mologai1 i ke ala-kahi1 ,ke kula o ,kala'e#cgd wela i ka la2 ,mauna-loa#cge la1 ,ka-lua-ko'i#cgf1 e2 ,na hala o ,nihoa#cgg1 he mapuna la2 #aj ,a ,ko'i-ahi#cgh au1 ka maile lau-lu la2 ,a ,makua#cgi la1 i ke one opio-pio#chj1 ,e holu ana ke kai o-lalo2 ,he wahine a-po'i-po'i#cha e noho ana1 ,a ,kilauea#chb1 i ke awa ula4 ,translation4 ,song ,at ,hilo ,i rendezvoused with the lehua2 ,by the ,wailuku stream1 near the robber-den2 ,off cape ,lele-iwi ,i swam in the ocean2 ,at ,pana-ewa1 mid groves of lehua2 #e ,at ,ha-ili1 a forest of flocking birds4 ,on ,molokai ,i travel its one highway2 ,i saw the plain of ,kala'e quiver with heat1 ,and beheld the ax-quarries of ,mauna-loa4 ,ah1 the perfume ,nihoa's pandanus exhales6 #aj ,ko'i-ahi1 home of the small-leafed maile2 ,and now at ,makua1 lo1 its virgin sand1 ,while ocean surges and scours on below4 ,lo1 a woman crouched on the shore by the sea1 ,in the brick-red bowl1 ,kilauea's bay4 ,footnote #cfi3 ,leha4 ,a tree that produces the tufted scarlet flower that is sacred to the goddess of the hula1 ,laka4 ,footnote #cgj3 ,lua-kanka4 ,a deep and dangerous crossing at the ,wailuku river1 which is said to have been the cause of death by drowning of very many4 ,another story is that it was once the hiding place of robbers4 ,footnote #cga3 ,lele-iwi4 ,the name of a cape at ,hilo1 near the mouth of the ,wai-luku river2--water of destruction4 ,footnote #cgb3 ,pana-ewa4 ,a forest region in ,ola'a much mentioned in myth and poetry4 ,footnote #cgc3 ,haili4 ,a region in ,ola'a1 a famous resort for bird-catchers4 ,footnote #cgd3 ,ka-la'e4 ,a beautiful place in the uplands back of ,kaunakakai1 on ,molokai4 ,footnote #cge3 ,mauna-loa4 ,the mountain in the western part of ,molokai4 ,footnote #cgf3 ,ka-lua-ko'i4 ,a place on this same ,mauna-loa where was quarried stone suitable for making the ,hawaiian ax4 ,footnote #cgg3 ,nihoa4 ,a small land near ,kalaupapa1 ,molokai1 where was a grove of fine pandanus trees4 ,footnote #cgh3 ,ko'i-ahi4 ,a small valley in the district of ,waianae1 ,oahu1 where was the home of the small-leafed maile4 ,footnote #cgi3 ,makua4 ,a valley in ,waianae4 ,footnote #chj3 ,one opio-pio4 ,sand freshly smoothed by an ocean wave4 ,footnote #cha3 ,apo'i-po'i4 ,to crouch for the purpose1 perhaps1 of screening oneself from view1 as one1 for instance1 who is naked and desires to escape observation4 ,footnote #chb3 ,kilauea4 ,there is some doubt whether this is the ,kilauea on ,kauai or a little place of the same name near cape ,kaena1 the westernmost point of ,oahu4 ,page #bjd ,in the next mele to be given it is evident that1 though the motive is clearly ,hawaiian1 it has lost something of the rugged simplicity and impersonality that belonged to the most archaic style1 and that it has taken on the sentimentality of a later period4 ,mele ,e ,manono la1 e-a1 ,e ,manono la1 e-a1 ,kau ka pe-pe2 ,ka ulu hala la1 e-a1 #e ,ka uluhe la1 e-a4 ,ka uluhe la1 e-a1 ,a hiki ,pu'u-nan1 ,hali'i punna ,no huli mai4 #aj ,huli mai o-e la2 ,moe kaua2 ,hali'i punana ,no huli mai4 ,huli mai o-e la2 #ae ,moe kaua2 ,moe aku kaua2 ,o ka wai welawela1 ,o ka papa lohi ,o ,mau-kele2 #bj ,moe aku kaua2 ,o ka wai welawela1 ,o ka papa lohi ,o ,mau-kele4 ,a kele1 a kele #be ,kou manao la1 e-a2 ,a kele1 a kele ,kou manao la1 e-a4 ,translation4 ,song ,come now1 ,manono1 ,come1 ,manono1 ,i say2 ,take up the burden2 ,through groves of pandanus #e ,and wild stag-horn fern1 ,wearisome fern1 lies our way4 ,arrived at the hill-top1 ,we'll smooth out the nest1 ,that we may snug close4 #aj ,turn now to me1 dear1 ,while we rest here4 ,make we a little nest1 ,that we may draw near4 ,this way your face1 dear1 ,page #bje #ae ,while1 we rest here4 ,rest thou and ,i here1 ,near the warm1 warm water ,and the smooth lava-plate ,of ,mau-kele4 #bj ,rest thou and ,i here4 ,by the water so warm1 ,and the lava-plate smooth ,of ,mau-kele4 ,little by little #be ,your thoughts will be mine4 ,little by little ,your thoughts ,i'll divine4 ,manono was the name of the brave woman1 wife of ,ke-kua-o-kalani1 who fell in the battle of ,kuamo'o1 in ,kona1 ,hawaii1 in #ahai1 fighting by the side of her husband4 ,they died in support of the cause of law and order1 of religion and tabu1 the cause of the conservative party in ,hawaii1 as opposed to license and the abolition of all restraint4 ,the uluhe 7verses #e1 #f7 is the stag-horn fern1 which forms a matted growth most obstructive to woodland travel4 ,the burden ,manono is asked to bear1 what else is it but the burden of life1 in this case lightened by love8 ,whether there is any connection between the name of the hula--breast-beating--and the expression1 in the first verse of the following mele is more than the author can say4 ,mele ,ka-hipa#chc1 na waiu olewa1 ,lele ana1 ku ka mahiki akea2 ,kek ka niho o ,laui-wahine#chd2 ,opi ke a lalo1 ke a luna4 #e ,a hoi aku au i ,lihue1 ,kana aku ia ,ewa2 ,e au ana o ,miko-lo-lu1#che ,page #bjf ,a pah ka naau no ,pa-pi'-o#chf4 ,a pa'a ka mano4 #aj ,hopu i ka lima4 ,ai pakahi1 e1 i ka nahele1#chg ,alawa a'e na ulu kani o ,leiwalo4 ,e noho ana ,kolea-kani#chh ,ka pii'na i ka ,uwa-lua2 #ae ,oha-oh1 lei i ka makani4 ,footnote #chc3 ,ka-hipa4 ,said to be the name of a mythological character1 now applied to a place in ,kahuku where the mountains present the form of two female breasts4 ,footnote #chd3 ,lani-wahine4 ,a benignant mo'o1 or water-nymph1 sometimes taking the form of a woman1 that is said to have haunted the lagoon of ,uko'a1 ,waialua1 ,oahu4 ,there is a long story about her4 ,footnote #che3 ,miko-lo-lu4 ,a famous man-eating shark-god whose home was in the waters of ,hana1 ,maui4 ,he visited ,oahu and was hospitably received by ,ka-ahu-pahau and ,ka-hi'u-k1 sharks of the ,ewa lagoons1 who had a human ancestry and were on friendly terms with their kindred4 ,miko-lo-lu1 when his hosts denied him human flesh1 helped himself4 ,in the conflict that rose the ,ewa sharks joined with their human relatives and friends on land to put an end to ,miko-lo-lu4 ,after a fearful contest they took him and reduced his body to ashes4 ,a dog1 however1 snatched and ate a portion--some say the tongue1 some the tail--and another part fell into the water4 ,this was reanimated by the spirit of the dead shark and grew to be a monster of the same size and power as the one deceased4 ,miko-lo-lu now gathered his friends and allies from all the waters and made war against the ,ewa sharks1 but was routed4 ,footnote #chf3 ,pa-pi'-o4 ,a shark of moderate size1 but of great activity1 that fought against ,mlko-lo-lu4 ,it entered his enormous mouth1 passed down into his stomach1 and there played havoc with the monster1 eating its way out4 ,footnote #chg3 ,ai pakahi1 e1 i ka nahele4 ,the company represented by the poet to be journeying pass through an uninhabited region barren of food4 ,the poet calls upon them to satisfy their hunger by eating of the edible wild herbs--they abound everywhere in ,hawaii--at the same time representing them as casting longing glances on the breadfruit trees of ,leiwalo4 ,this was a grove in the lower levels of ,ewa that still survives4 ,footnote #chh3 ,kolea-kani4 ,a female kupua--witch she might be called now--that had the form of a plover4 ,she looked after the thirsty ones who passed along the road1 and benevolently showed them where to find water4 ,by her example the people of the district are said to have been induced to give refreshment to travelers who went that way4 ,translation4 ,song ',tis ,kahipa1 with pendulous breasts2 ,how they swing to and fro1 see-saw6 ,the teeth of ,lani-wahine gape-- ,a truce to upper and lower jaw6 #e ,from ,lihue we look upon ,ewa2 ,there swam the monster1 ,miko-lo-lu1 ,his bowels torn out by ,pa-pi'-o4 ,the shark was caught in grip of the hand4 ,let each one stay himself with wild herbs1 ,and for comfort turn his hungry eyes #aj ,to the rustling trees of ,lei-walo4 ,hark6 the whistling-plover--her old-time seat1 ,as one climbs the hill from ,echo-glen1 ,and cools his brow in the breeze4 ,the thread of interest that holds together the separate pictures composing this mele is slight4 ,it will1 perhaps1 give to the whole a more definite meaning if we recognize that it is made up of snapshots at various objects and localities that presented themselves to one passing along the old road from ,kahku1 on ,oahu1 to the high land which gave the tired traveler his first distant view of ,honolulu before he entered the winding canyon of ,moana-lua4 ,page #bjg ,,xxvi4--,,the ,,hula ,,ku',i ,,molokai ,the hula ku'i ,molokai was a variety of the ,hawaiian dance that originated on the island of ,molokai1 probably at a later period than what one would call the classic times4 ,its performance extended to the other islands4 ,the author has information of its exhibition on the island of its name as late as the last quarter of the nineteenth century4 ,the actors1 as they might be called1 in this hula were arranged in pairs who faced each other and went through motions similar to those of boxing4 ,this action1 ku'i1 to smite1 gave the name to the performance4 ,the limiting word ,molokai was added to distinguish it from another still more modern form of dance called ku'i1 which will be described later4 ,while the performers stood and went through with their motions1 marching and countermarching1 as they are said to have done1 they chanted or recited in recitative some song1 of which the following is an example4 ,this they did with no instrumental accompaniment3 ,mele ,he ala kai olohia1#chi ,he hiwahiwa na ka la'i luahine1 ,he me' aloha na'u ka makani hauai-loli1#cij ,e uwe ana i ke kai pale iliahi4 #e ,kauw ke aloha i na lehua o ,kaana4#cia ,pomaikai au i kou aloha e noho nei2 ,ka haluku wale no ia a ka waimaka1 ,me he makamaka puka a la ,ke aloha i ke kanaka1 #aj ,e ho-iloli nei i ku'u nui kino4 ,mahea hoi au1 a8 ,ma ko oe alo no4 ,footnote #chi3 ,kai olohia4 ,a calm and tranquil sea4 ,this expression has gained a poetic vogue that almost makes it pass current as a single word1 meaning tranquillity1 calmness of mind4 ,as thus explained1 it is here translated by the expression 8heart's-ease40 ,footnote #cij3 ,makani hanai-loli4 ,a wind so gentle as not to prevent the bche de mer loli sea-anemones1 and other marine slugs from coming out of their holes to feed4 ,a similar figure is used in the next line in the expression kai pale iliahi4 ,the thought is that the calmness of the ocean invites one to strip and plunge in for a bath4 ,footnote #cia3 ,kauw ke aloha i na lehua o ,kaana4 ,kaana is said to be a hill on the road from ,keaau to ,olaa1 a spot where travelers were wont to rest and where they not infrequently made up wreaths of the scarlet lehua bloom which there abounded4 ,it took a large number of lehua flowers to suffice for a wreath1 and to bind them securely to the fillet that made them a garland was a work demanding not only artistic skill hut time and patience4 ,if a weary traveler1 halting at ,kaana1 employed his time of rest in plaiting flowers into a wreath for some loved one1 there would be truth as well as poetry in the saying1 8,love slaves for the lehuas of ,kaana40 ,page #bjh ,translation4 ,song ,precious the gift of heart's-ease1 ,a wreath for the cheerful dame2 ,so dear to my heart is the breeze ,that murmurs1 strip for the ocean4 #e ,love slaves for wreaths from ,kaana4 ,i'm blest in your love that reigns here2 ,it speaks in the fall of a tear-- ,the choicest thing in one's life1 ,this love for a man by his wife-- #aj ,it has power to shake the whole frame4 ,ah1 where am ,i now8 ,here1 face to your face4 ,the platitudes of mere sentimentalism1 when put into cold print1 are not stimulating to the imagination2 moods and states of feeling often approaching the morbid1 their oral expression needs the reenforcement of voice1 tone1 countenance1 the whole attitude4 ,they are for this reason most difficult of translation and when rendered literally into a foreign speech often become meaningless4 ,the figures employed also1 like the watergourds and wine-skins of past generations and of other peoples1 no longer appeal to us as familiar objects1 but require an effort of the imagination to make them intelligible and vivid to our mental vision4 ,if the translator carries these figures of speech over into his new rendering1 they will often demand an explanation on their own account1 and will thus fail of their original intent2 while if he clothes the thought in some new figure he takes the risk of failing to do justice to the intimate meaning of the original4 ,the force of these remarks will become apparent from an analysis of the prominent figures of speech that occur in the mele4 ,mele ,he inoa no ka ,lani1 ,no ,nhi-na-na2 ,a ka luna o wahine4 ,ho'i ka ena a ka makani2 #e ,noho ka la'i i ka malino-- ,makani ua ha-a2 ,ko ke au i hala1 ea4 ,punawai o ,man1#cib ,wai ola na ke kupa #aj ,a ka ilio nan1 ,hae1 nanahu i ke kai2 ,ehu kai nna ka pua1 ,ka pua o ka iliau1 ,page #bji ,ka ohai o ,mappe1#cic #ae ,ka moena we'u-we'u1 ,i ulana ia e ke ,a'e1 ,ka naku loloa4 ,hea mai o ,kawelo-hea1#cid ,nawai la1 e1 ke kapu8 #bj ,no ,nhi-na-na4 ,ena na pua i ka wai1 ,wai au o ,holei4 ,footnote #cib3 ,punawai o ,man4 ,a spring of water at ,honuapo1 ,hawaii1 which bubbled up at such a level that the ocean covered it at high tide4 ,footnote #cic3 ,ka ohai o ,mappe4 ,a beautiful flowering shrub1 also spoken of as ka ohai o ,papi'o-huli1 said to have been brought from ,kahiki by ,namaka-o-kaha'i4 ,footnote #cid3 ,kawelo-hea4 ,a blowhole or spouting horn1 also at ,honuapo1 through which the ocean at certain times sent up a column of spray or of water4 ,after the volcanic disturbance of #ahfh this spouting horn ceased action4 ,the rending force of the earthquakes must have broken up and choked the subterranean channel through which the ocean had forced its way4 ,translation4 ,song ,a eulogy for the princess1 ,for ,nhi-na-na a name6 ,chief among women6 ,she soothes the cold wind with her flame-- #e ,a peace that is mirrored in calm1 ,a wind that sheddeth rain2 ,a tide that flowed long ago2 ,the water-spring of ,man1 ,life-spring for the people1 #aj ,a fount where the lapping dog ,barks at the incoming wave1 ,drifting spray on the bloom ,of the sand-sprawling ili-au ,and the scarlet flower of ohai1 #ae ,on the wind-woven mat of wild grass1 ,long naku1 a springy mattress4 ,the spout-horn1 ,kawelo-hea1 ,asks1 ,who of right has the tabu8 ,the princess ,nhi-na-na6 #bj ,the flowers glow in the pool1 ,the bathing pool of ,holei6 ,this mele inoa--name-song or eulogy--was composed in celebration of the lamented princess1 ,nahienaena1 who1 before she was misled by evil influences1 was a most attractive and promising character4 ,she was the daughter of ,keopuolani and younger sister of ,kamehameha ,,iii1 and came to her untimely death in #ahcf4 ,the name was compounded from the words na1 the1 hi1 fires1 and nana1 hot1 a meaning which furnishes the motive to the mele4 ,page #baj ,,xxvii4--,,the ,,hula ,,kiel,i ,the hula k-e-li1 or k-le-li1 was a performance of ,hawaii's classic times1 and finds mention as such in the professedly imperfect list of hulas given by the historian ,david ,malo4#cie ,it was marked by strenuous bodily action1 gestures with feet and hands1 and that vigorous exercise of the pelvis and body termed ami1 the chief feature of which was a rotation of the pelvis in circles and ellipses1 which is not to be regarded as an effort to portray sexual attitudes4 ,it was a performance in which the whole company stood and chanted the mele without instrumental accompaniment4 ,footnote #cie3 ,hawaiian ,antiquities1 by ,david ,malo2 translated by ,n4,b4 ,emerson1 ,a4,m41 ,m4,d4 ,honolulu1 the ,hawaiian ,gazette ,company 7,limited71 #aijc4 ,the sacrifice offered at the kuahu in connection with the production of this hula consisted of a black pig1 a cock of the color termed ula-hiwa--black pointed with red--a white hen1 and awa4 ,according to some authorities the offerings deemed appropriate for the sacrifice that accompanied each hula varied with the hula1 but was definitely established for each variety of hula4 ,the author's studies1 however1 lead him to conclude that1 whatever may have been the original demands of the gods1 in the long run they were not overparticular and were not only willing to put up with1 but were well pleased so long as the offering contained1 good pork or fish and strong awa4 ,mele ,ku piliki'i ,hanalei-lehua1#cif la2 ,kao'o#cig 'luna o ka nale1#cih la2 ,ka ,pili-iki i ka ,hua-moa1 la2 ,e ka mauna o ke a'a lewalewa#cii la4 #e ,a lewa ka hope o ko'u hoa1 la1 ,page #baa ,a ko- ka hope o ke kola1 la-- ,na u'i elua4#djj ,ki-ki'i ka ua i ka nana keia1 la4#dja ,footnote #cif3 ,hanalei-lehua4 ,a wilderness back of ,hanalei valley1 ,kauai1 in which the lehua tree abounds4 ,the features of this region are as above described4 ,footnote #cig3 ,ka'o4 ,to bend down the shrubs and tussocks of grass to furnish solid footing in crossing swampy ground4 ,footnote #cih3 ,na'le4 ,boggy ground2 a swamp1 such as pitted the summit of ,kauai's central mountain mass1 ,wailele4 ,footnote #cii3 ,a'a lewalewa4 ,aerial roots such as are put forth by the lehua trees in high altitudes and in a damp climate4 ,they often aid the traveler by furnishing him with a sort of ladder4 ,footnote #djj3 ,u'i elua4 ,literally two beauties4 ,one interpreter says the reference is to the arms1 with which one pulls himself up2 it is here rendered 8flanks40 ,footnote #dja3 ,ki-ki'i ka ua i ka nana keia1 la4 ,the meaning of this passage is obscure4 ,the most plausible view is that this is an exclamation made by one of the two travelers while crouching for shelter under an overhanging bank4 ,this one1 finding himself unprotected1 exclaims to his companion on the excellence of the shelter he has found1 whereupon the second man comes over to share his comfort only to find that he has been hoaxed and that the deceiver has stolen his former place4 ,the language of the text seems a narrow foundation on which to base such an incident4 ,a learned ,hawaiian friend1 however1 finds it all implied in this passage4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xxii ,,awa-,,puhi1 ,a ,,hawaiian ,,ginger 7,,zingiber ,,zerumbet7 ,translation4 ,song ,perilous1 steep1 is the climb to ,hanalei woods2 ,to walk canny footed over its bogs2 ,to balance oneself on its ledges1 ,and toil up ladder of hanging roots4 #e ,the bulk of my guide overhangs me1 ,his loins are well-nigh exhausted2 ,two beautiful shapes6 ',neath this bank ,i crouch sheltered from rain4 ,at first blush this mele seems to be the account of a perilous climb through that wild mountainous region that lies back of ,hanalei1 ,kauai1 a region of tangled woods1 oozy steeps1 fathomless bogs1 narrow ridges1 and overhanging cliffs that fall away into profound abysses1 making such an excursion a most precarious adventure4 ,this is what appears on the surface4 ,hawaiian poets1 however1 did not indulge in landscape-painting for its own sake2 as a rule1 they had some ulterior end in view1 and that end was the portrayal of some primal human passion1 ambition1 hate1 jealousy1 love1 especially love4 ,guided by this principle1 one asks what uncouth or romantic love adventure this wild mountain climb symbolizes4 ,all the ,hawaiians whom the author has consulted on this question deny any hidden meaning to this mele4 ,page #bab ,,xxviii4--,,the ,,hula ,m',u-,m',u ,the conception of this peculiar hula originated from a pathetic incident narrated in the story of ,hiiaka's journey to bring ,prince ,lohiau to the court of ,pele4 ,hiiaka1 standing with her friend ,wahine-oma'o on the heights that overlooked the beach at ,kahakuloa1 ,maui1 saw the figure of a woman1 maimed as to hands and feet1 dancing in fantastic glee on a plate of rock by the ocean4 ,she sang as she danced1 pouring out her soul in an ecstasy that ill became her pitiful condition2 and as she danced her shadow-dance1 for she was but a ghost1 poor soul6 these were the words she repeated3 ,auw1 auw1 mo' ku'u lima6 ,auw1 auw1 mo' ku'u lima6 ,translation4 ,alas1 alas1 maimed are my hands6 ,alas1 alas1 maimed are my hands6 ,wahine-oma'o1 lacking spiritual sight1 saw nothing of this2 but ,hiiaka1 in downright pity and goodness of impulse1 plucked a hala fruit from the string about her neck and threw it so that it fell before the poor creature1 who eagerly seized it and with the stumps of her hands held it up to enjoy its odor4 ,at the sight of the woman's pleasure ,hiiaka sang3 ,le'a wale hoi ka wahine lima-lima ole1 wawae ole1 ,e ha ana i kana i'a1 ku'i-ku'i ana i kana opihi1 ,wa'u-wa'u ana i kana limu1 ,mana-mana-ia-kalu--a4 ,translation4 ,how pleased is the girl maimed of hand and foot1 ,groping for fish1 pounding shells of opihi1 ,kneading her moss1 ,mana-mana-ia-kalu-a6 ,the answer of the desolate creature1 grateful for ,hiiaka's recognition and kind attention1 was that pretty mele appropriated by hula folk as the wreath-song1 already given 7p4 #ef71 which will bear repetition3 ,ke lei mai la o ,ka-ula i ke kai1 e-e6 ,ke malamalama o ,niihau1 ua malie4 ,a malie1 pa ka ,inu-wai4 ,ke inu mai la na hala o ,naue i ke kai4 #e ,no ,naue ka hala1 no ,puna ka wahine1 ,no ka lua no i ,kilauea4 ,page #bac ,translation4 ,kaula wreathes her brow with the ocean2 ,niihau shines forth in the calm4 ,after the calm blows the ,inu-wai1 ,and the palms of ,naue drink of the salt4 #e ,from ,naue the palm1 from ,puna the maid1 ,aye1 from the pit of ,kilauea4 ,the hula mu'u-mu'u1 literally the dance of the maimed1 has long been out of vogue1 so that the author has met with but one person1 and he not a practitioner of the hula1 who has witnessed its performance4 ,this was in ,puna1 ,hawaii2 the performance was by women only and was without instrumental accompaniment4 ,the actors were seated in a half-reclining position1 or kneeling4 ,their arms1 as if in imitation of a maimed person1 were bent at the elbows and doubled up1 so that their gestures were made with the upper arms4 ,the mele they cantillated went as follows3 ,pii ana a-ma1#djb ,a-ma kai nui2 ,kai pua-lena2 ,a-ma1 pai--a1#djc #e ,naholo i lea laupapa4 ,popo'i1 popo'i1 popo'i6 ,pii mai pipipi1#djd alea-lea2 ,noho i ka malua kai ,o-1#dje o- kela4 #aj ,ai ka limu akaha-kaha2#djf ,ku e1 ,kahiki1 i ke kai nui6 ,i ke kai pualena a ,kane6 ,a ke ,akua o ka lua1 ,ua hiki i kai6 #ae ,ai humu-humu1 ,e lau1 e lau e1 ,ka opihi#djg koele6 ,pa i uka1 pa i kai1 ,kahi a ke ,akua i pe'e ai4 #bj ,pe'e oe a nalo loa2 ,ua nalo na ,pele4 ,e hua'i e1 hua'i e1 hua'i1 ,o ,ku ka mahu nui akea6#djh ,iho i kai o ka ,milo-holu2#dji #be ,auau meliana i ka wai o ke ,akua4 ,ke a e1 ke a mai la ,ke ahi a ka ,wahine4 ,e hula e1 e hula e1 e hula e6 ,e hula mai oukou6 #cj ,ua noa no ,manamana-ia-kalu--a1 ,puili kua1 puili alo2 ,holo i kai1 holo i uka1 ,holo i ka lua o ,pele-- ,he ,akua ai pohaku no ,puna4 #ce ,o ,pi1#daj o ,pa1#daj uhini mai ana1 ,o ,pele i ka lua4 ,a noa6 ,footnote #djb3 ,a-ma4 ,an edible black crab4 ,when the surf is high1 it climbs up on the rocks4 ,footnote #djc3 ,pai--a4 ,an edible gray crab4 ,the favorite time for taking these crabs is when the high tide or surf forces them to leave the water for protection4 ,footnote #djd3 ,pippi4 ,a black seashell 7,nerita74 ,with it is often found the alea-lea1 a gray shell4 ,these shellfish1 like the crabs above mentioned1 crawl up the rocks and cliffs during stormy weather4 ,footnote #dje3 ,o-4 ,a variety of eel that lurks in holes2 it is wont to keep its head lifted4 ,the o- 7same verse7 is an eel that snakes about in the shallow water or on the sand at the edge of the water4 ,footnote #djf3 ,akahakaha4 ,a variety of moss4 ,if one ate of this as he gathered it1 the ocean at once became tempestuous4 ,footnote #djg3 ,opihi4 ,an edible bivalve found in the salt waters of ,hawaii4 ,pele is said to have been very fond of it4 ,there is an old saying1 ,he akua ai opihi o ,pele--8,pele is a goddess who eats the opihi40 ,in proof of this statement they point to the huge piles of opihi shells that may be found along the coast of ,puna1 the middens1 no doubt1 of the old-time people4 ,kole was a term applied to the opihi that lives well under water1 and therefore are delicate eating4 ,another meaning given to the word koele--opihi koele1--line #ag--;is 8heaped up40 ,footnote #djh3 ,o ,ku ka mahu nui akea4 ,the ,hawaiians have come to treat this phrase as one word1 an epithet applied to the god ,ku4 ,in the author's translation it is treated as an ordinary phrase4 ,footnote #dji3 ,milo-hlu4 ,a grove of milo trees that stood1 as some affirm1 about that natural basin of warm water in ,puna1 which the ,hawaiians called ,wai-wela-wela4 ,footnote #daj3 ,pi1 ,pa4 ,these were two imaginary little beings who lived in the crater of ,kilauea1 and who declared their presence by a tiny shrill piping sound1 such1 perhaps1 as a stick of green wood will make when burning4 ,pi was active at such times as the fires were retreating1 ,pa when the fires were rising to a full head4 ,page #bad ,translation4 ,black crabs are climbing1 ,crabs from the great sea1 ,sea that is darkling4 ,black crabs and gray crabs #e ,scuttle o'er the reef-plate4 ,billows are tumbling and lashing1 ,beating and surging nigh4 ,seashells are crawling up2 ,and lurking in holes #aj ,are the eels o- and o-4 ,but taste the moss akhakha1 ,kahiki6 how the sea rages6 ,the wild sea of ,kane6 ,the pit-god has come to the ocean1 #ae ,all consuming1 devouring ,by heaps the delicate shellfish6 ,lashing the mount1 lashing the sea1 ,lurking place of the goddess4 ,pray hide yourself wholly2 #bj ,the ,pele women are hidden4 ,burst forth now6 burst forth6 ,ku with spreading column of smoke6 ,now down to the grove ,milo-holu2 ,bathe in waters warmed by the goddess4 #be ,behold1 they burn1 behold1 they burn6 ,page #bae ,the fires of the goddess burn6 ,now for the dance1 the dance6 ,bring out the dance made public ,by ,mna-mna-ia-klu--a4 #cj ,turn about back1 turn about face2 ,advance toward the sea2 ,advance toward the land1 ,toward the pit that is ,pele's1 ,portentous consumer of rocks in ,puna4 #ce ,pi and ,pa chirp the cricket notes ,of ,pele at home in her pit4 ,have done with restraint6 ,the imagery and language of this mele mark the hula to which it belonged as a performance of strength4 ,page #baf ,,xxix4--,,the ,,hula ,,kolani ,for the purpose of this book the rating of any variety of hula must depend not so much on the grace and rhythm of its action on the stage as on the imaginative power and dignity of its poetry4 ,judged in this way1 the kolani is one of the most interesting and important of the hulas4 ,its performance seems to have made no attempt at sensationalism1 yet it was marked by a peculiar elegance4 ,this must have been due in a measure to the fact that only adepts--olhe--those of the most finished skill in the art of hula1 took part in its presentation4 ,it was a hula of gentle1 gracious action1 acted and sung while the performers kept a sitting position1 and was without instrumental accompaniment4 ,the fact that this hula was among the number chosen for presentation before the king 7,kamehameha ,,iii7 while on a tour of ,oahu in the year #ahdf or #ahdg is emphatic testimony as to the esteem in which it was held by the ,hawaiians themselves4 ,the mele that accompanied this hula when performed for the king's entertainment at ,waimanalo was the following3 ,he ua la1 he ua1 ,he ua pi'i mai2 ,noe-noe halau1 ,halau loa o ,lono4 #e ,o lono oe2 ,pa--a na pali ,i ka hana a ,ikuw-- ,poh ko-ele-ele4 ,a ,welehu ka malma1 #aj ,noho i ,makali'i2 ,li'i-li'i ka hana4 ,aia a e'-u1 ,he eu ia no ka la hiki4 ,hiki mai ka ,lani1 #ae ,nauweuwe ka honua1 ,ka hana a ke ola'i nui3 ,moe pono ole ko'u po-- ,na niho ai kalakala1 ,ka hana a ka ,niuhi #bj ,a mau i ke kai loa4 ,he loa o ka hiki'na4 ,a ua noa1 a ua noa4 ,page #bag ,translation4 ,lo1 the rain1 the rain6 ,the rain is approaching2 ,the dance-hall is murky1 ,the great hall of ,lono4 #e ,listen6 its mountain walls ,are stunned with the clatter1 ,as when in ,october1 ,heaven's thunderbolts shatter4 ,then follows ,welehu1 #aj ,the month of the ,pleiads4 ,scanty the work then done1 ,save as one's driven4 ,spur comes with the sun1 ,when day has arisen4 #ae ,now comes the ,heaven-born2 ,the whole land doth shake1 ,as with an earthquake2 ,sleep quits then my bed3 ,how shall this maw be fed6 #bj ,great maw of the shark-- ,eyes that gleam in the dark ,of the boundless sea6 ,rare the king's visits to me4 ,all is free1 all is free6 ,if the author of this ,hawaiian idyl sought to adapt its descriptive imagery to the features of any particular landscape1 it would almost seem as if he had in view the very region in which ,kauikeaouli found himself in the year #ahdg as he listened to the mele of this unknown ,hawaiian ,theocritus4 ,under the spell of this poem1 one is transported to the amphitheater of ,mauna-wili1 a valley separated from ,waimanalo only by a rampart of hills4 ,at one's back are the abrupt walls of ,konahuanui2 at the right1 and encroaching so as almost to shut in the front1 stands the knife-edge of ,olomana2 to the left range the furzy hills of ,ulamawao2 while directly to the front1 looking north1 winds the green valley1 whose waters1 before reaching the ocean1 spread out into the fish-ponds and duck swamps of ,kailua4 ,it would seem as if this must have been the very picture the idyllic poet had in mind4 ,this smiling1 yet rock-walled1 amphitheater was the vast dance-hall of ,lono--,halau loa o ,lono 7verse #d7--whose walls were deafened1 stunned 7pa--a1 verse #f71 by the tumult and uproar of the multitude that always followed in the wake of a king1 a multitude whose night-long revels banished sleep3 ,moe pono ole ko'u po 7verse #ag74 ,the poet seems to be thinking of this same hungry multitude in verse #ah1 ,na niho ai kalakala1 literally the teeth that tear the food2 also when he speaks of the ,niuhi 7verse #ai71 a mythical shark1 the glow of whose eyes was said to be visible ,page #bah for a great distance in the ocean1 ,a mau i ke kai loa 7verse #bj74 ,ikuw1 ,welehu1 ,makali'i 7verses #g1 #i1 and #aj74 ,these were months in the ,hawaiian year corresponding to a part of ,september1 ,october and ,november1 and a part of ,december4 ,the ,hawaiian year began when the ,pleiades 7,makali'i7 rose at sunset 7about ,november #bj71 and was divided into twelve lunar months of twenty-nine or thirty days each4 ,the names of the months differed somewhat in the different parts of the group4 ,the month ,ikuw is said to have been named from its being the season of thunderstorms4 ,this does not of itself settle the time of its occurrence1 for the reason that in ,hawaii the procession of the seasons and the phenomena of weather follow no definite order2 that is1 though electrical storms occur1 there is no definite season of thunderstorms4 ,maka-li'i 7verse #aj7 was not only the name of a month and the name applied to the ,pleiades1 but was also a name given the cool1 the rainy1 season4 ,the name more commonly given this season was ,hooilo4 ,the ,makahiki period1 continuing four months1 occurred at this time of the year4 ,this was a season when the people rested from unnecessary labor and devoted themselves to festivals1 games1 and special religious observances4 ,allusion is made to this avoidance of toil in the words ,li'ili'i ka hana 7verse #aa74 ,one can not fail to perceive a vein of gentle sarcasm cropping up in this idyl1 softened1 however1 by a spirit of honest good feeling4 ,witness the following3 ,noe-noe 7verse #c71 primarily meaning cloudy1 conveys also the idea of agreeable coolness and refreshment4 ,again1 while the multitude that follows the king is compared to the ravenous man-eating ,niuhi 7verse #ai71 the final remark as to the rarity of the king's visits1 ,he loa o ka hiki'na 7verse #ba71 may be taken not only as a salve to atone for the satire1 but as a sly self-gratulation that the affliction is not to be soon repeated4 ,page #bai ,,xxx4--,,the ,,hula ,,kolea ,there was a peculiar class of hulas named after animals1 in each one of which the song-maker developed some characteristic of the animal in a fanciful way1 while the actors themselves aimed to portray the animal's movements in a mimetic fashion4 ,to this class belongs the hula kolea4#daa ,it was a peculiar dance1 performed1 as an informant asserts1 by actors who took the kneeling posture1 all being placed in one row and facing in the same direction4 ,there were gestures without stint1 arms1 heads1 and bodies moving in a fashion that seemed to imitate in a far-off way the movements of the bird itself4 ,there was no instrumental accompaniment to the music4 ,the following mele is one that was given with this hula3 ,kolea kai piha6#dab ,i aha mai nei8 ,ku-nou#dac mai nei4 ,e aha kakou8 #e ,e ai kakou4#dad ,nohea ka ai8#dae ,no ,kahiki mai4#dae ,hiki mai ka ,lani1#dae ,olina ,hawaii1 #aj ,mala'ela'e ke ala1 ,nou1 e ka ,lani4 ,puili pu ke aloha1 ,pili me ka'u manu4#daf ,ka puana a ka moe8 #ae ,moe oe a hoolana ,page #bbj ,ka hali'a i hiki mai2 ,ooe pu me a'u ,noho pu i ka wai aliali4 ,hai'na ia ka pauna4 #bj ,o ka hua o ke kolea1 aia i ,kahiki4#dag ,hiki mai kou aloha1 mae'ele au4 ,footnote #daa3 ,the plover4 ,footnote #dab3 ,kolea kai piha4 ,the kolea is a feeder along the shore1 his range limited to a narrower strip as the tide rises4 ,the snare was one of the methods used by the ,hawaiians for the capture of this bird4 ,in his efforts to escape when snared he made that futile bobbing motion with his head that must be familiar to every hunter4 ,footnote #dac3 ,usually the bobbing motion1 ku-nou1 is the prelude to flight2 but the snared bird can do nothing more1 a fact which suggests to the poet the nodding and bowing of two lovers when they meet4 ,footnote #dad3 ,e ai kakou4 ,literally1 let us eat4 ,while this figure of speech often has a sensual meaning1 it does not necessarily imply grossness4 ,hawaiian literalness and narrowness of vocabulary is not to be strained to the overthrow of poetical sentiment4 ,footnote #dae3 ,to the question ,nohea ka ai81 whence the food8 that is1 the bird1 the poet answers1 ,no ,kahiki mai1 from ,kahiki1 from some distant region1 the gift of heaven1 it may be1 as implied in the next line1 ,hiki mai ka ,lani4 ,the coming of the king1 or chief1 ,lani1 literally1 the heaven-born1 with the consummation of the love4 ,exactly what this connection is no one can say4 ,footnote #daf3 ,in the expression ,pili me ka'u manu the poet returns to his figure of a bird as representing a loved one4 ,footnote #dag3 ,o ka hua o ke kolea1 aia i ,kahiki4 ,in declaring that the egg of the kolea is laid in a foreign land1 ,kahiki1 the poet enigmatizes1 basing his thought on some fancied resemblance between the mystery of love and the mystery of the kolea's birth4 ,translation4 ,a plover at the full of the sea-- ,what1 pray1 is it saying to me8 ,it keeps bobbing its noddy4 ,to do what would you counsel8 #e ,why1 eat its plump body6 ,whence comes the sweet morsel8 ,from the land of ,kahiki4 ,when our sovereign appears1 ,hawaii gathers for play1 #aj ,stumble-blocks cleared from the way-- ,fit rule of the king's highway4 ,let each one embrace then his love2 ,for me1 ,i'll keep to my dove4 ,hark now1 the signal for bed6 #ae ,attentive then to love's tread1 ,while a wee bird sings in the soul1 ,my love comes to me heart-whole-- ,then quaff the waters of bliss4 ,say what is the key to all this8 #bj ,the plover egg's laid in ,kahiki4 ,your love1 when it comes1 finds me dumb4 ,the plover--kolea--is a wayfarer in ,hawaii2 its nest-home is in distant lands1 ,kahiki4 ,the ,hawaiian poet finds in all this something that reminds him of the spirit of love4 ,page #bba ,,xxxi4--,,the ,,hula ,,man ,the hula man1 shark-dance1 as its name signifies1 was a performance that takes class with the hula kolea1 already mentioned1 as one of the animal dances4 ,but little can be said about the physical features of this hula as a dance1 save that the performers took a sitting position1 that the action was without sensationalism1 and that there was no instrumental accompaniment4 ,the cantillation of the mele was in the distinct and quiet tone and manner which the ,hawaiians termed ko'i-honua4 ,the last and only mention found of its performance in modern times was in the year #ahdg1 during the tour1 previously mentioned1 which ,kamehameha ,,iii made about ,oahu4 ,the place was the lonely and romantic valley of ,waimea1 a name already historic from having been the scene of the tragic death of ,lieutenant ,hergest 7of the ship ,ddalus7 in #agib4 ,mele ,auwe6 pau au i ka man nui1 e6 ,lala-kea#dah niho pa-kolu4 ,pau ka papa-ku o ,lono#dai ,i ka ai ia e ka man nui1 #e ,o ,niuhi maka ahi1 ,olapa i ke kai lipo4 ,ahu e6 au-we6 ,a pua ka wili-wili1 ,a nanahu ka man1#dbj ,page #bbb #aj ,auwe6 pau au i ka man nui6 ,kai uli1 kai ele1 ,kai popolohua o ,kane4 ,a lealea au i ka'u hula1 ,pau au i ka man nui6 ,footnote #dah3 ,lala-kea4 ,this proper name1 as it seems once to have been1 has now become rather the designation of a whole class of man-eating sea-monsters4 ,the ,hawaiians worshiped individual sharks as demigods1 in the belief that the souls of the departed at death1 or even before death1 sometimes entered and took possession of them1 and that they at times resumed human form4 ,to this class belonged the famous shark ,niuhi 7verse #e74 ,footnote #dai3 ,papa-ku o ,lono4 ,this was one of the underlying strata of the earth that must be passed before reaching ,mlu1 the hades of the ,hawaiians4 ,the cosmogony of the southern ,polynesians1 according to ,mr4 ,tregear1 recognized ten papa1 or divisions4 8,the first division was the earth's surface2 the second was the abode of ,rongo-ma-tane and ,haumia-tiketike2 444 the tenth was ,meto1 or ,ameto1 or ,aweto1 wherein the soul of man found utter extinction40 7,the ,maori-,polynesian ,comparative ,dictionary1 by ,edward ,tregear1 ,f4,r4,g4,s41 etc41 ,wellington1 ,new ,zealand1 #ahia47 ,footnote #dbj3 ,verses #h and #i are from an old proverb which the ,hawaiians put into the following quatrain3 ,a pua ka wiliwili1 ,a nanahu ka man2 ,a pua ka wahine u'i1 ,a nanahu ke kanawai4 ,translation4 ,when flowers the wiliwili1 ,then bites the shark2 ,when flowers a young woman4 ,then bites the law4 ,the people came to take this old saw seriously and literally1 and during the season when the wiliwili 7,erythrina monosperma7 was clothed in its splendid tufts of brick-red1 mothers kept their children from swimming into the deep sea by setting before them the terrors of the shark4 ,translation4 ,song ,alas6 ,i am seized by the shark1 great shark6 ,lala-kea with triple-banked teeth4 ,the stratum of ,lono is gone1 ,torn up by the monster shark1 #e ,niuhi with fiery eyes1 ,that flamed in the deep blue sea4 ,alas6 and alas6 ,when flowers the wili-wili tree1 ,that is the time when the shark-god bites4 #aj ,alas6 ,i am seized by the huge shark6 ,o blue sea1 ,o dark sea1 ,foam-mottled sea of ,kane6 ,what pleasure ,i took in my dancing6 ,alas6 now consumed by the monster shark6 ,who would imagine that a ,hawaiian would ever picture the god of love as a shark8 ,as a bird1 yes2 but as a shark6 ,what a light this fierce idyl casts on the imagination of the people of ancient ,hawaii6 ,page #bbc ,,xxxii4--,,the ,,hula ,,il,o ,the dog took his part and played his enthusiastic rle in the domestic life of every ,hawaiian4 ,he did not starve in a fool's paradise1 a neglected object of man's superstitious regard1 as in ,constantinople2 nor did he vie with kings and queens in the length and purity of his pedigree1 as in ,england2 but in ,hawaii he entered with full heart of sympathy into all of man's enterprises1 and at his death bequeathed his body a sacrifice to men and gods4 ,it was fitting that the ,hawaiian poet should celebrate the dog and his altogether virtuous and altruistic services to mankind4 ,the hula ilo may be considered as part of ,hawaii's tribute to man's most faithful friend1 the dog4 ,the hula ilo was a classic performance that demanded of the actors much physical stir2 they shifted their position1 now sitting1 now standing2 they moved from place to place2 indulged in many gestures1 sometimes as if imitating the motions of the dog4 ,this hula has long been out of commission4 ,like the two animal-hulas previously mentioned1 it was performed without the aid of instrumental accompaniment4 ,the allusions in this mele are to the mythical story that tells of ,kane's drinking1 revels on the heights about ,waipi'o valley2 how he and his fellows by the noise of their furious conching disturbed the prayers and rituals of ,king ,liloa and his priests1 ,kane himself being the chief offender by his blowing on the conch-shell ,kihap1 stolen from ,liloa's temple of ,paka'alana3 its recovery by the wit and dramatic action of the gifted dog ,puapua-lenalena4 7,see p4 #aca47 ,mele ,ku e1 nan e6 ,makole#dba o ,ku6 ,hoolei ia ka lei1#dbb ,i lei no ,puapua-lenalena1 #e ,he lei hinano no ,kahili1#dbc ,he wehiwehi no ,niho-k#dbd ,page #bbd ,kaanini ka lani1#dbe uw ka honua3 ,a aoa aku oe2 ,lohe o ,hiwa-uli1#dbf #aj ,ka milimili a ka lani4 ,noho opua i ka malmalma ,mlama ia ka ipu4#dbg ,he hano-wai no ,kilioe1#dbh ,wahine noho pali o ,haena4 #ae ,enaena na ahi o ,kilauea1#dbi ,ka haku pali o ,kamohoalii4#dcj ,a noho i ,waipi'o1 ,ka pali kapu a ,kane4 ,moe ole ka po o ke alii1 #bj ,ke kani mau o ,kiha-p4 ,ukiuki1 uluhua ke alii3 ,hoouna ka elele2#dca ,loaa i ,kauai o ,mno1 ,kupueu a ,wai-uli me ,kahili2 #be ,a ao aku oe1 aoa1#dcb aoa a aoa4 ,hana e o ,kaua-hoa1#dcc ,ka mea i o ,hanalei1 ,hu'e'a kaua1 moe i ke awakea1 ,page #bbe ,kapae ke kaua o ka hoahanau6#dcd #cj ,hookahi no pua o ka oi2 ,awili pu me ke kaio'e4#dce ,i lei no ,puapua-lenalena4 ,o ku'u luhi ua hiki iho la1 ,ka nioi o ,paka'a-lana4#dcf #ce ,a lana ka manao1 hakuko'i 'loko1 ,ka hae mau ana a ,puapua-lenalena1 ,a hiki i ,kuma-kahi1#dcg ,kahi au i noho ai1 ,a hiki iho la ka elele1 #dj ,inu i ka awa kau-laau o ,puna4#dch ,aoa1 he1 he1 hene6 ,footnote #dba3 ,makole4 ,red-eyed2 ophthalmic4 ,footnote #dbb3 ,the wreath1 lei1 is not for the god1 but for the dog ,puapua-lenalena1 the one who in the story recovered the stolen conch1 ,kiha-p 7verse #bj71 with which god ,kane made night hideous and disturbed the repose of pious ,king ,liloa 7,moe ole ka po o ke alii1 verse #ai74 ,footnote #dbc3 ,kahili4 ,said to be the foster mother of ,puapua-lenalena4 ,footnote #dbd3 ,niho-k4 ,literally an upright tooth1 was the name of the hill on which lived the old couple who were the foster parents of the dog4 ,footnote #dbe3 ,kaanini ka lani1 etc4 ,portents by which heaven and earth expressed their appreciation of the birth of a new prodigy1 the dog ,puapua-lenalena4 ,footnote #dbf3 ,hiwa-uli4 ,an epithet applied to the island of ,hawaii1 perhaps on account of the immense extent of territory on that island that was simply black lava2 hiwa1 black1 was a sacred color4 ,the term uli has reference to its verdancy4 ,footnote #dbg3 ,ipu4 ,wai-uli1 the foster father of the dog1 while fishing in a mountain brook1 brought up a pebble on his hook2 his wife1 who was childless and yearned for offspring1 kept it in a calabash wrapped in choice tapa4 ,in a year or two it had developed into the wonderful dog1 ,puapua-lenalena4 ,the calabash was the ipu here mentioned1 the same as the hano wai 7verse #ac71 a water-container4 ,footnote #dbh3 ,kilie4 ,a sorceress who lived at ,haena1 ,kauai1 on the steep cliffs that were inaccessible to human foot4 ,footnote #dbi3 ,ena-ena1 na ahi o ,kilauea4 8,hot are the fires of ,kilauea40 ,the duplicated word ena-ena1 taken in connection with ,ha-ena in the previous verse1 is a capital instance of a form of assonance1 or nonterminal rhyme1 much favored and occasionally used by ,hawaiian poets of the middle period4 ,from the fact that its use here introduces a break in the logical relation which it is hard to reconcile with unity one may think that the poet was seduced from the straight and narrow way by this opportunity for an indulgence that sacrifices reason to rhyme4 ,footnote #dcj3 ,kamoho-alii4 ,the brother of ,pele2 his person was so sacred that the flames and smoke of ,kilauea dared not invade the bank on which he reposed4 ,the connection of thought between this and the main line of argument is not clear4 ,footnote #dca3 ,hoouna ka elele4 ,according to one story ,liloa dispatched a messenger to bring ,puapua-lenalena and his master to ,waipi'o to aid him in regaining possession of ,kiha-p4 ,footnote #dcb3 ,a ao aku oe1 aoa 444 ,this indicated the dog's assent4 ,puapua-lenalena understood what was said to him1 but could make no reply in human speech4 ,when a question was put to him1 if he wished to make a negative answer1 he would keep silent2 but if he wished to express assent to a proposition1 he barked and frisked about4 ,footnote #dcc3 ,hana e o ,kaua-hoa 444 ,no one has been found who can give a satisfactory explanation of the logical connection existing between the passage here cited and the rest of the poem4 ,it treats of an armed conflict between ,kauahoa and his cousin ,kawelo1 a hero from ,oahu1 which took place on ,kauai4 ,kauahoa was a retainer and soldier of ,ai-kanaka1 a king of ,kauai4 ,the period was in the reign of ,king ,kakuhihewa1 of ,oahu4 ,kawelo invaded ,kauai with an armed force and made a proposition to ,kauahoa which involved treachery to ,kauahoa's liege-lord ,ai-kanaka4 ,kauahoa's answer to this proposition is given in verse #bh2 ,hu'e a kaua1 moe i ke awakea6--8,strike home1 then sleep at midday60 ,the sleep at midday was the sleep of death4 ,footnote #dcd3 ,kapae ke kaua o ka hoahanau6 ,this was the reply of ,kawelo1 urging ,kauahoa to set the demands of kinship above those of honor and loyalty to his liege-lord4 ,in the battle that ensued ,kauahoa came to his death4 ,the story of ,kawelo is full of romance4 ,footnote #dce3 ,kaio'e4 ,said to be a choice and beautiful flower found on ,kauai4 ,it is not described by ,hillebrand4 ,footnote #dcf3 ,ka nioi o ,paka'a-lana4 ,the doorsill of the temple1 heiau1 of ,paka'a-lana was made of the exceedingly hard wood nioi4 ,it was to this temple that ,puapua-lenalena brought the conch ,kiha-p when he had stolen 7recovered7 it from god ,kane4 ,footnote #dcg3 ,qumukahi4 ,see note c on p4 #aig4 ,footnote #dch3 ,awa kau-laau o ,puna4 ,it is said that in ,puna the birds sometimes planted the awa in the stumps or in the crotches of the trees1 and this awa was of the finest quality4 ,the author of this mele1 apparently under the sanction of his poetic license1 uses toward the great god ,ku a plainness of speech which to us seems satirical2 he speaks of him as makole1 red-eyed1 the result1 no doubt1 of his notorious addiction to awa1 in which he was not alone among the gods4 ,but it is not at all certain that the ,hawaiians looked upon this ophthalmic redness as repulsive or disgraceful4 ,everything connected with awa had for them a cherished value4 ,in the mele given on p4 #acj the cry was1 8,kane is drunken with awa60 ,the two gods ,kane and ,ku were companions in their revels as well as in nobler adventures4 ,such a poem as this flashes a strong light into the workings of the ,hawaiian mind on the creations of their own imagination1 the beings who stood to them as gods2 not robbing them of their power1 not deposing them from the throne of the universe1 perhaps not even penetrating the veil of enchantment and mystery with which the popular regard covered them1 at the most perhaps giving them a hold on the affections of the people4 ,translation4 ,song ,look forth1 god ,ku1 look forth6 ,huh6 ,ku is blear-eyed6 ,aye1 weave now the wreath-- ,a wreath for the dog ,pua-lena2 #e ,a hala plume for ,kahili1 ,choice garlands from ,niho-k4 ,page #bbf ,there was a scurry of clouds1 earth groaned2 ,the sound of your baying reached ,hawaii the verdant1 the pet of the gods2 #aj ,a portent was seen in the heavens4 ,you were kept in a cradle of gourd1 ,water-gourd of the witch ,kilioe1 ,who haunted the cliffs of ,haena-- ,the fiery blasts of the crater #ae ,touch not ,kamoho-alii's cliff4 ,your travel reaches ,waipi'o1 ,the sacred cliff of god ,kane4 ,sleep fled the bed of the king ,at the din of the conch ,kiha-p4 #bj ,the king was tormented1 depressed2 ,his messenger sped on his way2 ,found help from ,kauai of ,mno-- ,the marvelous foster child1 ,by ,waiuli1 ,kahuli1 upreared2 #be ,your answer1 a-o-a1 a-o-a6-- ',twas thus ,kauahoa made ready betimes1 ,that hero of old ,hanalei-- 8,strike home6 then sleep at midday60 8,god fend a war between kindred60 #cj ,one flower all other surpasses2 ,twine with it a wreath of kai-o'e1 ,a chaplet to crown ,pua-lena4 ,my labor now has its reward1 ,the doorsill of ,pa-ka'a-lana4 #ce ,my heart leaps up in great cheer2 ,the bay of the dog greets my ear1 ,it reaches ,east ,cape by the sea1 ,where ,puna gave refuge to thee1 ,till came the king's herald1 hot-foot1 #dj ,and quaffed the awa's tree-grown root4 ,a-o-a1 a-o-a1 he1 he1 hene6 ,the problem to be solved by the translator of this peculiar mele is a difficult one4 ,it involves a constant readjustment of the mental standpoint to meet the poet's vagrant fancy1 which to us seems to occupy no consistent point of view4 ,if this difficulty arises from the author's own lack of insight1 he can at least absolve himself from the charge of negligence and lack of effort to discover the standpoint that shall give unity to the whole composition2 and can console himself with the reflection that no native ,hawaiian scholar with whom he has conferred has been able to give a key to the solution of this problem4 ,in truth1 the native ,hawaiian scholars of to-day do not appreciate as we do the necessity of holding fast to one viewpoint4 ,they seem to be willing to accept with gusto any production of their old-time singers1 though they may not be able to explain them1 and though to us1 in whose hearts the songs of the masters ever make music1 they may seem empty riddles4 ,page #bbg ,the solution of this problem here furnished is based on careful study of the text and of the allusions to tradition and myth that therein abound4 ,its expression in the translation has rendered necessary occasional slight departures from absolute literalness1 and has involved the supplying of certain conjunctive and explanatory words and phrases of which the original1 it is true1 gives no hint1 but without which the text would be meaningless4 ,one learned ,hawaiian with whom the author has enjoyed much conference persists in taking a most discouraging and pessimistic view of this mele4 ,it is gratifying to be able to differ from him in this matter and to be able to sustain one's position by the consenting opinion of other ,hawaiians equally accomplished as the learned friend just referred to4 ,the incidents in the story of ,puapua-lenalena alluded to in the mele do not exactly chime with any version of the legend met with4 ,that is not strange4 ,hawaiian legends of necessity had many variants1 especially where1 as in this case1 the adventures of the hero occurred in part on one and in part on another island4 ,the author's knowledge of this story is derived from various independent sources1 mainly from a version given to his brother1 ,joseph ,s4 ,emerson1 who took it down from the words of an intelligent ,hawaiian youth of ,kohala4 ,english literature1 so far as known to the author1 does not furnish any example that is exactly comparable to or that will serve as an illustration of this nonterminal rhyme1 which abounds in ,hawaiian poetry4 ,perhaps the following will serve the purpose of illustration3 ',twas the swine of ,gadara1 fattened on mast4 ,the mast-head watch of a ship was the last ,to see the wild herd careering past1 ,or such a combination as this3 ,he was a mere flat1 ,yet flattered the girls4 ,such artificial productions as these give us but a momentary intellectual entertainment4 ,while the intellectual element in them was not lacking with the ,hawaiians1 the predominant feeling1 no doubt1 was a sensuous delight coming from the repetition of a full-throated vowel-combination4 ,page #bbh ,,xxxiii4--,,the ,,hula ,,pua',a ,the hula pua'a rounds out the number of animal-dances that have survived the wreck of time1 or the memory of which has come down to us4 ,it was a dance in which only the olapa took part without the aid of instrumental accompaniment4 ,women as well as men were eligible as actors in its performance4 ,the actors put much spirit into the action1 beating the chest1 flinging their arms in a strenuous fashion1 throwing the body into strained attitudes1 at times bending so far back as almost to touch the floor4 ,this energy seems to have invaded the song1 and the cantillation of the mele is said to have been done in that energetic manner called ai-ha'a4 ,the hula pua'a seems to have been native to ,kauai4 ,the author has not been able to learn of its performance within historic times on any other island4 ,the student of ,hawaiian mythology naturally asks whether the hula pua'a concerned itself with the doings of the mythological hog-deity ,kama-pua'a whose amour with ,pele was the scandal of ,hawaiian mythology4 ,it takes but a superficial reading of the mele to answer this question in the affirmative4 ,the following mele1 or oli more properly1 which was used in connection with the hula pua'a1 is said to have been the joint production of two women1 the daughters of a famous bard named ,kana1 who was the reputed brother of ,limaloa 7long-armed71 a wonder-working hero who piled up the clouds in imitation of houses and mountains and who produced the mirage3 ,oli ,ko'i maka nui1#dci ,ike ia na pae moku1 ,na moku o ,mala-la-walu1#ddj ,ka noho a ,ka-maulu-a-niho1 #e ,kupuna o ,kama-pua'a4 ,page #bbi ,ike ia ka hono a ,pii-lani2#dda ,ku ka paa i na mokupuni4 ,ua puni au ia ,pele1 ,ka u'i noho mau i ,kilauea1 #aj ,anau hewa i ke a o ,puna4 ,keiki kolohe a ,ku ame ,hina--#ddb ,hina ka opua1 kau i ke olewa1 ,ke ao pua'a#ddc maalo i ,haupu4 ,haku'i ku'u manao e hoi#ddd i ,kahiki2 #ae ,pau ole ka'u hoohihi ia ,hale-ma'u-ma'u1#dde ,i ka pali kapu a ,ka-moho-alii4#ddf ,kela kuahiwi a mau a ke ahi4 ,he manao no ko'u e noho pu2 ,pale 'a mai e ka hilahila1 #bj ,i ka hakukole ia mai e ke ,akua wahine ,pale oe1 pale au1 iloko o ka hilahila2 ,a hilahila wale ia iho no e oe2 ,nau no ia hale i noho4#ddg ,ka hana ia a ke ,ko'i maka nui1 #be ,ike ia na pae moku4 ,he hiapo#ddh au na ,olopana1 ,he hi'i-alo na ,ku-ula1 ,ka mea nana na haka moa2 ,page #bcj ,noho i ka uka o ,ka-liu-wa'a2#ddi #cj ,ku'u wa'a ia ho'i i ,kahiki4 ,pau ia ike ana ia ,hawaii1 ,ka aina a ke ,akua i hiki mai ai1 ,i noho malihini ai i na moku o ,hawaii4 ,malihini oe1 malihini au1 #ce ,ko'i maka nui1 ike ia na-pae opuaa4 ,a pepelu1 a pepelu1 a pepelu ,ko ia la huelo6 pili i ka lemu6 ,hu6 hu6 hu6 hu6 ,ka-haku-ma'a-lani#dej kou inoa6 #dj ,a e o mai oe1 e ,kane-hoa-lani4 ,ua noa4 ,footnote #dci3 ,ko'i maka nui ,the word maka1 which from the connection here must mean the edge of an ax1 is the word generally used to mean an eye4 ,insistence on their peculiarity leads one to think that there must have been something remarkable about the eyes of ,kama-pua'a4 ,one account describes ,kama-pua'a as having eight eyes and as many feet4 ,it is said that on one occasion as ,kama-pua'a was lying in wait for ,pele in a volcanic bubble in the plains of ,puna ,pele's sisters recognized his presence by the gleam of his eyes4 ,they immediately walled up the only door of exit4 ,footnote #ddj3 ,mala-la-walu4 ,a celebrated king of ,maui1 said to have been a just ruler1 who was slain in battle on ,hawaii while making war against ,lono-i-ka-makahiki1 the rightful ruler of the island4 ,it may be asked if the name is not introduced here because of the word walu 7eight7 as a reference to ,kama-pua'a's eight eyes4 ,footnote #dda3 ,pi'i-lani4 ,a king of ,maui1 father-in-law to ,umi1 the son of ,liloa4 ,footnote #ddb3 ,hina4 ,there were several ,hinas in ,hawaiian mythology and tradition4 ,olopana1 the son of ,kamaulu-a-niho 7,fornander gives this name as ,ka-maunu-a-niho71 on his arrival from ,kahiki1 settled in ,koolau and married a woman named ,hina4 ,kama-pua'a is said to be the natural son of ,hina by ,kahiki-ula1 the brother of ,olopana4 ,to this ,olopana was attributed the heiau of ,kawaewae at ,kaneohe4 ,footnote #ddc3 ,ao pu-a'a4 ,the cloud-cap that often rested on the summit of ,haupu1 a mountain on ,kauai1 near ,koloa1 is said to have resembled the shape of a pig4 ,it was a common saying1 8,the pig is resting on ,haupu40 ,footnote #ddd3 ,ho'i4 ,to return4 ,this argues that1 if ,kama-pua'a was not originally from ,kahiki1 he had at least visited there4 ,footnote #dde3 ,hale-ma'u-ma'u4 ,this was an ancient lava-cone which until within a few years continued to be the most famous fire-lake in the caldera of ,kilauea4 ,it was so called1 probably1 because the roughness of its walls gave it a resemblance to one of those little shelters made from rough ama'u fern such as visitors put up for temporary convenience4 ,the word has not the same pronunciation and is not to be confounded with that other word mau1 meaning everlasting4 ,footnote #ddf3 ,kamoho-ali'i4 ,the brother of ,pele2 in one metamorphosis he took the form of a shark4 ,a high point in the northwest quarter of the wall of ,kilauea was considered his special residence and regarded as so sacred that no smoke or flame from the volcano ever touched it4 ,he made his abode chiefly in the earth's underground caverns1 through which the sun made its nightly transit from ,west back to the ,east4 ,he often retained the orb of the day to warm and illumine his abode4 ,on one such occasion the hero ,mawi descended into this region and stole away the sun that his mother ,hina might have the benefit of its heat in drying her tapas4 ,footnote #ddg3 ,hale i noho4 ,the word hale1 meaning house1 is frequently used metaphorically for the human body1 especially that of a woman4 ,pele thus acknowledges her amour with ,kama-pua'a4 ,footnote #ddh3 ,hiapo4 ,a firstborn child4 ,legends are at variance with one another as to the parentage of ,kama-pua'a4 ,according to the legend referred to previously1 ,kama-pua'a was the son of ,olopana's wife ,hina1 his true father being ,kahiki-ula1 the brother of ,olopana4 ,olopana seems to have treated him as his own son4 ,after ,kama-pua'a's robbery of his mother's henroosts1 ,olopana chased the thief into the mountains and captured him4 ,kama eventually turned the tables against his benefactor and caused the death of ,olopana through the treachery of a priest in a heiau2 he was offered up on the altar as a sacrifice4 ,footnote #ddi3 ,ka-liu-wa'a4 ,the bilge of the canoe4 ,this is the name of a deep and narrow valley at ,hauula1 ,koolau1 ,oahu1 and is well worth a visit4 ,kama-pua'a1 hard pressed by the host of his enemies1 broke through the multitude that encompassed him on the land side and with his followers escaped up this narrow gorge4 ,when the valley came to an abrupt end before him1 and he could retreat no farther1 he reared up on his hind legs and scaled the mountain wall2 his feet1 as he sprang up1 scored the precipice with immense hollowed-out grooves or flutings4 ,the ,hawaiians call these wa'a from their resemblance to the hollow of a ,hawaiian canoe4 ,this feat of the hog-god compelled recognition of ,kama-pua'a as a deity2 and from that time no one entered ,ka-liu-wa'a valley without making an offering to ,kama-pua'a4 ,footnote #dej3 ,ka-haku-ma'a-lani4 ,a name evidently applied to ,kama-pua'a4 ,translation4 ,song ,ax of broadest edge ,i'm hight2 ,the island groups ,i've visited1 ,islands of ,mala-la-walu1 ,seat of ,ka-maulu-a-niho1 #e ,grandam of ,kama1 the swine-god4 ,i have seen ,pi'i-lani's glory1 ,whose fame spreads over the islands4 ,enamored was ,i of ,pele2 ,her beauty holds court at the fire-pit1 #aj ,given to ravage the plains of ,puna4 ,mischievous son of ,ku1 and of ,hina1 ,whose cloud-bloom hangs in ether1 ,the pig-shaped cloud that shadows ,haupu4 ,an impulse comes to return to ,kahiki-- #ae ,the chains of the pit still gall me1 ,the tabu cliff of ,ka-moho-alii1 ,the mount that is ever ablaze4 ,i thought to have domiciled with her2 ,was driven away by mere shame-- #bj ,the shameful abuse of the goddess6 ,go thou1 go ,i--a truce to the shame4 ,it was your manners that shamed me4 ,free to you was the house we lived in4 ,these were the deeds of ,broad-edged-,ax1 #be ,who has seen the whole group of islands4 ,olopana's firstborn am ,i1 ,nursed in the arms of ,ku-ula2 ,page #bca ,hers were the roosts for the gamecocks4 ,the wilds of ,ka-liu-wa'a my home1 #cj ,that too my craft back to ,kahiki2 ,this my farewell to ,hawaii1 ,land of the ,god's immigration4 ,strangers we came to ,hawaii2 ,a stranger thou1 a stranger ,i1 #ce ,called ,broad-edged-,ax3 ,i've read the cloud-omens in heaven4 ,it curls1 it curls6 his tail--it curls6 ,look1 it clings to his buttocks6 ,faugh1 faugh1 faugh1 faugh1 uff6 #dj ,what6 ,ka-haku-ma'a-lani your name6 ,answer from heaven1 oh ,kane6 ,my song it is done6 ,if one can trust1 the statement of the ,hawaiian who communicated the above mele1 it represents only a portion of the whole composition1 the first canto--if we may so term it--having dropped into the limbo of forgetfulness4 ,the author's study of the mele lends no countenance to such a view4 ,like all ,hawaiian poetry1 this mele wastes no time with introductory flourishes2 it plunges at once in medias res4 ,hawaiian mythology figured ,pele1 the goddess of the volcano1 as a creature of passion1 capable of many metamorphoses2 now a wrinkled hag1 asleep in a cave on a rough lava bed1 with banked fires and only an occasional blue flame playing about her as symbols of her power2 now a creature of terror1 riding on a chariot of flame and carrying destruction2 and now as a young woman of seductive beauty1 as when she sought passionate relations with the handsome prince1 ,lohiau2 but in disposition always jealous1 fickle1 vengeful4 ,kama-pua'a was a demigod of anomalous birth1 character1 and make-up1 sharing the nature and form of a man and of a hog1 and assuming either form as suited the occasion4 ,he was said to be the nephew of ,olopana1 a king of ,oahu1 whose kindness in acting as his foster father he repaid by the robbery of his henroosts and other unfilial conduct4 ,he lived the lawless life of a marauder and freebooter1 not confining his operations to one island1 but swimming from one to another as the fit took him4 ,on one occasion1 when the farmers of ,waipi'o1 whom he had robbed1 assembled with arms to bar his retreat and to deal vengeance upon him1 he charged upon the multitude1 overthrew them with great slaughter1 and escaped with his plunder4 ,toward ,pele ,kama-pua'a assumed the attitude of a lover1 whose approaches she at one time permitted to her peril4 ,the incident took place in one of the water caves--volcanic bubbles--in ,puna1 and at the level of the ocean2 but when he had the audacity to invade her privacy and call to her as she reposed in her home at ,kilauea she repelled his advances and answered his persistence with a fiery onset1 from which he ,page #bcb fled in terror and discomfiture1 not halting until he had put the width of many islands and ocean channels between himself and her4 ,in seeking an explanation of this myth of ,pele1 the volcano god and ,kama-pua'a1 who1 on occasion1 was a sea-monster1 there is no necessity to hark back to the old polemics of ,asia4 ,why not account for this remarkable myth as the statement in terms of passion familiar to all ,hawaiians of those impressive natural phenomena that were daily going on before them8 ,the spectacle of the smoking mountain pouring out its fiery streams1 overwhelming river and forest1 halting not until they had invaded the ocean2 the awful turmoil as fire and water came in contact2 the quick reprisal as the angry waves overswept the land2 then the subsiding and retreat of the ocean to its own limits and the restoration of peace and calm1 the fiery mount still unmoved1 an apparent victory for the volcanic forces4 ,was it not this spectacular tournament of the elements that the ,hawaiian sought to embody and idealize in his myth of ,pele and ,kama-pua'a8#dea ,footnote #dea3 8,the ,hawaiian tradition of ,pele1 the dread goddess of the volcanic fires10 says ,mr4 ,fornander1 8analogous to the ,samoan ,fe'e1 is probably a local adaptation in aftertimes of an elder myth1 half forgotten and much distorted4 ,the contest related in the legend between ,pele and ,kamapua'a1 the eight-eyed monster demigod1 indicates1 however1 a confused knowledge of some ancient strife between religious sects1 of which the former represented the worshipers of fire and the latter those with whom water was the principal element worthy of adoration40 7,abraham ,fornander1 ,the ,polynesian ,race1 pp4 #ea1 #eb1 ,trubner ,co41 ,london47 ,the likeness to be found between the amphibious ,kama-pua'a and the hog appeals picturesquely to one's imagination in many ways4 ,the very grossness of the hog enables him becomingly to fill the role of the ,beast as a foil to ,pele1 the ,beauty4 ,the hog's rooting snout1 that ravages the cultivated fields2 his panicky retreat when suddenly disturbed2 his valiant charge and stout resistance if cornered2 his lowered snout in charge or retreat2 his curling tail--how graphically all these features appeal to the imagination in support of the comparison which likens him to a tidal wave4 ,page #bcc ,,xxxiv4--,,the ,,hula ,,ohelo ,the hula ohelo was a very peculiar ancient dance1 in which the actors1 of both sexes1 took a position almost that of reclining1 the body supported horizontally by means of the hand and extended leg of one side1 in such a manner that flank and buttock did not rest upon the floor1 while the free leg and arm of the opposite side swung in wide gestures1 now as if describing the arch of heaven1 or sweeping the circle of the horizon1 now held straight1 now curved like a hook4 ,at times the company1 acting in concert1 would shift their base of support from the right hand to the left hand1 or vice versa4 ,the whole action1 though fantastical1 was conducted with modesty4 ,there was no instrumental accompaniment2 but while performing the gymnastics above described the actors chanted the words of a mele to some ,old ,world tune1 the melody and rhythm of which are lost4 ,a peculiar feature of the training to which pupils were subjected in preparation for this dance was to range them in a circle about a large fire1 their feet pointing to the hearth4 ,the theory of this practice was that the heat of the fire suppled the limbs and imparted vivacity to the motions1 on the same principle apparently as fire enables one to bend into shape a crooked stick4 ,the word kapuahi1 fireplace1 in the fourth line of the mele1 is undoubtedly an allusion to this practice4 ,the fact that the climate of the islands1 except in the mountains and uplands1 is rarely so cold as to make it necessary to gather about a fire seems to argue that the custom of practising this dance about a fireplace must have originated in some land of climate more austere than ,hawaii4 ,it is safe to say that very few kumu-hulas have seen and many have not even heard of the hula ohelo4 ,the author has an authentic account of its production at ,ewa in the year #ahef1 its last performance1 so far as he can learn1 on the public stage4 ,mele #a ,ku1 oe ko'u wahi ohelo nei la1 auwe1 auwe6 ,maka'u au i kau mea nui wali-wali1 wali-wali6 ,ke hoolewa nei1 a lewa la1 a lewa nei6 ,minomino1 enaena ka ia la kapuahi1 kapuahi6 #e ,nenea i ka la'i o ,kona1 o ,kona1 a o ,kona6 ,ponu malino i ke kai hawana-wana1 hawana-wana6 ,he makau na ka lawaia nui1 a nui e1 a nui la6 ,ke o- nei ke aho o ka ipu-holoholona1 holoholona6 ,page #bcd ,nan i ka opua makai e1 makai la6 #aj ,maikai ka hana a ,mali'o e1 a ,mali'o la6 ,kohu pono ka inu ana i ka wai1 a wai e6 ,auwe1 ku oe ko'u wahi ohelo nei la1 ohelo nei la6 #b ,ki- lele1 ki- lele1 ki- lele1 e6 ,ke mapu mai nei ke ala1 ke ala e6 #ae ,ua malihini ka hale1 ua hiki ia1 ua hiki e6 ,ho'i paoa i ka uka o ,manai-ula1 ula la1 ula e6 ,maanei oe1 e ka makemake e noho malie1 ma-li-e6 ,ka pa kolonahe o ka ,unulau mahope1 ma-ho-pe6 ,pe'e oe1 a pe'e au1 pe'e o ia la1 #bj ,a haawe ke aloha i ke kaona1 i ke kaona la6 ,mo-li-a i ka nahele e1 nahele la6 ,e hele oe a manao mai i ka luhi mua1 a i-mua6 ,o moe hewa na iwi i ke alanui1 alanui4 ,kaapa ,hawaii a ka moku nui1 a nui e6 #be ,nui mai ke aloha a uwe au1 a uwe au4 ,au-we6 pau au i ka man nui1 man nui6 ,au-we6 pau au i ka man nui1 man nui6 ,translation4 ,song #a ,touched1 thou art touched by my gesture1 ,i fear1 ,i fear4 ,i dread your mountain of flesh1 of flesh2 ,how it sways1 how it sways1 it sways6 ,i'm scorched by the heat of this hearth1 this hearth4 #e ,we bask in this summer of ,kona1 of ,kona2 ,calm mantles the whispering sea1 the whispering sea4 ,lo1 the hook of the fisherman great1 oh so great6 ,the line hums as it runs from the gourd1 from the gourd4 ,regard the cloud-omens over the sea1 the sea4 #aj ,well skilled in his craft is ,mali'o1 ,mali'o4 ,how grateful now were a draught of water1 of water6 ,pardon6 thou art touched by thrust of my leg1 of my leg6 #b ,forth and return1 forth and return1 forth and return6 ,now waft the woodland perfumes1 the woodland perfumes4 #ae ,the house ere we entered was tenant-free1 quite free4 ,heart-heavy we turn to the greenwood1 the greenwood2 ,this the place1 ,heart's desire1 you should tarry1 ,and feel the soft breath of the ,unulau1 ,unulau-- ,retirement for you1 retirement for me1 and for him4 #bj ,we'll give then our heart to this task1 this great task1 ,and build in the wildwood a shrine1 ay a shrine4 ,you go2 forget not the toils we have shared1 have shared1 ,lest your bones lie unblest in the road1 in the road4 ,how wearisome1 long1 the road 'bout ,hawaii1 great ,hawaii6 #be ,love carries me off with a rush1 and ,i cry1 ,i cry1 ,alas1 ,i'm devoured by the shark1 great shark6 ,this is not the first time that a ,hawaiian poet has figured love by the monster shark4 ,illustration3 ,,bureau ,,of ,,american ,,ethnology ,,bulletin #ch ,,plate ,,xxiii ,,hinano ,,hala ,,male ,,flower ,,of ,,the ,,pandanus ,,odoratissimus ,page #bce ,,xxxv4--,,the ,,hula ,,kilu ,the hula kilu was so called from being used in a sport bearing that name which was much patronized by the alii class of the ancient regime4 ,it was a betting game1 or1 more strictly1 forfeits were pledged1 the payment of which was met by the performance of a dance1 or by the exaction of kisses and embraces4 ,the satisfaction of these forfeits not infrequently called for liberties and concessions that could not be permitted on the spot or in public1 but must wait the opportunity of seclusion4 ,there were1 no doubt1 times when the conduct of the game was carried to such a pitch of license as to offend decency2 but as a rule the outward proprieties were seemingly as well regarded as at an old-fashioned husking bee1 when the finding of the 8red ear0 conferred or imposed the privilege or penalty of exacting or granting the blushing tribute of a kiss4 ,actual improprieties were not witnessed4 ,the game of kilu was played in an open matted space that lay between the two divisions of the audience--the women being on one side and the men on the other4 ,any chief of recognized rank in the papa alii was permitted to join in the game2 and kings and queens were not above participating in the pleasures of this sport4 ,once admitted to the hall or inclosure1 all were peers and stood on an equal footing as to the rules and privileges of the game4 ,king nor queen could plead exemption from the forfeits incurred nor deny to another the full exercise of privileges acquired under the rules4 ,the players1 five or more of each sex1 having been selected by the president1 ,la anoano 78quiet day071 sat facing each other in the space between the spectators4 ,in front of each player stood a conical block of heavy wood1 broad at the base to keep it upright4 ,the kilu1 with which the game was played1 was an oval1 one-sided dish1 made by cutting in two an egg-shaped coconut shell4 ,the object of the player was to throw his kilu so that it should travel with a sliding and at the same time a rotary motion across the matted floor and hit the wooden block which stood before the one of his choice on the side opposite4 ,the men and the women took turns in playing4 ,a successful hit entitled the player to claim a kiss from his opponent1 a toll which was exacted at once4 ,success in winning ten points made one the victor in the game1 and1 according to some1 entitled him to claim the larger forfeit1 ,page #bcf such as was customary in the democratic game of ume4 ,the payment of these extreme forfeits was delayed till a convenient season1 or might be commuted--on grounds of policy1 or at the request of the loser1 if a king or queen--by an equivalent of land or other valuable possession4 ,still no fault could be found if the winner insisted on the strict payment of the forfeit4 ,the game of kilu was often got up as a compliment1 a supreme expression of hospitality1 to distinguished visitors of rank1 thus more than making good the polite phrase of the ,spanish don1 8all that ,i have is yours40 ,the fact that the hula kilu was performed by the alii class1 who took great pains and by assiduous practice made themselves proficient that they might be ready to exhibit their accomplishment before the public1 was a guarantee that this hula1 when performed by them1 would be of more than usual grace and vivacity4 ,when performed in the halau as a tabu dance1 according to some1 the olapa alone took part1 and the number of dancers1 never very large1 was at times limited to one performer4 ,authorities differ as to whether any musical instrument was used as an accompaniment4 ,from an allusion to this dance met with in an old story it is quite certain that the drum was sometimes used as an accompaniment4 ,let us picture to ourselves the scene3 ,a shadowy1 flower-scented hall2 the elite of some ,hawaiian court and their guests1 gathered1 in accord with old-time practice1 to contend in a tournament of wit and grace and skill1 vying with one another for the prize of beauty4 ,the president has established order in the assembly2 the opposing players have taken their stations1 each one seated behind his target-block4 ,the tallykeeper of one side now makes the challenge4 8,this kilu10 says he1 8is a love token2 the forfeit a kiss40 ,an ,apollo of the opposite side joyfully takes up the gauge4 ,his tallykeeper introduces him by name4 ,he plumes himself like a wild bird of gay feather1 standing forth in the decorous finery of his rank1 girded and flowerbedecked after the manner of the halau1 eager to win applause for his party not less than to secure for himself the loving reward of victory4 ,in his hand is the instrument of the play1 the kilu2 the artillery of love1 however1 with which he is to assail the heart and warm the imagination of the fair woman opposed to him is the song he shoots from his lips4 ,the story of the two songs next to be presented is one1 and will show us a side of ,hawaiian life on which we can not afford entirely to close our eyes4 ,during the stay at ,lahaina of ,kamehameha1 called the ,great--whom an informant in this matter always calls 8the murderer10 in protest against the treacherous assassination of ,keoua1 which took place at ,kawaihae in ,kamehameha's very presence--a high chiefess of his court named ,kalola engaged in a love affair with a young ,page #bcg man of rank named ,ka'i-ma4 ,he was much her junior1 but this did not prevent his infatuation4 ,early one morning she rose1 leaving him sound asleep1 and took canoe for ,molokai to serve as one of the escort to the body of her relative1 ,keola1 on the way to its place of sepulture4 ,some woman1 appreciating the situation1 posted to the house and waked the sleeper with the information4 ,ka'ima hastened to the shore1 and as he strained his vision to gain sight of the woman of his infatuation the men at the paddles and the bristling throng on the central platform--the pola--of the craft1 vanishing in the twilight1 made on his imagination the impression of a hazy mountain thicket floating on the waves1 but hiding from view some rare flower4 ,he gave vent to his feelings in song3 ,mele ,pua ehu kamalna#deb ka uka o ,kapa'a2 ,luhi-ehu iho la#dec ka pua i ,maile-hna2 ,hele a ha ka iwi#ded a ke ,koolau1 ,ke pu mai i ka maka o ka nahelehele1 #e ,i hali hoo-mu1#dee hoohalana i ,wailua4 ,pa kahea a ,koolau-wahine1 ,o ,pua-ke'i1 e-e-e-e6 ,he pua laukona#def ka moe e aloh' a2 ,o ia moe la1 e kaulele hou#deg #aj ,no ka po i hala aku aku nei4 ,hoiho kaua a eloelo1 e ka hoa1 e1 ,a hookahi6 ,translation4 ,song ,misty and dim1 a bush in the wilds of ,kapa'a1 ,the paddlers bend to their work1 as the flower-laden ,shrub inclines to the earth in ,maile-hna2 ,they sway like reeds in the breeze to crack their bones #e ,such the sight as ,i look at this tossing grove1 ,the rhythmic dip and swing on to ,wailua4 ,my call to the witch shall fly with the breeze1 ,shall be heard at ,pua-ke'i1 e-he1 e-he6 ,the flower-stalk ,laukna beguiles man to love1 #aj ,can bring back the taste of joys once our own1 ,page #bch ,make real again the hours that are flown4 ,turn hither1 mine own1 let's drench us with love-- ,just for one night6 ,footnote #deb3 ,pua ehu ,kamalna 7yellow child74 ,this exclamation is descriptive of the man's visual impression on seeing the canoe with its crowd of passengers and paddlers1 in the misty light of morning1 receding in the distance4 ,the kamalna is a mountain shrub having a yellow flower4 ,footnote #dec3 ,luhi ehu iho la4 ,refers to the drooping of a shrub under the weight of its leaves and flowers1 a figure applied to the bending of the paddlemen to their work4 ,footnote #ded3 ,hele a ha ka iwi4 ,an exaggerated figure of speech1 referring to the exertions of the men at their paddles 7ha1 to strain74 ,footnote #dee3 ,i hali hoom4 ,this refers in a fine spirit of exaggeration to the regular motions of the paddlers4 ,footnote #def3 ,pua laukona4 ,a kind of sugar-cane which was prescribed and used by the kahunas as an aphrodisiac4 ,footnote #deg3 ,kaulele hou4 ,to experience1 or to enjoy1 again4 ,the unchivalrous indiscretion of the youth in publishing the secret of his amour elicited from ,kamehameha only the sarcastic remark1 8,couldn't he eat his food and keep his mouth shut80 ,the lady herself took the same view of his action4 ,there was no evasion in her reply2 her only reproach was for his childishness in blabbing4 ,mele ,klaklahi1 kaha#deh ka ,la ma ke kua o ,lehua2 ,lulana iho la ka pihe a ke ,akua2#dei ,ea mai ka ,unulau#dfj o ,halali'i2 ,lawe ke ,koolau-wahine#dfa i ka hoa la1 lilo2 #e ,hao ka ,mikioi#dfb i ke kai o ,lehua3 ,puwa-i'a na hoa-makani#dfc mai lalo1 e-e-e1 a4 ,i hoonalonalo i ke aloha1 pe'e ma-loko2 ,ha'i ka wai-maka hanini2 ,i ike aku no i ka uwe ana iho2 #aj ,pel wale no ka hoa kamalii1 e-e1 a6 ,translation4 ,song ,the sun-furrow gleams at the back of ,lehua2 ,the ,king's had his fill of scandal and chaff2 ,the wind-god empties his lungs with a laugh2 ,and the ,mikioi tosses the sea at ,lehua1 #e ,as the trade-wind wafts his friend on her way-- ,a congress of airs that ruffles the bay4 ,hide love 'neath a mask--that's all ,i would ask4 ,to spill but a tear makes our love-tale appear2 ,he pours out his woe2 ,i've seen it1 ,i know2 #aj ,that's the way with a boy-friend1 heigh-ho6 ,the art of translating from the ,hawaiian into the ,english tongue consists largely in a fitting substitution of generic for specific terms4 ,the ,hawaiian1 for instance1 had at command scores of specific names for the same wind1 or for ,page #bci the local modifications that were inflicted upon it by the features of the landscape4 ,one might almost say that every cape and headland imposed a new nomenclature upon the breeze whose direction it influenced4 ,he rarely contented himself with using a broad and comprehensive term when he could match the situation with a special form4 ,footnote #deh3 ,the picture of the sun declining1 kaha1 to the west1 its reflected light-track1 kala kalaihi1 farrowing the ocean with glory1 may be taken to be figurative of the loved and beautiful woman1 ,kalola1 speeding on her westward canoe-flight4 ,footnote #dei3 ,akua4 ,literally a god1 must stand for the king4 ,footnote #dfj3 ,unulau4 ,a special name for the trade-wind4 ,footnote #dfa3 ,koolau-wahine4 ,likewise another name for the trade-wind1 here represented as carrying off the 7man's7 companion4 ,footnote #dfb3 ,mikioi4 ,an impetuous1 gusty wind is represented as lashing the ocean at ,lehua1 thus picturing the emotional stir attending ,kalola's departure4 ,footnote #dfc3 ,the words ,puwa-i'a na hoa makani1 which literally mean that the congress of winds1 na hoa makani1 have stirred up a commotion1 even as a school of fish agitate the surface1 of the ocean1 puwa-i'a1 refer to the scandal caused by ,ka'i-ama's conduct4 ,the singer restricts her blame to charging her youthful lover with an indiscreet exhibition of childish emotion4 ,the mere display of emotion evinced by the shedding of tears was in itself a laudable action and in good form4 ,this first reply of the woman to her youthful lover did not by any means exhaust her armament of retaliation4 ,when she next treats of the affair it is with an added touch of sarcasm and yet with a sang-froid that proved it had not unsettled her nerves4 ,mele ,ula ,kala'e-loa#dfd i ka lepo a ka makani2 ,hoonu'anu'a na pua i ,kalama-ula1 ,he hoa i ka la'i a ka manu--#dfe ,manu ai ia i ka hoa laukona4 #e ,i keke lau-au'a ia e ka moe2 ,e kuhi ana ia he kanaka e4 ,oau no keia mai luna a lalo2 ,hun1 ke aloha1 pe'e maloko4 ,ike 'a i ka uwe ana iho4 #aj ,pel ka hoa kamalii-- ,he uwe wale ke kamalii4 ,translation4 ,song ,red glows ,kala'e through the wind-blown dust ,that defiles the flowers of ,lama-ula1 ,outraged by the croak of this bird1 ,that eats of the aphrodisiac cane1 #e ,and then boasts the privileged bed4 ,he makes me a creature of outlaw3 ,true to myself from crown to foot-sole1 ,my love ,i've kept sacred1 pent up within4 ,he flouts it as common1 weeping it forth-- #aj ,that is the way with a child-friend2 ,a child just blubbers at nothing4 ,footnote #dfd3 ,kala'e-loa4 ,the full name of the place on ,molokai now known as ,kala'e4 ,footnote #dfe3 ,la'i a ka manu4 ,some claim this to be a proper name1 ,la'i-a-ka-manu1 that of a place near ,kala'e4 ,however that may be the poet evidently uses the phrase here in its etymological sense4 ,to return to the description of the game1 the player1 having uttered his vaunt in true knightly fashion1 with a dexterous whirl now sends his kilu spinning on its course4 ,if his play is successful and the kilu strikes the target on the other ,page #bdj side at which he aims1 the audience1 who have kept silence till now1 break forth in applause1 and his tally-keeper proclaims his success in boastful fashion3 ,oli ,a weuw ke k'e a ke kae2 ,puehuehu ka la1 komo inoino2 ,kaka1 kahe ka ua ilalo4 ,translation4 ,now wriggles the worm to its goal2 ,a tousling2 a hasty encounter2 ,a grapple2 down falls the rain4 ,it is now the winner's right to cross over and claim his forfeit4 ,the audience deals out applause or derision in unstinted measure2 the enthusiasm reaches fever-point when some one makes himself the champion of the game by bringing his score up to ten1 the limit4 ,the play is often kept up till morning1 to be resumed the following night4#dff ,footnote #dff3 ,the account above given is largely based on ,david ,malo's description of the game kilu4 ,in his confessedly imperfect list of the hulas he does not mention the hula kilu4 ,this hula was1 however1 included in the list of hulas announced for performance in the programme of ,king ,kalakaua's coronation ceremonies4 ,here also is a mele1 which tradition reports to have been cantillated by ,hiiaka1 the sister of ,pele1 during her famous kilu contest with the ,princess ,pele-ula1 which took place at ,kou--the ancient name for ,honolulu--on ,hiiaka's voyage of return from ,kauai to her sister's court at ,kilauea4 ,in this affair ,lohiau and ,wahineoma'o contended on the side of ,hiiaka1 while ,pele-ula was assisted by her husband1 ,kou1 and by other experts4 ,but on this occasion the dice were cogged2 the victory was won not by human skill but by the magical power of ,hiiaka1 who turned ,pele-ula's kilu away from the target each time she threw it1 but used her gift to compel it to the mark when the kilu was cast by herself4 ,mele ,ku'u noa mai ka makani kuehu-kapa o ,kalalau1#dfg ,mai na pali ku'i#dfh o ,makua-iki1 ,ke lawe la i ka haka1#dfi a lilo6 ,a lilo o-e1 la6 #e ,ku'u kane i ka uhu ka'i o ,maka-pu'u1 ,huki iluna ka ,lae-o-ka-laau2#dgj ,oia pali makua-ole#dga olaila4 ,ohiohi ku ka pali o ,ulamao1 e-e6 ,a lilo oe1 la6 ,footnote #dfg3 ,ka-lalau 7in the translation by the omission of the article ka1 shortened to ,lalau74 ,a deep cliff-bound valley on the windward side of ,kauai1 accessible only at certain times of the year by boats and by a steep mountain trail at its head4 ,footnote #dfh3 ,pali ku'i4 ,ku'i means literally to join together1 to splice or piece out4 ,the cliffs tower one above another like the steps of a stairway4 ,footnote #dfi3 ,haka4 ,a ladder or frame such as was laid across a chasm or set up at an impassable place in a precipitous road4 ,the windward side of ,kauai about ,kalalau abounded in such places4 ,footnote #dgj3 ,lae-o-ka-laau4 ,the southwest point of ,molokai1 on which is a light-house4 ,footnote #dga3 ,makua-ole4 ,literally fatherless1 perhaps meaning remarkable1 without peer4 ,page #bda ,translation4 ,song ,comrade mine in the robe-stripping gusts of ,lalau1 ,on the up-piled beetling cliffs of ,makua1 ,the ladder444 is taken away444 it is gone6 ,your way is cut off1 my man6 #e ,with you ,i've backed the uhu of ,maka-pu'u1 ,tugging them up the steeps of ,point-o'-woods1 ,a cliff that stands fatherless1 even as ,sheer stands the pali of ,ula-mao-- ,and thus444 you are lost6 ,this is but a fragment of the song which ,hiiaka pours out in her efforts to calm the fateful storm which she saw piling up along the horizon4 ,the situation was tragic4 ,hiiaka1 daring fate1 defying the dragons and monsters of the primeval world1 had made the journey to ,kauai1 had snatched away from death the life of ,lohiau and with incredible self-denial was escorting the rare youth to the arms of her sister1 whose jealousy she knew to be quick as the lightning1 her vengeance hot as the breath of the volcano1 and now she saw this featherhead1 with monstrous ingratitude1 dallying with fate1 calling down upon the whole party the doom she alone could appreciate1 all for the smile of a siren whose charms attracted him for the moment2 but1 worst of all1 her heart condemned her as a traitress--she loved him4 ,hiiaka held the trick-card and she won2 by her miraculous power she kept the game in her own hands and foiled the hopes of the lovers4 ,mele ,ula ka lani ia ,kanaloa1#dgb ,ula ma'ema'e ke ahi a ke ,a'e-loa4#dgc ,pohina iluna i ke ao makani1 ,naue pu no i ka ilikai o ,makahana-loa1#dgd #e ,makemake i ka ua lihau4#dge ,aohe hana i koe a ,ka-wai-loa2#dgf ,noho a ka li'u-l i ke kula4 ,i kula oe no ka makemake1 a hiki iho1 ,i hoa hula no ka la le'ale'a1 #aj ,i noho pu me ka uahi pohina4#dgg ,page #bdb ,hina oe i ka ,naulu1#dgh noho pu me ka ,inuwai4#dgi ,akahi no a pumehana ka hale1 ua hiki oe3 ,ma'ema'e ka luna i ,haupu4#dhj ,upu ka makemake e ike ia ,ka-ala4 #ae ,he ala ka makemake e ike ia ,lihu'e2#dha ,ku'u uka ia noho ia ,halemano4#dhb ,maanei oe1 pale oe1 pale au1 ,hana ne'e ke kikala i ka ha'i keiki4 ,hai'na ka manao--noho i ,waimea1 #bj ,hoonu'u pu i ka i'a ku o ka aina4#dhc ,e kala oe a kala au a kala ia ,ku1 ,ahuena4#dhd ,footnote #dgb3 ,kanaloa4 ,one of the four great gods of the ,hawaiians1 here represented as playing the part of ,phoebus ,apollo4 ,footnote #dgc3 ,a'e-loa4 ,the name of a wind whose blowing was said to be favorable to the fisherman in this region4 ,footnote #dgd3 ,makahana-loa1 ,a favorite fishing ground4 ,the word ilikai 78skin of the sea07 graphically depicts the calm of the region4 ,in the translation the name aforementioned has been shortened to ,kahana4 ,footnote #dge3 ,lihau4 ,a gentle rain that was considered favorable to the work of the fisherman4 ,footnote #dgf3 ,ka-wai-loa4 ,a division of ,waialua1 here seemingly used to mean the farm4 ,footnote #dgg3 ,uahi pohina4 ,literally gray-headed smoke4 ,it is said that when studying together the words of the mele the pupils and the kumu would often gather about a fire1 while the teacher recited and expounded the text4 ,there is a possible allusion to this in the mention of the smoke4 ,footnote #dgh3 ,naulu4 ,a wind4 ,footnote #dgi3 ,inu-wai4 ,a wind that dried up vegetation1 here indicating thirst4 ,footnote #dhj3 ,haupu4 ,a mountain on ,kauai1 sometimes visible on ,oahu in clear weather4 7,see note c1 p4 #bbi1 on ,haupu47 ,footnote #dha3 ,lihu'e4 ,a beautiful and romantic region nestled1 as the ,hawaiians say1 8between the thighs of the mountain10 ,mount ,kaala4 ,footnote #dhb3 ,hale-mano4 ,literally the multitude of houses2 a sylvan region bound to the southwestern flank of the ,konahuanui range of mountains1 a region of legend and romance1 since the coming of the white man given over to the ravage and desolation that follow the free-ranging of cattle and horses1 the vaquero1 and the abusive use of fire and ax by the woodman4 ,footnote #dhc3 ,i'a ku o ka aina4 ,fish common to a region2 in this place it was probably the kala1 which word is found in the next line1 though in a different sense4 ,here the expression is doubtless a euphemism for dalliance4 ,footnote #dhd3 ,ku1 ,ahuena4 ,at ,waimea1 ,oahu1 stood two rocks on the opposite bluffs that sentineled the bay4 ,these rocks were said to represent respectively the gods ,ku and ,ahuena1 patrons of the local fishermen4 ,translation4 ,song ,kanaloa tints heaven with a blush1 ',tis the flame of the ,a'e1 pure red1 ,and gray the wind-clouds overhead4 ,we trudge to the waters calm of ,kahana-- #e ,heaven grant us a favoring shower6 ,the work is all done on the farm4 ,we stay till twilight steals o'er the plain1 ,then1 love-spurred1 tramp o'er it again1 ,have you as partner in holiday dance-- #aj ,we've moiled as one in the gray smoke2 ,cast down by the ,naulu1 you thirst4 ,for once the house warms at your coming4 ,how clear glow the heights of yon ,haupu6 ,i long for the sight of ,ka-ala1 #ae ,and sweet is the thought of ,lihu'e1 ,and our mountain retreat1 ,hale-mano4 ,here1 fenced from each other by tabu1 ,your graces make sport for the crowd4 ,what then the solution8 ,let us dwell #bj ,at ,waimea and feast on the fish ,that swarm in the neighboring sea1 ,with freedom to you and freedom to me1 ,licensed by ,ku and by ,ahu-na4 ,page #bdc ,the scene of this idyl is laid in the district of ,waialua1 ,oahu1 but the poet gives his imagination free range regardless of the unities4 ,the chief subjects of interest that serve as a trellis about which the human sentiments entwine concern the duties of the fisherman1 who is also a farmer2 the school for the hula1 in which the hero and the heroine are pupils2 and lastly an ideal condition of happiness which the lovers look forward to tinder the benevolent dispensation of the gods ,ku and ,ahuena4 ,among the numerous relatives of ,pele was one said to be a sister1 who was stationed on a bleak sun-burnt promontory in ,koolau1 ,oahu1 where she supported a half-starved existence1 striving to hold soul and body together by gathering the herbs of the fields1 eked out by unsolicited gifts of food contributed by passing travelers4 ,the pathetic plaint given below is ascribed to this goddess4 ,mele ,mao wale i ka lani ,ka leo o ke ,akua pololi4 ,a pololi a moe au ,o ku'u la pololi1 #e ,a ola i kou aloha2 ,i na'i pu no i ka waimaka e uwe nei4 ,e uwe kaua1 e6 ,translation4 ,song ,engulfed ill heaven's abyss ,is the cry of the famished god4 ,i sank to the ground from faintness1 ,my day of utter starvation2 #e ,was rescued1 revived1 by your love3 ,ours a contest of tears sympathetic-- ,let us pour out together our tears4 ,the ,hawaiian thought it not undignified to express sympathy 7aloha-ino7 with tears4 ,page #bdd ,,xxxvi4--,,the ,,hula ,,hoo-,,na-,n ,the hula hoo-na-n--to quiet1 amuse--was an informal dance1 such as was performed without the usual restrictions of tabu that hedged about the set dances of the halau4 ,the occasion of an outdoor festival1 an ahaaina or luau1 was made the opportunity for the exhibition of this dance4 ,it seems to have been an expression of pure sportiveness and mirth-making1 and was therefore performed without sacrifice or religious ceremony4 ,while the king1 chiefs1 and aialo--courtiers who ate in the king's presence--are sitting with the guests about the festal board1 two or three dancers of graceful carriage make a circuit of the place1 ambling1 capering1 gesturing as they go in time to the words of a gay song4 ,a performance of this sort was witnessed by the author's informant in ,honolulu many years ago2 the occasion was the giving of a royal luau4 ,there was no musical instrument1 the performers were men1 and the mele they cantillated went as follows3 ,a pili1 a pili1 ,a pili ka'u manu ,ke kepau#dhe o ka ulu-laau4 ,poai a puni1 #e ,noho ana i muli-wa'a2#dhf ,hoonu'u ka momona a ke alii4 ,eli-eli#dhg ke kapu2 ua noa4 ,noa ia wai8 ,noa ia ka lani4 #aj ,kau lilua1#dhh kaohi ka maku'u ,e ai ana ka ai a ke alii6 ,hoonu'u1 hoonu'u hoonu'u ,i ka i'a a ke alii6 ,footnote #dhe3 ,kepu4 ,gum1 the bird-lime of the fowler1 which was obtained from forest trees1 but especially from the ulu1 the breadfruit4 ,footnote #dhf3 ,muli-wa'a 7muli1 a term applied to a younger brother74 ,the idea involved is that of separation by an interval1 as a younger brother is separated from his older brother by an interval4 ,muliwai is an interval of water1 a stream4 ,wa'a1 the last part of the above compound word1 literally a canoe1 is here used tropically to mean the tables1 or the dishes1 on which the food was spread1 they being long and narrow1 in the shape of a canoe4 ,the whole term1 consequently1 refers to the people and the table about which they are seated4 ,footnote #dhg3 ,eli-eli4 ,a word that is found in ancient prayers to emphasize the word kapu or the word noa4 ,footnote #dhh3 ,lilua4 ,to stand erect and act without the restraint usually prescribed in the presence of royalty4 ,page #bde ,translation4 ,she is limed1 she is limed1 ,my bird is limed1 ,with the gum of the forest4 ,we make a great circuit1 #e ,outskirting the feast4 ,you shall feast on king's bounty3 ,no fear of the tabu1 all's free4 ,free6 and ,by whom8 ,free by the word of the king4 #aj ,then a free rein to mirth6 ,banish the kill-joy ,who eats the king's dainties6 ,feast then till replete ,with the good king's meat6 ,page #bdf ,,xxxvii4--,,the ,,hula ,,ulili ,the hula ulili1 also called by the descriptive name kolili--to wave or flutter1 as a pennant--was a hula that was not at all times confined to the tabu restrictions of the halau4 ,like a truant schoolboy1 it delighted to break loose from restraint and join the informal pleasurings of the people4 ,imagine an assembly of men and women in the picturesque illumination given by flaring kukui torches1 the men on one side1 the women on the other4 ,husbands and wives1 smothering the jealousy instinctive to the human heart1 are there by mutual consent--their daughters they leave at home--each one ready to play his part to the finish1 with no thought of future recrimination4 ,it was a game of love-forfeits1 on the same lines as kilu and ume4 ,two men1 armed with wands furnished with tufts of gay feathers1 pass up and down the files of men and women1 waving their decorated staffs1 ever and anon indicating with a touch of the wand persons of the opposite sex1 who under the rules must pay the forfeit demanded of them4 ,the kissing1 of course1 goes by favor4 ,the wand-bearers1 as they move along1 troll an amorous ditty3 ,oli ,kii na ka ipo 99 99 99 ,mahele-hele i ka la o ,kona6#dhi ,o ,kona1 kai a ke ,akua4#dij ,elua la1 huli ka ,wai-opua1#dia #e ,nehe i ke kula1 ,leha iluna o ,wai-aloha#dib ,kani ka aka a ka ua i ka laau1 ,hoolaau ana i ke aloha ilaila4 ,pili la1 a pili i ka'u manu-- #aj ,o pili o ka ,la-hiki-ola4 ,ola ke kini o-lalo4 ,hana i ka mea he ipo4 ,a hui e hui la6 ,hui ,koolau-wahine#dic o ,pua-ke-i6#did ,footnote #dhi3 ,la o ,kona4 ,a day of ,kona1 i4e41 of fine weather4 ,footnote #dij3 ,kai a ke ,akua4 ,sea of the gods1 because calm4 ,footnote #dia3 ,wai-opua4 ,a wind which changed its direction after blowing for a few days from one quarter4 ,footnote #dib3 ,wai-aloha4 ,the name of a hill4 ,in the translation the author has followed its meaning 78water of love074 ,footnote #dic3 ,koolau-wahine4 ,the name of a refreshing wind1 often mentioned in ,hawaiian poetry2 here used as a symbol of female affection4 ,footnote #did3 ,pua-ke-i4 ,the name of a sharp1 bracing wind felt on the windward side of ,molokai2 used here apparently as a symbol of strong masculine passion4 ,page #bdg ,translation4 ,song ,a search for a sweetheart444 ,sport for a ,kona day6 ,kona1 calm sea of the gods4 ,two days the wind surges2 #e ,then1 magic of cloud6 ,it veers to the plain1 ,drinks up the water of love4 ,how gleesome the sound ,of rain on the trees1 #aj ,a balm to love's wound6 ,the wand touches1 heart-ease6 ,it touches my bird-- ,touch of life from the sun6 ,brings health to the million4 #ae ,ho1 now comes the fun6 ,a meeting1 a union-- ,the nymph1 ,koo-lau1 ,and the hero1 ,ke-4 ,page #bdh ,,xxxviii4--,,the ,,hula ,o-,,niu ,the so-called hula o-niu is not to be classed with the regular dances of the halau4 ,it was rather a popular sport1 in which men and women capered about in an informal dance while the players engaged in a competitive game of top-spinning3 ,the instrument of sport was made from the lower pointed half of an oval coconut shell1 or from the corresponding part of a small gourd4 ,the sport was conducted in the presence of a mixed gathering of people amid the enthusiasm and boisterous effervescence which betting always greatly stimulated in ,hawaii4 ,the players were divided into two sides of equal number1 and each player had before him a plank1 slightly hollowed in the center--like the board on which the ,hawaiians pounded their poi--to be used as the bed for spinning his top4 ,the naked hand1 unaided by whip or string1 was used to impart to the rude top a spinning motion and at the same time the necessary projectile force--a balancing of forces that called for nice adjustment1 lest the whirling thing reel too far to one side or run wild and fly its smooth bed4 ,victory was declared and the wager given to the player whose top spun the longest4 ,the feature that most interests us is the singing1 or cantillation1 of the oli4 ,in a dance and game of this sort1 which the author's informant witnessed at ,kahuku1 ,oahu1 in #ahdd1 one contestant on each side1 in turn1 cantillated an oli during the performance of the game and the dance4 ,oli ,ke poh1 nei2 u'na la6 ,kani le-oli1 hau-walaau6 ,ke wawa ,pu'u-hina-hina2#die ,kani ka aka1 he-hene na pali1 #e ,na pali o ,ka-iwi-ku'i4#dif ,hanohano1 makana i ka ,wai-opua4#dig ,malihini ka hale1 ua hiki mai2 ,kani ka pahu a ,lohiau1 ,a ,lohiau-ipo#dih i ,haena la4 #aj ,enaena ke aloha1 ke hiki mai2 ,page #bdi ,auau i ka wai a ,kanaloa4#dii ,nana kaua ia ,lima-huli1#ejj e4 ,e huli oe a loaa pono ,ka ia nei o-niu4 ,footnote #die3 ,pu'u-hina-hina4 ,a precipitous place on the coast near ,haena4 ,footnote #dif3 ,ka-iwi-ku'i4 ,a high cliff against which the waves dash4 ,footnote #dig3 ,wai-opua4 ,the name of a pleasant breeze4 ,footnote #dih3 ,lohiau-ipo4 ,the epithet ipo1 sweetheart1 dear one1 was often affixed to the name of ,lohiau1 in token1 no doubt1 of his being distinguished as the object of ,pele's passionate regard4 ,footnote #dii3 ,kanaloa4 ,there is a deep basin1 of clear water1 almost fluorescent in its sparkle1 in one of the arched caves of ,haena1 which is called the water of ,kanaloa--the name of the great ,god4 ,this is a favorite bathing place4 ,footnote #ejj3 ,lima-huli4 ,the name of a beautiful valley that lies back of ,haena4 ,translation4 ,song ,the rustle and hum of spinning top1 ,wild laughter and babel of sound-- ,hear the roar of the waves at ,pu'u-hina6 ,bursts of derision echoed from cliffs1 #e ,the cliffs of ,ka-iwi-ku'i2 ,and the day is stirred by a breeze4 ,the house swarms with women and men4 ,list6 the drum-beat of ,lohiau1 ,lohiau1 the lover1 prince of ,haena-- #aj ,love glows like an oven at his coming2 ,then to bathe in the lake of the ,god4 ,let us look at the vale ,lima-huli1 look6 ,now turn we and study the spinning-- ,that trick we must catch to be winning4 ,this fragment from antiquity1 as the local coloring indicates1 finds its setting at ,haena1 the home of the famous mythological ,prince ,lohiau1 of whom ,pele became enamored in her spirit journey4 ,study of the mele suggests the occasion to have been the feast that was given in celebration of ,lohiau's restoration to life and health through the persevering incantations of ,hiiaka1 ,pele's beloved sister4 ,the feast was also ,lohiau's farewell to his friends at ,haena4 ,at its conclusion ,hiiaka started with her charge on the journey which ended with the tragic death of ,lohiau at the brink of the volcano4 ,pele in her jealousy poured out her fire and consumed the man whom she had loved4 ,page #bej ,,xxxix4--,,the ,,hula ,,ku',i ,the account of the ,hawaiian hulas would be incomplete if without mention of the hula ku'i4 ,this was an invention1 or introduction1 of the last quarter of the nineteenth century4 ,its formal1 public1 appearance dates from the coronation ceremonies of the late ,king ,kalakaua1 #ahhc1 when it filled an important place in the programme4 ,of the #bfb hula performances listed for exhibition1 some #cj were of the hula ku'i4 ,this is perhaps the most democratic of the hulas1 and from the date of its introduction it sprang at once into public favor4 ,not many years ago one could witness its extemporaneous performance by nonprofessionals at many an entertainment and festive gathering4 ,even the school-children took it up and might frequently be seen innocently footing its measures on the streets4 7,pl4 ,,xxiv47 ,the steps and motions of the hula ku'i to the eyes of the author resemble those of some ,spanish dances4 ,the rhythm is in common1 or double1 time4 ,one observes the following motions3 ,figure ,a4--#a4 ,a step obliquely forward with the left foot1 arms pointing the same way1 body inclining to the right4 #b4 ,the ball of the left foot 7still advanced7 gently pressed on the floor2 the heel swings back and forth1 describing an arc of some #cj or #dj degrees4 #h4 ,the left foot is set firmly in the last position1 the body inclining to it as the base of support2 the right foot is advanced obliquely1 and #d1 performs the heel-swinging motions above described1 arms pointing obliquely to the right4 ,figure ,b4--,hands pressed to the waist1 fingers directed forward1 thumbs backward1 elbows well away from the body2 left foot advanced as in figure ,a1 #a1 body inclining to the right4 #b4 ,the left foot performs the heel-waving motions1 as above4 #c4 ,hands in same position1 right foot advanced as previously described4 #d4 ,the right foot performs the swinging motions previously described--the body inclined to the left4 ,figure ,c4--,in this figure1 while the hands are pressed as before against the waist1 with the elbows thrown well away from the body1 the performer sways the pelvis and central axis of the trunk in a circular or elliptical orbit1 a movement1 which1 carried to the extreme1 is termed ami4 ,there are other figures and modifications1 which the ingenuity and fancy of performers have introduced into this dance2 but this account must suffice4 ,illustration3 ,,lady ,,dancing ,,the ,,hula ,,ku',i ,page #bea ,given a demand for a pas seul1 some pleasing dance combining grace with dexterity1 a shake of the foot1 a twist of the body1 and a wave of the hands1 the hula ku'i filled the bill to perfection4 ,the very fact that it belonged by name to the genus hula1 giving it1 as it were1 the smack of forbidden fruit1 only added to its attractiveness4 ,it became all the rage among dancing folk1 attaining such a vogue as almost to cause a panic among the tribunes and censors of society4 ,even to one who cares nothing for the hula per se1 save as it might be a spectacle out of old ,hawaii1 or a setting for an old-time song1 the innocent grace and ,delsartian flexibility of this solo dance1 which one can not find in its ,keltic or ,african congeners1 associate it in mind with the joy and light-heartedness of man's ,arcadian period4 ,the instruments generally used in the musical accompaniment of the hula ku'i are the guitar1 the uku-lele1#eja the taro-patch fiddle1#eja or the mandolin2 the piano also lends itself effectively for this purpose2 or a combination of these may be used4 ,the songs that are sung to this dance as a rule belong naturally to later productions of the ,hawaiian muse1 or to modifications of old poetical compositions4 ,the following mele was originally a namesong 7mele-inoa74 ,it was appropriated by the late ,princess ,kino-iki2 and by her it was passed on to ,kalani-ana-ole1 a fact which should not prejudice our appreciation of its beauty4 ,mele ,i aloha i ke ko a ka wai1 ,i ka i mai1 e1 anu kaua4 ,ua anu na pua o ka laina1#ejb ,ka wahine noho anu o ke kula4 #e ,a luna au a o ,poli-ahu2#ejc ,ahu wale kai a o ,wai-lua4 ,lua-ole ka hana a ka makani1 ,a ke ,kiu-ke'e#ejd a o na pali1 ,pa iho i ke kai a o ,puna-- #aj ,ko ,puna mea ma'a mau ia4 ,pau ai ko'u lihi hoihoi ,i ka wai awili me ke kai4 ,ke ono hou nei ku'u pu'u ,i ka wai hu'ihu'i o ka uka1 ,page #beb #ae ,wai hone i ke kumu o ka pali1 ,i malu i ka lau kui-kui4#eje ,ke kuhi nei au a he pono ,ka ilima lei a ke aloha1 ,au i kau nui aku ai1 #bj ,i ka nani oi a oia pua4 ,footnote #eja3 ,the uku-lele and the taro-patch fiddle are stringed instruments resembling in general appearance the fiddle4 ,they seem to have been introduced into these islands by the ,portuguese immigrants who have come in within the last twenty-five years4 ,as with the guitar1 the four strings of the uku-lele or the five strings of the taro-patch fiddle are plucked with the finger or thumb4 ,footnote #ejb3 ,na pua o ka laina4 ,the intent of this expression1 which seems to have an erotic meaning1 may perhaps be inferred from its literal rendering in the translation4 ,it requires a tropical imagination to follow a ,hawaiian poem4 ,footnote #ejc3 ,poli-ahu4 ,a place or region on ,mauna-kea4 ,footnote #ejd3 ,kiu-ke'e4 ,the name of a wind felt at ,nawiliwili1 ,kauai4 ,the local names for winds differed on the various islands and were multiplied almost without measure3 as given in the mythical story of ,kama-pua'a1 or in the semihistoric tale of ,k-a-,paka'a1 they taxed the memories of raconteurs4 ,footnote #eje3 ,kui-kui4 ,the older name-form of the tree 7,aleurites triloba71 popularly known by some as the candle-nut tree1 from the fact that its oily nuts were used in making torches4 ,kukui1 or tutui1 is the name now applied to the tree1 also to a torch or lamp4 ,the ,samoan language still retains the archaic name tuitui4 ,this is one of the few instances in which the original etymology of a word is retained in ,hawaiian poetry4 ,translation4 ,song ,how pleasing1 when borne by the tide1 ,one says1 you and ,i are a-cold4 ,the buds of the center are chilled ,of the woman who shivers on shore4 #e ,i stood on the height ,poli-ahu2 ,the ocean enrobed ,wai-lua4 ,ah1 strange are the pranks of the wind1 ,the ,kiu-k'e wind of the pali6 ,it smites now the ocean at ,puna-- #aj ,that's always the fashion at ,puna4 ,gone1 gone is the last of my love1 ,at this mixture of brine in my drink6 ,my mouth is a-thirst for a draught ,of the cold mountain-water1 #ae ,that plays at the foot of the cliff1 ,in the shade of the kui-kui tree4 ,i thought our love-flower1 ilima-- ,oft worn as a garland by you-- ,still held its color most true4 #bj ,you'd exchange its beauty for rue6 ,mele ,kaulana mai nei ,pua ,lanakila2 ,olali oe o ke aupuni hui1 ,nana i kok ku ke kahua1 ,na ale o ka ,pakipika4 #e ,lilo i mea ole na enemi2 ,puuwai hao-kila1 he manao paa2 ,na ka nupepa la i hoike mai4 ,ua kau ,lanakila i ka hanohano1 ,o ka u'i mapela la o ,aina-hau2 #aj ,o ko'u hoa ia la e pili ai-- ,i hoa kaaua i ka puuwai1 ,i na kohi kelekele i ka ,pu'ukolu4 ,ina ilaila ,pua ,komela1 ,ka u'i kaulana o ,aina-pua6 #ae ,o ka pua o ka ,lehua me ka ,ilima ,i lei kahiko no ko'u kino1 ,ka ,palai lau-lii me ka ,maile1 ,ke ala e hoene i kou poli4 ,page #bec ,translation4 ,song ,fame trumpets your conquests each day1 ,brave ,lily ,victoria6 ,your scepter finds new hearts to sway1 ,subdues the ,pacific's wild waves1 #e ,your foes are left stranded ashore1 ,firm heart as of steel6 ,dame ,rumor tells us with glee ,your fortunes wax evermore1 ,beauty of ,aina-hau1 #aj ,comrade dear to my heart4 ,and what of the hyacinth maid1 ,nymph of the ,flowery ,land8 ,i choose the lehua1 ilima1 ,as my wreath and emblem of love1 #ae ,the small-leafed fern and the maile-- ,what fragrance exhales from thy breast6 ,the story that might explain this modern lyric belongs to the gossip of half a century ago4 ,the action hinges about one who is styled ,pua ,lanakila--literally ,flower of ,victory4 ,now there is no flower1 indigenous or imported1 known by this name to the ,hawaiians4 ,it is an allegorical invention of the poet4 ,a study of the name and of its interpretation1 ,victory1 at once suggested to me the probability that it was meant for the ,princess ,victoria ,kamamalu4 ,as ,i interpret the story1 the lover seems at first to be in a condition of unstable equilibrium1 but finally concludes to cleave to the flowers of the soil1 the lehua and the ilima 7verse #ae71 the palai and the maile 7verse #ag71 the meaning of which is clear4 ,page #bed ,,xl4--,,the ,,oli ,the ,hawaiian word mele included all forms of poetical composition4 ,the fact that the mele1 in whatever form1 was intended for cantillation1 or some sort of rhythmical utterance addressed to the ear1 has given to this word in modern times a special meaning that covers the idea of song or of singing1 thus making it overlap ambiguously into the territory that more properly belongs to the word oli4 ,the oli was in strict sense the lyric utterance of the ,hawaiians4 ,in its most familiar form the ,hawaiians--many of whom possessed the gift of improvisation in a remarkable degree--used the oli not only for the songful expression of joy and affection1 but as the vehicle of humorous or sarcastic narrative in the entertainment of their comrades4 ,the traveler1 as he trudged along under his swaying burden1 or as he rested by the wayside1 would solace himself and his companions with a pensive improvisation in the form of an oli4 ,or1 sitting about the camp-fire of an evening1 without the consolation of the social pipe or bowl1 the people of the olden time would keep warm the fire of good-fellowship and cheer by the sing-song chanting of the oli1 in which the extemporaneous bard recounted the events of the day and won the laughter and applause of his audience by witty1 ofttimes exaggerated1 allusions to many a humorous incident that had marked the journey4 ,if a traveler1 not knowing the language of the country1 noticed his ,hawaiian guide and baggage-carriers indulging in mirth while listening to an oli by one of their number1 he would probably be right in suspecting himself to be the innocent butt of their merriment4 ,the lover poured into the ears of his mistress his gentle fancies3 the mother stilled her child with some bizarre allegory as she rocked it in her arms2 the bard favored by royalty--the poet laureate--amused the idle moments of his chief with some witty improvisation2 the alii himself1 gifted with the poetic fire1 would air his humor or his didactic comments in rhythmic shape--all in the form of the oli4 ,the dividing line1 then1 between the oli and those other weightier forms of the mele1 the inoa1 the kanikau 7threnody71 the pule1 and that unnamed variety of mele in which the poet dealt with historic or mythologic subjects1 is to be found almost wholly in the mood of the singer4 ,in truth1 the ,hawaiians not unfrequently applied the term pule to compositions which we moderns find it hard to bring within our definitions of prayer4 ,for to our understanding the ,hawaiian pule often contains neither petition1 nor entreaty1 nor aspiration1 as we measure such things4 ,page #bee ,the oli from1 its very name 7oli-oli1 joyful7 conveys the notion of gladness1 and therefore of song4 ,it does not often run to such length as the more formal varieties of the mele2 it is more likely to be pitched to the key of lyric and unconventional delight1 and1 as it seems to the writer1 more often than other forms attains a gratifying unity by reason of closer adherence to some central thought or mood2 albeit1 when not so labeled1 one might well be at a loss whether in any given case he should term the composition mele or oli4 ,it may not be entirely without significance that the first and second examples here given come from ,kauai1 the island which most vividly has retained a memory of the southern lands that were the homes of the people until they came as emigrants to ,hawaii4 ,the story on which this song is founded relates that the comely ,pamaho'a was so fond of her husband during his life that at his death she was unwilling to part with his bones4 ,having cleaned and wrapped them in a bundle1 she carried them with her wherever she went4 ,in the indiscretion begotten of her ill-balanced state of mind she committed the mortal offense of entering the royal residence while thus encumbered1 where was ,kaahumanu1 favorite wife of ,kamehameha ,i4 ,the king detailed two constables 7ilamuku7 to remove the woman and put her to death4 ,when they had reached a safe distance1 moved with pity1 the men said3 8,our orders were to slay2 but what hinders you to escape80 ,the woman took the hint and fled hot-foot4 ,oli ,ka wai opua-makani o ,wailua1#ejf ,i hulihia e ke kai2 ,awahia ka lau hau1 ,ai pla-ka-h1 ka ai o ,mak'u-kiu4 #e ,he kiu ka pua kukui1 ,he elele hooholo na ke ,koolau2#ejg ,ke kipaku mai la i ka wa'a--#ejh 8,e holo oe60 ,holo newa ka lau maia me ka pua hau1 #aj ,i pili aloha me ka mokila ula i ka wai2 ,maalo pulelo i ka wai o ,malu-aka4 ,he aka kaua makani kaili-hoa2 ,kaili ino ka lau ,malua-kele1 ,lalau1 hopu hewa i ka hoa kanka2#eji ,page #bef #ae ,koe a kau me ka manao iloko4 ,ke apo wale la no i ke one1 ,i ka uwe wale iho no i ,mo'o-mo'o-iki1#eaj e6 ,he ike moolelo na ke kuhi wale1 ,aole ma ka waha mai o knaka1 #bj ,hewa1 pono ai la hoi au1 e ka hoa2 ,nou ka ke aloha1 ,i lua-ai-ele#eaa ai i-o1 i anei2 ,ua kuewa i ke ala me ka wai-maka4 ,aohe wa1 ua uku i kou hale-- #be ,hewa au1 e6 ,footnote #ejf3 ,the scene is laid in the region about the ,wailua1 a river on ,kauai4 ,this stream1 tossed with waves driven up from the sea1 represents figuratively the disturbance of the woman's mind at the coming of the officers4 ,footnote #ejg3 ,koolau4 ,the name of a wind2 stands for the messengers of the king1 whose instructions were to expel 7kipaku1 verse #g7 and then to slay4 ,footnote #ejh3 ,wa'a4 ,literally canoe2 stands for the woman herself4 ,footnote #eji3 ,hoa kanka4 ,human companion2 is an allusion to the bundle of her husband's bones which she carries with her1 but which are torn away and lost in the flood4 ,footnote #eaj3 ,mo'o-mo'o-iki4 ,a land at ,wailua1 ,kauai4 ,footnote #eaa3 ,lua-ai-ele4 ,to carry about with one a sorrow4 ,translation4 ,song ,the wind-beaten stream of ,wailua ,is tossed into waves from the sea2 ,salt-drenched are the leaves of the hau1 ,the stalks of the taro all rotted-- #e ',twas the crop of ,maka'u-kiu1 ,the flowers of kukui are a telltale1 ,a messenger sped by the gale ,to warn the canoe to depart4 ,pray you depart6 #aj ,hot-foot1 she's off with her pack-- ,a bundle red-stained with the mud-- ,and ghost-swift she breasts ,malu-aka4 ,quest follows like smoke--lost is her companion2 ,fierce the wind plucks at the leaves1 #ae ,grabs--by mistake--her burden1 the man4 ,despairing1 she falls to the earth1 ,and1 hugging the hillock of sand1 ,sobs out her soul on the beach ,mo-mo-iki4 ,a tale this wrung from my heart1 #bj ,not told by the tongue of man4 ,wrong6 yet right1 was ,i1 my friend2 ,my love after all was for you1 ,while ,i lived a vagabond life there and here1 ,sowing my vagrom tears in all roads-- #be ,prompt my payment of debt to your house-- ,yes1 truly1 ,i'm wrong6 ,page #beg ,,xli4--,,the ,,water ,,of ,,kane ,if one were asked what1 to the ,english-speaking mind1 constitutes the most representative romantico-mystical aspiration that has been embodied in song and story1 doubtless he would be compelled to answer the legend and myth of the ,holy ,grail4 ,to the ,hawaiian mind the aspiration and conception that most nearly approximates to this is that embodied in the words placed at the head of this chapter1 ,the ,water of ,kane4 ,one finds suggestions and hints of this conception in many passages of ,hawaiian song and story1 sometimes a phosphorescent flash1 answering to the dip of the poet's blade1 sometimes crystallized into a set form2 but nowhere else than in the following mele have ,i found this jewel deliberately wrought into shape1 faceted1 and fixed in a distinct form of speech4 ,this mele comes from ,kauai1 the island which more than any other of the ,hawaiian group retains a tight hold on the mystical and imaginative features that mark the mythology of ,polynesia2 the island also which less than any other of the group was dazzled by the glamour of royalty and enslaved by the theory of the divine birth of kings4 ,he ,mele no ,kane ,he -i1 he ninau3 ,he -i aku ana au ia oe1 ,aia i-ha ka wai a ,kane8 ,ala i ka hikina a ka ,la1 #e ,puka i ,hae-hae2#eab ,aia i-laila ka ,wai a ,kane4 ,e -i aku ana au ia oe1 ,aia i-hea ka ,wai a ,kane8 ,aia i ,kau-lana-ka-la1#eac #aj ,i ka pae opua i ke kai1#ead ,ea mai ana ma ,nihoa1#eae ,page #beh ,ma ka mole mai o ,lehua2 ,aia i-laila ka ,wai a ,kane4 ,e -i aku ana au ia oe1 #ae ,aia i-hea ka ,wai a ,kane8 ,aia i ke kua-hiwi1 i ke kua-lono1 ,i ke awwa1 i ke kaha-wai2 ,aia i-laila ka ,wai a ,kane4 ,e -i aku ana au ia oe1 #bj ,aia i-hea ka ,wai a ,kane8 ,aia i-kai1 i ka moana1 ,i ke ,kua-lau1 i ke anuenue1 ,i ka punohu1#eaf i ka ua-koko1#eag ,i ka alewa-lewa2 #be ,aia i-laila ka ,wai a ,kane4 ,e -i aku ana au ia oe1 ,aia i-hea ka ,wai a ,kane8 ,aia i-luna ka ,wai a ,kane1 ,i ke ouli1 i ke ao eleele1 #cj ,i ke ao pano-pano1 ,i ke ao popolo-hua mea a ,kane la1 e6 ,aia i-laila ka ,wai a ,kane4 ,e -i aku ana au ia oe1 ,aia i-hea ka ,wai a ,kane8 #ce ,aia i-lalo1 i ka honua1 i ka ,wai hu1 ,i ka wai kau a ,kane me ,kanaloa--#eah ,he wai-puna1 he wai e inu1 ,he wai e mana1 he wai e ola4 ,e ola no1 e-a6 ,footnote #eab3 ,hae-hae4 ,heaven's eastern gate2 the portal in the solid walls that supported the heavenly dome1 through which the sun entered in the morning4 ,footnote #eac3 ,kau-lana-ka-la4 ,when the setting sun1 perhaps by an optical illusion drawn out into a boatlike form1 appeared to be floating on the surface of the ocean1 the ,hawaiians named the phenomenon ,kau-lana-ka-la--the floating of the sun4 ,their fondness for personification showed itself in the final conversion of this phrase into something like a proper name1 which they applied to the locality of the phenomenon4 ,footnote #ead3 ,pae opua i ke kai4 ,another instance of name-giving1 applied to the bright clouds that seem to rest on the horizon1 especially to the west4 ,footnote #eae3 ,nihoa 7,bird island74 ,this small rock to the northwest of ,kauai1 though far below the horizon1 is here spoken of as if it were in sight4 ,footnote #eaf3 ,punohu ,a red luminous cloud1 or a halo1 regarded as an omen portending some sacred and important event4 ,footnote #eag3 ,ua-koko4 ,literally bloody rain1 a term applied to a rainbow when lying near the ground1 or to a freshet-stream swollen with the red muddy water from the wash of the hillsides4 ,these were important omens1 claimed as marking the birth of tabu chiefs4 ,footnote #eah3 ,wai kau a ,kane me ,kanaloa4 ,once when ,kane and ,kanaloa were journeying together ,kanaloa complained of thirst4 ,kane thrust his staff into the pali near at hand1 and out flowed a stream of pure water that has continued to the present day4 ,the place is at ,keanae1 ,maui4 ,translation4 ,the ,water of ,kane ,a query1 a question1 ,i put to you3 ,where is the water of ,kane8 ,at the ,eastern ,gate #e ,where the ,sun comes in at ,hae-hae2 ,there is the water of ,kane4 ,a question ,i ask of you3 ,where is the water of ,kane8 ,out there with the floating ,sun1 ,page #bei #aj ,where cloud-forms rest on ,ocean's breast1 ,uplifting their forms at ,nihoa1 ,this side the base of ,lehua2 ,there is the water of ,kane4 ,one question ,i put to you3 #ae ,where is the water of ,kane8 ,yonder on mountain peak1 ,on the ridges steep1 ,in the valleys deep1 ,where the rivers sweep2 #bj ,there is the water of ,kane4 ,this question ,i ask of you3 ,where1 pray1 is the water of ,kane8 ,yonder1 at sea1 on the ocean1 ,in the driving rain1 #be ,in the heavenly bow1 ,in the piled-up mist-wraith1 ,in the blood-red rainfall1 ,in the ghost-pale cloud-form2 ,there is the water of ,kane4 #cj ,one question ,i put to you3 ,where1 where is the water of ,kane8 ,up on high is the water of ,kane1 ,in the heavenly blue1 ,in the black piled cloud1 #ce ,in the black-black cloud1 ,in the black-mottled sacred cloud of the gods2 ,there is the water of ,kane4 ,one question ,i ask of you3 ,where flows the water of ,kane8 #aj ,deep in the ground1 in the gushing spring1 ,in the ducts of ,kane and ,loa1 ,a well-spring of water1 to quaff1 ,a water of magic power-- ,the water of life6 #de ,life6 ,o give us this life6 ,page #bfj ,,xlii4--,,general ,,review ,in this preliminary excursion into the wilderness of ,hawaiian literature we have covered but a small part of the field2 we have reached no definite boundaries2 followed no stream to its fountain head2 gained no high point of vantage1 from which to survey the whole4 ,it was indeed outside the purpose of this book to make a delimitation of the whole field of ,hawaiian literature and to mark out its relations to the formulated thoughts of the world4 ,certain provisional conclusions1 however1 are clearly indicated3 that this unwritten speech-literature is but a peninsula1 a semidetached1 outlying division of the ,polynesian1 with which it has much in common1 the whole running back through the same lines of ancestry to the people of ,asia4 ,there still lurk in the subliminal consciousness of the race1 as it were1 vague memories of things that long ago passed from sight and knowledge4 ,such1 for instance1 was the mo'o2 a word that to the ,hawaiian meant a nondescript reptile1 which his imagination vaguely pictured1 sometimes as a dragonlike monster belching fire like a chimera of mythology1 or swimming the ocean like a sea-serpent1 or multiplied into a manifold pestilential swarm infesting the wilderness1 conceived of as gifted with superhuman powers and always as the malignant foe of mankind4 ,now the only ,hawaiian representatives of the reptilian class were two species of harmless lizards1 so that it is not conceivable that the ,hawaiian notion of a mo'o was derived from objects present in his island home4 ,the word mo'o may have been a coinage of the ,hawaiian speechcenter1 but the thing it stood for must have been an actual existence1 like the python and cobra of ,india1 or the pterodactyl of a past geologic period4 ,may we not think of it as an ancestral memory1 an impress1 of ,asiatic sights and experiences8 ,in this connection1 it will not1 perhaps1 lead us too far afield1 to remark that in the ,hawaiian speech we find the chisel-marks of ,hindu and of ,aryan scoring deep-graven4 ,for instance1 the ,hawaiian1 word pali1 cliff or precipice1 is the very word that ,young-husband--following1 no doubt1 the native speech of the region1 the ,pamirs--applies to the mountain-walls that buttress off ,tibet and the central plateaus of ,asia from northern ,india4 ,again the ,hawaiian word mele1 which we have used so often in these chapters as to make it seem almost like a household word1 corresponds in form1 in sound1 and in meaning to the ,greek4 ,greek3 melos3 ,page #bfa ta mel1 lyric poetry 7,liddell and ,scott74 ,again1 take the ,hawaiian word i'a1 fish--,maori1 ika2 ,malay1 ikan2 ,java1 iwa2 ,bouton1 ikani 7,edward ,tregear3 ,the ,maori-,polynesian ,comparative ,dictionary74 ,do not these words form a chain that links the ,hawaiian form to the ,greek3 ichthus of classic ,greece8 ,the subject is fascinating1 but it would soon lead us astray4 ,these examples must suffice4 ,if we can not give a full account of the tangled woodland of ,hawaiian literature1 it is something to be able to report on its fruits and the manner of men and beasts that dwelt therein4 ,are its fruits good for food1 or does the land we have explored bring forth only poisonous reptiles and the deadly upas8 ,is it a land in which the very principles of art and of human nature are turned upside down8 ,its language the babble of ,bander-log8 ,this excursion into the jungle of ,hawaiian literature should at least impress us with the oneness of humanity2 that its roots and springs of action1 and ours1 draw their sustenance from one and the same primeval mold2 that1 however far back one may travel1 he will never come to a point where he can say this is 8common or unclean20 so that he may without defilement 8kill and eat0 of what the jungle provides4 ,the wonder is that they in ,hawaii of the centuries past1 shut off by vast spaces of sea and land from our world1 yet accomplished so much4 ,test the ancient ,hawaiians by our own weights and measures4 ,the result will not be to their discredit4 ,in practical science1 in domestic arts1 in religion1 in morals1 in the raw material of literature1 even in the finished article--though unwritten--the showing would not be such as to give the superior race cause for self-gratulation4 ,another lesson--a corollary to the above--is the debt of recognition we owe to the virtues and essential qualities of untutored human nature itself4 ,imagine a portion of our own race cut off from the thought-currents of the great world and stranded on the island-specks of the great ocean1 as the ,polynesians have been for a period of centuries that would count back to the times of ,william the ,conqueror or ,charlemagne1 with only such outfit of the world's goods as might survive a #c1jjj-mile voyage in frail canoes1 reenforced by such flotsam of the world's metallic stores as the tides of ocean might chance to bring them--and1 with such limited capital to start with in life1 what1 should we judge1 would have been the outcome of the experiment in religion1 in morals1 in art1 in mechanics1 in civilization1 or in the production of materials for literature1 as compared with what the white man found in ,hawaii at its discovery in the last quarter of the eighteenth century8 ,it were well to come to the study of primitive and savage people1 of nature-folk1 with a mind purged of the thanks-to-the-goodness-and-the-grace spirit4 ,page #bfb ,it will not do for us to brush aside contemptuously the notions held by the ,hawaiians in religion1 cosmogony1 and mythology as mere heathen superstitions4 ,if they were heathen1 there was nothing else for them to be4 ,but even the heathen can claim the right to be judged by their deeds1 not by their creeds4 ,measured by this standard1 the average heathen would not make a bad showing in comparison with the average denizen of ,christian lands4 ,as to beliefs1 how much more defensible were the superstitions of our own race two or three centuries ago1 or of to-day1 than those of the ,hawaiians8 ,how much less absurd and illogical were our notions of cosmogony1 of natural history2 how much less beneficent1 humane1 lovable the theology of the pagan ,hawaiians than of our ,christian ancestors a few centuries ago if looked at from an ethical or practical point of view4 ,at the worst1 the ,hawaiian sacrificed the enemy he took in battle on the altar of his gods2 the ,christian put to death with exquisite torture those who disagreed with him in points of doctrine4 ,and when it comes to morals1 have not the heathen time and again demonstrated their ability to give lessons in self-restraint to their ,christian invaders8 ,it is a matter of no small importance in the rating of a people to take account of their disposition toward nature4 ,if there has been a failure to appreciate truly the mental attitude of the 8savage10 and especially of the ,polynesian savage1 the ,hawaiian1 toward the book of truth that was open to him in nature1 it is always in order to correct it4 ,that such a mistake has been made needs no further proof than the perusal of the following passage in a book entitled 8,history of the ,sandwich ,islands30 ,to the heathen the book of nature is a sealed book4 ,where the word of ,god is not1 the works of ,god fail either to excite admiration or to impart instruction4 ,the ,sandwich ,islands present some of the sublimest scenery on earth1 but to an ignorant native--to the great mass of the people in entire heathenism--it has no meaning4 ,as one crested billow after another of the heaving ocean rolls in and dashes upon the unyielding rocks of an iron-bound coast1 which seems to say1 8,hitherto shalt thou come and no farther10 the low-minded heathen is merely thinking of the shellfish on the shore4 ,as he looks up to the everlasting mountains1 girt with clouds and capped with snow1 he betrays no emotion4 ,as he climbs a towering cliff1 looks down a yawning precipice1 or abroad upon a forest of deep ravines1 immense rocks1 and spiral mountains thrown together in the utmost wildness and confusion by the might of ,god's volcanoes1 he is only thinking of some roots in the wilderness that may be good for food4 ,there is hardly a poem in this volume that does not show the utter falsity of this view4 ,the writer of the words quoted above1 now in his grave for more than sixty years1 was a man for whose purity and moral character one must entertain the highest esteem4 ,he enjoyed the very best opportunity to study the minds of the 8heathen0 about him1 to discern their ,page #bfc thoughts1 to learn at first hand their emotions toward the natural world1 whether of admiration1 awe1 reverence1 or whether their attitude was that of blank indifference and absorption in selfish things4 ,but he utterly failed to penetrate the mystery1 the 8truth and poetry10 of the ,hawaiian mind and heart4 ,was it because he was tied to a false theology and a false theory of human nature8 ,we are not called upon to answer this question4 ,let others say what was wrong in his standpoint4 ,the object of this book is not controversial2 but when a palpable injustice has been done1 and is persisted in by people of the purest motives1 as to the thoughts1 emotions1 and mental operations of the 8savage10 and as to the finer workings within that constitute the furniture and sanctuary of heart and soul1 it is imperative to correct so grave a mistake2 and we may be sure that he whose words have just been quoted1 were he living to-day1 would acknowledge his error4 ,though it is not the purpose of these pages to set forth in order a treatise on the human nature of the 8savage10 or to make unneeded apology for the primitive and uncultured races of mankind in general1 or for the ,hawaiian in particular1 yet it is no small satisfaction to be able to set in array evidence from the life and thoughts of the savages themselves that shall at least have a modifying influence upon our views on these points4 ,the poetry of ancient ,hawaii evinces a deep and genuine love of nature1 and a minute1 affectionate1 and untiring observation of her moods1 which it would be hard to find surpassed in any literature4 ,her poets never tired of depicting nature2 sometimes1 indeed1 their art seems heaven-born4 ,the mystery1 beauty1 and magnificence of the island world appealed profoundly to their souls2 in them the ancient ,hawaiian found the image of man the embodiment of ,deity2 and their myriad moods and phases were for him an inexhaustible spring of joy1 refreshment1 and delight4 ,,glossary ,the study of ,hawaiian pronunciation is mainly a study of vowel sounds and of accent4 ,each written vowel represents at least two related sounds4 ,a 7ah7 has the ,italian sound found in father1 as in ha-le or in ,la-ka2 also a short sound like that of a in liable1 as in ke-a-ke-a1 to contradict1 or in a-ha1 an assembly4 ,e 7a7 has the sound of long a in fate1 or of e in prey1 without the i-glide that follows1 as in the first syllable of ,p-le1 or of m-a1 a thing2 also the short sound of e in net1 as in -ha1 hurt1 or in pa1 a sail4 ,i 7ee7 has the long sound of i in pique1 or in police1 as in i-li1 skin1 or in h-la-h-la1 shame2 also the short sound of i in hill1 as in l-hi1 border1 and in -ki1 small4 ,o 7oh7 has the long sound of o in note or in old1 without the u-glide1 as in l-a1 long1 or as in the first syllable of ,l-no2 also a short sound1 which approximates to that sometimes erroneously given to the vowel in coat1 as in p-po1 rotten1 or as in l-ko1 a lake4 ,u 7oo7 has the long sound of u in rule1 as in h-la1 to dance2 and a short sound approximating to that of u in full1 as in m-ku1 cut off4 ,every ,hawaiian syllable ends in a vowel4 ,no attempt has been made to indicate these differences of vowel sound4 ,the only diacritical marks here employed are the acute accent for stressed syllables and the apostrophe between two vowels to indicate the glottic closure or interruption of sound 7improperly sometimes called a guttural7 that prevents the two from coalescing4 ,in the seven diphthongs ae1 ai1 ao1 au1 ei1 ia1 and ua a delicate ear will not fail to detect a coalescence of at least two sounds1 thus proving them not to be mere digraphs4 ,in animated description or pathetic narrative1 or in the effort to convey the idea of length1 or height1 or depth1 or immensity1 the ,hawaiian had a way of prolonging the vowel sounds of a word1 as if by so doing he could intimate the amplitude of his thought4 ,the letter w 7way7 represents two sounds1 corresponding to our w and our v4 ,at the beginning of a word it has the sound of w 7way71 retaining this even when the word has become compounded4 ,this is illustrated in ,wi-a-l-a 7geographical name71 and w-ha mouth4 ,in the middle of a word1 or after the first syllable1 it almost always has the sound of v 7vay71 as in h-wa 7wrong71 and in ,e-w 7geographical name74 ,in h-wa-w 7awkward71 the compound word ha-wi 7water-pipe71 and several others the w takes the way sound4 ,the great majority of ,hawaiian words are accented on the penult1 and in simple words of four or more syllables there is1 as a rule1 an accent on the fourth and on the sixth syllables1 counting back from the final syllable1 as in l-na-k-la 7victorious7 and as in h-o-k-lo-k-lo 7to try at law74 ,aha1 7-ha7--a braided cord of sinet2 an assembly2 a prayer or religious service 7note a1 p4 #bj74 ,ahaaina 7-ha-i-na7--a feast4 ,ai 7ai1 as in aisle7--vegetable food2 to eat2 an event in a game or contest 7p4 #ic74 ,ai--lo 7to eat in the presence of7--the persons privileged to eat at an alii's table4 ,aiha'a 7ai-ha'a73--a strained1 bombastic1 guttural tone of voice in reciting a mele1 in contrast to the style termed ko'i-honua 7pp4 #hi1 #ij74 ,ailolo 7ai-l-loto eat brains7--a critical1 ceremonial sacrifice1 the conditions of which must be met before a novitiate can be admitted as a practitioner of the hula as well as of other skilled professions 7pp4 #ae1 #ca1 #cd74 ,aina 7a-na7--the land2 a meal 7of food74 ,alii 7a-li'i7--a chief2 a person of rank2 a king4 ,aloha 7a-l-ha7--goodwill2 affection2 love2 a word of salutation4 ,ami 7-mi7--to bend2 a bodily motion used in the hula 7note1 p4 #bjb74 ,anuenue 7a-n-e-n-e7--a rainbow2 a waterfall in ,hilo 7p4 #fa1 verse #ac74 ,ao 7-o7--dawn2 daytime2 the world2 a cloud 7p4 #aif1 verse #g74 ,aumakua 7a-ma-k-a7--an ancestral god 7p4 #bc74 ,awa 7-va7--bitter2 sour2 the soporific root of the ,piper methysticum 7p4 #acj74 ,ekaha 7e-kha7--the nidus fern1 by the ,hawaiians sometimes called ka hoe a ,mawi1 ,mawi's paddle1 from the shape of its leaves 7p4 #ai74 ,haena 7,ha--na7--a village on the windward coast of ,kauai1 the home of ,lohiau1 for whom ,pele conceived a passion in her dreams 7p4 #ahf74 ,hala 7h-la7--a sin2 a variety of the 8screw-pine0 7,pandanus odoratissimus1 ,hillebrand74 ,its drupe was used in decoration1 its leaves were braided into mats1 hats1 bags1 etc4 ,halapepe 7h-la-p-pe7--a tree used in decorating the kuahu 7,dracna aurea1 ,hillebrand7 7p4 #bd74 ,halau 7ha-lu--made of leaves7--a canoe-shed2 a hall consecrated to the hula2 a sort of school of manual arts or the art of combat 7p4 #ad74 ,hale 7h-le7--a house4 ,hanai-kuahu 7ha-ni-ku--hu--altarfeeder7--the daily renewal of the offerings laid on the kuahu2 the officer who performed this work 7p4 #bi74 ,hanohano 7h-no-h-no7--having dignity and wealth4 ,hau 7how7--a tree whose light1 tough wood1 strong fibrous bark1 and mucilaginous flowers have many uses 7,hibiscus tiliaceus74 ,haumea 7,hau-m-a7--a mythological character1 the same as ,papa 7note c1 p4 #abf74 ,heiau 7hei-a7--a temple4 ,hiiaka1 7,hi'i--ka7--the youngest sister of ,pele 7p4 #ahf74 ,hilo 7,h-lo7--to twist as in making string2 the first day in the month when the new moon appears2 a town and district in ,hawaii 7pp4 #fj1 #fa74 ,holoku 7h-lo-k7--a loose gown resembling a 8,mother ,hubbard10 much worn by the women of ,hawaii4 ,hoonoa 7ho'o-n-a7--to remove a tabu2 to make ceremonially free 7p4 #abf74 ,hooulu 7ho'o--lu7--to cause to grow2 to inspire4 7,verse #c1 ,pule ,kuahu1 p4 #bj1 and verse #a1 ,pule ,kuahu1 p4 #ba47 ,hoopaa 7ho'o-p'a7--the members of a hula company who1 as instrumentalists1 remained stationary1 not moving in the dance 7p4 #bh74 ,huikala 7h-i-k-la7--to cleanse ceremonially2 to pardon 7p4 #ae74 ,hula1 7h-la71 or int4 hlahla--to dance1 to make sport1 to the accompaniment of music and song4 ,i'a 7i'a7--fish2 a general term for animal food or whatever relish serves for the time in its place4 ,ieie 7-e--e7--a tall woody climber found in the wild woods1 much used in decoration 7,freycinetia arnotti1 p4 #ai74 ,ilamuka 7-la-m-ku7--a constable4 ,ilima 7i-l-ma7--a woody shrub 7,sida fallax1 ,hillebrand7 whose chrome-yellow flowers were much used in making wreaths 7p4 #ef74 ,ilio 7i-l-o7--a dog2 a variety of hula 7p4 #bbc74 ,imu 7-mu71 sometimes umu 7-mu7--a native oven1 made by lining a hole in the ground and arching it over with stones 7verse #c1 ,oli ,pa1 p4 #ea74 ,inoa 7i-n-a7--a name4 7,see ,mele inoa47 ,ipo 7-po7--a lover2 a sweetheart4 ,ipoipo 7-po--po71 hoipo 7ho--po71 or hoipoipo 7ho--po--po7--to make love2 to play the lover2 sexual dalliance4 ,ipu 7-pu7--a general name for the ,cucurbitace1 and the dishes made from them1 as well as dishes of coconut shell1 wood1 and stone2 the drumlike musical instrument made from joining two calabashes 7p4 #gc74 ,iwa 7-wa1 pr4 -va7--the number nine2 a large black sea-bird1 probably a gull 7p4 #gf74 ,kahiki 7,ka-h-ki7--,tahiti2 any foreign country 7p4 #ag74 ,kahiko 7ka-h-ko7--ancient2 to array2 to adorn4 ,kahuna 7ka-h-na7--a priest2 a skilled craftsman4 ,every sort of kahuna was at bottom and in some regard a priest1 his special department being indicated by a qualifying word1 as kahuna anaana1 sorcerer1 kahuna kalai wa'a1 canoe-maker4 ,kai 7pr4 kye7--the ocean2 salty4 ,i-kai1 to the ocean2 ma-kai1 at the ocean4 ,kakaolelo 7ka-k-o-l-lo7--one skilled in language2 a rhetorician2 a councilor 7p4 #ih74 ,kamapua'a 7,k-ma-pu-a'a7--literally the hog-child2 the mythological swine-god1 whose story is connected with that of ,pele 7p4 #bca74 ,kanaka1 7ka-n-ka7--a man2 a commoner as opposed to the alii4 ,kanaka 7k-na-ka71 men in general2 the human race4 7,notice the different accents47 ,kanaenae 7k-nae-na7--a propitiatory sacrifice2 an intercession2 a part of a prayer 7pp4 #af1 #bj74 ,kanaloa 7,k-na-l-a7--one of the four major gods1 represented as of a dark complexion1 and of a malignant disposition 7p4 #bd74 ,kane 7,k-ne7--male2 a husband2 one of the four major gods1 represented as being a tall blond and of a benevolent disposition 7p4 #bd74 ,kapa 7k-pa7--the paper-cloth of the ,polynesians1 made from the fibrous bark of many plants by pounding with wooden beaters while kept moist4 ,kapo 7,k-po7--a goddess and patron of the hula1 sister of the poison-god1 ,kalai-pahoa1 and said to be mother of ,laka 7pp4 #be1 #de74 ,kapu 7k-pu74--a tabu2 a religious prohibition 7pp4 #cj1 #eg74 ,kau 7,ka-7--8the milk20 a district on the island of ,hawaii4 ,kawele 7ka-w-le7--a manner of cantillating in a distinct and natural tone of voice2 about the same as ko'i-honua 7p4 #eh74 ,kihei 7ki-hi7--a robe of kapa worn after the fashion of the ,roman toga4 ,kii 7ki'i7--to fetch1 to go after a thing2 an image1 a picture1 a marionette2 a variety of the hula 7p4 #ia74 ,kilauea 7,ki-lau--a7--the great active volcano of ,hawaii4 ,kini 7k-ni7--the number #dj1jjj2 a countless number4 ,kini ,akua1 a host of active1 often mischievous1 8little0 folk in human form that peopled the deep woods4 ,they resembled our elves and brownies1 and were esteemed as having godlike powers 7p4 #ba1 note2 p4 #bd74 ,kilu 7k-lu7--a dish made by cutting off obliquely the top of a coconut or small gourd1 which was used as a sort of top in the game and dance called kilu4 7,hula kilu1 p4 #bce47 ,ko--sugar-cane2 performed1 accomplished4 ,with the causative prefix ho'o1 as in ho'oko 7ho'o-k71 to accomplish1 to carry to success 7p4 #cj74 ,ko'i 7k'i7--an ax1 an adz2 originally a stone implement4 7,see mele beginning ,ko'i maka nui1 p4 #bbh47 ,ko'i honua 7ko'i ho-n-a7--a compound of the causative ko1 i1 to utter1 and honua1 the earth2 to recite or cantillate in a quiet distinct tone1 in distinction from the stilted bombastic manner termed ai-ha'a 7p4 #eh74 ,kokua-kumu1 7ko-k-a-k-mu7--the assistant or deputy who took charge of the halau in the absence of the kumu-hula1 7p4 #bi74 ,kolea 7ko-l-a7--the plover2 the name of a hula 7p4 #bai74 ,kolohe 7ko-l-he7--mischievous2 restless2 lawless 7note d1 p4 #aid74 ,kona1 7,kna7--a southerly wind or storm2 a district on the leeward side of many of the islands4 ,koolau 7,ko'o-lu7--leaf-compeller2 the windward side of an island2 the name of a wind4 7,a ,koolau wau1 ike i ka ua1 verse #a1 p4 #ei47 ,ku--to stand2 to rise up2 to fit2 a division of land2 one of the four major gods who had many functions1 such as ,ku-pulupulu1 ,ku-mokuhalii1 ,ku-kaili-moku1 etc4 7,mele1 ,ku e1 nana e6 p4 #bbc47 ,kuahu 7ku--hu7--an altar2 a rustic stand constructed in the halau in honor of the hula gods 7p4 #ae74 ,kuhai-moana 7,ku-hi-mo--na7--a shark-god 7pp4 #gf1 #gg74 ,ku'i 7ku'i7--to smite2 to beat2 the name of a hula 7p4 #bej74 ,kukui 7ku-k-i7--a tree 7,aleurites moluccana7 from the nuts of which were made torches2 a torch4 7,mahana lua na kukui a ,lanikaula1 p4 #acj1 note c47 ,kumu-hula 7k-mu hla7--a teacher and leader of the hula4 ,kupee 7ku-pe'e7--a bracelet2 an anklet 7,mele ,kupe'e1 p4 #di47 ,kupua 7ku-p-a7--a superhuman being2 a wonder-worker2 a wizard4 ,ku-pulupulu 7,k-p-lu-p-l7--,ku the hairy2 one of the forms of god ,ku1 propitiated by canoe-makers and hula folk 7p4 #bd74 ,laa 7,l'a7--consecrated2 holy2 devoted4 ,laa-mai-,kahiki--,a prince who flourished some six or seven centuries ago and voyaged to ,kahiki and back4 ,he was an ardent patron of the hula 7p4 #ajc74 ,lama 7l-ma7--a torch2 a beautiful tree 7,maba sandwicensis1 ,hillebrand7 having fine-grained whitish wood that was much used for sacred purposes 7p4 #bc74 ,lanai 7la-ni7--a shed or veranda2 an open part of a house covered only by a roof4 ,lanai 7,la-na'i7--the small island lying southwest of ,maui4 ,lani 7l-ni7--the sky2 the heaven or the heavens2 a prince or king2 heaven-born 7pp4 #ha1 #hb74 ,lehua1 7le-h-a7--a forest tree 7,metrosideros polymorpha7 whose beautiful scarlet or salmon-colored flowers were much used in decoration 7,pule ,hoo-noa1 p4 #abf74 ,lei 7lei3 both vowels are sounded1 the i slightly7--a wreath of flowers1 of leaves1 feathers1 beads1 or shells 7p4 #ef74 ,liloa 7,li-l-a7--an ancient king of ,hawaii1 the father of ,umi 7p4 #aca74 ,lohiau 7,l-hi-u7--the prince of ,haena1 with whom ,pele became enamored in her dreams 7p4 #ahf74 ,lolo 7l-lo7--the brain 7p4 #cd74 ,lono 7,l-no7--one of the four major gods of ,hawaii 7p4 #bd74 ,luau 7lu-a7--greens made by cooking young taro leaves2 in modern times a term applied to a ,hawaiian feast4 ,mahele 7ma-h-le7--to divide2 a division of a mele2 a canto2 a part of a song-service 7p4 #eh74 ,mahiole 7m-hi--le7--a helmet or war-cap1 a style of hair-cutting in imitation of the same 7p4 #ia74 ,mahuna 7ma-h-na7--a small particle2 a fine scale2 a variety of delicate kapa2 the desquamation of the skin resulting from habitual awa-drinking4 ,makalii 7,m-ka-li'i7--small eyes2 small1 fine2 the ,pleiades 7p4 #baf and note on p4 #bah74 ,malo 7m-lo7--a loin-cloth worn especially by men4 7,verses #c1 #d1 #e1 #f of mele on p4 #cf74 ,mano 7ma-n7--a shark2 a variety of hula 7p4 #bba74 ,mauna 7mu-na7--a mountain4 ,a word possibly of ,spanish origin4 ,mele 7m-le7--a poem2 a song2 to chant2 to sing4 ,mele inoa--a name-song2 a eulogy 7pp4 #bg1 #cg74 ,mele kahea 7ka-ha to call7--a password by which one gained admission to the halau 7pp4 #ch1 #da74 ,moo 7m'o7--a reptile2 a dragon2 a mythologic monster 7p4 #bfj74 ,muumuu 7mu'u-mu'u7--an under garment worn by women2 a shift2 a chemise2 a person maimed of hand or foot2 the name of a hula 7p4 #bab74 ,naulu 7nu-lu7--name of the seabreeze at ,waimea1 ,kauai4 ,ua naulu a heavy local rain 7pp4 #aaj1 #aab74 ,noa 7n-a7--ceremonially free2 unrestrained by tabu 7p4 #abf74 ,noni 7no-ni7--a dye-plant 7,morinda citrifolia7 whose fruit was sometimes eaten4 ,nuuanu 7,nu'u--nu7 a valley back of ,honolulu that leads to the 8,pali40 ,ohe 7-he7--bamboo2 a flute2 a variety of the hula 7pp4 #ace1 #ade74 ,ohelo 7o-h-lo7--an edible berry that grows at high altitudes2 to reach out2 to stretch2 a variety of the hula 7p4 #bcc74 ,ohia 7o-hi'a7--a name in some places applied to the lehua 7q4 v471 more generally the name of a fruit tree1 the 8mountain apple0 7,eugenia malaccensis74 ,olapa 7o-l-pa7--those members of a hula company who moved in the dance1 as distinguished from the hoopaa1 q4 v41 who sat and cantillated or played on some instrument 7p4 #bh74 ,oli 7-li7--a song2 a lyric2 to sing or chant 7p4 #bed74 ,olioli--,joyful4 ,olohe 7o-l-he7--an expert in the hula2 one who has passed the ailolo test and has also had much experience 7p4 #cb74 ,oo 7o-7--a spade2 an agricultural implement1 patterned after the whale spade 7p4 #he72 a blackbird1 one of those that furnished the golden-yellow feathers for the ahuula1 or feather cloak4 ,paepae 7pae-pe7--a prop2 a support2 the assistant to the po'o-pua'a 7p4 #bi74 ,pahu 7p-hu7--a box2 a drum2 a landmark2 to thrust1 said of a spear 7pp4 #ajc1 #ach74 ,pale 7p-le7--a division2 a canto of a mele2 a division of the song service in a hula performance 7pp4 #eh1 #hi74 ,pali 7p-li7--a precipice2 a mountain wall cut up with steep ravines4 7,mele on pp4 #ea-ec1 verses #d1 #e1 #h1 #af1 #ag1 #bg1 #di47 ,papa 7p-pa7--a board2 the plane of the earth's surface2 a mythological character1 the wife of ,wakea4 ,pa-u 7pa-7--a skirt2 a garment worn by women reaching from the waist to about the knees 7p4 #ej74 ,the dress of the hula performer 7p4 #di71 ,oli ,pa- 7p4 #ea74 ,pele 7,p-le7--the goddess of the volcano and of volcanoes generally1 who held court at the crater of ,kilauea1 on ,hawaii2 a variety of the hula 7p4 #ahf74 ,pikai 7pi-ki7--to asperse with seawater mixed1 perhaps1 with turmeric1 etc41 as in ceremonial cleansing 7p4 #ca74 ,poo-puaa 7po'o-pu-a'a7--,boar's head2 the one selected by the pupils in a school of the hula to be their agent and mouthpiece 7p4 #bi74 ,pua'a 7pu-a'a7--a pig2 the name of a hula 7p4 #bbh74 ,puka 7p-ka7--a hole1 a doorway1 to pass through4 ,pule 7p-le7--a prayer2 an incantation2 to pray4 ,pulou 7pu-lo'u7--to muffle2 to cover the head and face 7p4 #ca74 ,puniu 7pu-n-u7--a coconut shell2 a small drum made from the coconut shell 7p4 #ada72 a derisive epithet for the human headpiece4 ,ti1 or ki--a plant 7,dracna terminalis7 that has large smooth green leaves used for wrapping food and in decoration4 ,its fleshy root becomes syrupy when cooked 7p4 #dd74 ,uka 7-ka7--landward or mountainward4 ,uku-lele 7-ku-l-le7--a flea2 a sort of guitar introduced by the ,portuguese4 ,uniki 7u-n-ki7--the dbut or the first public performance of a hula actor4 7,verse #ba of mele on p4 #ag47 ,waa 7w'a7--a canoe4 ,wahine 7wa-h-ne7--a female2 a woman2 a wife4 ,wai--water4 ,waialeale 7,wai--le--le7--billowy water2 the central mountain on the island of ,kauai 7p4 #ajf74 ,,index ,,note4--,all ,hawaiian words1 as such 7except catch words71 are italicized4 ,,aala ,,kupukupu3 mele kupe'e #di ,a ,,eulogy for the princess3 song for the hula ku'i ,molokai #bji ,a ,,hamakua ,,au3 mele for the hula kaekeeke #abb ,a ,,hilo au1 e3 mele for the hula pa'i-umauma #bjc ,,aia ,i ,wai-pi'o ,paka'alana3 old mele set to music ,,viii #afb ,,ai-,,ha',a1 a style of recitation #eh ,,ailolo ,,offering1 at graduation from the school of the halau #cb eating of #cd inspection of #cc ,a ,,kauai1 a ke olewa iluna3 mele for the hula ,pele #ahi ,a ,,ke ,,kuahiwi3 a kanaenae to ,laka #af ,a ,,koa',e-,,kea3 mele for the hula ala'a-papa #fg ,a ,,koolau ,,wau3 mele for the hula ala'a-papa #ei ,a ,,lalo maua o ,waipi'o3 mele for the hula lili #abj ,,alas1 alas1 maimed are my hands6 lament of ,mana-mana-ia-kaluea #bab ,,alas1 ,i am seized by the shark3 song for the hula man #bbb ,,alas1 there's no stay to the smoke6 song for the hula ,pele #aie ,,aloha na hale o makou3 mele komo1 welcome to the halau #ci ,,aloha wale oe3 song with music ,,ix #afd ,,altar-,,prayer-- at ailolo inspection3 ,laka sits in her shady grove #cd at ailolo service3 ,o goddess ,laka6 #cd in prose speech3 ,e ola ia'u1 i ka malihini #df ,invoke we now the four thousand #bb ,thou art ,laka #db to ,kane and ,kapo3 ,now ,kane1 approach #de to ,laka3 ,here am ,i1 ,o ,laka from the mountains #bj to ,laka3 ,this my wish #dc to ,laka3 ,this spoil and rape of the wildwood #ai ,,altar1 visible abode of the deity #ae ,a ,,mackerel ,,sky1 time for foul weather3 song for the hula ala'a-papa #gj ,,ami1 not a motion of lewd intent #baj ,,amusements in ,hawaii communal #ac ,,anklet ,,song3 ,fragrant the grasses #di ,,aole ,,au ,e ,,hele ka li'u-la o ,man3 mele for the hula pa-ipu #gi ,,aole ,e ,,mao ka ohu3 mele for the hula ,pele #aie ,,aole ,i ,,manao ,,ia3 mele for the hula li-ul #ajh ,a ,,pili1 a pili3 mele for the hula hoonan #bdd ,a ,,pit ,,lies 7far7 to the ,east3 song for the hula pa-ipu #hf ,a ,,plover at the full of the sea3 song for the hula kolea #bbj ,a ,,pua ka wiliwili3 a bit of folk-lore 7note7 #bba ,a ,,puna ,,au3 mele for the hula pahu #ajd ,a ,,search for a sweetheart3 song for the hula ulili #bdg ,,aspersion in ceremonial purification #ae ,,assonance by word-repetition #bbg ,a ,,storm from the sea3 song for the hula pa-ipu #gh ,,at ,,hilo ,i rendezvoused with the lehua3 song for the hula pa'i-umauma #bjc ,,attitude of the ,hawaiian toward-- nature #bfb song #aei the gods #bbe ,,at ,,wailua stands the main house-post3 song for the hula ,pele #aib ,,auhea wale oe1 e ka ,makani ,inu-wai8 mele for the hula li-ul #aaj ,,auwe1 auwe1 mo' ku'u lima6 lament of ,mana-mana-ia-kaluea #bab ,,auwe1 pau au i ka man nui1 e6 mele for the hula man #bba ,a ,,weuw ke ko'e a ke kae3 mele oli in the game of kilu #bdj ,,awa ,,debauch of ,kane #aca ,,awiliwili i ka hale o ka lauwili1 e3 a proverbial saying 7note7 #ec ,,ax ,,of ,,broadest ,,edge ,i'm hight3 song for the hula pua'a #bcj ,,bamboo ,,rattle1 the puili #add ,,bedeck now the board for the feast3 song-prayer for the hula ,pele #bjj ,,begotten were the gods of graded rank3 song of cosmology 7note7 #aif ,,behold ,,kaun1 that sprite of windy ,ka-3 song for the hula ,pele #aic ,,big ,,with ,,child is the princess ,ku3 song for the hula pa-ipu #ha ,,bit ,,of ,,folk-,,lore3 ,a pua ka wiliwili 7note7 #bba ,when flowers the wiliwili 7note7 #bba ,,black ,,crabs are climbing3 song for the hula mu'umu'u #bad ,,bloom ,,of ,,lehua on altar piled3 prayer to remove tabu at intermission #abg ,,blow1 ,,blow1 thou wind of ,hilo6 old sea song 7note7 #fe ,,burst ,,of ,,smoke from the pit3 song for the hula pa-ipu #hi ,,cadence ,,in ,,music #adj ,,calabash ,,hulas #ajb ,,call ,,to ,,the ,,man to come in3 song of welcome to the halau #da ,,castanets #adg ,,ceremonial ,,cleansing in the halau #cj ,,cipher ,,speech #ig ,,clothing ,,or ,,covering1 illustrated by gesture #agh ,,coconut ,,drum1 puniu #ada ,,come ,,now1 ,,manono3 song for the hula pa'i-umauma #bjd ,,come ,,up to the wildwood1 come3 song for the hula ohe #acf ,,comrade ,,mine in the robe-stripping gusts of ,lalau3 song for the hula kilu #bda ,,conventional ,,gestures #ahj1 #ahb ,,costume of the hula dancer #di ,,court ,,of ,,the ,,alii the recruiting ground for hula performers #bg ,,cults of the hula folk--were there two8 #dg ,,dance1 a premeditated affair in ,hawaii #ac ,,david ,,malo1 hulas mentioned by #ajg ,,death1 represented by gesture #agh ,d,,but of a hula performer #ce ,d,,but-,,song of a hula performer3 ,ka nalu nui1 a ku ka nalu mai ,kona #ce ,,decorations of the kuahu--the choice limited #ai ,,dismissing ,,prayer at intermission3 ,doomed sacrifice ,i #abi ,,dispensation granted to pupils before graduation from the halau #cc ,,divisions of mele recitation in the hula #eh ,,doomed ,,sacrifice ,i3 dismissing prayer at intermission #abi ,,dressing ,,song of hula girls3 ,ku ka punohu ula #ee ,,drum-- description of #adj introduced by ,la'a-mai-,kahiki #ada ,,drum ,,hula1 the #ajc ,e ,,ala1 e ,kahiki-ku3 mele for the hula ,pele #aif ,e ,,hea i ke kanka e komo maloko 7mele komo73 welcome to the halau #da ,e ,,hoopono ka hele3 mele apropos of ,nihi-aumoe #id ,e ,,hooulu ana i ,kini o ke ,akua3 altar-prayer #ba ,,eia ,,ke ,,kuko1 ka li'a3 altar-prayer1 to ,laka #dc ,,ei',,au1 e ,laka mai uka3 altar-prayer #bj ,e ,,iho ana oluna3 oracular utterance of ,kapihe #ii ,e ,,kaukau i hale manu1 e3 mele for the hula ki'i #ii ,e ,,laka1 ,e6 mele kuahu at aiolo service #cd ,e ,,le',e ,,kaukau3 mele for the hula ki'i #ih ,,eleele ,,kaukau3 mele for the hula ki'i #ig ,,ellis1 ,,rev4 ,,william-- his description of the 8hura ka-raau0 #aaf his remarks about the 8hura araapapa0 #ga ,,elocution and rhythmic accent in ,hawaiian song #aeh ,e ,,manono la1 ea3 mele for the hula pa'i-umauma #bjd ,,engulfed in heaven's abyss3 song for the hula kilu #bdc ,e ,,oe ,,mauna i ka ohu3 mele for the hula ,pele #aid ,e ,,ola ,,ia',u1 i ka malihini3 altar-prayer1 in prose speech #df ,e ,,pi',i ka nahele3 mele for the hula ohe #ace ,e ,,pi',i ka-wai ka nahele3 mele for the hula niau-kani #acc ,,epithalamium1 mele for the hula ki'i3 ,o ,wanahili ka po loa ia ,manu'a #ajj ,e ,,ulu1 e ulu3 altar-prayer to the ,kini ,akua #df ,,ewa',s ,,lagoon is red with dirt3 song for the hula pa-ipu #hd ,e ,,wewehi1 ke1 ke6 mele for the hula ki'i #id ,,fable1 ,hawaiian love of #aaa ,,facial ,,expression #agi ,,fame ,,trumpets your conquests each day3 song for the hula ku'i #bec ,,feet ,,and ,,legs in gesture #aha ,,fish-,,tree1 ,maka-li 7note7 #ag ,,flowers acceptable for decoration #ai ,,fluctuating ,,utterance in song1 i'i #aeh ,,folk-,,lore1 application of the term #aad ,,foreign ,,influence on ,hawaiian music #ach1 #afc ,,fragrant ,,the ,,grasses of high ,kane-hoa3 anklet song #di ,,from ,,kahiki came the woman1 ,pele3 song for the hula ,pele #ahh ,,from ,,mountain ,,retreat-- song for the hula ala'a-papa #fd with music ,,vii #aeg ,,game ,,of ,,kilu #bce ,,game ,,of ,,na- 7note7 #aah ,,general ,,review #bfj ,,gesture-- illustrating an obstacle #agg illustrating movement #agh influenced by convention #ahj inviting to come in #agi mimetic #agh representing a plain #agh representing clothing or covering #agh representing death #agh representing union or similarity #agh taught by the kumu-hula #agf with feet and legs #aha ,,gird ,,on ,,the ,,pa-3 tiring song #ed ,,glossary #bff ,,glowing is ,kahiki1 oh6 song for the hula pa-ipu #ge ,,god-- of health1 ,mauli-ola 7note7 #aih of mirage1 ,lima-loa 7note7 #gi ,,gods1 attitude of the ,hawaiian toward the #bbe ,,gods of the hula #bc ,,gourd ,,drum1 ipu-hula #adb ,,gourd-,,rattle1 li-ul #add ,,graduation from the halau-- ailolo sacrament #cb1 #cd ceremonies of #ca tabu-lifting prayer3 ,oh wildwood bouquet1 oh ,laka #cb ,,haki pu o ka nahelehele3 altar-prayer to ,laka #ah ,,haku',i ka uahi o ka lua3 mele for the hula pa-ipu #hh ,,halau-- a school for the hula #cj ceremonies of graduation from #ca decorum required in #cj description of #ad its worship contrasted with that of the heiau #ae passwords to #ch purification of its site #ad rules of conduct while it is abuilding #ae worship in #db ,,halau ,,hanalei i ka nini a ka ua3 an oli #aee ,,hale-,,ma',,uma',u 7note7 #bbi ,,hall for the hula4 ,see ,halau4 ,,hanalei is a hall for the dance in the pouring rain3 a song #aee ,,hanau ke apapa nu'u3 song of cosmology 7note7 #aif ,,haunt of white tropic bird3 song for the hula ala'a-papa #fg ,,hawaiian ,,harp1 the ukek #adg ,,hawaiian love of fable #aaa ,,hawaiian ,,musical ,,instruments #ach ,,hawaiian ,,music displaced by foreign #ach ,,hawaiian ,,slang #ih ,,hawaiian ,,song-- elocution and rhythmic accent #aeh characteristics #agj melody2 rhythm #aga tone-intervals #aeh ,,hawaiian ,,speech1 music affected by peculiarities of #aci ,,hawaii ,,ponoi 7national hymn7 with music ,,xiv #agb ,,hawaii',s ,,very ,,own3 translation of national hymn #age ,,he ,,ala kai olohia3 mele for the hula ku'i ,molokai #bjg ,,heaven ,,magic fetch a ,hilo pour3 song for the hula ala'a-papa #ff ,,he ,,inoa no ka ,lani3 mele for the hula ku'i ,molokai #bjh ,,he ,,inoa no ,kamehameha3 song set to music ,,viii #afb ,,he ,,lua i ka hikina3 mele for the hula pa-ipu #he ,,here ,,am ,i1 ,o ,laka from the mountains3 altar-prayer to ,laka #bj ,,he ,,ua ,,la1 he ua3 mele for the hula kolani #baf ,,he -,i1 he ninau3 mele for ,kane #beg ,,hiiaka-- her bathing place #aij in a kilu contest with ,pele-ula #bdj ,see ,gods of the hula4 ,,hiki ,,mai1 hiki mai ka ,la1 e6 mele for the hula puili #aad ,,hi',u-,o-,,lani1 kii ka ua o ,hilo3 mele for the hula ala'a-papa #fe ,,hoaeae ,,explained #afc ,,hoe ,,puna i ka wa'a pololo a ka ino3 mele for the hula ala'a-papa #gj ,,hoinainau mea ipo3 mele for the hula ala'a-papa #ga ,,hole ,,waimea i ka ihe a ka makani3 mele for the hula ala'a-papa #fh ,,ho6 ,,mountain of vapor puffs3 song for the hula ,pele #aid ,,hoolehelehe-,,ki',i #ia ,,hoopa',a1 a division of the hula performers #bh1 #eg ,,hoopono ,,oe1 he aina kai ,waialua i ka hau3 mele for hula ala'a-papa #fj ,,how ,,pleased is the girl maimed of hand and foot3 song of ,hiiaka #bab ,,how ,,pleasing1 when borne by the tide3 song for the hula ku'i #beb ,,huahua',i3 song with music ,x3 ,he aloha wau ia oe #aff ,,hula-- degeneration of #ad intermission of #abf support and organization #bf ,,hula ,,ala',a-,,papa1 ,,the-- a religious service #aa1 #eg company--organization of #bi dancer's costume #di democratic side of #bf remarks on1 by ,rev4 ,w4 ,ellis #ga ,,hula ,,hoonan1 ,,the #bdd ,,hula ,,li-,,li1 ,,the #abj ,,hula ,,ilio1 ,,the #bbc ,,hula ,,kaekeeke1 ,,the #abb ,,hula ,,ka-,,laau #aaf its novel performance on ,kauai #aah responsive chanting in #aaf ,,hula ,,kielei1 ,,the #baj ,,hula ,,ki',i1 ,,the #ia ,,hula ,,kilu1 ,,the #bce ,,hula ,,kolani1 ,,the #baf ,,hula ,,kolea1 ,,the #bai ,,hula ,,kolili1 ,,the #bdf ,,hula ,,ku',i ,,molokai1 ,,the #bjg ,,hula ,,ku',i1 ,,the #bej ,,hula ,,ku,,lo1 ,,the #gc ,,hula ,,man1 ,,the #bba ,,hula ,,mu',,umu',u1 ,,the #bab ,,hula ,,niau-,,kani1 ,,the #acb ,,hula ,,ohelo1 ,,the #bcc ,,hula ,,ohe1 ,,the #ace ,,hula ,o-,,niu1 ,,the #bdh ,,hula ,,pa-,,hua1 ,,the #ahc ,,hula ,,pahu1 ,,the #ajc ,,hula ,,pa-,,ipu1 ,,the #gc ,,hula ,,pa',i-,,umauma1 ,,the #bjb ,,hula ,,pal,,ni1 ,,the 7note7 #bjb ,,hula ,,pele1 ,,the #ahf ,,hula ,,performance1 influenced by instrument of accompaniment #aac ,,hula ,,performers-- classes #bh1 #eg dbut #ce physique #eg ,,hula ,,pua',a1 ,,the #bbh ,,hula ,,puili1 ,,the #aac ,,hulas-- calabash hulas #ajb ,david ,malo's list of #ajg first hula #h gods of #bc of varying dignity and rank #eg ,see also ,hula and names of various hulas4 ,,hula ,,songs--their source #eh ,,hula ,,ulili1 ,,the #bdf ,,hula ,,li-,,ul1 ,,the #ajg 8,,hura ,,ka ,,raau10 description of1 by ,rev4 ,william ,ellis #aaf ,i ,,aloha i ke ko a ka wai3 mele for the hula ku'i #bea ,i ,,am ,,smitten with spear of ,kane3 song for the hula pa-hua #ahd ,,idyl1 typical ,hawaiian #bag ,i',i-- a fluctuating utterance in song #aeh its vowel repetition #aei ,i ,,kama',,ama',a la i ka pualei3 mele pule for the hula ,pele #aii ,,ike ,,ia ,,kaukini3 mele to ,kaukini 7note7 #ea ,,ike ,,ia ,,kaun-,,wahine1 ,makani ,ka-u3 mele for the hula ,pele #aic ,,ili,,li1 castanets #adg ,,ill ,,omen1 words of1 in mele inoa #cg ,,in ,,puna ,,was ,i3 song for the hula pahu #aje ,,intermission ,,of ,,hula #abf ,,in ,,the ,,uplands1 the darting flame-bird of ,la'a3 password to the halau #da ,,invitation to come in1 by gesture #agi ,,invoke ,,we ,,now the ,four ,thousand3 altar-prayer #bb ,,in ,,waipi',o stands ,paka'alana3 name-song of ,kamehameha #afc ,,ipu ,,hula1 gourd drum #eh1 #adb treatment of1 in hula pa-ipu and in hula ala'a-papa #gc ,i ,,spurn ,,the ,,thought with disdain3 song for the hula li-ul #aji ,,it ,,has ,,come1 it has come3 song for the hula puili #aad ,,it ,,was ,,in ,,hamakua3 song for the hula kaekeeke #abc ,i ,,will ,,not ,,chase the mirage of ,man3 song for the hula pa-ipu1 #hj ,,kaekeeke1 musical bamboo pipe1 #adc ,,kahea i ka mele1 #eh ,,kahiki-,,nui1 auwahi ka makani3 mele for the hula kaekeeke1 #abd ,,kahiki-,,nui1 land of wind-driven smoke3 song for the hula kaekeeke1 #abe ,,kahipa1 na waiu olewa3 mele for the hula pa'i-umauma1 #bje ,,kahuli ,,aku1 kahuli mai3 mele apropos of the tree-shell1 #aba ,,kakua ,,pa-1 ahu na kikpa3 tiring song1 #ea ,,kalakalaihi1 kaha ka ,la ma ke kua o ,lehua3 mele for the hula kilu1 #bch ,,kalakaua1 a great name3 song for the hula ka-laau1 #aag ,,kalalau1 pali eku i ka makani3 mele for the hula ki'i1 #aja ,,ka-,,liu-,,wa',a 7note71 #bcj ,,kama-,,pua',a1 his relations with-- ,kapo1 #be ,pele1 #bca ,,ka ,,mawae3 song and music ,,xi1 #afg ,,kamehameha ,,ii1 song composed by1 #fi ,,ka-,,moho-,,alii 7note71 #bbi ,,kanaenae ,,to ,,laka3 ,a ke kuahiwi1 i ke kualono1 #af ,,kanaloa4 ,see ,gods of the hula4 ,,kanaloa ,,tints ,,heaven with a blush3 song for the hula kilu1 #bdb ,,ka ,,nalu ,,nui1 a ku ka nalu mai ,kona3 name-song to ,naihe1 #ce ,,kane1 ,,hiki ,a',e1 he malma ia luna3 altar-prayer to ,kane and ,kapo1 #dd ,,kane is ,,drunken with awa3 song for interlude1 #acj ,,kane',s ,,awa ,,debauch1 #aca ,,kane4 ,see ,gods of the hula4 ,,kapo-- parentage and relations to the hula1 #dg relations with ,kama-pua'a1 #be ,see ,gods of the hula4 ,,kauai1 characteristics of its hula1 #aai ,,kauhua ,,ku1 ka ,lani1 iloli ka moku3 mele for the hula pa-ipu1 #hj ,,kau ,,ka ,,ha--,a1 kau o ka hana wa ele3 mele for the hula ala'a-papa1 #fi ,,ka ,,uka ,,holo-,,kia ahi-manu o ,la'a3 password to the halau1 #da ,,kaulana mai nei ,pua ,lanakila3 mele for the hula ku'i1 #beb ,,kaula ,,wears the ocean as a wreath3 wreath-song1 #ef ,,kaula ,,wreathes her brow with the ocean3 song of ,mana-mana-ia-kaluea1 #bac ,,kau ,,lilua i ke anu ,wai-aleale3 mele for the hula pahu1 #aje ,,kau ,,pu ,,ka ,,iwa kala-pahe'e3 mele for the hula pa-ipu1 #gf ,,ka ,,wai opua-makani o ,wailua3 an oli1 #bee ,,kawelo1 a sorcerer who turned shark 7note71 #gi ,,keaau is a long strip of wild wood3 song for the hula ala'a-papa1 #fb ,,keaau ,,shelters1 ,waiakea lies in the calm3 song for the hula ala'a-papa1 #fa ,,ke ,,amo la ke ko'i ke ,akua la i uka3 mele for the hula ,pele1 #aij ,,keawe-- a name of many personalities 7note71 #gd the red blush of dawn3 old song 7note71 #gd ,,ke ,,lei ,,mai la o ,kaula i ke kai1 e-e6-- mele of ,mana-mana-ia-kaluea1 #bab wreath-song1 #ef ,,ke ,,poh ,,nei2 u'na la3 mele for the hula o-niu #bdh ,,ki',i-,,ki',i #ia ,,ki',i ,,na ,,ka ,,ipo3 mele for the hula ulili #bdf ,,kilelei1 ,,the ,,hula #baj ,,kilu1 a game and a hula #bce ,,kilu-,,contest of ,hiiaka with ,pele-ula #bdj ,,king1 ,,capt4 ,,james1 on the music and dancing of the ,hawaiians #adi ,,king',s ,,wash-,,tubs #aaf ,,kini ,,akua1 ,,the #bd1 #df ,,ko',i-,,honua1 a style of recitation #eh1 #hi ,,ko',i ,,maka ,,nui3 mele oli for the hula pua'a #bbh ,,kolea ,,kai ,,piha3 mele for the hula kolea #bai ,,kona ,,kai ,,opua1 i kala i ka la'i3 mele for the hula ka-laau #aag ,,kuahu-,,service1 not a rigid liturgy #ba ,,kuahu1 ,,the #ae1 #cb ,,ku ,,aku ,,la ,,keaa1 lele ka makani mawaho3 mele for the hula pa-ipu #gg ,,kua ,,loloa ,keau i ka nahele3 mele for the hula ala'a-papa #fb ,,ku1 ,a ,,marionette #ia ,,ku ,e1 ,,nan ,e6 mele for the hula ilio #bbc ,,ku ,i ,,wailua ka pou hale3 mele for the hula ,pale #aia ,,ku ,,ka ,,makaia a ka huaka'i moe po3 dismissing prayer at intermission #abi ,,ku ,,ka ,,punohu ula i ka moana3 girl's dressing song #ee ,,kukulu ,o ,,kahiki 7note7 #ag ,,kumu-,,hula1 a position open to all #ae ,,kumukahi1 myth 7note7 #aig ,,kunihi ,,ka ,,mauna i ka la'i1 e3 mele kahea1 password to the halau #dj ,,ku ,,oe ,,ko',u ,,wahi ohelo nei la1 auwe1 auwe6 mele for the hula ohelo #bcc ,,ku ,,piliki',i ,hanalei lehua1 la3 mele for the hula kielei #baj ,,ku-,,pulupulu4 ,see ,gods of the hula4 ,,ku4 ,see ,gods of the hula4 ,,ku',u ,,hoa ,,mai ka makani kuehu kapa o ,kalalau3 mele for the hula kilu #bdj ,,la',a ,,mai-,,kahiki-- his connection with the hula pahu #ajc introduces the drum1 or pahu hula #ada ,,laau1 a xylophone #add ,,laka-- a block of wood her special symbol #bj1 #bc adulatory prayer to #ah a friend of the ,pele family #bd aumakua of the hula #bc compared with the gods of classic ,greece #bd emanation origin #dh epithets and appellations of #bd invoked as god of wildwood growths #bd special god of the hula #bd versus ,kapo #dg wreathing her emblem #cd ,,laka ,,sits in her shady grove3 altar-prayer #cd ,,lament ,,of ,,mana-,,mana-,,ia-,,kaluea-- ,alas1 alas1 maimed are my hands6 #bab ,auwe1 auwe1 mo' ku'u lima6 #bab ,,lau ,,lehua punoni ula ke kai o ,kona3 mele for the hula pa-ipu #ge ,,leaf ,,of ,,lehua and noni-tint1 the ,kona sea3 song for the hula pa-ipu #gf ,,le',a ,,wale hoi ka wahine lima-lima ole1 wawae ole3 mele of ,hiiaka #bab ,,lehua ,,iluna3 tabu-lifting prayer at intermission #abf ,,lele ,,mahu',i-,,lani a luna3 a tiring song #ef ,,let',s ,,worship ,,now the bird-cage3 song for the hula ki'i #ii ,,lift ,,mahu',i-,,lani on high3 tiring song #ef ,,like ,,no ,a ,,like3 song with music ,,xii #afh ,,lima-,,loa1 god of mirage 7note7 #gi ,,literalism ,,in ,,translation versus fidelity #hh ,,liturgy ,,of ,,kuahu not rigid #ba ,,li',,uli',u ,,aloha ia'u mele kahea3 password to the halau #ci ,,long1 ,,long have ,i tarried with love3 password to the halau #ci ,,lono1 cult of #ah ,see ,gods of the hula4 ,,look ,,forth1 ,,god ,,ku1 look forth3 song for the hula ilio #bbe ,,look ,,now1 ,,waialua1 land clothed with ocean-mist3 song for the hula ala'a-papa #fj ,,look ,,to ,,your ,,ways in upland ,puna3 song apropos of ,nihi-aumoe #id ,,lo1 ,,pele',s ,,the ,,god of my choice3 song prayer for the hula ,pele #aii ,,lo1 ,,the ,,rain1 the rain3 song for the hula kolani #bag ,,love ,,fain ,,compels to greet thee3 song1 8,cold breast10 with music ,,ix #afe ,,love ,,is ,,at ,,play in the grove3 song for the hula ala'a-papa #ga ,,love ,,tousled ,,waimea with shafts of the wind3 song for the hula ala'a-papa #fi ,,lyric ,,or ,,oli3 ,the wind-beaten stream of ,wailua #bef ,,lyric ,,utterance #bed-bef ,,mahele ,,or ,,pale1 divisions of a song #eh ,,mai ,,kahiki ka wahine1 o ,pele3 mele for the hula ,pele #ahg ,,maile-,,lau-,,li',i #ia ,,maile-,,pakaha #ia ,,maka-,,ku #ia ,,maka-,l,i1 a mythical fish-tree 7note7 #ag ,,makali',i1 the ,pleiades 7note7 #ag ,,malua1 fetch water of love3 song for the hula puili #aae ,,malua1 ki'i wai ke aloha3 mele for the hula puili #aad ,,mao ,,wale i ka lani3 mele for the hula kilu #bdc ,,marionette ,,hula #ia ,,masks ,,not ,,used in the halau #agi ,,mauli-,,ola1 god of health 7note7 #aih ,,meles-- apropos of-- ,kahuli1 the tree-shell3 ,kahuli aku1 kahuli mai #aba ,keawe3 ,o ,keawe ula-i-ka-lani 7note7 #gd ,nihi-aumoe3 ,e hoopono ka hele i ka uha o ,puna #id at dbut of hula performer3 ,ka nalu nui1 a ku ka nalu mai ,kona #ce for interlude3 ,ua ona o ,kane i ka awa #acj for ,kane3 ,he -i1 he ninu #beg for the-- hula ala'a-papa-- ,a ,koa'e-kea1 i ,pueo-hulu-nui #fg ,a ,koolau wau1 ike i ka ua #ei ,hi'u-o-lani1 ki'i ka ua o ,hilo #fe ,hoe ,puna i ka wa'a pollo #gj ,ho-ina-inau mea ipo i ka nahele #ga ,hole ,waimea i ka ihe a ka makani #fh ,hoopono oe1 he aina kai ,waialua i ka hau #fj ,kau ka ha--a1 kau o ka hana wa ele #fi ,kua loloa ,keaau i ka nahele #fb ,noluna ka ,hale-kai1 no ka ma'a-lewa #fc ,pak ,kea-au1 lulu ,wai-akea #fj hula hoonan3 ,a pili1 a pili #bdd hula lili3 ,a lalo maua o ,waipi'o #abj hula ilio3 ,ku e1 nan e6 #bbc hula kaekeeke-- ,a ,hamakua au #abb ,kahiki-nui1 auwahi ka makani #abd hula ka-laau-- ,kona kai opua i kala i ka la'i #aag ,o ,kalakaua1 he inoa #aag hula kielei ,ku piliki'i ,hanalei-lehua1 la #baj hula ki'i-- ,e kaukau i hale manu1 e6 #ii ,e le'e kaukau #ih ,eleele kaukau #ig ,e ,wewehi1 ke1 ke6 #id ,kalalau1 pali eku i ka makani #aja ,pikka e1 ka luna ke1 ke6 #if hula kilu-- ,klaklahi1 kaha ka ,la ma ke kua o ,lehua #bch ,ku'u hoa mai ka makani kuehu-kapa o ,kalalau #bdj ,mao wale i ka lani #bdc ,pua ehu kamalna ka uka o ,kapa'a #bcg ,ula ,kala'e-loa i ka lepo a ka makani #bci ,ula ka lani ia ,kanaloa #bda hula kolani3 ,he wa la1 he ua #baf hula kolea3 ,kolea kai piha #bai hula ku'i-- ,i aloha i ke ko a ka wai #bea ,kaulana mai nei ,pua ,lanakila #beb hula ku'i ,molokai-- ,he ala kai olohia #bjg ,he inoa no ka ,lani #bjh hula man3 ,auwe6 pau au i ka man nui1 e6 #bba hula mu'umu'u3 ,pi'i ana a-ama #bac hula niau-kani3 ,e pi'i ka wai ka nahele #acc hula ohe3 ,e pi' i ka nahele #ace hula ohelo3 ,ku oe ko'u wahi ohelo nei la1 auwe1 auwe6 #bcc hula o-niu3 ,ke poh nei1 u'na la6 #bdh hula pahu-- ,a ,puna au1 i ,kuki'i au1 i ,ha'eha'e #ajd ,kau lilua i ke anu ,wai-aleale #aje ,o ,hilo oe1 muliwai a ka ua i ka lani #ajd hula pa-hua3 ,pa au i ka ihe a ,kane #ahc hula pa-ipu-- ,aole au e hele ka li'u-la o ,man #gi ,haku'i ka uahi o ka lua #hh ,he lua i lea hikina #he ,kauhua ,ku1 ka ,lani1 iloli ka moku #hj ,kauo pu ka iwa kala-pahe'e #gf ,ku aku la ,kea-a1 lele ka makani mawaho #gg ,lau lehua punoni ula ke kai o ,kona #ge ,o ,ewa1 aina kai ula i ka lepo #hd ,ooe no paha ia1 e ka lau o ke aloha #hb ,wela ,kahiki1 e6 #gc hula pa'i-umauma-- ,a ,hilo au1 e1 hoolulu ka lehua #bjc ,e ,manono la1 ea #bjd ,kahipa1 na waiu olewa #bje hula ,pele-- ,a ,kauai1 a ke olewa iluna #ahi ,aole e mao ka ohu #aie ,e ala1 e ,kahiki-ku #aif ,e oe mauna i ka ohu #aid ,i kama'ama'a la i ka pua-lei #aii ,ike ia ,kaun-wahine1 ,makani ,ka- #aic ,ke amo la ke ,akua la i-uka #aij ,ku i ,wailua ka pou hale #aia ,mai ,kahiki ka ,wahine1 o ,pele #ahg ,nou paha e1 ka inoa #bjj ,o ,pele la ko'u akua #aih hula puili-- ,hiki mai1 hiki mai ka ,la1 e6 #aad ,malua1 ki'i wai ke aloha #aad hula ulili3 ,ki'i na ka ipo #bdf hula li-ul-- ,aole i mana'o ia #ajh ,auhea wale oe1 e ka ,makani ,inu-wai8 #aaj inoa-- composition and criticism of #bg must contain no words of ill omen #cg their authors called 8the king's wash-tubs0 #aaf to ,naihe3 ,ka nalu nui1 a ku ka nalu mai ,kona #ce in the hula1 starting of #eh kahea1 password to the halau-- ,ka uka holo-kia ahi-manu o ,la'a #da ,kunihi ka mauna i ka la'i1 e #dj ,li'u-li'u aloha ia'u #ci komo1 welcome to the halau-- ,aloha na hale o makou i makamaka ole #ci ,e hea i ke kanaka e komo maloko #da kuahu1 altar-prayer-- ,e1 ,laka1 e6 #cd ,noho ana ,laka i ka ulu wehiwehi #cc kupe'e1 anklet song3 ,aala kupukupu ka uka o ,kanehoa #di of ,hiiaka3 ,le'a wale hoi ka wahine limalima ole1 wawae ole #bab of ,mana-mana-ia-kaluea3 ,ke lei mai la o ,kaula i ke kai e-e6 #bab oli-- for the hula pua'a3 ,ko'i maka nui #bbh in the game of kilu3 ,a uweuwe ke ko'e a ke kae #bdj set to music-- ,,xi3 ,a e ho'i ke aloha i ka mawae #afg ,,viii3 ,aia i ,waipi'o ,paka'alana #afb ,,ix3 ,aloha wale oe #afd ,,vii3 ,halau ,hanalei i ka nini a ka a #aef ,,xiv3 ,hawaii ponoi #agb ,x3 ,he aloha wau ia oe #aff ,,xiii3 ,o ka ponaha iho a ke ao #afi ,,xii3 ,ua lke no a lke #afh to ,kaukini3 ,ike ia ,kaukini1 he lawaia manu 7note7 #ea ,,melody of ,hawaiian song #agj ,,methinks ,,it ,,is ,,you1 leaf plucked from ,love's tree3 song for hula pa-ipu #hc ,,mimetic ,,gesture #agh ,,mistaken ,,views about the ,hawaiians #bfb ,,misty ,,and ,,dim1 a bush in the wilds of ,kapa'a3 song for hula kilu #bcg ,,motion1 illustrated by gesture #agh ,,musical ,,instruments #adj influence on a hula performance #aac the kaekeeke #abb the pu-la- #adg the ukek #adi ,,musical ,,selections-- ,i3 range of the nose-flute #adf ,,ii3 from the nose-flute #adf ,,iii3 the ukek as played by ,keaonaloa #adi ,,iv3 song from the hula pa'i-umauma #aec ,v3 song from the hula pa-ipu #aec ,,vi3 song from the hula ,pele #aed ,,vii3 oli and mele from the hula ala'a-papa #aef ,,viii3 ,he inoa no ,kamehameha #afb ,,ix3 song1 ,poli anuanu3 ,aloha wale oe #afd ,x3 song1 ,hua-hua'i #aff ,,xi3 song1 ,ka ,mawae #afg ,,xii3 song1 ,lke no a ,lke #afh ,,xiii3 song1 ,pili-aoao #afi ,,xiv3 ,hawaiian ,national ,hymn1 ,hawaii ,ponoi #agb ,,music ,,and ,,poetry1 ,hawaiian--their relation #afa ,,music ,,of ,,the ,,hawaiians #ach-adj cadence #adj phrasing #adj rhythm #afj under foreign influences #afc vocal execution #aci ,,myth ,,about ,,kumu-,,kahi 7note7 #aig ,,mythical ,,shark1 ,papi'o 7note7 #bjf ,,name-,,song ,,of ,,kamehameha3 ,in ,waipio stands ,pa ka'alana #afc of ,naihe3 ,the huge roller1 roller that surges from ,kona #cf ,,national ,,hymn of ,hawaii-- translation #age with music ,,xiv #agb ,,na-1 a game 7note7 #aah ,,niau-,,kani1 a musical instrument #acb ,,niheu1 mythological character 7note7 #aid ,,nihi-,,aumoe #ia ,,noho ,,ana ,,laka i ka ulu wehiwehi3 altar-prayer #cc ,,noluna ka hale kai1 e ka ma'alewa-- mele for the hula ala'a-papa #fc mele with music ,,vii #aee ,,nose-,,flute #ace1 #ade music from1 ,,ii #adf remarks on1 by ,jennie ,elsner #adf ,,nou ,,paha ,e1 ka inoa3 mele for the hula ,pele #bjj ,now ,,for ,,the ,,dance1 dance in accord3 song for the hula ki'i #ih ,,now1 ,,kane1 ,,approach1 illumine the altar3 altar-prayer to ,kane and ,kapo #de ,,now ,,wriggles ,,the ,,worm to its goal3 song in the game of kilu #bdj ,,obstacle1 ,,an1 illustrated by gesture #agg ,o ,,ewa1 aina kai ula i ka lepo3 mele for the hula pa-ipu #hd ,o ,,goddess ,,laka6 altar-prayer #cd ,,ohe ,,hano-,,ihu1 the nose-flute #ace1 #ade1 #adf ,o ,,hilo ,,oe1 ,hilo1 muliwai a ka wa i ka lani3 mele for the hula pahu #ajd ,,oh ,,wewehi1 la1 la6 song for the hula ki'i #ie ,,oh ,,wildwood ,,bouquet1 ,oh ,laka-- tabu-removing prayer at graduation #cb tabu-removing prayer at intermission #abh ,o ,,kalakaua1 he inoa3 mele for the hula ka-laau #aag ,o ,,ka ,,ponaha iho a ke ao3 song with music ,,xiii #afi ,o ,,keawe-,,ula-,i-,,ka-,,lani3 old mele apropos of ,keawe 7note7 #gd ,o ,,laka ,,oe3 altar-prayer to ,laka #db ,,olapa1 a division of hula performers #bh1 #eg ,,old ,,sea ,,song-- ,blow1 blow1 thou wind of ,hilo6 7note7 #fe ,pa mai1 pa mai 7note7 #fe ,,old ,,song3 ,keawe1 the red blush of dawn 7note7 #gd ,,olelo ,,hun1 secret talk #ig ,,oli ,,and ,,mele-- dividing line between #bed from the hula ala'a-papa1 music ,,vii #aef ,,oli ,,lei3 ,ke lei mai la o ,kaula i ke kai1 e6 #ef ,,oli ,,pa-3 ,kakua pa-1 ahu na kikepa #ea ,,oli1 ,,the #bed-bef illustration of3 ,ka wai opua-makani o ,wailua #bee ,,oli1 with music ,,vii3 ,halau ,hanalei i ka nini a ka ua #aee ,,olopana1 a famous king 7note7 #gd ,o ,,my ,,love goes out to thee3 song with music ,x #afg ,,one-,,breath ,,performance #aci ,,ooe ,,no ,,paha ,,ia1 e ka lau o ke aloha3 mele for the hula pa-ipu #hb ,o ,,pele la ko'u akua3 mele for the hula ,pele #aih ,,oracular ,,utterance of ,kapihe3 ,e iho ana oluna #ii ,,organization of a hula company #bi ,,orthography of the ,hawaiian language--influence of ,rev4 ,w4 ,ellis 7note7 #gb ,,outspreads ,,now ,,the ,,dawn3 song with music ,,xiii #agj ,o ,,wanahili ka po loa ia ,manu'a3 mele for the hula ki'i #ajj ,,pa ,,au ,i ,,ka ihe a ,kane3 mele for the hula pa-hua #ahc ,,pahu1 the drum #adj ,,pak ,,keaau1 lulu ,waiakea3 mele for the hula pa-hua #fj ,,pa ,,mai1 pa mai3 old sea song 7note7 #fe ,,papi',o1 mythical shark 7note7 #bjf ,,part-,,singing in ,hawaii-- at the present time #aeb in ancient times #aej1 #aeb ,,password ,,to ,,the ,,halau-- ,in the uplands1 the darting flame-bird of ,la'a #da ,long1 long have ,i tarried with love #ci ,steep stands the mountain in calm #dj ,,pa-,u ,,halak1 ,,the 7note7 #abd ,,pa- ,,song3 ,gird on the pa-1 garment tucked in one side #ed ,,pa-1 the hula skirt #di ,,peculiarities of ,hawaiian speech1 music affected by #aci ,,pele-- relations of1 with ,kama-pua'a #bca story of #ahf ,,perilous1 ,,steep1 is the climb to ,hanalei woods3 song for the hula kielei #baa ,,phrasing in music #adj ,,physique of hula performers #eg ,,pi',i ,,ana ,a-,,ma3 mele for the hula mu'umu'u #bac ,,pik,,ka1 ,e1 ka luna1 ke1 ke3 mele for the hula ki'i #if ,,pillars of heaven's dome1 ,kukulu o ,kahiki 7note7 #ag ,,pitching ,,the ,,tune #aeh ,,plain1 ,a1 illustrated by gesture #agh ,,pleiades1 ,,the1 ,makali'i 7note7 #ag ,,poetry of ancient ,hawaii #afa1 #bfc ,,point ,,to ,a ,,dark ,,one3 song for the hula ki'i #ig ,,poli ,,anuanu1 song with music ,,ix3 ,aloha wale oe #afd ,,prayer ,,of ,,adulation to ,laka3 ,in the forests1 on the ridges #ah ,,prayer ,,of ,,dismissal at intermission3 ,ku ka makaia a ka huaka'i moe ipo #abi ,,precious ,,the ,,gift of heart's-ease3 song for the hula ku'i ,molokai #bjh ,,proverbial ,,saying3 ,unstable the house #ec ,,pu-1 a whistle #adf ,,pua ,,ehu ,,kamalena ka uka o ,kapa'a3 mele for the hula kilu #bcg ,,puapua-,,kea #ia ,,puili1 a bamboo rattle #add ,,pu-,,la-1 a musical instrument #adg ,,pule ,,hoonoa-- at graduation exercises3 ,pupu we'uwe'u e1 ,laka e6 #ca at intermission3 ,lehua i-luna #abf to ,laka3 ,pupu we'uwe'u e1 ,laka e6 #abh ,,pule ,,kuahu-- ,e hooulu ana i ,kini o ke ,akua #ba ,ei' au1 e ,laka mai uka #bj in prose speech3 ,e ola ia'u1 i ka malihini #df to ,kane and ,kapo3 ,kane hiki a'e1 he malma ia luna #dd to ,laka3 ,eia ke kuko1 ka li'a #dc to ,laka3 ,haki pu a ka nahelehele #ah to ,laka3 ,o ,laka oe #db to the ,kini ,akua3 ,e ulu1 e ulu1 ,kini o ke ,akua6 #df ,,puna ,,plies ,,paddle night-long in the storm3 song for hula ala'a-papa #gj ,,punch-,,and-,,judy ,,show and the hula ki'i #ia ,,pu-,,niu1 coconut drum #ada ,,pupils ,,of ,,the ,,halau--dispensation before graduation #cc ,,pupu-,a-,,lenalena1 a famous dog #aca ,,pupu ,,we',,uwe',u ,e1 ,laka e6 pule hoonoa-- at graduation #ca at intermission #abh ,,purification of the hula company #ae of the site for the halau #ad ,,range of the nose-flute #adf ,,recitation in the hula1 style of #eh ,,red ,,glows ,,kala',e through the wind-blown dust3 song for the hula kilu #bci ,,reed-,,instrument1 the niau-kani #adg ,,relation of ,hawaiian poetry and music #afa ,,religion in ,hawaii somber #ac ,,responsive ,,chanting in the hula ka-laau #aaf ,,return1 ,o ,,love1 to the refuge3 song with music ,,xi #afh ,,rhythm in ,hawaiian music #afj1 #aga ,,rules ,,and ,,penalties controlling a hula company #bi ,,rules ,,of ,,conduct during the building of a halau #ae ,,shark-,,god1 ,kawelo1 a sorcerer 7note7 #gi ,,she ,,is ,,limed1 she is limed3 song for the hula hoonan #bde ,,singing ,,in ,,ancient ,,times--testimony of ,capt4 ,james ,king #adi ,,skirt for the hula1 the pa- #di ,,slang among the ,hawaiians #ih ,,song1 ,hawaiian attitude toward #aei ,see also ,hawaiian song4 ,,songs-- apropos of ,nihi-aumoe3 ,look to your ways in upland ,puna #id at the first hula #h composed by ,kamehameha ,,ii #fi divisions of #eh epithalamium1 for the hula ki'i3 ,wanahili bides the whole night with ,manu'a #aja for interlude3 ,kane is drunken with awa #acj for the-- hula ala'a-papa-- ,a mackerel sky1 time for foul weather #gj ,from mountain retreat and root-woven ladder #fd ,haunt of white tropic-bird #fg ,heaven-magic fetch a ,hilo pour #ff ,keaau is a long strip of wildwood #fb ,keaau shelters1 ,waiakea lies in the calm #fa ,look now1 ,waialua1 land clothed with ocean mist #fj ,love is at play in the grove #ga ,love tousled ,waimea with shafts of the wind #fi ,puna plies paddle night-long in the storm #gj ',twas in ,koolau ,i met with the rain #ei hula hoonan3 ,she is limed1 she is limed #bde hula lili3 ,we twain were lodged in ,waipi'o #abj hula ilio3 ,look forth1 god ,ku1 look forth6 #bbe hula kaekeeke3 ,it was in ,hamakua #abc ,kahiki-nui1 land of wind-driven smoke #abe hula ka-laau3 ,kalakaua1 a great name #aag ,the cloud-piles o'er ,kona's sea #aah hula kielei3 ,perilous1 steep is the climb to ,hanalei woods #baa hula ki'i-- ,let's worship now the bird-cage #ii ,now for the dance #ih ,oh ,wewehi1 la1 la6 #ie ,point to a dark one #ig ,the mountain walls of ,kalalau #ajb ,the roof is a-dry1 la1 la6 #if hula kilu-- ,comrade mine in the robe-stripping gusts of ,lalau #bda ,engulfed in heaven's abyss #bdc ,kanaloa tints heaven with a blush #bdb ,misty and dim1 a bush in the wilds of ,kapa'a #bcg ,red glows ,kala'e through the wind-blown dust #bci ,the sun-furrow gleams at the back of ,lehua #bch hula kolani3 ,lo1 the rain1 the rain6 #bag hula kolea3 ,a plover at the full of the sea #bbj hula ku'i-- ,fame trumpets your conquests each day #bec ,how pleasing1 when borne by the tide #beb hula ku'i ,molokai-- ,a eulogy for the princess #bji ,precious the gift of heart's ease6 #bjh hula man3 ,alas1 ,i am seized by the shark1 great shark6 #bbb hula mu'umu'u3 ,black crabs are climbing #bad hula niau-kani3 ,up to the streams in the wildwood #acc hula ohe3 ,come up to the wildwood1 come #acf hula ohelo3 ,touched1 thou art touched by my gesture #bcd hula o-niu3 ,the rustle and hum of spinning top #bdi hula pahu-- ,in ,puna was ,i1 in ,kiki'i1 in ,ha'e-ha'e #aje performers #ajc ,thou art ,hilo1 ,hilo1 flood-gate of heaven #ajd ,wai-aleale stands haughty and cold #ajf hula pa-hua3 ,i am smitten with spear of ,kane #ahd hula pa-ipu-- ,a burst of smoke from the pit lifts to the skies #hi ,a pit lies 7far7 to the east #hf ,a storm from the sea strikes ,ke-au #gh ,big with child is the ,princess ,ku #ha ,ewa's lagoon is fed with dirt #hd ,glowing is ,kahiki1 oh6 #ge ,i will not chase the mirage of ,man #hj ,leaf of lehua and noni-tint #gf ,methinks it is you1 leaf plucked from love's tree #hc ,the iwa flies heavy to nest in the brush #gf hula pa'i-umauma-- ,at ,hilo ,i rendezvoused with the lehua #bjc ,come now1 ,manono #bjd ',tis ,kahipa1 with pendulous breasts #bjf hula ,pele-- ,alas1 there's no stay to the smoke #aie ,at ,wailua stands the main house-post #aib ,bedeck now the board for the feast #bjj ,behold ,kaun1 that sprite of windy ,ka- #aic ,from ,kahiki came the woman1 ,pele #ahh ,ho6 mountain of vapor puffs6 #aid ,lo1 ,pele's the god of my choice #aih ,they bear the god's ax up the mountain #aia ,to ,kauai1 lifted in ether #ahi ,with music ,,vi #aed ,yours1 doubtless1 this name #bja hula pua'a3 ,ax of broadest edge ,i'm hight #bcj hula puili-- ,it has come1 it has come #aad ,malua1 fetch water of love #aae hula ulili3 ,a search for a sweetheart #bdg hula li-ul-- ,i spurn the thought with disdain #aji ,whence art thou1 thirsty ,wind8 #aaa from the hula pa'i-umauma--music ,,iv #aec in the game of kilu3 ,now wriggles the worm to its goal #bdj of cosmology-- ,begotten were the gods of graded rank 7note7 #aif ,hanau ke apapa nu'u 7note7 #aif of ,hiiaka3 ,how pleased is the girl maimed of hand and foot #bab of ,mana-mana-ia-kaluea3 ,kala wreathes her brow with the ocean #bac of the tree-shell3 ,trill afar1 trill a-near #aba of welcome to the halau3 ,what love to our cottage homes6 #dj ,the ,water of ,kane3 ,this question1 this query #beh with music-- ,,vii3 ,hanalei is a hall for the dance in the pouring rain #aee ,,xiv3 ,hawaii's very own #age ,,viii3 ,in ,waipi'o stands ,paka'a-lana #afc ,,ix3 ,love fain compels to greet thee #afe ,x3 ,o my love goes out to thee #afg ,,xiii3 ,outspreads now the dawn #agj ,,xi3 ,return1 ,o love1 to the refuge #afh ,,xii3 ,when the rain drums loud on the leaf #afi ,,source of hula songs #eh ,,steep ,,stands ,,the ,,mountain in calm3 password to the halau #dj ,,stress-,,accent and rhythmic accent #aeh ,,support ,,and ,,organization of the hula #bf ,,tabu1 as a power in controlling a hula company #cj ,,tabu-,,removing ,,prayer at intermission3 ,oh wildwood bouquet1 ,o ,laka6 #abh ,,tempo in ,hawaiian song #afj ,,the ,,cloud-,,piles o'er ,kona's sea whet my joy3 song for the hula kalaau #aah ,,the ,,huge ,,roller1 roller that surges from ,kona3 name-song to ,naihe #cf ,,the ,,iwa ,,flies ,,heavy to nest in the brush3 song for the hula pa-ipu #gf ,,the ,,mountain ,,walls of ,kalalau3 song for the hula ki'i #ajb ,,the ,,rainbow stands red o'er the ocean3 tiring song #ee ,,the ,,roof is a-dry1 la1 la6 song for the hula ki'i #if ,,the ,,rustle ,,and ,,hum of spinning top3 song for the hula o-niu #bdi ,,the ,,sun-,,furrow gleams at the back of ,lehua3 song for the hula kilu #bch ,,the ,,wind-,,beaten ,,stream of ,wailua3 an oli or lyric #bef ,,they ,,bear ,,the ,,god',s ,,ax up the mountain3 song for the hula ,pele #aia ,,this ,,my ,,wish1 my burning desire3 altar-prayer to ,laka #dc ,,this ,,question1 this query3 song1 ,the ,water of ,kane #beh ,,this ,,spoil ,,and ,,rape of the wildwood3 altar-prayer to ,laka #ai ,,thou ,,art ,,hilo1 ,hilo1 flood-gate of heaven3 song for the hula pahu #ajd ,,thou ,,art ,,laka3 altar-prayer to ,laka #db ,,thy ,,blessing1 ,o ,,laka3 altar-prayer in prose speech #dg ,,tiring ,,song-- ,lele ,mahu'ilani a luna #ef ,lift1 ,mahu'ilani1 on high #ef ,the rainbow stands red o'er the ocean #ee ',,tis ,,kahipa1 with pendulous breasts3 song for the hula pa'i-umauma #bjf ,,to ,,kauai1 lifted in ether3 song for the hula ,pele #ahi ,,tone-,,intervals in ,hawaiian song #aeh ,,touched1 thou art touched by my gesture3 song for the hula ohelo #bcd ,,translation1 literalism in1 versus fidelity #hh ,,trill ,a-,,far1 trill a-near3 song of the tree-shell #aba ',,twas ,,in ,,koolau ,i met with the rain3 song for the hula ala'a-papa #ei ,,ua ,,ona ,o ,,kane i ka awa3 mele for interlude #acj ,,ukek1 a ,hawaiian harp #adg music of #adi ,,uku-,,lele and taro-patch fiddle1 used in the hula ku'i 7note7 #bea ,,ula ,,kala',e-,,loa i ka lepo a ka makani3 mele for the hula kilu #bci ,,ula ,,ka ,,lani ia ,kanaloa3 mele for the hula kilu #bda ,,li-,,ul1 a musical instrument #ajg1 #add ,,union ,,or ,,similarity1 illustrated by gesture #agh ,,vocal ,,execution of ,hawaiian music #aci ,,vowel-,,repetition in the i'i #aei ,,wai-,,aleale stands haughty and cold3 song for the hula pahu #ajf ,,wanahili bides the whole night with ,manu'a3 7epithalamium7 song for the hula ki'i #aja ,,water ,,of ,,kane1 ,,the3 a song of ,kane #beg ,,wela ,,kahiki1 ,e6 mele for the hula pa-ipu #gc ,,welcome ,,to ,,the ,,halau3 ,call1 to the man to come in #da ,,we ,,twain were lodged in ,waipi'o3 song for the hula lili #abj ,,what ,,love to our cottage homes6 song of welcome to the halau #dj ,,whence ,,art ,,thou1 thirsty ,wind8 song for the hula li-ul #aaa ,,when ,,flowers ,,the ,,wiliwili3 a bit of folk-lore 7note7 #bba ,,when ,,the ,,rain ,,drums loud on the leaf3 song with music ,,xii #afi ,,word-,,repetition in poetry #ed for assonance #bbg ,,worship ,,in ,,the ,,halau #db contrasted with worship in the heiau #ae ,,wreathing ,,the ,,emblem of goddess ,laka #cd ,,wreath-,,song3 ,kaula wears the ocean as a wreath #ef ,,xylophone1 the laau #add ,,yours1 ,,doubtless1 this name3 song for the hula ,pele #bja