Keawe himself has the name of having mingled his strain with that of every family in the realm, chief or commoner. RIVERS, W. H. R. The History of Melanesian Society. GILL, REV. 449-51. Poepoe puts it thus: “The writer [Poepoe himself] can not prove this to be the true form of the Kumulipo prayer chant as it was begun in ancient days. The unique place given to Haumea on the genealogy of the fifteenth and sixteenth sections of the chant in place of Papa, commonly named on the same genealogy, has already been noticed. Rises silently to the inhabited places [?]. Taʻaroa (Kanaloa in Hawaii) “gives a filip and cracks the shell” in which he is confined. But, since I have no Hawaiian confirmation for this interpretation, I use the vaguer symbolism proposed by Hoʻolapa. . IN THE preceding chapters evidence has been brought to show that the Kumulipo chant was accepted as a genuine tradition of beginning for the Hawaiian people and that corresponding traditions from southern groups prove its composers to have drawn from common Polynesian sources. Additions may have been made from time to time, even up to that of its late transcription. The reference in this first line of the refrain is thus to the generation of life along shore as the waters meet the line of rising land. An even closer count to four hundred is to be had by adding to the hundred and eighty-eight pairs of the younger brotherʻs branch listed in the twelfth section the two hundred and fifteen pairs in the eleventh before the twelfth branches from it. Kawena Pukui recalls an old custom in Ka-u district of forbidding a dancer to refuse a kiss at the close of a hula performance, however distasteful the person offering the tribute—doubtless a survival of more intimate advances once encouraged in the name of the lustful divinity supposed to be directly inspiring the successful dancer.1 It was this element in the hula tradition that shocked even a foreigner like Vancouver and made the hula dance a taboo pastime under missionary influence. The missionaries compared Kanaloa with the biblical Satan. . The afterbirth of the child was thrown away, Hanau ka haluku, ka haloke, ka nakulu, ka honua naueue, Piʻi konikonihiʻa, piʻi na pou o Kanikawá, Make ke au kaha o piko-ka-honua; oia pukaua, Wakea i noho ia Haumea, ia Papa, ia Haohokakalani, hanau o Haloa, [Hanau] o Kapapa-pahu ka mua, Ka-po-heʻenalu mai kona hope noho, Hanau a iloko o Puʻukahonualani o Liʻaikuhonua, o kona muli mai, o Ohomaila, Hanau o Laumiha he wahine, i noho ia Kekahakualani, Hanau o Kahaʻula he wahine, i noho ia Kuhulihonua, Hanau o Kahakauakoko he wahine, i noho ia Kulaniʻehu, Hanau o Haumea he wahine, i noho ia Kanaloa-akua, Hanau o Kukauakahi he kane, i noho ia Kuaimehani he wahine, Hanau o Hikapuanaiea he wahine, ike [i]a Haumea, o Haumea no ia, O Haumea kino pahaʻohaʻo, o Haumea kino papawalu, O Haumea kino papalehu, o Haumea kino papamano, O Nuʻumea ka ʻaina, o Nuʻupapakini ka honua, O Wakea no ia, o Lehuʻula, o Makulukulukalani, Lewa ka pua o ka lani, Kaulua-i-haʻimohai, Lu ka ʻanoʻano Makaliʻi, ʻanoʻano ka lani, Lu ka ʻanoʻano a Hina, he walewale o Lonomuku, Kaulia aʻe i na waʻa, kapa ia Hina-ke-ka ilaila, O Mehani, nuʻu manoanoa o Kuaihealani i Paliuli, Kau i ka moku o Lua, o Ahu a Lua, noho i Wawau, Noho no i Kalihi i kapa i ka lihilihi o Laumiha, O kino ʻulu, o pahu ʻulu, o lau ʻulu ia nei, Moe keiki ia Kau[a]kahi, o Kuaimehani ka wahine, Moe moʻopuna ia Hinanalo, o Haunuʻu ka wahine, Moe moʻopuna ia Nanakahili, o Haulani ka wahine, Moe moʻopuna ia Wailoa, o Hikopuaneiea ka wahine, I hainá, eu, aiʻa, he wahine piʻi-keakea-e, Moe ia Kamole i ka wahine o ka nahelehele, ʻAʻohe hoʻi he kanaka o ka moe ana he keiki ka, Ukiuki Kia[ʻi]-loa ma laua o Kia[ʻi]-a-ka-poko, Kiʻi i ka pu ʻawa hiwa a Kane ma laua o Kanaloa, O ka ua aha o kaʻohe a Kane ma laua o Kanaloa, O ka lou [a]na o na moku e hui ka moana kahiko”, Hanau o Kawaukaʻohele, o Kelea-nui-noho-ana-ʻapiʻapi, he wahine, Hanau Laʻielohelohe, noho ia Piʻilani, [hanau Piʻikea], O Piʻikea noho ia ʻUmi, [hanau] o Kumalae-nui-a-Umi, Kumalaenui-a-ʻUmi ke kane, o Kumunuipuawale ka wahine, Kapohelemai ka wahine, he wohi aliʻi kapu, ka hoʻano, Ka ʻohiʻa ko, ke kuʻina o ka moku o Hawaii, Capitalization of the Prologue follows manuscript. The men seem to be climbing out of the underworld of the Po into a succession of outer worlds, taking with them the plants and animals of the night world as they go. In the Tahitian the concept is quite fully developed. 290-293). He writes: Like the first seven divisions in the first period of the world in the genealogical account of the Kumulipo night followed night and there lived gods alone [?]. The story of the “woman who sat sideways” may have been told at this point as a warning to the young wife not to lose for her offspring the rank she might preserve for them, but to give her first-born to the husband with whom she has been properly mated. Kupulupulu is Laka, worshiped as god of the hula in the form of the flowering lehua tree and welcomed also as god of wild plant growth upon which the earliest settlers had subsisted and still continued to subsist to some extent during the cold winter months before staple crops were ready to gather. A species of kava plant called ʻava nene is prescribed to quiet a fretting (nene) child, and Kawena Pukui gives the following invocation to be used in its plucking: In a “family story” from the same informant a similar chant is addressed to an ancestral coconut called upon to provide a bridge for passing over seas. . . “An ancient prayer for the dedication of the high chief Lono-i-ka-makahiki to the gods soon after his birth,” she writes, a discrepancy in name explained in the note itself, and she adds the date 1700 for the time of its compo-. ——. . I believe, however, that the reading selected is at least true to Hawaiian poetic art and to the intention as I see it of the passage as a whole. It may have been a last honor paid to her dying relative by the chiefess to whom it already belonged, or the younger Alapaʻi-wahine may have been the final inheritor, to whom the family chant was at this time dedicated, or “named,” as the Hawaiians say. Man for the narrow stream, woman for the broad stream, Born was the ʻAʻala moss living in the sea, Guarded by the ʻAlaʻala mint living on land, 52. This was the meaning of the word “mamao” [“far off,” hence “removed,” that is, high in rank] added to the first half of the name. “The woman sat sideways” is an old saying for a wife who takes another husband; kekeʻe ka noho a ka wahine, says the text. . So my translator in a passage from Kepelino: “There was Deep-intense-night (Po-nui-auwaʻea), a period of time without heaven, without earth, without anything that is made. Kelsey has here a definite conception of the symbolism under the literal wording of the lines. Man for the narrow stream, woman for the broad stream, Born is the Weke [mackerel] living in the sea, Guarded by the Wauke plant living on land, 238. The organization of the book has been thoughtfully planned. Thirty pairs, husband and wife, precede the birth of It was still dark. . O ke Akua ke komo, ʻaʻoe komo kanaka, 467. Next Hina-kaweʻo-a “craves food,” and Wakea sets up a row of images (kiʻi), conceals himself in one of them, and from this union is born the same “cock on the back of Wakea” whose birth so radically upsets the established social order at the close of the eleventh section. This chant of Kumulipo is the chant recited by Puʻou to Lono (Captain Cook) as he stood while a sacrifice of pork was offered to him at the heiau of Hikiau at Kealakekua. I have, however, depended upon native authority, especially upon Mrs. Mary Pukui, for correction of this omission, with occasional help from Dr. Buck and Dr. Emory, and with generous assistance in verification by Dr. Elbert, philologist in charge, with Mrs. Pukui and Dr. Emory, of a new revision of the Hawaiian dictionary. Yet it is of first importance in distinguishing two unrelated words otherwise spelled alike but derived from different roots and carrying different meanings. 3. referred to a lullaby that Kawena Pukui remembers her grandmother singing, Toss, toss, hush                     By his wife Ke-aka-huli-honua Liʻa has a son Laka. kūpono. hence the reverence with which Hawaiians approach nature, both animate and inanimate, filled as it is with powers beyond their control. In the genealogy of the fourteenth section, certainly, Wakea is rather fully represented, but here again his story stands at the close rather than the beginning of the genealogical listing with which the chant opens. 2. If an object connected with his person such as clothing or bath. . Ready to speak to a Prochant Expert? In 1897 she not only translated the entire poem into English, but also explained many of its allusions as she understood them. 287-88. made clear. Tags : musique, chants, cycle 2, ce2, ce1, cp, polar, policier, détective. 6), p. 5. darkness, so the child bursts the sheath where it lay within its motherʻs womb and emerges into the light of reasoning human life. Man for the narrow stream, woman for the broad stream, Born is the Palaoa [walrus] living in the sea [? They cover earth like the creeping ti plant, the Cordyline terminalis of the botanist, to be found everywhere in damp growth of the low uplands. MALO, DAVID. . He seems to have sailed back to Tahiti at least once before his final departure.3 In this sojourner belonging to a great family from the south, who came like a god, enriched the festival of the New Year with games and drama, possibly organized the collection of tribute on a southern pattern, and departed leaving behind him a legend of divine embodiment, one is tempted to recognize a far earlier appearance of that Lono of the Makahiki in whose name the Kumulipo chant was dedicated to Keaweʻs infant son and heir. But at last Taʻaroa gave his shell a filip which caused a crack resembling an opening for ants. Born was the sea urchin, the sea urchin [tribe], Born was the short-spiked sea urchin, came forth, Born was the smooth sea urchin, his child the long-spiked came forth, Born was the ring-shaped sea urchin, his child the thin-spiked came forth, Born was the barnacle, his child the pearl oyster came forth, 25. ], 1930. . Helps in Studying the Kumulipo Chant. Kaʻakaʻa swings, swings Poloʻula [star of Oahu], Swings Kalalani [of Lanai], swings [the astrologersʻstar] Kekepue, Swings Kaʻalolo [of Niʻihau], swings the Resting-place-of-the-sun [Kaulana-a-ka-la], 1875. Handy by the Austrian philologist Dr. Joseph Rock. . Hanau kane ia Waiʻololi, o ka wahine ia Waiʻolola, 418. He had been a great warrior but at this time is described as “a little old man, of an emaciated figure; his eyes exceedingly sore and red, and his body covered with a white leprous scurf.” Another priest, described by King as “a tall young man with a long beard,” also took part in the chanting. 405-7, 409-13; White, I, 161-62; Smith, pp. Above each layer arches a sky; to the summit of the highest sky reaches a ladder of men, one on the shoulder of another. Hanau ka Makaloa, o ka Pupuʻawa kana keiki, puka, 31. Honolulu, 1930. Under the surface meaning of the words lies the hidden meaning, or meanings, the kaona, as the Hawaiians say. White, II, 66-67, 72-73, 96-98; Buck, Ethnology of Mangareva, p. 310. vengeful; others, a benevolent culture bringer, using his gifts of magic for the good of man. Ku-polo-liʻili-aliʻi-mua-o-loʻi-po kona muli, 620. To Maori influence also he ascribes the prominence of the god Tane and the little importance attached to Tangaroa in the chants. L’automne; L’hiver; Le printemps . Man for the narrow stream, woman for the broad stream, Born is the sea-urchin [Wana] living in the sea, Guarded by the thorny Wanawana plant living on land, 443. As foreign power increased in the Islands and class distinctions fell away, Kalakaua at last had only the chant to preserve his familyʻs claim to great prestige. Born was Maui the first, born was Maui the middle one, Born was Maui-kiʻikiʻi, born was Maui of the loincloth, The loincloth with which Akalana girded his loins, Hina-of-the-fire conceived, a fowl was born, The child of Hina was delivered in the shape of an egg, Not from sleeping with a man did this child come, It was a strange child for Hina-of-the-fire, 1995. The children of the elder will be lord [?]. The “nine leaves” (na lau eiwa) of the Haha, Kupihea further refers to the “nine daughters of Wakea,” from whom, if I understood him correctly, sprang nine branches of taboo chiefs recognized in the college of chiefs in Hawaii. Voici les paroles et le TBI avec la version MP3 (il suffit de cliquer sur l'image des enfants) PAROLES. . Hanau ke Poʻoapahu, he huluhulu kala, 512. . The obscure treatment of the courting story is a good illustration of poetic courtly style. ], Kameha-ʻi-kaua, The-secluded-one-supreme-in-war, god of Kauakahi, 1935. O ke Akua ke komo, ʻaʻoe komo kanaka, 455. The word maka, “eye,” refers to the constellation of the Pleiades, hiki is a sign of movement; the word translated liberally hence refers to the rising of the Pleiades in the heavens corresponding with the time of the sunʻs turn northward, bringing warmth again to earth, the growth of plants, and the spawning of fish. A mele given me by a countryman of the island of Maui recites the various scandals within his own family in similar cryptic terms but drawn from a completely banal sphere of allusion. . J'ai choisi la chanson "C'est la rentrée" de Joseph Lafitte. O ke Akua ke komo, ʻaʻoe komo kanaka, 262. . In the Kumulipo, spirits of darkness have generated animal and plant life of land and sea; now, generations of mankind people the land. 436-41; Henry, pp. A story to justify the sobriquet is told in both areas. The Kalakaua text itself contains misprints, besides puzzling elisions in the manuscript due to oral memorizing. The first is the myth of Laʻilaʻi who became mother of gods and men through her relations with the god Kane and the man Kiʻi. . It took place in “the land of Lua.” The word means “cave” or “pit,” and we at once connect the place with stories of the ʻOlohe or pit-dwellers already alluded to. . Emory translates as follows: Hawaiians use a similar incantation in approaching certain forms of plant life imagined to have originated in the underworld of the Po or ʻAvaiki, referred to here as “Kahiki,” whose spirits are supposed to show themselves on earth in the body of the plant. Along its shores the lower forms of life begin to gather, and these are arranged as births from parent to child. It was also a means of power to the priesthood. Un chant peut-être un médiateur puissant vers les apprentissages. . WHITE, JOHN. Smith, Lore of the Whare-wananga, p. 117. and Kanaloa are associated in chant and story with such habitations. Except for the third paragraph relating the connection of the chant to the line of ruling chiefs from whom the Hawaiian monarchy of that period claimed descent, the prose note derives from the manuscript source. . . “Arenʻt you a hilu fish!” (He hilu no paha oe!) New Haven, 1941. . In a line from a song dated about 1790 the primal goddess Vari-ma-te-takere is addressed as “a goddess feeding on raw taro” (E tuarangi kai taro mata), a reference recalling the children of Haloa born on the Hawaiian genealogy to Wakea and Papa. Parents become telescoped into sons or brothers or into descendants, and each takes on any one of a number of honorific family titles appropriate to the place assigned in the succession. This is not darkness in the physical sense but applies to the supremacy of the spirit world, the Po, as compared with the world of living men, the Ao. . . 2.). Fornander, Collection (“Memoirs,” No. . Most were promptly identified with known species by one or another of my native informants or by Dr. Edmonson, Zoölogist on the Museum staff, and Miss Neal in charge of plant collections. Fear changes to the more violent emotion of dread, he weliweli, and finally to an awesome sense of reverence, he [ʻili]ʻilihia, toward the dog child, the ʻilio kama, born to Po-neʻe-aku and reference is to a tree bearing red and yellow flowers, colors sacred to chiefs throughout Polynesia and hence an appropriate symbol for the royal lineage. To quote Handyʻs summary of their content: The words [of the vavana] recapitulate the conception, birth, growth, and so on of the child, linking these with the mythical birth of the gods from the level above (papa una) and the level below (papa aʻo). . Un chant à une seule voix, un peu rock, qui a bien plu à la classe. Malo, pp. . 427-29. That between children of younger or elder brothers and sisters (first cousins) is a hoʻi (“return”) union. With the right to cut down ʻohiʻa wood for images, the protector of the island of Hawaii, UP TO a certain point names listed on this latest genealogical branch of the Kumulipo chant, begun in the fifteenth section and completed in the sixteenth, not only appear on accepted genealogies of Hawaiian chief families but bear a striking similarity to some of those reported from southern Polynesia. . . connecting all with mythological references to gods and ancient lands. a revolted, disobedient spirit who was conquered and punished by Kane (Tane). . . if a boy, it was carried to the heiau, there to have the navel string cut in a ceremonious fashion. 363-65. Corrections are from Makemsonʻs     alphabetical star list. . It does not appear in any other Hawaiian genealogy so far as I know, in spite of the important part played by the goddess Haumea today in folk belief. . . . There is, moreover, a hesitation inherent in the character of the content in the case of a sacred chant like the Kumulipo that hinders frank explanation even when the meaning is clear to the one questioned. by The University of Chicago Press, Published in 1951 by the University of Chicago Press generations old, Bent and grey the breast, worthless was [the one of] Nuʻu- mea[? . And when the bards had composed their meles satisfactorily (a holo na mele), they were imparted to the hula dancers to be committed to memory. Hanau ka Leho, o ka Puleholeho kana keiki, puka, 29. The. The sacred character of the chant is thus clearly established. He distinguishes the literal interpretation—that of the creation of light and life on earth—from the symbolic, to be found also in the story of the first man Kumu-honua (“Source-of-earth”) and the first woman, Lalo-honua (“Earth-beneath-the-surface”), the two called in this chant Kumu-lipo (“Source-of-profundity”) and Poʻele (“Darkness”). inven-. So sacred is the child of such a union that he is spoken of as “a fire, a blaze, a raging heat, only at night is it possible for such children to speak with men,” this lest the shadow of the god falling upon a house render it sacred, hence uninhabitable. In the first chant the word tumu serves as keynote as the chanter welcomes the generating pair Tane and Hine, “source” or “cause” or “origin” of all things; hails the rain-. As in the Concerto, the composer builds Chant après chant in seventeen phases but, in this case, after having completed the main structure, Barraqué added an additional opening section, ending with a cadenza for the piano and a first vocal line. In Mangaia, myths collected by the missionary W. Wyatt Gill describe under a different symbol the change from life within the Po to that of the world of the Ao, the world of living men on this earth. In the whole series she sees pictured the arrival of a train of followers of a chief bearing gifts to lay before the first-born child upon the occasion of his presentation to the family clan. The stories of usurping chiefs show how a successful inferior might seek intermarriage with a chiefess of rank in order that his heir might be in a better position to succeed his parent as ruling chief. We know from old sources that remote valleys inland were the preferred homes of the ancient chief stock. In the same way the Polynesian creation story as a successive appearance of plant and animal forms leading up to man must be referred to some such factual observation. Due to strains on HME and pharmacy providers, the healthcare sector is at difficult crossroads. . Maui-of-a-Thousand-Tricks: His Oceanic and European Biographers. Best says, quoting Fornander, “Kanaloa is in Hawaii . . Some subjects, in this regard, believe that there are esoteric procedures that can be completed in a few days or, in any case, in the short term. . In the case of the Kumulipo a number of such underlying meanings have been proposed, each sufficiently plausible in itself, but difficult of application in relation to the text as a whole. Hanau ke Aku, hanau ke ʻAhi i ke kai la holo, 151. There follows a series of three-line stanzas, each concluding with a refrain proclaiming the “growth” (tupuranga) of lesser gods (Vaitu) and of men. 535. . Malo writes: If after this [the formal mating] it is found that the princess is with child there is great rejoicing among all the people that a chief. 25 janv. During those intervals night reproduced night by living as man and wife and producing many gods often spoken of by the people of Hawaii as “the forty thousand gods, four thousand gods, four hundred thousand gods,” and in the eighth interval birth changed to that of human beings; that is, to Laʻilaʻi and all those born with her. First through Laʻilaʻi, first through Kiʻi, Child of the two born in the heavens there. 15. ily at the volcano, each member born from a different part of her body, Pele alone from between her thighs. They had great power over the lives of people in ancient days and to them were given signs and mysterious omens not forgotten by the people of this race. For example, the barren sandy isthmus between East and West Maui, which must be crossed by the dead in order to reach the “leaping place of souls” on the west coast of the island, was said to be a haunt of such lost and spiteful spirits, to be avoided by the living at night. “The third sea that made the chiefs fall,” Ke kolu o ke kai o Kahinaliʻi. ; of Maihea and Naulu-a-Maihea, the prophet race of Oahu . 3 vols. “Not only does Beckwith’s book provide students of pre-European Hawaii with the most authoritative text and translation of the Kumulipo, it also brings to anyone interested in Polynesia a profound glimpse into the creative depths of the pre-European Hawaiian mind.”-Pacific Islands Monthly, Cover drawing by Ray Lanterman UN CHANT POUR LA RENTREE. Each year the difficulty of editing and translating becomes greater. Names thus become interchangeable. . The prose note as translated under the direction of Mrs. Mary Pukui and checked with the queenʻs rendering of certain passages reads as follows: Hewahewa and Ahukai were the persons who recited this chant to Alapaʻi-wahine at Koko on Oahu. . . Foreword copyright © 1972 by The University Press of Hawaii . Here’s how to recognize it, treat it -- and prevent it. 64, no. He grows to be a lad, still within the “shell” out of which he has formed a sky for the new land. . The reciters seem also to have been priests of rank. . 1     . THE REFRAIN OF GENERATION   . Tremble through in shadowy fashion the outlines of the future world. Maui has now concluded his ninth adventure, and from this point the numbering becomes confused. To carry on the fruit of Oma's descendants, THE sixth chant describes in a mood of whimsical humor the depredations of the rat tribe upon the vegetable food crop celebrated in the last chant. The Hulupi'i had kinky hair, cropped to stand up and col-. . The chant closes with the birth of the same three offspring of Laʻilaʻi as were named in the eighth ode when she lived “as a woman” in the land of Lua, here called “part of the family of that woman mentioned above” (la).
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