such as was performed without the usual restrictions of tabu
that hedged about the set dances of the halau. The occasion
of an outdoor festival, an _ahaaina_ or _luau_, was made the
opportunity for the exhibition of this dance. It seems to
have been an expression of pure sportiveness and
mirth-making, and was therefore performed without sacrifice
or religious ceremony. While the king, chiefs, and
_aialo_—courtiers who ate in the king’s presence—are
sitting with the guests about the festal board, two or three
dancers of graceful carriage make a circuit of the place,
ambling, capering, gesturing as they go in time to the words
of a gay song.
A performance of this sort was witnessed by the author’s
informant in Honolulu many years ago; the occasion was the
giving of a royal luau. There was no musical instrument, the
performers were men, and the mele they cantillated went as
follows:
A pili, a pili,
A pili ka’u manu
Ke kepau[485] o ka ulu-laau.
Poai a puni,
5 Noho ana i muli-wa’a;[486]
Hoonu’u ka momona a ke alii.
Eli-eli[487] ke kapu; ua noa.
Noa ia wai?
Noa ia ka lani.
10 Kau lilua,[488] kaohi ka maku’u
E ai ana ka ai a ke alii!
Hoonu’u, hoonu’u hoonu’u
I ka i’a a ke alii!
[Footnote 485: _Kepáu._ Gum, the bird-lime of the fowler,
which was obtained from forest trees, but especially from the
_ulu_, the breadfruit.]
[Footnote 486: _Muli-wa’a_ (_muli_, a term applied to a younger
brother). The idea involved is that of separation by an
interval, as a younger brother is separated from his older
brother by an interval. _Muliwai_ is an interval of water, a
stream. _Wa’a_, the last part of the above compound word,
literally a canoe, is here used tropically to mean the
tables, or the dishes, on which the food was spread, they
being long and narrow, in the shape of a canoe. The whole
term, consequently, refers to the people and the table about
which they are seated.]
[Footnote 487: _Eli-eli._ A word that is found in ancient
prayers to emphasize the word _kapu_ or the word _noa_.]
[Footnote 488: _Lilua_. To stand erect and act without the
restraint usually prescribed in the presence of royalty.]
[Page 245]
[Translation.]
She is limed, she is limed,
My bird is limed,
With the gum of the forest.
We make a great circuit,
5 Outskirting the feast.
You shall feast on king’s bounty:
No fear of the tabu, all’s free.
Free! and By whom?
Free by the word of the king.
10 Then a free rein to mirth!
Banish the kill-joy
Who eats the king’s dainties!
Feast then till replete
With the good king’s meat!
[Page 246]
XXXVII.—THE HULA ULILI
The hula _ulili_, also called by the descriptive name
_kolili_—to wave or flutter, as a pennant—was a hula that
was not at all times confined to the tabu restrictions of the
halau. Like a truant schoolboy, it delighted to break loose
from restraint and join the informal pleasurings of the
people. Imagine an assembly of men and women in the
picturesque illumination given by flaring kukui torches, the
men on one side, the women on the other. Husbands and wives,
smothering the jealousy instinctive to the human heart, are
there by mutual consent—their daughters they leave at
home—each one ready to play his part to the finish, with no
thought of future recrimination. It was a game of
love-forfeits, on the same lines as kilu and ume.
Two men, armed with wands furnished with tufts of gay
feathers, pass up and down the files of men and women, waving
their decorated staffs, ever and anon indicating with a touch
of the wand persons of the opposite sex, who under the rules
must pay the forfeit demanded of them. The kissing, of
course, goes by favor. The wand-bearers, as they move along,
troll an amorous ditty:
_Oli_
Kii na ka ipo * * *
Mahele-hele i ka la o Kona![489]
O Kona, kai a ke Akua.[490]
Elua la, huli ka Wai-opua,[491]
5 Nehe i ke kula,
Leha iluna o Wai-aloha[492]
Kani ka aka a ka ua i ka laau,
Hoolaau ana i ke aloha ilaila.
Pili la, a pili i ka’u manu—
10 O pili o ka La-hiki-ola.
Ola ke kini o-lalo.
Hana i ka mea he ipo.
A hui e hui la!
Hui Koolau-wahine[493] o Pua-ke-i![494]
[Footnote 489: _La o Kona_. A day of Kona, i.e., of fine
weather.]
[Footnote 490: _Kai a ke Akua_. Sea of the gods, because calm.]
[Footnote 491: _Wai-opua_. A wind which changed its direction
after blowing for a few days from one quarter.]
[Footnote 492: _Wai-aloha_. The name of a hill. In the
translation the author has followed its meaning (“water of
love”).]
[Footnote 493: _Koolau-wahine_. The name of a refreshing wind,
often mentioned in Hawaiian poetry; here used as a symbol of
female affection.]
[Footnote 494: _Pua-ke-i_. The name of a sharp, bracing wind
felt on the windward side of Molokai; used here apparently as
a symbol of strong masculine passion.]
[Page 247]
[Translation.]
_Song_
A search for a sweetheart...
Sport for a Kona day!
Kona, calm sea of the gods.
Two days the wind surges;
5 Then, magic of cloud!
It veers to the plain,
Drinks up the water of love.
How gleesome the sound
Of rain on the trees,
10 A balm to love’s wound!
The wand touches, heart-ease!
It touches my bird—
Touch of life from the sun!
Brings health to the million.
15 Ho, now comes the fun!
A meeting, a union—
The nymph, Koo-lau,
And the hero, Ke-í.
[Page 248]
XXXVIII.—THE HULA O-NIU
The so-called hula _o-niu_ is not to be classed with the
regular dances of the halau. It was rather a popular sport,
in which men and women capered about in an informal dance
while the players engaged in a competitive game of
top-spinning: The instrument of sport was made from the lower
pointed half of an oval coconut shell, or from the
corresponding part of a small gourd. 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 Hawaii.
The players were divided into two sides of equal number, and
each player had before him a plank, slightly hollowed in the
center—like the board on which the Hawaiians pounded their
poi—to be used as the bed for spinning his top. The naked
hand, unaided by whip or string, 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
adjustment, lest the whirling thing reel too far to one side
or run wild and fly its smooth bed. Victory was declared and
the wager given to the player whose top spun the longest.
The feature that most interests us is the singing, or
cantillation, of the oli. In a dance and game of this sort,
which the author’s informant witnessed at Kahuku, Oahu, in
1844, one contestant on each side, in turn, cantillated an
oli during the performance of the game and the dance.
_Oli_
Ke pohá, nei; u’ína la!
Kani óle-oléi, hau-walaau!
Ke wawa Pu’u-hina-hina;[495]
Kani ka aka, he-hene na pali,
5 Na pali o Ka-iwi-ku’i.[496]
Hanohano, makana i ka Wai-opua.[497]
Malihini ka hale, ua hiki mai;
Kani ka pahu a Lohiau,
A Lohiau-ipo[498] i Haena la.
10 Enaena ke aloha, ke hiki mai;
[Page 249] Auau i ka wai a Kanaloa.[499]
Nana kaua ia Lima-huli,[500] e.
E huli oe a loaa pono
Ka ia nei o-niu.
[Footnote 495: _Pu’u-hina-hina_. A precipitous place on the
coast near Haena.]
[Footnote 496: _Ka-iwi-ku’i_. A high cliff against which the
waves dash.]
[Footnote 497: _Wai-opua_. The name of a pleasant breeze.]
[Footnote 498: _Lohiau-ipo_. The epithet _ipo_, sweetheart,
dear one, was often affixed to the name of Lohiau, in token,
no doubt, of his being distinguished as the object of Pele’s
passionate regard.]
[Footnote 499: _Kanaloa_. There is a deep basin, of clear
water, almost fluorescent in its sparkle, in one of the
arched caves of Haena, which is called the water of
Kanaloa—the name of the great God. This is a favorite
bathing place.]
[Footnote 500: Lima-huli. The name of a beautiful valley that
lies back of Haena.]
[Translation.]
Song
The rustle and hum of spinning top,
Wild laughter and babel of sound—
Hear the roar of the waves at Pu’u-hina!
Bursts of derision echoed from cliffs,
5 The cliffs of Ka-iwi-ku’i;
And the day is stirred by a breeze.
The house swarms with women and men.
List! the drum-beat of Lohiau,
Lohiau, the lover, prince of Haena—
10 Love glows like an oven at his coming;
Then to bathe in the lake of the God.
Let us look at the vale Lima-huli, look!
Now turn we and study the spinning—
That trick we must catch to be winning.
This fragment from antiquity, as the local coloring
indicates, finds its setting at Haena, the home of the famous
mythological Prince Lohiau, of whom Pele became enamored in
her spirit journey. 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 Hiiaka, Pele’s beloved sister.
The feast was also Lohiau’s farewell to his friends at Haena.
At its conclusion Hiiaka started with her charge on the
journey which ended with the tragic death of Lohiau at the
brink of the volcano. Pele in her jealousy poured out her
fire and consumed the man whom she had loved.
[Page 250]
XXXIX.—THE HULA KU’I
The account of the Hawaiian hulas would be incomplete if
without mention of the hula _ku’i_. This was an invention, or
introduction, of the last quarter of the nineteenth century.
Its formal, public, appearance dates from the coronation
ceremonies of the late King Kalakaua, 1883, when it filled an
important place in the programme. Of the 262 hula
performances listed for exhibition, some 30 were of the hula
ku’i. This is perhaps the most democratic of the hulas, and
from the date of its introduction it sprang at once into
public favor. Not many years ago one could witness its
extemporaneous performance by nonprofessionals at many an
entertainment and festive gathering. Even the
school-children took it up and might frequently be seen
innocently footing its measures on the streets. (Pl. XXIV.)
The steps and motions of the hula ku’i to the eyes of the
author resemble those of some Spanish dances. The rhythm is
in common, or double, time. One observes the following
motions:
_Figure A_.—1. A step obliquely forward with the left foot,
arms pointing the same way, body inclining to the right. 2.
The ball of the left foot (still advanced) gently pressed on
the floor; the heel swings back and forth, describing an arc
of some 30 or 40 degrees. 8. The left foot is set firmly in
the last position, the body inclining to it as the base of
support; the right foot is advanced obliquely, and 4,
performs the heel-swinging motions above described, arms
pointing obliquely to the right.
_Figure B_.—Hands pressed to the waist, fingers directed
forward, thumbs backward, elbows well away from the body;
left foot advanced as in figure A, 1, body inclining to the
right. 2. The left foot performs the heel-waving motions, as
above. 3. Hands in same position, right foot advanced as
previously described. 4. The right foot performs the swinging
motions previously described—the body inclined to the left.
_Figure C_.—In this figure, while the hands are pressed as
before against the waist, with the elbows thrown well away
from the body, the performer sways the pelvis and central
axis of the trunk in a circular or elliptical orbit, a
movement, which, carried to the extreme, is termed ami.
There are other figures and modifications, which the
ingenuity and fancy of performers have introduced into this
dance; but this account must suffice.
[Illustration:
LADY DANCING THE HULA KU’I]
[Page 251]
Given a demand for a _pas seul_, some pleasing dance
combining grace with dexterity, a shake of the foot, a twist
of the body, and a wave of the hands, the hula ku’i filled
the bill to perfection. The very fact that it belonged by
name to the genus hula, giving it, as it were, the smack of
forbidden fruit, only added to its attractiveness. It became
all the rage among dancing folk, attaining such a vogue as
almost to cause a panic among the tribunes and censors of
society. Even to one who cares nothing for the hula per se,
save as it might be a spectacle out of old Hawaii, or a
setting for an old-time song, the innocent grace and
Delsartian flexibility of this solo dance, which one can not
find in its Keltic or African congeners, associate it in mind
with the joy and light-heartedness of man’s Arcadian period.
The instruments generally used in the musical accompaniment
of the hula ku’i are the guitar, the _uku-lele_,[501] the
taro-patch fiddle,[501] or the mandolin; the piano also lends
itself effectively for this purpose; or a combination of
these may be used.
The songs that are sung to this dance as a rule belong
naturally to later productions of the Hawaiian muse, or to
modifications of old poetical compositions. The following
mele was originally a namesong (mele-inoa). It was
appropriated by the late Princess Kino-iki; and by her it was
passed on to Kalani-ana-ole, a fact which should not
prejudice our appreciation of its beauty.
_Mele_
I aloha i ke ko a ka wai,
I ka i mai, e, anu kaua.
Ua anu na pua o ka laina,[502]
Ka wahine noho anu o ke kula.
5 A luna au a o Poli-ahu;[503]
Ahu wale kai a o Wai-lua.
Lua-ole ka hana a ka makani,
A ke Kiu-ke’e[504] a o na pali,
Pa iho i ke kai a o Puna—
10 Ko Puna mea ma’a mau ia.
Pau ai ko’u lihi hoihoi
I ka wai awili me ke kai.
Ke ono hou nei ku’u pu’u
I ka wai hu’ihu’i o ka uka,
[Page 252] 15 Wai hone i ke kumu o ka pali,
I malu i ka lau kui-kui.[505]
Ke kuhi nei au a he pono
Ka ilima lei a ke aloha,
Au i kau nui aku ai,
20 I ka nani oi a oia pua.
[Footnote 501: The _uku-lele_ and the _taro-patch fiddle_ are
stringed instruments resembling in general appearance the
fiddle. They seem to have been introduced into these islands
by the Portuguese immigrants who have come in within the last
twenty-five years. As with the guitar, the four strings of
the uku-lele or the five strings of the taro-patch fiddle are
plucked with the finger or thumb.]
[Footnote 502: _Na pua o ka laina_. The intent of this
expression, which seems to have an erotic meaning, may
perhaps be inferred from its literal rendering in the
translation. It requires a tropical imagination to follow a
Hawaiian poem.]
[Footnote 503: _Poli-ahu_. A place or region on Mauna-kea.]
[Footnote 504: _Kiu-ke’e_. The name of a wind felt at
Nawiliwili, Kauai. The local names for winds differed on the
various islands and were multiplied almost without measure:
as given in the mythical story of Kama-pua’a, or in the
semihistoric tale of Kú-a-Paka’a, they taxed the memories of
raconteurs.]
[Footnote 505: _Kui-kui._ The older name-form of the tree
(Aleurites triloba), popularly known by some as the
candle-nut tree, from the fact that its oily nuts were used
in making torches. _Kukui_, or _tutui_, is the name now
applied to the tree, also to a torch or lamp. The Samoan
language still retains the archaic name _tuitui_. This is one
of the few instances in which the original etymology of a
word is retained in Hawaiian poetry.]
[Translation.]
_Song_
How pleasing, when borne by the tide,
One says, you and I are a-cold.
The buds of the center are chilled
Of the woman who shivers on shore.
5 I stood on the height Poli-ahu;
The ocean enrobed Wai-lua.
Ah, strange are the pranks of the wind,
The Kiu-ké’e wind of the pali!
It smites now the ocean at Puna—
10 That’s always the fashion at Puna.
Gone, gone is the last of my love,
At this mixture of brine in my drink!
My mouth is a-thirst for a draught
Of the cold mountain-water,
15 That plays at the foot of the cliff,
In the shade of the kui-kui tree.
I thought our love-flower, ilima—
Oft worn as a garland by you—
Still held its color most true.
20 You’d exchange its beauty for rue!
_Mele_
Kaulana mai nei Pua Lanakila;
Olali oe o ke aupuni hui,
Nana i koké áku ke kahua,
Na ale o ka Pakipika.
5 Lilo i mea ole na enemi;
Puuwai hao-kila, he manao paa;
Na ka nupepa la i hoike mai.
Ua kau Lanakila i ka hanohano,
O ka u’i mapela la o Aina-hau;
10 O ko’u hoa ia la e pili ai—
I hoa kaaua i ka puuwai,
I na kohi kelekele i ka Pu’ukolu.
Ina ilaila Pua Komela,
Ka u’i kaulana o Aina-pua!
15 O ka pua o ka Lehua me ka Ilima
I lei kahiko no ko’u kino,
Ka Palai lau-lii me ka Maile,
Ke ala e hoene i kou poli.
[Page 253]
[Translation.]
_Song_
Fame trumpets your conquests each day,
Brave Lily Victoria!
Your scepter finds new hearts to sway,
Subdues the Pacific’s wild waves,
5 Your foes are left stranded ashore,
Firm heart as of steel!
Dame Rumor tells us with glee
Your fortunes wax evermore,
Beauty of Aina-hau,
10 Comrade dear to my heart.
And what of the hyacinth maid,
Nymph of the Flowery Land?
I choose the lehua, ilima,
As my wreath and emblem of love,
15 The small-leafed fern and the maile—
What fragrance exhales from thy breast!
The story that might explain this modern lyric belongs to the
gossip of half a century ago. The action hinges about one who
is styled Pua Lanakila—literally Flower of Victory. Now
there is no flower, indigenous or imported, known by this
name to the Hawaiians. It is an allegorical invention of the
poet. A study of the name and of its interpretation, Victory,
at once suggested to me the probability that it was meant for
the Princess Victoria Kamamalu.
As I interpret the story, the lover seems at first to be in a
condition of unstable equilibrium, but finally concludes to
cleave to the flowers of the soil, the _lehua_ and the
_ilima_ (verse 15), the _palai_ and the _maile_ (verse 17),
the meaning of which is clear.
[Page 254]
XL.—THE OLI
The Hawaiian word _mele_ included all forms of poetical
composition. The fact that the mele, in whatever form, was
intended for cantillation, or some sort of rhythmical
utterance addressed to the ear, has given to this word in
modern times a special meaning that covers the idea of song
or of singing, thus making it overlap ambiguously into the
territory that more properly belongs to the word _oli_. The
oli was in strict sense the lyric utterance of the Hawaiians.
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 affection, but as the vehicle of humorous or
sarcastic narrative in the entertainment of their comrades.
The traveler, as he trudged along under his swaying burden,
or as he rested by the wayside, would solace himself and his
companions with a pensive improvisation in the form of an
oli. Or, sitting about the camp-fire of an evening, without
the consolation of the social pipe or bowl, the people of the
olden time would keep warm the fire of good-fellowship and
cheer by the sing-song chanting of the oli, in which the
extemporaneous bard recounted the events of the day and won
the laughter and applause of his audience by witty, ofttimes
exaggerated, allusions to many a humorous incident that had
marked the journey. If a traveler, not knowing the language
of the country, noticed his Hawaiian guide and
baggage-carriers indulging in mirth while listening to an oli
by one of their number, he would probably be right in
suspecting himself to be the innocent butt of their
merriment.
The lover poured into the ears of his mistress his gentle
fancies: the mother stilled her child with some bizarre
allegory as she rocked it in her arms; the bard favored by
royalty—the poet laureate—amused the idle moments of his
chief with some witty improvisation; the alii himself, gifted
with the poetic fire, would air his humor or his didactic
comments in rhythmic shape—all in the form of the oli.
The dividing line, then, between the oli and those other
weightier forms of the mele, the _inoa_, the _kanikau_
(threnody), the _pule_, and that unnamed variety of mele in
which the poet dealt with historic or mythologic subjects, is
to be found almost wholly in the mood of the singer. In
truth, the Hawaiians not unfrequently applied the term pule
to compositions which we moderns find it hard to bring within
our definitions of prayer. For to our understanding the
Hawaiian pule often contains neither petition, nor entreaty,
nor aspiration, as we measure such things.
[Page 255]
The oli from, its very name (_oli-oli_, joyful) conveys the
notion of gladness, and therefore of song. It does not often
run to such length as the more formal varieties of the mele;
it is more likely to be pitched to the key of lyric and
unconventional delight, and, as it seems to the writer, more
often than other forms attains a gratifying unity by reason
of closer adherence to some central thought or mood; albeit,
when not so labeled, one might well be at a loss whether in
any given case he should term the composition mele or oli.
It may not be entirely without significance that the first
and second examples here given come from Kauai, 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 Hawaii.
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 bones.
Having cleaned and wrapped them in a bundle, she carried them
with her wherever she went. In the indiscretion begotten of
her ill-balanced state of mind she committed the mortal
offense of entering the royal residence while thus
encumbered, where was Kaahumanu, favorite wife of Kamehameha
I. The king detailed two constables (_ilamuku_) to remove the
woman and put her to death. When they had reached a safe
distance, moved with pity, the men said: “Our orders were to
slay; but what hinders you to escape?” The woman took the
hint and fled hot-foot.
_Oli_
Ka wai opua-makani o Wailua,[506]
I hulihia e ke kai;
Awahia ka lau hau,
Ai pála-ka-há, ka ai o Maká’u-kiu.
5 He kiu ka pua kukui,
He elele hooholo na ke Koolau;[507]
Ke kipaku mai la i ka wa’a—[508]
“E holo oe!”
Holo newa ka lau maia me ka pua hau,
10 I pili aloha me ka mokila ula i ka wai;
Maalo pulelo i ka wai o Malu-aka.
He aka kaua makani kaili-hoa;
Kaili ino ka lau Malua-kele,
Lalau, hopu hewa i ka hoa kanáka;[509]
[Page 256] 15 Koe a kau me ka manao iloko.
Ke apo wale la no i ke one,
I ka uwe wale iho no i Mo’o-mo’o-iki,[510] e!
He ike moolelo na ke kuhi wale,
Aole ma ka waha mai o kánaka,
20 Hewa, pono ai la hoi au, e ka hoa;
Nou ka ke aloha,
I lua-ai-ele[511] ai i-o, i anei;
Ua kuewa i ke ala me ka wai-maka.
Aohe wa, ua uku i kou hale—
25 Hewa au, e!
[Footnote 506: The scene is laid in the region about the
_Wailua_, a river on Kauai. This stream, tossed with waves
driven up from the sea, represents figuratively the
disturbance of the woman’s mind at the coming of the
officers.]
[Footnote 507: _Koolau_. The name of a wind; stands for the
messengers of the king, whose instructions were to expel
(_kipaku_, verse 7) and then to slay.]
[Footnote 508: _Wa’a_. Literally canoe; stands for the woman
herself.]
[Footnote 509: _Hoa kanáka_. Human companion; is an allusion to
the bundle of her husband’s bones which she carries with her,
but which are torn away and lost in the flood.]
[Footnote 510: _Mo’o-mo’o-iki_. A land at Wailua, Kauai.]
[Footnote 511: _Lua-ai-ele_. To carry about with one a sorrow.]
[Translation.]
_Song_
The wind-beaten stream of Wailua
Is tossed into waves from the sea;
Salt-drenched are the leaves of the hau,
The stalks of the taro all rotted—
5 ’Twas the crop of Maka’u-kiu,
The flowers of kukui are a telltale,
A messenger sped by the gale
To warn the canoe to depart.
Pray you depart!
10 Hot-foot, she’s off with her pack—
A bundle red-stained with the mud—
And ghost-swift she breasts Malu-aka.
Quest follows like smoke—lost is her companion;
Fierce the wind plucks at the leaves,
15 Grabs—by mistake—her burden, the man.
Despairing, she falls to the earth,
And, hugging the hillock of sand,
Sobs out her soul on the beach Mo-mo-iki.
A tale this wrung from my heart,
20 Not told by the tongue of man.
Wrong! yet right, was I, my friend;
My love after all was for you,
While I lived a vagabond life there and here,
Sowing my vagrom tears in all roads—
25 Prompt my payment of debt to your house—
Yes, truly, I’m wrong!
[Page 257]
XLI.—THE WATER OF KANE
If one were asked what, to the English-speaking mind,
constitutes the most representative romantico-mystical
aspiration that has been embodied in song and story,
doubtless he would be compelled to answer the legend and myth
of the Holy Grail. 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 chapter, The
Water of Kane. One finds suggestions and hints of this
conception in many passages of Hawaiian song and story,
sometimes a phosphorescent flash, answering to the dip of the
poet’s blade, sometimes crystallized into a set form; but
nowhere else than in the following mele have I found this
jewel deliberately wrought into shape, faceted, and fixed in
a distinct form of speech.
This mele comes from Kauai, 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
Polynesia; 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 kings.
_He Mele no Kane_
He ú-i, he ninau:
He ú-i aku ana au ia oe,
Aia i-héa ka wai a Kane?
Ala i ka hikina a ka La,
5 Puka i Hae-hae;[512]
Aia i-laila ka Wai a Kane.
E ú-i aku ana au ia oe,
Aia i-hea ka Wai a Kane?
Aia i Kau-lana-ka-la,[513]
10 I ka pae opua i ke kai,[514]
Ea mai ana ma Nihoa,[515]
[Page 258] Ma ka mole mai o Lehua;
Aia i-laila ka Wai a Kane.
E ú-i aku ana au ia oe,
15 Aia i-hea ka Wai a Kane?
Aia i ke kua-hiwi, i ke kua-lono,
I ke awáwa, i ke kaha-wai;
Aia i-laila ka Wai a Kane.
E ú-i aku ana au ia oe,
20 Aia i-hea ka Wai a Kane?
Aia i-kai, i ka moana,
I ke Kua-lau, i ke anuenue,
I ka punohu,[516] i ka ua-koko,[517]
I ka alewa-lewa;
25 Aia i-laila ka Wai a Kane.
E ú-i aku ana au ia oe,
Aia i-hea ka Wai a Kane?
Aia i-luna ka Wai a Kane,
I ke ouli, i ke ao eleele,
30 I ke ao pano-pano,
I ke ao popolo-hua mea a Kane la, e!
Aia i-laila ka Wai a Kane.
E ú-i aku ana au ia oe,
Aia i-hea ka Wai a Kane?
35 Aia i-lalo, i ka honua, i ka Wai hu,
I ka wai kau a Kane me Kanaloa—[518]
He wai-puna, he wai e inu,
He wai e mana, he wai e ola.
E ola no, e-a!
[Footnote 512: _Hae-hae_. Heaven’s eastern gate; the portal in
the solid walls that supported the heavenly dome, through
which the sun entered in the morning.]
[Footnote 513: _Kau-lana-ka-la_. When the setting sun, perhaps
by an optical illusion drawn out into a boatlike form,
appeared to be floating on the surface of the ocean, the
Hawaiians named the phenomenon _Kau-lana-ka-la_—the floating
of the sun. Their fondness for personification showed itself
in the final conversion of this phrase into something like a
proper name, which they applied to the locality of the
phenomenon.]
[Footnote 514: _Pae opua i ke kai_. Another instance of
name-giving, applied to the bright clouds that seem to rest
on the horizon, especially to the west.]
[Footnote 515: _Nihoa_ (Bird island). This small rock to the
northwest of Kauai, though far below the horizon, is here
spoken of as if it were in sight.]
[Footnote 516: _Punohu_ A red luminous cloud, or a halo,
regarded as an omen portending some sacred and important
event.]
[Footnote 517: _Ua-koko_. Literally bloody rain, a term applied
to a rainbow when lying near the ground, or to a
freshet-stream swollen with the red muddy water from the wash
of the hillsides. These were important omens, claimed as
marking the birth of tabu chiefs.]
[Footnote 518: _Wai kau a Kane me Kanaloa_. Once when Kane and
Kanaloa were journeying together Kanaloa complained of
thirst. Kane thrust his staff into the pali near at hand, and
out flowed a stream of pure water that has continued to the
present day. The place is at Keanae, Maui.]
[Translation.]
_The Water of Kane_
A query, a question,
I put to you:
Where is the water of Kane?
At the Eastern Gate
5 Where the Sun comes in at Hae-hae;
There is the water of Kane.
A question I ask of you:
Where is the water of Kane?
Out there with the floating Sun,
[Page 259] 10 Where cloud-forms rest on Ocean’s breast,
Uplifting their forms at Nihoa,
This side the base of Lehua;
There is the water of Kane.
One question I put to you:
15 Where is the water of Kane?
Yonder on mountain peak,
On the ridges steep,
In the valleys deep,
Where the rivers sweep;
20 There is the water of Kane.
This question I ask of you:
Where, pray, is the water of Kane?
Yonder, at sea, on the ocean,
In the driving rain,
25 In the heavenly bow,
In the piled-up mist-wraith,
In the blood-red rainfall,
In the ghost-pale cloud-form;
There is the water of Kane.
30 One question I put to you:
Where, where is the water of Kane?
Up on high is the water of Kane,
In the heavenly blue,
In the black piled cloud,
35 In the black-black cloud,
In the black-mottled sacred cloud of the gods;
There is the water of Kane.
One question I ask of you:
Where flows the water of Kane?
10 Deep in the ground, in the gushing spring,
In the ducts of Kane and Loa,
A well-spring of water, to quaff,
A water of magic power—
The water of life!
45 Life! O give us this life!
[Page 260]
XLII.—GENERAL REVIEW
In this preliminary excursion into the wilderness of Hawaiian
literature we have covered but a small part of the field; we
have reached no definite boundaries; followed no stream to
its fountain head; gained no high point of vantage, from
which to survey the whole. 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 world.
Certain provisional conclusions, however, are clearly
indicated: that this unwritten speech-literature is but a
peninsula, a semidetached, outlying division of the
Polynesian, with which it has much in common, the whole
running back through the same lines of ancestry to the people
of Asia. There still lurk in the subliminal consciousness of
the race, as it were, vague memories of things that long ago
passed from sight and knowledge. Such, for instance, was the
_mo’o_; a word that to the Hawaiian meant a nondescript
reptile, which his imagination vaguely pictured, sometimes as
a dragonlike monster belching fire like a chimera of
mythology, or swimming the ocean like a sea-serpent, or
multiplied into a manifold pestilential swarm infesting the
wilderness, conceived of as gifted with superhuman powers and
always as the malignant foe of mankind. Now the only Hawaiian
representatives of the reptilian class were two species of
harmless lizards, so that it is not conceivable that the
Hawaiian notion of a mo’o was derived from objects present in
his island home. The word _mo’o_ may have been a coinage of
the Hawaiian speechcenter, but the thing it stood for must
have been an actual existence, like the python and cobra of
India, or the pterodactyl of a past geologic period. May we
not think of it as an ancestral memory, an impress, of
Asiatic sights and experiences?
In this connection, it will not, perhaps, lead us too far
afield, to remark that in the Hawaiian speech we find the
chisel-marks of Hindu and of Aryan scoring deep-graven. For
instance, the Hawaiian, word _pali_, cliff or precipice, is
the very word that Young-husband—following, no doubt, the
native speech of the region, the Pamirs—applies to the
mountain-walls that buttress off Tibet and the central
plateaus of Asia from northern India. Again the Hawaiian word
_mele_, which we have used so often in these chapters as to
make it seem almost like a household word, corresponds in
form, in sound, and in meaning to the Greek. [Greek: melos:
[Page 261] ta melê], lyric poetry (Liddell and Scott). Again, take the
Hawaiian word _i’a_, fish—Maori, _ika_; Malay, _ikan_; Java,
_iwa_; Bouton, _ikani_ (Edward Tregear: The Maori-Polynesian
Comparative Dictionary). Do not these words form a chain that
links the Hawaiian form to the [Greek: ichthus] of classic
Greece? The subject is fascinating, but it would soon lead us
astray. These examples must suffice.
If we can not give a full account of the tangled woodland of
Hawaiian literature, it is something to be able to report on
its fruits and the manner of men and beasts that dwelt
therein. Are its fruits good for food, or does the land we
have explored bring forth only poisonous reptiles and the
deadly upas? Is it a land in which the very principles of art
and of human nature are turned upside down? Its language the
babble of Bander-log?
This excursion into the jungle of Hawaiian literature should
at least impress us with the oneness of humanity; that its
roots and springs of action, and ours, draw their sustenance
from one and the same primeval mold; that, however far back
one may travel, he will never come to a point where he can
say this is “common or unclean;” so that he may without
defilement “kill and eat” of what the jungle provides. The
wonder is that they in Hawaii of the centuries past, shut off
by vast spaces of sea and land from our world, yet
accomplished so much.
Test the ancient Hawaiians by our own weights and measures.
The result will not be to their discredit. In practical
science, in domestic arts, in religion, in morals, in the raw
material of literature, even in the finished article—though
unwritten—the showing would not be such as to give the
superior race cause for self-gratulation.
Another lesson—a corollary to the above—is the debt of
recognition we owe to the virtues and essential qualities of
untutored human nature itself. 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 ocean, as the
Polynesians have been for a period of centuries that would
count back to the times of William the Conqueror or
Charlemagne, with only such outfit of the world’s goods as
might survive a 3,000–mile voyage in frail canoes, reenforced
by such flotsam of the world’s metallic stores as the tides
of ocean might chance to bring them—and, with such limited
capital to start with in life, what, should we judge, would
have been the outcome of the experiment in religion, in
morals, in art, in mechanics, in civilization, or in the
production of materials for literature, as compared with what
the white man found in Hawaii at its discovery in the last
quarter of the eighteenth century?
It were well to come to the study of primitive and savage
people, of nature-folk, with a mind purged of the
thanks-to-the-goodness-and-the-grace spirit.
[Page 262]
It will not do for us to brush aside contemptuously the
notions held by the Hawaiians in religion, cosmogony, and
mythology as mere heathen superstitions. If they were
heathen, there was nothing else for them to be. But even the
heathen can claim the right to be judged by their deeds, not
by their creeds. Measured by this standard, the average
heathen would not make a bad showing in comparison with the
average denizen of Christian lands. As to beliefs, how much
more defensible were the superstitions of our own race two or
three centuries ago, or of to-day, than those of the
Hawaiians? How much less absurd and illogical were our
notions of cosmogony, of natural history; how much less
beneficent, humane, 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 view. At
the worst, the Hawaiian sacrificed the enemy he took in
battle on the altar of his gods; the Christian put to death
with exquisite torture those who disagreed with him in points
of doctrine. And when it comes to morals, have not the
heathen time and again demonstrated their ability to give
lessons in self-restraint to their Christian invaders?
It is a matter of no small importance in the rating of a
people to take account of their disposition toward nature. If
there has been a failure to appreciate truly the mental
attitude of the “savage,” and especially of the Polynesian
savage, the Hawaiian, toward the book of truth that was open
to him in nature, it is always in order to correct it. That
such a mistake has been made needs no further proof than the
perusal of the following passage in a book entitled “History
of the Sandwich Islands:”
To the heathen the book of nature is a sealed book. Where
the word of God is not, the works of God fail either to
excite admiration or to impart instruction. The Sandwich
Islands present some of the sublimest scenery on earth,
but to an ignorant native—to the great mass of the people
in entire heathenism—it has no meaning. As one crested
billow after another of the heaving ocean rolls in and
dashes upon the unyielding rocks of an iron-bound coast,
which seems to say, “Hitherto shalt thou come and no
farther,” the low-minded heathen is merely thinking of the
shellfish on the shore. As he looks up to the everlasting
mountains, girt with clouds and capped with snow, he
betrays no emotion. As he climbs a towering cliff, looks
down a yawning precipice, or abroad upon a forest of deep
ravines, immense rocks, and spiral mountains thrown
together in the utmost wildness and confusion by the might
of God’s volcanoes, he is only thinking of some roots in
the wilderness that may be good for food.
There is hardly a poem in this volume that does not show the
utter falsity of this view. The writer of the words quoted
above, now in his grave for more than sixty years, was a man
for whose purity and moral character one must entertain the
highest esteem. He enjoyed the very best opportunity to study
the minds of the “heathen” about him, to discern their
[Page 263] thoughts, to learn at first hand their emotions toward the
natural world, whether of admiration, awe, reverence, or
whether their attitude was that of blank indifference and
absorption in selfish things. But he utterly failed to
penetrate the mystery, the “truth and poetry,” of the
Hawaiian mind and heart. Was it because he was tied to a
false theology and a false theory of human nature? We are not
called upon to answer this question. Let others say what was
wrong in his standpoint. The object of this book is not
controversial; but when a palpable injustice has been done,
and is persisted in by people of the purest motives, as to
the thoughts, emotions, and mental operations of the
“savage,” and as to the finer workings within that constitute
the furniture and sanctuary of heart and soul, it is
imperative to correct so grave a mistake; and we may be sure
that he whose words have just been quoted, were he living
to-day, would acknowledge his error.
Though it is not the purpose of these pages to set forth in
order a treatise on the human nature of the “savage,” or to
make unneeded apology for the primitive and uncultured races
of mankind in general, or for the Hawaiian in particular, 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 points.
The poetry of ancient Hawaii evinces a deep and genuine love
of nature, and a minute, affectionate, and untiring
observation of her moods, which it would be hard to find
surpassed in any literature. Her poets never tired of
depicting nature; sometimes, indeed, their art seems
heaven-born. The mystery, beauty, and magnificence of the
island world appealed profoundly to their souls; in them the
ancient Hawaiian found the image of man the embodiment of
Deity; and their myriad moods and phases were for him an
inexhaustible spring of joy, refreshment, and delight.
GLOSSARY
The study of Hawaiian pronunciation is mainly a study of vowel sounds
and of accent. Each written vowel represents at least two related
sounds.
A (_ah_) has the Italian sound found in f_a_ther, as in h_a_-le or in
L_a_-ka; also a short sound like that of a in li_a_ble, as in
ke-_a_-ke-_a_, to contradict, or in _a_-ha, an assembly.
E (_a_) has the sound of long a in f_a_te, or of e in pr_e_y, without
the i-glide that follows, as in the first syllable of P_é_-le, or of
m_é_-a, a thing; also the short sound of e in n_e_t, as in _é_-ha, hurt,
or in p_é_a, a sail.
I (_ee_) has the long sound of i in p_i_que, or in pol_i_ce, as in
_i_-li, skin, or in h_í_-la-h_í_-la, shame; also the short sound of i in
h_i_ll, as in l_í_-hi, border, and in _í_-ki, small.
O (_oh_) has the long sound of o in n_o_te or in _o_ld, without the
u-glide, as in l_ó_-a, long, or as in the first syllable of L_ó_-no;
also a short sound, which approximates to that sometimes erroneously
given to the vowel in c_o_at, as in p_ó_-po, rotten, or as in l_ó_-ko, a
lake.
U (_oo_) has the long sound of u in r_u_le, as in h_ú_-la, to dance; and
a short sound approximating to that of u in f_u_ll, as in m_ú_-ku, cut
off.
Every Hawaiian syllable ends in a vowel. No attempt has been made to
indicate these differences of vowel sound. 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 (improperly sometimes called a guttural) that
prevents the two from coalescing.
In the seven diphthongs _ae_, _ai_, _ao_, _au_, _ei_, _ia_, and _ua_ a
delicate ear will not fail to detect a coalescence of at least two
sounds, thus proving them not to be mere digraphs.
In animated description or pathetic narrative, or in the effort to
convey the idea of length, or height, or depth, or immensity, the
Hawaiian had a way of prolonging the vowel sounds of a word, as if by so
doing he could intimate the amplitude of his thought.
The letter w (_way_) represents two sounds, corresponding to our w and
our v. At the beginning of a word it has the sound of w (_way_),
retaining this even when the word has become compounded. This is
illustrated in _Wái_-a-lú-a (geographical name), and _w_á-ha mouth. In
the middle of a word, or after the first syllable, it almost always has
the sound of v (_vay_), as in hé-_w_a (wrong), and in E-_w_á
(geographical name). In há-_w_a-_w_á (awkward), the compound word
ha-_w_ái (water-pipe), and several others the w takes the _way_ sound.
The great majority of Hawaiian words are accented on the penult, and in
simple words of four or more syllables there is, as a rule, an accent on
the fourth and on the sixth syllables, counting back from the final
syllable, as in lá-na-kí-la (victorious) and as in hó-o-kó-lo-kó-lo (to
try at law).
_Aha_, (á-ha)—a braided cord of sinet; an assembly; a prayer or
religious service (note a, p. 20).
_Ahaaina_ (á-ha-ái-na)—a feast.
_Ai_ (ai, as in aisle)—vegetable food; to eat; an event in a game or
contest (p. 93).
_Ai-á-lo_ (to eat in the presence of)—the persons privileged to eat at
an alii’s table.
_Aiha’a_ (ai-ha’a):—a strained, bombastic, guttural tone of voice in
reciting a mele, in contrast to the style termed _ko’i-honua_ (pp. 89,
90).
_Ailolo_ (ai-ló-lo=to eat brains)—a critical, ceremonial sacrifice, 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 (pp.
15, 31, 34).
_Aina_ (aí-na)—the land; a meal (of food).
_Alii_ (a-li’i)—a chief; a person of rank; a king.
_Aloha_ (a-ló-ha)—goodwill; affection; love; a word of salutation.
_Ami_ (á-mi)—to bend; a bodily motion used in the hula (note, p. 202).
_Anuenue_ (a-nú-e-nú-e)—a rainbow; a waterfall in Hilo (p. 61, verse
13).
_Ao_ (á-o)—dawn; daytime; the world; a cloud (p. 196, verse 7).
_Aumakua_ (aú-ma-kú-a)—an ancestral god (p. 23).
_Awa_ (á-va)—bitter; sour; the soporific root of the Piper methysticum
(p. 130).
_Ekaha_ (e-káha)—the nidus fern, by the Hawaiians sometimes called _ka
hoe a Mawi_, Mawi’s paddle, from the shape of its leaves (p. 19).
_Haena_ (Ha-é-na)—a village on the windward coast of Kauai, the home of
Lohiau, for whom Pele conceived a passion in her dreams (p. 186).
_Hala_ (há-la)—a sin; a variety of the “screw-pine” (Pandanus
odoratissimus, Hillebrand). Its drupe was used in decoration, its leaves
were braided into mats, hats, bags, etc.
_Halapepe_ (há-la-pé-pe)—a tree used in decorating the kuahu (Dracæna
aurea, Hillebrand) (p. 24).
_Halau_ (ha-láu—made of leaves)—a canoe-shed; a hall consecrated to
the hula; a sort of school of manual arts or the art of combat (p. 14).
_Hale_ (há-le)—a house.
_Hanai-kuahu_ (ha-nái-ku-á-hu—altarfeeder)—the daily renewal of the
offerings laid on the kuahu; the officer who performed this work (p.
29).
_Hanohano_ (há-no-há-no)—having dignity and wealth.
_Hau_ (how)—a tree whose light, tough wood, strong fibrous bark, and
mucilaginous flowers have many uses (Hibiscus tiliaceus).
_Haumea_ (Hau-mé-a)—a mythological character, the same as Papa (note c,
p. 126).
_Heiau_ (hei-aú)—a temple.
_Hiiaka_, (Hi’i-á-ka)—the youngest sister of Pele (p. 186).
_Hilo_ (Hí-lo)—to twist as in making string; the first day in the month
when the new moon appears; a town and district in Hawaii (pp. 60, 61).
_Holoku_ (hó-lo-kú)—a loose gown resembling a “Mother Hubbard,” much
worn by the women of Hawaii.
_Hoonoa_ (ho’o-nó-a)—to remove a tabu; to make ceremonially free (p.
126).
_Hooulu_ (ho’o-ú-lu)—to cause to grow; to inspire. (Verse 3, Pule
Kuahu, p. 20, and verse 1, Pule Kuahu, p. 21.)
_Hoopaa_ (ho’o-pá’a)—the members of a hula company who, as
instrumentalists, remained stationary, not moving in the dance (p. 28).
_Huikala_ (hú-i-ká-la)—to cleanse ceremonially; to pardon (p. 15).
_Hula_, (hú-la), or int. _húlahúla_—to dance, to make sport, to the
accompaniment of music and song.
_I’a_ (i’a)—fish; a general term for animal food or whatever relish
serves for the time in its place.
_Ieie_ (í-e-í-e)—a tall woody climber found in the wild woods, much
used in decoration (Freycinetia arnotti, p. 19).
_Ilamuka_ (í-la-mú-ku)—a constable.
_Ilima_ (i-lí-ma)—a woody shrub (Sida fallax, Hillebrand) whose
chrome-yellow flowers were much used in making wreaths (p. 56).
_Ilio_ (i-lí-o)—a dog; a variety of hula (p. 223).
_Imu_ (í-mu), sometimes _umu_ (ú-mu)—a native oven, made by lining a
hole in the ground and arching it over with stones (verse 3, Oli Paú, p.
51).
_Inoa_ (i-nó-a)—a name. (See Mele inoa.)
_Ipo_ (í-po)—a lover; a sweetheart.
_Ipoipo_ (í-po-í-po), _hoipo_ (ho-í-po), or _hoipoipo_ (ho-í-po-í-po)—to
make love; to play the lover; sexual dalliance.
_Ipu_ (í-pu)—a general name for the Cucurbitaceæ, and the dishes made
from them, as well as dishes of coconut shell, wood, and stone; the
drumlike musical instrument made from joining two calabashes (p. 73).
_Iwa_ (í-wa, pr. í-va)—the number nine; a large black sea-bird,
probably a gull (p. 76).
_Kahiki_ (Ka-hí-ki)—Tahiti; any foreign country (p. 17).
_Kahiko_ (ka-hí-ko)—ancient; to array; to adorn.
_Kahuna_ (ka-hú-na)—a priest; a skilled craftsman. Every sort of kahuna
was at bottom and in some regard a priest, his special department being
indicated by a qualifying word, as _kahuna anaana_, sorcerer, _kahuna
kalai wa’a_, canoe-maker.
_Kai_ (pr. kye)—the ocean; salty. _I-kai_, to the ocean; _ma-kai_, at
the ocean.
_Kakaolelo_ (ka-ká-o-lé-lo)—one skilled in language; a rhetorician; a
councilor (p. 98).
_Kamapua’a_ (Ká-ma-pu-a’a)—literally the hog-child; the mythological
swine-god, whose story is connected with that of Pele (p. 231).
_Kanaka_, (ka-ná-ka)—a man; a commoner as opposed to the alii. _Kanaka_
(ká-na-ka), men in general; the human race. (Notice the different
accents.)
_Kanaenae_ (ká-nae-naé)—a propitiatory sacrifice; an intercession; a
part of a prayer (pp. 16, 20).
_Kanaloa_ (Ká-na-ló-a)—one of the four major gods, represented as of a
dark complexion, and of a malignant disposition (p. 24).
_Kane_ (Ká-ne)—male; a husband; one of the four major gods, represented
as being a tall blond and of a benevolent disposition (p. 24).
_Kapa_ (ká-pa)—the paper-cloth of the Polynesians, made from the
fibrous bark of many plants by pounding with wooden beaters while kept
moist.
_Kapo_ (Ká-po)—a goddess and patron of the hula, sister of the
poison-god, Kalai-pahoa, and said to be mother of Laka (pp. 25, 45).
_Kapu_ (ká-pu).—a tabu; a religious prohibition (pp. 30, 57).
_Kau_ (Ka-ú)—“the milk;” a district on the island of Hawaii.
_Kawele_ (ka-wé-le)—a manner of cantillating in a distinct and natural
tone of voice; about the same as _ko’i-honua_ (p. 58).
_Kihei_ (ki-héi)—a robe of kapa worn after the fashion of the Roman
toga.
_Kii_ (ki’i)—to fetch, to go after a thing; an image, a picture, a
marionette; a variety of the hula (p. 91).
_Kilauea_ (Ki-lau-é-a)—the great active volcano of Hawaii.
_Kini_ (kí-ni)—the number 40,000; a countless number. _Kini Akua_, a
host of active, often mischievous, “little” folk in human form that
peopled the deep woods. They resembled our elves and brownies, and were
esteemed as having godlike powers (p. 21, note; p. 24).
_Kilu_ (kí-lu)—a dish made by cutting off obliquely the top of a
coconut or small gourd, which was used as a sort of top in the game and
dance called _kilu_. (Hula kilu, p. 235.)
_Ko_—sugar-cane; performed, accomplished. With the causative prefix
_ho’o_, as in _ho’oko_ (ho’o-kó), to accomplish, to carry to success (p.
30).
_Ko’i_ (kó’i)—an ax, an adz; originally a stone implement. (See mele
beginning _Ko’i maka nui_, p. 228.)
_Ko’i honua_ (ko’i ho-nú-a)—a compound of the causative _ko_, _i_, to
utter, and _honua_, the earth; to recite or cantillate in a quiet
distinct tone, in distinction from the stilted bombastic manner termed
ai-ha’a (p. 58).
_Kokua-kumu_, (ko-kú-a-kú-mu)—the assistant or deputy who took charge
of the halau in the absence of the _kumu-hula_, (p. 29).
_Kolea_ (ko-lé-a)—the plover; the name of a hula (p. 219).
_Kolohe_ (ko-ló-he)—mischievous; restless; lawless (note d, p. 194).
_Kona_, (Kóna)—a southerly wind or storm; a district on the leeward
side of many of the islands.
_Koolau_ (Ko’o-láu)—leaf-compeller; the windward side of an island; the
name of a wind. (_A Koolau wau, ike i ka ua_, verse 1, p. 59.)
_Ku_—to stand; to rise up; to fit; a division of land; one of the four
major gods who had many functions, such as Ku-pulupulu, Ku-mokuhalii,
Ku-kaili-moku, etc. (Mele, _Ku e, nana e!_ p. 223.)
_Kuahu_ (ku-á-hu)—an altar; a rustic stand constructed in the halau in
honor of the hula gods (p. 15).
_Kuhai-moana_ (Ku-hái-mo-á-na)—a shark-god (pp. 76, 77).
_Ku’i_ (ku’i)—to smite; to beat; the name of a hula (p. 250).
_Kukui_ (ku-kú-i)—a tree (Aleurites moluccana) from the nuts of which
were made torches; a torch. (_Mahana lua na kukui a Lanikaula_, p. 130,
note c.)
_Kumu-hula_ (kú-mu húla)—a teacher and leader of the hula.
_Kupee_ (ku-pe’e)—a bracelet; an anklet (Mele Kupe’e, p. 49.)
_Kupua_ (ku-pú-a)—a superhuman being; a wonder-worker; a wizard.
_Ku-pulupulu_ (Kú-pú-lu-pú-lú)—Ku the hairy; one of the forms of god
Ku, propitiated by canoe-makers and hula folk (p. 24).
_Laa_ (Lá’a)—consecrated; holy; devoted.
_Laa-mai-Kahiki_—A prince who flourished some six or seven centuries
ago and voyaged to Kahiki and back. He was an ardent patron of the hula
(p. 103).
_Lama_ (lá-ma)—a torch; a beautiful tree (Maba sandwicensis,
Hillebrand) having fine-grained whitish wood that was much used for
sacred purposes (p. 23).
_Lanai_ (la-nái)—a shed or veranda; an open part of a house covered
only by a roof.
_Lanai_ (La-na’i)—the small island lying southwest of Maui.
_Lani_ (lá-ni)—the sky; the heaven or the heavens; a prince or king;
heaven-born (pp. 81, 82).
_Lehua_, (le-hú-a)—a forest tree (Metrosideros polymorpha) whose
beautiful scarlet or salmon-colored flowers were much used in decoration
(Pule Hoo-noa, p. 126).
_Lei_ (lei: both vowels are sounded, the _i_ slightly)—a wreath of
flowers, of leaves, feathers, beads, or shells (p. 56).
_Liloa_ (Li-ló-a)—an ancient king of Hawaii, the father of Umi (p.
131).
_Lohiau_ (Ló-hi-áu)—the prince of Haena, with whom Pele became enamored
in her dreams (p. 186).
_Lolo_ (ló-lo)—the brain (p. 34).
_Lono_ (Ló-no)—one of the four major gods of Hawaii (p. 24).
_Luau_ (lu-aú)—greens made by cooking young taro leaves; in modern times
a term applied to a Hawaiian feast.
_Mahele_ (ma-hé-le)—to divide; a division of a mele; a canto; a part of
a song-service (p. 58).
_Mahiole_ (má-hi-ó-le)—a helmet or war-cap, a style of hair-cutting in
imitation of the same (p. 91).
_Mahuna_ (ma-hú-na)—a small particle; a fine scale; a variety of
delicate kapa; the desquamation of the skin resulting from habitual
awa-drinking.
_Makalii_ (Má-ka-li’i)—small eyes; small, fine; the Pleiades (p. 216
and note on p. 218).
_Malo_ (má-lo)—a loin-cloth worn especially by men. (Verses 3, 4, 5, 6
of mele on p. 36).
_Mano_ (ma-nó)—a shark; a variety of hula (p. 221).
_Mauna_ (máu-na)—a mountain. A word possibly of Spanish origin.
_Mele_ (mé-le)—a poem; a song; to chant; to sing.
_Mele inoa_—a name-song; a eulogy (pp. 27, 37).
_Mele kahea_ (ka-héa = to call)—a password by which one gained
admission to the halau (pp. 38, 41).
_Moo_ (mó’o)—a reptile; a dragon; a mythologic monster (p. 260).
_Muumuu_ (mu’u-mu’u)—an under garment worn by women; a shift; a
chemise; a person maimed of hand or foot; the name of a hula (p. 212).
_Naulu_ (náu-lu)—name of the seabreeze at Waimea, Kauai. _Ua naulu_ = a
heavy local rain (pp. 110, 112).
_Noa_ (nó-a)—ceremonially free; unrestrained by tabu (p. 126).
_Noni_ (no-ni)—a dye-plant (Morinda citrifolia) whose fruit was
sometimes eaten.
_Nuuanu_ (Nu’u-á-nu) a valley back of Honolulu that leads to the “Pali.”
_Ohe_ (ó-he)—bamboo; a flute; a variety of the hula (pp. 135, 145).
_Ohelo_ (o-hé-lo)—an edible berry that grows at high altitudes; to
reach out; to stretch; a variety of the hula (p. 233).
_Ohia_ (o-hi’a)—a name in some places applied to the _lehua_ (q. v.),
more generally the name of a fruit tree, the “mountain apple” (Eugenia
malaccensis).
_Olapa_ (o-lá-pa)—those members of a hula company who moved in the
dance, as distinguished from the _hoopaa_, q. v., who sat and
cantillated or played on some instrument (p. 28).
_Oli_ (ó-li)—a song; a lyric; to sing or chant (p. 254).
_Olioli_—Joyful.
_Olohe_ (o-ló-he)—an expert in the hula; one who has passed the
_ailolo_ test and has also had much experience (p. 32).
_Oo_ (o-ó)—a spade; an agricultural implement, patterned after the
whale spade (p. 85); a blackbird, one of those that furnished the
golden-yellow feathers for the _ahuula_, or feather cloak.
_Paepae_ (pae-páe)—a prop; a support; the assistant to the _po’o-pua’a_
(p. 29).
_Pahu_ (pá-hu)—a box; a drum; a landmark; to thrust, said of a spear
(pp. 103, 138).
_Pale_ (pá-le)—a division; a canto of a mele; a division of the song
service in a hula performance (pp. 58, 89).
_Pali_ (pá-li)—a precipice; a mountain wall cut up with steep ravines.
(Mele on pp. 51–53, verses 4, 5, 8, 16, 17, 27, 49.)
_Papa_ (pá-pa)—a board; the plane of the earth’s surface; a
mythological character, the wife of Wakea.
_Pa-u_ (pa-ú)—a skirt; a garment worn by women reaching from the waist
to about the knees (p. 50). The dress of the hula performer (p. 49), Oli
Pa-ú (p. 51).
_Pele_ (Pé-le)—the goddess of the volcano and of volcanoes generally,
who held court at the crater of Kilauea, on Hawaii; a variety of the
hula (p. 186).
_Pikai_ (pi-kái)—to asperse with seawater mixed, perhaps, with
turmeric, etc., as in ceremonial cleansing (p. 31).
_Poo-puaa_ (po’o-pu-a’a)—Boar’s head; the one selected by the pupils in
a school of the hula to be their agent and mouthpiece (p. 29).
_Pua’a_ (pu-a’a)—a pig; the name of a hula (p. 228).
_Puka_ (pú-ka)—a hole, a doorway, to pass through.
_Pule_ (pú-le)—a prayer; an incantation; to pray.
_Pulou_ (pu-lo’u)—to muffle; to cover the head and face (p. 31).
_Puniu_ (pu-ní-u)—a coconut shell; a small drum made from the coconut
shell (p. 141); a derisive epithet for the human headpiece.
_Ti_, or _ki_—a plant (Dracæna terminalis) that has large smooth green
leaves used for wrapping food and in decoration. Its fleshy root becomes
syrupy when cooked (p. 44).
_Uka_ (ú-ka)—landward or mountainward.
_Uku-lele_ (ú-ku-lé-le)—a flea; a sort of guitar introduced by the
Portuguese.
_Uniki_ (u-ní-ki)—the début or the first public performance of a hula
actor. (Verse 21 of mele on p. 17.)
_Waa_ (wá’a)—a canoe.
_Wahine_ (wa-hí-ne)—a female; a woman; a wife.
_Wai_—water.
_Waialeale_ (Wai-á-le-á-le)—billowy water; the central mountain on the
island of Kauai (p. 106).
INDEX
[NOTE.—All Hawaiian words, as such (except catch words), are
italicized.]
AALA KUPUKUPU: _mele kupe’e_ 49
A EULOGY for the princess: song for the _hula ku’i Molokai_ 209
A HAMAKUA AU: _mele_ for the _hula kaekeeke_ 122
A HILO _au, e_: _mele_ for the _hula pa’i-umauma_ 203
AIA I _Wai-pi’o Paka’alana_: old _mele_ set to music VIII 162
AI-HA’A, a style of recitation 58
AILOLO OFFERING, at graduation from the school of the _halau_ 32
eating of 34
inspection of 33
A KAUAI, _a ke olewa iluna_: _mele_ for the _hula Pele_ 189
A KE KUAHIWI: a _kanaenae_ to Laka 16
A KOA’E-KEA: _mele_ for the _hula ala’a-papa_ 67
A KOOLAU WAU: _mele_ for the _hula ala’a-papa_ 59
A LALO _maua o Waipi’o_: _mele_ for the _hula íliíli_ 120
ALAS, alas, maimed are my hands! lament of Mana-mana-ia-kaluea
212
ALAS, I am seized by the shark: song for the _hula manó_ 222
ALAS, there’s no stay to the smoke! song for the _hula Pele_ 195
ALOHA _na hale o makou: mele komo_, welcome to the _halau_ 39
ALOHA _wale oe_: song with music IX 164
ALTAR-PRAYER—
at _ailolo_ inspection: Laka sits in her shady grove 34
at _ailolo_ service: O goddess Laka! 34
in prose speech: _E ola ia’u, i ka malihini_ 46
Invoke we now the four thousand 22
Thou art Laka 42
to Kane and Kapo: Now Kane, approach 45
to Laka: Here am I, O Laka from the mountains 20
to Laka: This my wish 43
to Laka: This spoil and rape of the wildwood 19
ALTAR, visible abode of the deity 15
A MACKEREL SKY, time for foul weather: song for the _hula
ala’a-papa_ 70
AMI, not a motion of lewd intent 210
AMUSEMENTS in Hawaii communal 13
ANKLET SONG: Fragrant the grasses 49
AOLE AU E HELE _ka li’u-la o Maná_: _mele_ for the _hula pa-ipu_
79
AOLE E MAO _ka ohu_: _mele_ for the _hula Pele_ 195
AOLE I MANAO IA: _mele_ for the _hula úli-ulí_ 108
A PILI, _a pili_: _mele_ for the _hula hoonaná_ 244
A PIT LIES (far) to the East: song for the _hula pa-ipu_ 86
A PLOVER at the full of the sea: song for the _hula kolea_ 220
A PUA _ka wiliwili_: a bit of folk-lore (note) 221
A PUNA AU: _mele_ for the _hula pahu_ 104
A SEARCH for a sweetheart: song for the _hula ulili_ 247
ASPERSION in ceremonial purification 15
ASSONANCE by word-repetition 227
A STORM from the sea: song for the _hula pa-ipu_ 78
AT HILO I rendezvoused with the _lehua_: song for the _hula
pa’i-umauma_ 203
ATTITUDE of the Hawaiian toward—
nature 262
song 159
the gods 225
AT WAILUA stands the main house-post: song for the _hula Pele_
192
AUHEA _wale oe, e ka Makani Inu-wai_? _mele_ for the _hula
úli-ulí_ 110
AUWE, _auwe, mo’ ku’u lima_! lament of Mana-mana-ia-kaluea 212
AUWE, _pau au i ka manó nui, e_! _mele_ for the _hula manó_ 221
A ÚWEUWÉ _ke ko’e a ke kae_: _mele oli_ in the game of _kilu_ 240
AWA DEBAUCH of Kane 131
AWILIWILI _i ka hale o ka lauwili, e_: a proverbial saying
(note) 53
AX OF BROADEST EDGE I’m hight: song for the _hula pua’a_ 230
BAMBOO RATTLE, the _puili_ 144
BEDECK now the board for the feast: song-prayer for the
_hula Pele_ 200
BEGOTTEN were the gods of graded rank: song of cosmology
(note) 196
BEHOLD KAUNÁ, that sprite of windy Ka-ú: song for the
_hula Pele_ 193
BIG WITH CHILD is the princess Ku: song for the _hula pa-ipu_ 81
BIT OF FOLK-LORE: _A pua ka wiliwili_ (note) 221
When flowers the _wiliwili_ (note) 221
BLACK CRABS are climbing: song for the _hula mu’umu’u_ 214
BLOOM OF LEHUA on altar piled: prayer to remove tabu at
intermission 127
BLOW, BLOW, thou wind of Hilo! old sea song (note) 65
BURST OF SMOKE from the pit: song for the _hula pa-ipu_ 89
CADENCE IN MUSIC 140
CALABASH HULAS 102
CALL TO THE MAN to come in: song of welcome to the _halau_ 41
CASTANETS 147
CEREMONIAL CLEANSING in the _halau_ 30
CIPHER SPEECH 97
CLOTHING OR COVERING, illustrated by gesture 178
COCONUT DRUM, _puniu_ 141
COME NOW, MANONO: song for the _hula pa’i-umauma_ 204
COME UP to the wildwood, come: song for the _hula ohe_ 136
COMRADE MINE in the robe-stripping gusts of Lalau: song for
the _hula kilu_ 241
CONVENTIONAL GESTURES 180, 182
COSTUME of the _hula_ dancer 49
COURT OF THE ALII the recruiting ground for _hula_ performers 27
CULTS of the _hula_ folk—were there two? 47
DANCE, a premeditated affair in Hawaii 13
DAVID MALO, _hulas_ mentioned by 107
DEATH, represented by gesture 178
DÉBUT of a _hula_ performer 35
DÉBUT-SONG of a _hula_ performer: _Ka nalu nui, a ku ka nalu
mai Kona_ 35
DECORATIONS of the _kuahu_—the choice limited 19
DISMISSING PRAYER at intermission: Doomed sacrifice I 129
DISPENSATION granted to pupils before graduation from the
_halau_ 33
DIVISIONS of _mele_ recitation in the _hula_ 58
DOOMED SACRIFICE I: dismissing prayer at intermission 129
DRESSING SONG of _hula_ girls: _Ku ka punohu ula_ 55
DRUM—
description of 140
introduced by La’a-mai-Kahiki 141
DRUM HULA, the 103
E ALA, _e Kahiki-ku_: _mele_ for the _hula Pele_ 196
E HEA _i ke kanáka e komo maloko (mele komo)_: welcome to
the _halau_ 41
E HOOPONO _ka hele_: _mele_ apropos of Nihi-aumoe 94
E HOOULU _ana i Kini o ke Akua_: altar-prayer 21
EIA KE KUKO, _ka li’a_: altar-prayer, to Laka 43
EI’AU, _e Laka mai uka_: altar-prayer 20
E IHO _ana oluna_: oracular utterance of Kapihe 99
E KAUKAU _i hale manu, e_: _mele_ for the _hula ki’i_ 99
E LAKA, E! _mele kuahu_ at _aiolo_ service 34
E LE’E KAUKAU: _mele_ for the hula _ki’i_ 98
ELEELE KAUKAU: _mele_ for the _hula ki’i_ 97
ELLIS, REV. WILLIAM—
his description of the “_hura ka-raau_” 116
his remarks about the “_hura araapapa_” 71
ELOCUTION and rhythmic accent in Hawaiian song 158
E MANONO _la, ea_: _mele_ for the _hula pa’i-umauma_ 204
ENGULFED in heaven’s abyss: song for the _hula kilu_ 243
E OE MAUNA _i ka ohu_: _mele_ for the _hula Pele_ 194
E OLA IA’U, _i ka malihini_: altar-prayer, in prose speech 46
E PI’I _ka nahele_: _mele_ for the _hula ohe_ 135
E PI’I _ka-wai ka nahele_: _mele_ for the _hula niau-kani_ 133
EPITHALAMIUM, _mele_ for the _hula ki’i: O Wanahili ka po loa
ia Manu’a_ 100
E ULU, _e ulu_: altar-prayer to the _Kini Akua_ 46
EWA’S LAGOON is red with dirt: song for the _hula pa-ipu_ 84
E WEWEHI, _ke, ke_! _mele_ for the _hula ki’i_ 94
FABLE, Hawaiian love of 111
FACIAL EXPRESSION 179
FAME TRUMPETS your conquests each day: song for the
_hula ku’i_ 253
FEET AND LEGS in gesture 181
FISH-TREE, _Maka-léi_ (note) 17
FLOWERS acceptable for decoration 19
FLUCTUATING UTTERANCE in song, _i’i_ 158
FOLK-LORE, application of the term 114
FOREIGN INFLUENCE on Hawaiian music 138, 163
FRAGRANT THE GRASSES of high Kane-hoa: anklet song 49
FROM KAHIKI came the woman, Pele: song for the _hula Pele_ 188
FROM MOUNTAIN RETREAT—
song for the _hula ala’a-papa_ 64
with music VII 157
GAME OF KILU 235
GAME OF NA-Ú (note) 118
GENERAL REVIEW 260
GESTURE—
illustrating an obstacle 177
illustrating movement 178
influenced by convention 180
inviting to come in 179
mimetic 178
representing a plain 178
representing clothing or covering 178
representing death 178
representing union or similarity 178
taught by the _kumu-hula_ 176
with feet and legs 181
GIRD ON THE PA-Ú: tiring song 54
GLOSSARY 266
GLOWING is Kahiki, oh! song for the _hula pa-ipu_ 75
GOD—
of health, Mauli-ola (note) 198
of mirage, Lima-loa (note) 79
GODS, attitude of the Hawaiian toward the 225
GODS of the _hula_ 23
GOURD DRUM, _ipu-hula_ 142
GOURD-RATTLE, _úli-ulí_ 144
GRADUATION from the _halau_—
_ailolo_ sacrament 32, 34
ceremonies of 31
tabu-lifting prayer: Oh wildwood bouquet, oh Laka 32
HAKI _pu o ka nahelehele_: altar-prayer to Laka 18
HAKU’I _ka uahi o ka lua: mele_ for the _hula pa-ipu_ 88
HALAU—
a school for the _hula_ 30
ceremonies of graduation from 31
decorum required in 30
description of 14
its worship contrasted with that of the _heiau_ 15
passwords to 38
purification of its site 14
rules of conduct while it is abuilding 15
worship in 42
HALAU HANALEI _i ka nini a ka ua_: an _oli_ 155
HALE-MA’UMA’U (note) 229
HALL for the _hula_. See _Halau_.
HANALEI is a hall for the dance in the pouring rain: a song 155
HANAU _ke apapa nu’u_: song of cosmology (note) 196
HAUNT of white tropic bird: song for the _hula ala’a-papa_ 67
HAWAIIAN HARP, the _ukeké_ 147
HAWAIIAN love of fable 111
HAWAIIAN MUSICAL INSTRUMENTS 138
HAWAIIAN MUSIC displaced by foreign 138
HAWAIIAN SLANG 98
HAWAIIAN SONG—
elocution and rhythmic accent 158
characteristics 170
melody; rhythm 171
tone-intervals 158
HAWAIIAN SPEECH, music affected by peculiarities of 139
HAWAII PONOI (national hymn) with music XIV 172
HAWAII’S VERY OWN: translation of national hymn 175
HE ALA _kai olohia: mele_ for the _hula ku’i Molokai_ 207
HEAVEN MAGIC fetch a Hilo pour: song for the _hula
ala’a-papa_ 66
HE INOA _no ka Lani: mele_ for the _hula ku’i Molokai_ 208
HE INOA _no Kamehameha_: song set to music VIII 162
HE LUA _i ka hikina: mele_ for the _hula pa-ipu_ 85
HERE AM I, O Laka from the mountains: altar-prayer to Laka 20
HE UA LA, _he ua: mele_ for the _hula kolani_ 216
HE Ú-I, _he ninau: mele_ for Kane 257
HIIAKA—
her bathing place 190
in a _kilu_ contest with Pele-ula 240
See Gods of the _hula_.
HIKI MAI, _hiki mai ka La, e! mele_ for the _hula puili_ 114
HI’U-O-LANI, _kii ka ua o Hilo: mele_ for the _hula
ala’a-papa_ 65
HOAEAE EXPLAINED 163
HOE PUNA _i ka wa’a pololo a ka ino: mele_ for the _hula
ala’a-papa_ 70
HOINAINAU _mea ipo: mele_ for the _hula ala’a-papa_ 71
HOLE WAIMEA _i ka ihe a ka makani: mele_ for the _hula
ala’a-papa_ 68
HO! MOUNTAIN of vapor puffs: song for the _hula Pele_ 194
HOOLEHELEHE-KI’I 91
HOOPA’A, a division of the _hula_ performers 28, 57
HOOPONO OE, _he aina kai Waialua i ka hau: mele_ for
_hula ala’a-papa_ 60
HOW PLEASED is the girl maimed of hand and foot: song
of Hiiaka 212
HOW PLEASING, when borne by the tide: song for the
_hula ku’i_ 252
HUAHUA’I: song with music X: _He aloha wau ia oe_ 166
HULA—
degeneration of 14
intermission of 126
support and organization 26
HULA ALA’A-PAPA, THE—
a religious service 11, 57
company—organization of 29
dancer’s costume 49
democratic side of 26
remarks on, by Rev. W. Ellis 71
HULA HOONANÁ, THE 244
HULA ÍLI-ÍLI, THE 120
HULA ILIO, THE 223
HULA KAEKEEKE, THE 122
HULA KA-LAAU 116
its novel performance on Kauai 118
responsive chanting in 116
HULA KIELEI, THE 210
HULA KI’I, THE 91
HULA KILU, THE 235
HULA KOLANI, THE 216
HULA KOLEA, THE 219
HULA KOLILI, THE 246
HULA KU’I MOLOKAI, THE 207
HULA KU’I, THE 250
HULA KUÓLO, THE 73
HULA MANÓ, THE 221
HULA MU’UMU’U, THE 212
HULA NIAU-KANI, THE 132
HULA OHELO, THE 233
HULA OHE, THE 135
HULA O-NIU, THE 248
HULA PA-HUA, THE 183
HULA PAHU, THE 103
HULA PA-IPU, THE 73
HULA PA’I-UMAUMA, THE 202
HULA PALÁNI, THE (note) 202
HULA PELE, THE 186
HULA PERFORMANCE, influenced by instrument of accompaniment 113
HULA PERFORMERS—
classes 28, 57
début 35
physique 57
HULA PUA’A, THE 228
HULA PUILI, THE 113
HULAS—
calabash hulas 102
David Malo’s list of 107
first hula 8
gods of 23
of varying dignity and rank 57
See also _Hula_ and names of various _hulas_.
HULA SONGS—their source 58
HULA ULILI, THE 246
HULA ÚLI-ULÍ, THE 107
“HURA KA RAAU,” description of, by Rev. William Ellis 116
I ALOHA _i ke ko a ka wai: mele_ for the _hula ku’i_ 251
I AM SMITTEN with spear of Kane: song for the _hula pa-hua_ 184
IDYL, typical Hawaiian 217
I’I—
a fluctuating utterance in song 158
its vowel repetition 159
I KAMA’AMA’A _la i ka pualei: mele pule_ for the _hula Pele_ 199
IKE IA KAUKINI: _mele_ to _Kaukini_ (note) 51
IKE IA KAUNÁ-WAHINE, _Makani Ka-u: mele_ for the _hula Pele_ 193
ILIÍLI, castanets 147
ILL OMEN, words of, in _mele inoa_ 37
IN PUNA WAS I: song for the _hula pahu_ 105
INTERMISSION OF HULA 126
IN THE UPLANDS, the darting flame-bird of La’a: password to
the _halau_ 41
INVITATION to come in, by gesture 179
INVOKE WE NOW the Four Thousand: altar-prayer 22
IN WAIPI’O stands Paka’alana: name-song of Kamehameha 163
IPU HULA, gourd drum 58, 142
treatment of, in _hula pa-ipu_ and in _hula ala’a-papa_ 73
I SPURN THE THOUGHT with disdain: song for the _hula úli-ulí_ 109
IT HAS COME, it has come: song for the _hula puili_ 114
IT WAS IN HAMAKUA: song for the _hula kaekeeke_ 123
I WILL NOT CHASE the mirage of Maná: song for the
_hula pa-ipu_, 80
KAEKEEKE, musical bamboo pipe, 143
KAHEA _i ka mele_, 58
KAHIKI-NUI, _auwahi ka makani: mele_ for the _hula kaekeeke_, 124
KAHIKI-NUI, land of wind-driven smoke: song for the _hula
kaekeeke_, 125
KAHIPA, _na waiu olewa: mele_ for the _hula pa’i-umauma_, 205
KAHULI AKU, _kahuli mai: mele_ apropos of the tree-shell, 121
KAKUA PA-Ú, _ahu na kiképa_: tiring song, 51
KALAKALAIHI, _kaha ka La ma ke kua o Lehua: mele_ for the
_hula kilu_, 238
KALAKAUA, a great name: song for the _hula ka-laau_, 117
KALALAU, _pali eku i ka makani: mele_ for the _hula ki’i_, 101
KA-LIU-WA’A (note), 230
KAMA-PUA’A, his relations with—
Kapo, 25
Pele, 231
KA MAWAE: song and music XI, 167
KAMEHAMEHA II, song composed by, 69
KA-MOHO-ALII (note), 229
KANAENAE TO LAKA: _A ke kuahiwi, i ke kualono_, 16
KANALOA. See Gods of the _hula_.
KANALOA TINTS HEAVEN with a blush: song for the _hula kilu_, 242
KA NALU NUI, _a ku ka nalu mai Kona_: name-song to Naihe, 35
KANE, HIKI A’E, _he maláma ia luna_: altar-prayer to Kane
and Kapo, 44
KANE is DRUNKEN with awa: song for interlude, 130
KANE’S AWA DEBAUCH, 131
KANE. See Gods of the _hula_.
KAPO—
parentage and relations to the _hula_, 47
relations with Kama-pua’a, 25
See Gods of the _hula_.
KAUAI, characteristics of its _hula_, 119
KAUHUA KU, _ka Lani, iloli ka moku: mele_ for the
_hula pa-ipu_, 80
KAU KA HA-É-A, _kau o ka hana wa ele: mele_ for the _hula
ala’a-papa_, 69
KA UKA HOLO-KIA _ahi-manu o La’a_: password to the _halau_, 41
KAULANA _mai nei Pua Lanakila: mele_ for the _hula ku’i_, 252
KAULA WEARS the ocean as a wreath: wreath-song, 56
KAULA WREATHES her brow with the ocean: song of
Mana-mana-ia-kaluea, 213
KAU LILUA _i ke anu Wai-aleale: mele_ for the _hula pahu_, 105
KAUÓ PU KA IWA _kala-pahe’e: mele_ for the _hula pa-ipu_, 76
KA WAI _opua-makani o Wailua_: an _oli_, 255
KAWELO, a sorcerer who turned shark (note), 79
KEAAU is a long strip of wild wood: song for the
_hula ala’a-papa_, 62
KEAAU SHELTERS, Waiakea lies in the calm: song for the _hula
ala’a-papa_, 61
KE AMO _la ke ko’i ke Akua la i uka: mele_ for the
_hula Pele_, 190
KEAWE—
a name of many personalities (note), 74
the red blush of dawn: old song (note), 74
KE LEI MAI _la o Kaula i ke kai, e-e!_—
_mele_ of Mana-mana-ia-kaluea, 212
wreath-song, 56
KE POHÁ NEI; _u’ína la: mele_ for the _hula o-niu_ 248
KI’I-KI’I 91
KI’I NA KA IPO: _mele_ for the _hula ulili_ 246
KILELEI, THE HULA 210
KILU, a game and a _hula_ 235
KILU-CONTEST of Hiiaka with Pele-ula 240
KING, CAPT. JAMES, on the music and dancing of the Hawaiians 149
KING’S WASH-TUBS 116
KINI AKUA, THE 24, 46
KO’I-HONUA, a style of recitation 58, 89
KO’I MAKA NUI: _mele oli_ for the _hula pua’a_ 228
KOLEA KAI PIHA: _mele_ for the _hula kolea_ 219
KONA KAI OPUA, _i kala i ka la’i: mele_ for the _hula
ka-laau_ 117
KUAHU-SERVICE, not a rigid liturgy 21
KUAHU, THE 15, 32
KU AKU LA KEAAÚ, _lele ka makani mawaho: mele_ for the
_hula pa-ipu_ 77
KUA LOLOA _Keaáu i ka nahele: mele_ for the _hula ala’a-papa_ 62
KU, A MARIONETTE 91
KU E, NANÁ E! _mele_ for the _hula ilio_ 223
KU I WAILUA _ka pou hale: mele_ for the _hula Pale_ 191
KU KA MAKAIA _a ka huaka’i moe ípo_: dismissing prayer at
intermission 129
KU KA PUNOHU _ula i ka moana_: girl’s dressing song 55
KUKULU O KAHIKI (note) 17
KUMU-HULA, a position open to all 15
KUMUKAHI, myth (note) 197
KUNIHI KA MAUNA _i ka la’i, e: mele kahea_, password to
the _halau_ 40
KU OE KO’U WAHI _ohelo nei la, auwe, auwe! mele_ for the
_hula ohelo_ 233
KU PILIKI’I _Hanalei lehua, la: mele_ for the _hula kielei_ 210
KU-PULUPULU. See Gods of the _hula_.
KU. See Gods of the _hula_.
KU’U HOA MAI _ka makani kuehu kapa o Kalalau: mele_ for the
_hula kilu_ 240
LA’A MAI-KAHIKI—
his connection with the _hula pahu_ 103
introduces the drum, or _pahu hula_ 141
LAAU, a xylophone 144
LAKA—
a block of wood her special symbol 20, 23
adulatory prayer to 18
a friend of the Pele family 24
_aumakua_ of the _hula_ 23
compared with the gods of classic Greece 24
emanation origin 48
epithets and appellations of 24
invoked as god of wildwood growths 24
special god of the _hula_ 24
versus Kapo 47
wreathing her emblem 34
LAKA SITS in her shady grove: altar-prayer 34
LAMENT OF MANA-MANA-IA-KALUEA—
Alas, alas, maimed are my hands! 212
_Auwe, auwe, mo’ ku’u lima!_ 212
LAU LEHUA _punoni ula ke kai o Kona: mele_ for the _hula
pa-ipu_ 75
LEAF OF LEHUA and noni-tint, the Kona sea: song for the _hula
pa-ipu_ 76
LE’A WALE _hoi ka wahine lima-lima ole, wawae ole: mele_ of
Hiiaka 212
LEHUA ILUNA: tabu-lifting prayer at intermission 126
LELE MAHU’I-LANI _a luna_: a tiring song 56
LET’S WORSHIP NOW the bird-cage: song for the _hula ki’i_ 99
LIFT MAHU’I-LANI on high: tiring song 56
LIKE NO A LIKE: song with music XII 168
LIMA-LOA, god of mirage (note) 79
LITERALISM IN TRANSLATION versus fidelity 88
LITURGY OF KUAHU not rigid 21
LI’ULI’U ALOHA _ia’u mele kahea_: password to the _halau_ 39
LONG, LONG have I tarried with love: password to the _halau_ 39
LONO, cult of 18
See Gods of the _hula_.
LOOK FORTH, GOD KU, look forth: song for the _hula ilio_ 225
LOOK NOW, WAIALUA, land clothed with ocean-mist: song for
the _hula ala’a-papa_ 60
LOOK TO YOUR WAYS in upland Puna: song apropos of Nihi-aumoe 94
LO, PELE’S THE GOD of my choice: song prayer for the
_hula Pele_ 199
LO, THE RAIN, the rain: song for the _hula kolani_ 217
LOVE FAIN COMPELS to greet thee: song, “Cold breast,” with
music IX 165
LOVE IS AT PLAY in the grove: song for the _hula ala’a-papa_ 71
LOVE TOUSLED WAIMEA with shafts of the wind: song for the
_hula ala’a-papa_ 69
LYRIC OR OLI: The wind-beaten stream of Wailua 256
LYRIC UTTERANCE 254–256
MAHELE OR PALE, divisions of a song 58
MAI KAHIKI _ka wahine, o Pele: mele_ for the _hula Pele_ 187
MAILE-LAU-LI’I 91
MAILE-PAKAHA 91
MAKA-KU 91
MAKA-LÉI, a mythical fish-tree (note) 17
MAKALI’I, the Pleiades (note) 17
MALUA, fetch water of love: song for the _hula puili_ 115
MALUA, _ki’i wai ke aloha: mele_ for the _hula puili_ 114
MAO WALE _i ka lani: mele_ for the _hula kilu_ 243
MARIONETTE HULA 91
MASKS NOT USED in the _halau_ 179
MAULI-OLA, god of health (note) 198
MELES—
apropos of—
Kahuli, the tree-shell: _Kahuli aku, kahuli mai_ 121
Keawe: _O Keawe ula-i-ka-lani_ (note) 74
Nihi-aumoe: _E hoopono ka hele i ka uha o Puna_ 94
at début of _hula_ performer: _Ka nalu nui, a ku
ka nalu mai Kona_ 35
for interlude: _Ua ona o Kane i ka awa_ 130
for Kane: _He ú-i, he nináu_ 257
for the—
_hula ala’a-papa_—
_A Koa’e-kea, i Pueo-hulu-nui_ 67
_A Koolau wau, ike i ka ua_ 59
_Hi’u-o-lani, ki’i ka ua o Hilo_ 65
_Hoe Puna i ka wa’a polólo_ 70
_Ho-ina-inau mea ipo i ka nahele_ 71
_Hole Waimea i ka ihe a ka makani_ 68
_Hoopono oe, he aina kai Waialua i ka hau_ 60
_Kau ka ha-é-a, kau o ka hana wa ele_ 69
_Kua loloa Keaau i ka nahele_ 62
_Noluna ka Hale-kai, no ka ma’a-lewa_ 63
_Pakú Kea-au, lulu Wai-akea_ 60
_hula hoonaná: A pili, a pili_ 244
_hula íliíli: A lalo maua o Waipi’o_ 120
_hula ilio: Ku e, naná e!_ 223
_hula kaekeeke_—
_A Hamakua au_ 122
_Kahiki-nui, auwahi ka makani_ 124
_hula ka-laau_—
_Kona kai opua i kala i ka la’i_ 117
_O Kalakaua, he inoa_ 117
_hula kielei Ku piliki’i Hanalei-lehua, la_ 210
_hula ki’i_—
_E kaukau i hale manu, e!_ 99
_E le’e kaukau_ 98
_Eleele kaukau_ 97
_E Wewehi, ke, ke!_ 94
_Kalalau, pali eku i ka makani_ 101
_Pikáka e, ka luna ke, ke!_ 96
_hula kilu_—
_Kálakálaíhi, kaha ka La ma ke kua o Lehua_ 238
_Ku’u hoa mai ka makani kuehu-kapa o Kalalau_ 240
_Mao wale i ka lani_ 243
_Pua ehu kamaléna ka uka o Kapa’a_ 237
_Ula Kala’e-loa i ka lepo a ka makani_ 239
_Ula ka lani ia Kanaloa_ 241
_hula kolani: He wa la, he ua_ 216
_hula kolea: Kolea kai piha_ 219
_hula ku’i_—
_I aloha i ke ko a ka wai_ 251
_Kaulana mai nei Pua Lanakila_ 252
_hula ku’i Molokai_—
_He ala kai olohia_ 207
_He inoa no ka Lani_ 208
_hula manó: Auwe! pau au i ka manó nui, e!_ 221
_hula mu’umu’u: Pi’i ana a-ama_ 213
_hula niau-kani: E pi’i ka wai ka nahele_ 133
_hula ohe: E pi’ i ka nahele_ 135
_hula ohelo: Ku oe ko’u wahi ohelo nei la, auwe, auwe!_ 233
_hula o-niu: Ke pohá nei, u’ína la!_ 248
_hula pahu_—
_A Puna au, i Kuki’i au, i Ha’eha’e_ 104
_Kau lilua i ke anu Wai-aleale_ 105
_O Hilo oe, muliwai a ka ua i ka lani_ 104
_hula pa-hua: Pa au i ka ihe a Kane_ 183
_hula pa-ipu_—
_Aole au e hele ka li’u-la o Maná_ 79
_Haku’i ka uahi o ka lua_ 88
_He lua i lea hikina_ 85
_Kauhua Ku, ka Lani, iloli ka moku_ 80
_Kauo pu ka iwa kala-pahe’e_ 76
_Ku aku la Kea-aú, lele ka makani mawaho_ 77
_Lau lehua punoni ula ke kai o Kona_ 75
_O Ewa, aina kai ula i ka lepo_ 84
_Ooe no paha ia, e ka lau o ke aloha_ 82
_Wela Kahiki, e!_ 73
_hula pa’i-umauma_—
_A Hilo au, e, hoolulu ka lehua_ 203
_E Manono la, ea_ 204
_Kahipa, na waiu olewa_ 205
_hula Pele_—
_A Kauai, a ke olewa iluna_ 189
_Aole e mao ka ohu_ 195
_E ala, e Kahiki-ku_ 196
_E oe mauna i ka ohu_ 194
_I kama’ama’a la i ka pua-lei_ 199
_Ike ia Kauná-wahine, Makani Ka-ú_ 193
_Ke amo la ke Akua la i-uka_ 190
_Ku i Wailua ka pou hale_ 191
_Mai Kahiki ka Wahine, o Pele_ 187
_Nou paha e, ka inoa_ 200
_O Pele la ko’u akua_ 198
_hula puili_—
_Hiki mai, hiki mai ka La, e!_ 114
_Malua, ki’i wai ke aloha_ 114
_hula ulili: Ki’i na ka ipo_ 246
_hula úli-ulí_—
_Aole i mana’o ia_ 108
_Auhea wale oe, e ka Makani Inu-wai?_ 110
_inoa_—
composition and criticism of 27
must contain no words of ill omen 37
their authors called “the king’s wash-tubs” 116
to Naihe: _Ka nalu nui, a ku ka nalu mai Kona_ 35
in the _hula_, starting of 58
_kahea_, password to the _halau_—
_Ka uka holo-kia ahi-manu o La’a_ 41
_Kunihi ka mauna i ka la’i, e_ 40
_Li’u-li’u aloha ia’u_ 39
_komo_, welcome to the _halau_—
_Aloha na hale o makou i makamaka ole_ 39
_E hea i ke kanaka e komo maloko_ 41
_kuahu_, altar-prayer—
_E, Laka, e!_ 34
_Noho ana Laka i ka ulu wehiwehi_ 33
_kupe’e_, anklet song: _Aala kupukupu ka uka o
Kanehoa_ 49
of Hiiaka: _Le’a wale hoi ka wahine limalima ole,
wawae ole_ 212
of Mana-mana-ia-kaluea: _Ke lei mai la o Kaula
i ke kai e-e!_ 212
_oli_—
for the _hula pua’a: Ko’i maka nui_ 228
in the game of _kilu: A uweuwe ke ko’e a ke kae_ 240
set to music—
XI: _A e ho’i ke aloha i ka mawae_ 167
VIII: _Aia i Waipi’o Paka’alana_ 162
IX: _Aloha wale oe_ 164
VII: _Halau Hanalei i ka nini a ka úa_ 156
XIV: _Hawaii ponoi_ 172
X: _He aloha wau ia oe_ 166
XIII: _O ka ponaha iho a ke ao_ 169
XII: _Ua líke no a líke_ 168
to Kaukini: _Ike ia Kaukini, he lawaia manu_
(note) 51
MELODY of Hawaiian song 170
METHINKS IT IS YOU, leaf plucked from Love’s tree: song
for _hula pa-ipu_ 83
MIMETIC GESTURE 178
MISTAKEN VIEWS about the Hawaiians 262
MISTY AND DIM, a bush in the wilds of Kapa’a: song for
_hula kilu_ 237
MOTION, illustrated by gesture 178
MUSICAL INSTRUMENTS 140
influence on a _hula_ performance 113
the _kaekeeke_ 122
the _pu-la-í_ 147
the _ukeké_ 149
MUSICAL SELECTIONS—
I: range of the nose-flute 146
II: from the nose-flute 146
III: the _ukeké_ as played by Keaonaloa 149
IV: song from the _hula pa’i-umauma_ 153
V: song from the _hula pa-ipu_ 153
VI: song from the _hula Pele_ 154
VII: _oli_ and _mele_ from the _hula ala’a-papa_ 156
VIII: _He inoa no Kamehameha_ 162
IX: song, _Poli anuanu: Aloha wale oe_ 164
X: song, _Hua-hua’i_ 166
XI: song, _Ka Mawae_ 167
XII: song, _Líke no a Líke_ 168
XIII: song, _Pili-aoao_ 169
XIV: Hawaiian National Hymn, _Hawaii Ponoi_ 172
MUSIC AND POETRY, Hawaiian—their relation 161
MUSIC OF THE HAWAIIANS 138–140
cadence 140
phrasing 140
rhythm 160
under foreign influences 163
vocal execution 139
MYTH ABOUT KUMU-KAHI (note) 197
MYTHICAL SHARK, Papi’o (note) 206
NAME-SONG OF KAMEHAMEHA: In Waipio stands Pa ka’alana 163
of Naihe: The huge roller, roller that surges from Kona 36
NATIONAL HYMN of Hawaii—
translation 175
with music XIV 172
NA-Ú, a game (note) 118
NIAU-KANI, a musical instrument 132
NIHEU, mythological character (note) 194
NIHI-AUMOE 91
NOHO ANA LAKA _i ka ulu wehiwehi_: altar-prayer 33
NOLUNA _ka hale kai, e ka ma’alewa_—
_mele_ for the _hula ala’a-papa_ 63
_mele_ with music VII 155
NOSE-FLUTE 135, 145
music from, II 146
remarks on, by Jennie Elsner 146
NOU PAHA E, _ka inoa: mele_ for the _hula Pele_ 200
Now FOR THE DANCE, dance in accord: song for the _hula ki’i_ 98
NOW, KANE, APPROACH, illumine the altar: altar-prayer to
Kane and Kapo 45
NOW WRIGGLES THE WORM to its goal: song in the game of _kilu_ 240
OBSTACLE, AN, illustrated by gesture 177
O EWA, _aina kai ula i ka lepo: mele_ for the _hula pa-ipu_ 84
O GODDESS LAKA! altar-prayer 34
OHE HANO-IHU, the nose-flute 135, 145, 146
O HILO OE, _Hilo, muliwai a ka wa i ka lani: mele_ for the
_hula pahu_ 104
OH WEWEHI, la, la! song for the _hula ki’i_ 95
OH WILDWOOD BOUQUET, Oh Laka—
tabu-removing prayer at graduation 32
tabu-removing prayer at intermission 128
O KALAKAUA, _he inoa: mele_ for the hula _ka-laau_ 117
O KA PONAHA _iho a ke ao_: song with music XIII 169
O KEAWE-ULA-I-KA-LANI: old _mele_ apropos of Keawe (note) 74
O LAKA OE: altar-prayer to Laka 42
OLAPA, a division of _hula_ performers 28, 57
OLD SEA SONG—
Blow, blow, thou wind of Hilo! (note) 65
_Pa mai, pa mai_ (note) 65
OLD SONG: Keawe, the red blush of dawn (note) 74
OLELO HUNÁ, secret talk 97
OLI AND MELE—
dividing line between 254
from the _hula ala’a-papa_, music VII 156
OLI LEI: _Ke lei mai la o Kaula i ke kai, e!_ 56
OLI PA-Ú: _Kakua pa-ú, ahu na kikepa_ 51
OLI, THE 254–256
illustration of: _Ka wai opua-makani o Wailua_ 255
OLI, with music VII: _Halau Hanalei i ka nini a ka ua_ 155
OLOPANA, a famous king (note) 74
O MY LOVE goes out to thee: song with music X 167
ONE-BREATH PERFORMANCE 139
OOE NO PAHA IA, _e ka lau o ke aloha: mele_ for the _hula
pa-ipu_ 82
O PELE _la ko’u akua: mele_ for the _hula Pele_ 198
ORACULAR UTTERANCE of Kapihe: _E iho ana oluna_ 99
ORGANIZATION of a _hula_ company 29
ORTHOGRAPHY of the Hawaiian language—influence of Rev.
W. Ellis (note) 72
OUTSPREADS NOW THE DAWN: song with music XIII 170
O WANAHILI _ka po loa ia Manu’a: mele_ for the _hula ki’i_ 100
PA AU I KA _ihe a Kane: mele_ for the _hula pa-hua_ 183
PAHU, the drum 140
PAKÚ KEAAU, _lulu Waiakea: mele_ for the _hula pa-hua_ 60
PA MAI, _pa mai_: old sea song (note) 65
PAPI’O, mythical shark (note) 206
PART-SINGING in Hawaii—
at the present time 152
in ancient times 150, 152
PASSWORD TO THE HALAU—
In the uplands, the darting flame-bird of La’a 41
Long, long have I tarried with love 39
Steep stands the mountain in calm 40
PA-U HALAKÁ, THE (note) 124
PA-Ú SONG: Gird on the _pa-ú_, garment tucked in one side 54
PA-Ú, the _hula_ skirt 49
PECULIARITIES of Hawaiian speech, music affected by 139
PELE—
relations of, with Kama-pua’a 231
story of 186
PERILOUS, STEEP, is the climb to Hanalei woods: song for
the _hula kielei_ 211
PHRASING in music 140
PHYSIQUE of _hula_ performers 57
PI’I ANA A-ÁMA: _mele_ for the _hula mu’umu’u_ 213
PIKÁKA, E, _ka luna, ke, ke: mele_ for the _hula ki’i_ 96
PILLARS of heaven’s dome, _Kukulu o Kahiki_ (note) 17
PITCHING THE TUNE 158
PLAIN, A, illustrated by gesture 178
PLEIADES, THE, _Makali’i_ (note) 17
POETRY of ancient Hawaii 161, 263
POINT TO A DARK ONE: song for the _hula ki’i_ 97
POLI ANUANU, song with music IX: _Aloha wale oe_ 164
PRAYER OF ADULATION to Laka: In the forests, on the ridges 18
PRAYER OF DISMISSAL at intermission: _Ku ka makaia a ka
huaka’i moe ipo_ 129
PRECIOUS THE GIFT of heart’s-ease: song for the _hula
ku’i Molokai_ 208
PROVERBIAL SAYING: Unstable the house 53
PU-Á, a whistle 146
PUA EHU KAMALENA _ka uka o Kapa’a: mele_ for the _hula kilu_ 237
PUAPUA-KEA 91
PUILI, a bamboo rattle 144
PU-LA-Í, a musical instrument 147
PULE HOONOA—
at graduation exercises: _Pupu we’uwe’u e, Laka e!_ 31
at intermission: _Lehua i-luna_ 126
to Laka: _Pupu we’uwe’u e, Laka e!_ 128
PULE KUAHU—
_E hooulu ana i Kini o ke Akua_ 21
_Ei’ au, e Laka mai uka_ 20
in prose speech: _E ola ia’u, i ka malihini_ 46
to Kane and Kapo: _Kane hiki a’e, he maláma ia luna_ 44
to Laka: _Eia ke kuko, ka li’a_ 43
to Laka: _Haki pu a ka nahelehele_ 18
to Laka: _O Laka oe_ 42
to the _Kini Akua: E ulu, e ulu, Kini o ke Akua!_ 46
PUNA PLIES PADDLE night-long in the storm: song for
_hula ala’a-papa_ 70
PUNCH-AND-JUDY SHOW and the _hula ki’i_ 91
PU-NIU, coconut drum 141
PUPILS OF THE HALAU—dispensation before graduation 33
PUPU-A-LENALENA, a famous dog 131
PUPU WE’UWE’U E, Laka e! _pule hoonoa_—
at graduation 31
at intermission 128
PURIFICATION of the _hula_ company 15
of the site for the _halau_ 14
RANGE of the nose-flute 146
RECITATION in the _hula_, style of 58
RED GLOWS KALA’E through the wind-blown dust: song for the
_hula kilu_ 239
REED-INSTRUMENT, the _niau-kani_ 147
RELATION of Hawaiian poetry and music 161
RELIGION in Hawaii somber 13
RESPONSIVE CHANTING in the _hula ka-laau_ 116
RETURN, O LOVE, to the refuge: song with music XI 168
RHYTHM in Hawaiian music 160, 171
RULES AND PENALTIES controlling a _hula_ company 29
RULES OF CONDUCT during the building of a _halau_ 15
SHARK-GOD, Kawelo, a sorcerer (note) 79
SHE IS LIMED, she is limed: song for the _hula hoonaná_ 245
SINGING IN ANCIENT TIMES—testimony of Capt. James King 149
SKIRT for the _hula_, the _pa-ú_ 49
SLANG among the Hawaiians 98
SONG, Hawaiian attitude toward 159
See also Hawaiian song.
SONGS—
apropos of Nihi-aumoe: Look to your ways in upland Puna 94
at the first _hula_ 8
composed by Kamehameha II 69
divisions of 58
epithalamium, for the _hula ki’i_: Wanahili bides the
whole night with Manu’a 101
for interlude: Kane is drunken with awa 130
for the—
_hula ala’a-papa_—
A mackerel sky, time for foul weather 70
From mountain retreat and root-woven ladder 64
Haunt of white tropic-bird 67
Heaven-magic fetch a Hilo pour 66
Keaau is a long strip of wildwood 62
Keaau shelters, Waiakea lies in the calm 61
Look now, Waialua, land clothed with ocean mist 60
Love is at play in the grove 71
Love tousled Waimea with shafts of the wind 69
Puna plies paddle night-long in the storm 70
’Twas in Koolau I met with the rain 59
_hula hoonaná_: She is limed, she is limed 245
_hula íliíli_: We twain were lodged in Waipi’o 120
_hula ilio_: Look forth, god Ku, look forth! 225
_hula kaekeeke_: It was in Hamakua 123
Kahiki-nui, land of wind-driven smoke 125
_hula ka-laau_: Kalakaua, a great name 117
The cloud-piles o’er Kona’s sea 118
_hula kielei_: Perilous, steep is the climb to Hanalei
woods 211
_hula ki’i_—
Let’s worship now the bird-cage 99
Now for the dance 98
Oh Wewehi, la, la! 95
Point to a dark one 97
The mountain walls of Kalalau 102
The roof is a-dry, la, la! 96
_hula kilu_—
Comrade mine in the robe-stripping gusts of Lalau 241
Engulfed in heaven’s abyss 243
Kanaloa tints heaven with a blush 242
Misty and dim, a bush in the wilds of Kapa’a 237
Red glows Kala’e through the wind-blown dust 239
The sun-furrow gleams at the back of Lehua 238
_hula kolani_: Lo, the rain, the rain! 217
_hula kolea_: A plover at the full of the sea 220
_hula ku’i_—
Fame trumpets your conquests each day 253
How pleasing, when borne by the tide 252
_hula ku’i Molokai_—
A eulogy for the princess 209
Precious the gift of heart’s ease! 208
_hula manó_: Alas, I am seized by the shark, great
shark! 222
_hula mu’umu’u_: Black crabs are climbing 214
_hula niau-kani_: Up to the streams in the wildwood 133
_hula ohe_: Come up to the wildwood, come 136
_hula ohelo_: Touched, thou art touched by my gesture 234
_hula o-niu_: The rustle and hum of spinning top 249
_hula pahu_—
In Puna was I, in Kiki’i, in Ha’e-ha’e 105
performers 103
Thou art Hilo, Hilo, flood-gate of heaven 104
Wai-aleale stands haughty and cold 106
_hula pa-hua_: I am smitten with spear of Kane 184
_hula pa-ipu_—
A burst of smoke from the pit lifts to the skies 89
A pit lies (far) to the east 86
A storm from the sea strikes Ke-au 78
Big with child is the Princess Ku 81
Ewa’s lagoon is fed with dirt 84
Glowing is Kahiki, oh! 75
I will not chase the mirage of Maná 80
Leaf of lehua and noni-tint 76
Methinks it is you, leaf plucked from love’s tree 83
The iwa flies heavy to nest in the brush 76
_hula pa’i-umauma_—
At Hilo I rendezvoused with the lehua 203
Come now, Manono 204
’Tis Kahipa, with pendulous breasts 206
_hula Pele_—
Alas, there’s no stay to the smoke 195
At Wailua stands the main house-post 192
Bedeck now the board for the feast 200
Behold Kauná, that sprite of windy Ka-ú 193
From Kahiki came the woman, Pele 188
Ho! mountain of vapor puffs! 194
Lo, Pele’s the god of my choice 198
They bear the god’s ax up the mountain 191
To Kauai, lifted in ether 189
With music VI 154
Yours, doubtless, this name 201
_hula pua’a_: Ax of broadest edge I’m hight 230
_hula puili_—
It has come, it has come 114
Malua, fetch water of love 115
_hula ulili_: A search for a sweetheart 247
_hula úli-ulí_—
I spurn the thought with disdain 109
Whence art thou, thirsty Wind? 111
from the _hula pa’i-umauma_—music IV 153
in the game of _kilu_: Now wriggles the worm to its goal 240
of cosmology—
Begotten were the gods of graded rank (note) 196
_Hanau ke apapa nu’u_ (note) 196
of Hiiaka: How pleased is the girl maimed of hand and foot 212
of Mana-mana-ia-kaluea: Kaúla wreathes her brow with the
ocean 213
of the tree-shell: Trill afar, trill a-near 121
of welcome to the _halau_: What love to our cottage homes! 40
The Water of Kane: This question, this query 258
with music—
VII: Hanalei is a hall for the dance in the pouring rain 155
XIV: Hawaii’s very own 175
VIII: In Waipi’o stands Paka’a-lana 163
IX: Love fain compels to greet thee 165
X: O my love goes out to thee 167
XIII: Outspreads now the dawn 170
XI: Return, O love, to the refuge 168
XII: When the rain drums loud on the leaf 169
SOURCE of _hula_ songs 58
STEEP STANDS THE MOUNTAIN in calm: password to the _halau_ 40
STRESS-ACCENT and rhythmic accent 158
SUPPORT AND ORGANIZATION of the _hula_ 26
TABU, as a power in controlling a _hula_ company 30
TABU-REMOVING PRAYER at intermission: Oh wildwood bouquet,
O Laka! 128
TEMPO in Hawaiian song 160
THE CLOUD-PILES o’er Kona’s sea whet my joy: song for the
_hula kalaau_ 118
THE HUGE ROLLER, roller that surges from Kona: name-song to
Naihe 36
THE IWA FLIES HEAVY to nest in the brush: song for the _hula
pa-ipu_ 76
THE MOUNTAIN WALLS of Kalalau: song for the _hula ki’i_ 102
THE RAINBOW stands red o’er the ocean: tiring song 55
THE ROOF is a-dry, la, la! song for the _hula ki’i_ 96
THE RUSTLE AND HUM of spinning top: song for the _hula o-niu_ 249
THE SUN-FURROW gleams at the back of Lehua: song for the
_hula kilu_ 238
THE WIND-BEATEN STREAM of Wailua: an _oli_ or lyric 256
THEY BEAR THE GOD’S AX up the mountain: song for the
_hula Pele_ 191
THIS MY WISH, my burning desire: altar-prayer to Laka 43
THIS QUESTION, this query: song, The Water of Kane 258
THIS SPOIL AND RAPE of the wildwood: altar-prayer to Laka 19
THOU ART HILO, Hilo, flood-gate of heaven: song for the
_hula pahu_ 104
THOU ART LAKA: altar-prayer to Laka 42
THY BLESSING, O LAKA: altar-prayer in prose speech 47
TIRING SONG—
_Lele Mahu’ilani a luna_ 56
Lift, Mahu’ilani, on high 56
The rainbow stands red o’er the ocean 55
’TIS KAHIPA, with pendulous breasts: song for the _hula
pa’i-umauma_ 206
TO KAUAI, lifted in ether: song for the _hula Pele_ 189
TONE-INTERVALS in Hawaiian song 158
TOUCHED, thou art touched by my gesture: song for the
_hula ohelo_ 234
TRANSLATION, literalism in, versus fidelity 88
TRILL A-FAR, trill a-near: song of the tree-shell 121
’TWAS IN KOOLAU I met with the rain: song for the _hula
ala’a-papa_ 59
UA ONA O KANE _i ka awa: mele_ for interlude 130
UKEKÉ, a Hawaiian harp 147
music of 149
UKU-LELE and taro-patch fiddle, used in the _hula ku’i_
(note) 251
ULA KALA’E-LOA _i ka lepo a ka makani: mele_ for the
_hula kilu_ 239
ULA KA LANI _ia Kanaloa: mele_ for the _hula kilu_ 241
ÚLI-ULÍ, a musical instrument 107, 144
UNION OR SIMILARITY, illustrated by gesture 178
VOCAL EXECUTION of Hawaiian music 139
VOWEL-REPETITION in the _i’i_ 159
WAI-ALEALE stands haughty and cold: song for the _hula pahu_ 106
WANAHILI bides the whole night with Manu’a: (epithalamium)
song for the _hula ki’i_ 101
WATER OF KANE, THE: a song of Kane 257
WELA KAHIKI, E! _mele_ for the _hula pa-ipu_ 73
WELCOME TO THE HALAU: Call, to the man to come in 41
WE TWAIN were lodged in Waipi’o: song for the _hula íliíli_ 120
WHAT LOVE to our cottage homes! song of welcome to the
_halau_ 40
WHENCE ART THOU, thirsty Wind? song for the _hula úli-ulí_ 111
WHEN FLOWERS THE WILIWILI: a bit of folk-lore (note) 221
WHEN THE RAIN DRUMS loud on the leaf: song with music XII 169
WORD-REPETITION in poetry 54
for assonance 227
WORSHIP IN THE HALAU 42
contrasted with worship in the _heiau_ 15
WREATHING THE EMBLEM of goddess Laka 34
WREATH-SONG: Kaula wears the ocean as a wreath 56
XYLOPHONE, the _laau_ 144
YOURS, DOUBTLESS, this name: song for the _hula Pele_ 201