Richard F. Burton - "The Book of the Thousand Nights and a Night, Volume 3"

Frederick S. Dellenbaugh - "A Canyon Voyage"

Irene Elliott Benson - "How Ethel Hollister Became a Campfire Girl"

Various - "The Atlantic Monthly, Vol. II, No. 8, June 1858"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

Unwritten Literature of Hawaii

N >> Nathaniel Bright Emerson >> Unwritten Literature of Hawaii




We shall observe in this hula the division of the performers
into two sets, the _hoopa'a_ and the _olapa_. Attention will
naturally bestow itself first on the olapa, a division of the
company made up of splendid youthful figures, young men,
girls, and women in the prime of life. They stand a little
apart and in advance of the others, the right hand extended,
the left resting upon the hip, from which hangs in swelling
folds the pa-u. The time of their waiting for the signal to
begin the dance gives the eye opportunity to make deliberate
survey of the forms that stand before us.

The figures of the men are more finely proportioned, more
statuesque, more worthy of preservation in marble or bronze
than those of the women. Only at rare intervals does one find
among this branch of the Polynesian race a female shape which
from crown to sole will satisfy the canons of
proportion--which one carries in the eye. That is not to say,
however, that the artistic eye will not often meet a shape
that appeals to the sense of grace and beauty. The springtime
of Hawaiian womanly beauty hastes away too soon. Would it
were possible to stay that fleeting period which ushers in
full womanhood!

One finds himself asking the question to what extent the
responsibility for this overthickness of leg and
ankle--exaggerated in appearance, no doubt, by the ruffled
anklets often worn--this pronounced tendency to the growth of
that degenerate weed, fat, is to be explained by the standard
of beauty which held sway in Hawaii's courts and for many
ages acted as a principle of selection in the physical
molding of the Hawaiian female.

The prevailing type of physique among the Hawaiians, even
more marked in the women than in the men, is the short and
thick, as opposed to the graceful and slender. One does
occasionally find delicacy of modeling in the young and
immature; but with adolescence fatness too often comes to
blur the outline.

The hoopa'a, who act as instrumentalists, very naturally
maintain a position between sitting and kneeling, the better
[Page 58] to enable them, to handle that strangely effective drumlike
instrument, the _ipu_, the one musical instrument used as an
accompaniment in this hula. The ipu is made from the bodies
of two larger pear-shaped calabashes of unequal sizes, which
are joined together at their smaller ends in such a manner as
to resemble a figure-of-eight. An opening is left at the top
of the smaller calabash to increase the resonance. In moments
of calm the musicians allow the body to rest upon the heels;
as the action warms they lift themselves to such height as
the bended knee will permit.

The ala'a-papa is a hula of comparatively moderate action.
While the olapa employ hands, feet, and body in gesture and
pose to illustrate the meaning and emotion of the song, the
musicians mark the time by lifting and patting with the right
hand the ipu each holds in the left hand. If the action of
the play runs strong and stirs the emotions, each hoopa'a
lifts his ipu wildly, fiercely smites it, then drops it on
the padded rest in such manner as to bring out its deep
mysterious tone.

At a signal from the kumu, who sits with the hoopa'a, the
_poo-pua'a_, leader of the olapa, calls the mele (_kahea i ka
mele_)--that is, he begins its recitation--in a tone
differing but little from that of ordinary conversation, a
sing-song recitation, a vocalization less stilted and less
punctilious than that usually employed in the utterance of
the oli or mele. The kumu, the leader of the company, now
joins in, mouthing his words in full observance of the mele
style. His manner of cantillation may be either what may be
called the low relief, termed _ko'i-honua_, or a pompous
alto-relievo style, termed _ai-ha'a_. This is the signal for
the whole company to chime in, in the same style as the kumu.
The result, as it seems to the untutored ear, is a confusion
of sounds like that of the many-tongued roar of the ocean.

The songs cantillated for the hula ala'a-papa were many and
of great variety. It seems to have been the practice for the
kumu to arrange a number of mele, or poetical pieces, for
presentation in the hula in such order as pleased him. These
different mele, thus arranged, were called _pale_,
compartments, or _mahele_, divisions, as if they were
integral parts of one whole, while in reality their relation
to one another was only that of the juxtaposition imposed
upon them by the kumu.

The poetical pieces first to be presented were communicated
to the author as mahele, divisions--hardly cantos--in the
sense above defined. They are, however, distinct poems,
though there chances to run through them all a somewhat
similar motive. The origin of many of these is referred to a
past so remote that tradition assigns them to what the
Hawaiians call the _wa po_, the night of tradition, or they
say of them, _no ke akua mai_, they are from the gods. It
[Page 59] matters not how faithful has been the effort to translate
these poems, they will not be found easy of comprehension.
The local allusions, the point of view, the atmosphere that
were in the mind of the savage are not in our minds to-day,
and will not again be in any mind on earth; they defy our
best efforts at reproduction. To conjure up the ghostly
semblance of these dead impalpable things and make them live
again is a problem that must be solved by each one with such
aid from the divining rod of the imagination as the reader
can summon to his help.

Now for the play, the song:

_Mele no Ka Hula Ala'a-papa_

MAHELE-HELE I

PAUKU 1

A Koolau wau, ike i ka ua,
E ko-kolo la-lepo ana ka ua,
E ka'i ku ana, ka'i mai ana ka ua,
E nu mai ana ka ua i ke kuahiwi,
5 E po'i ana ka ua me he nalu la.
E puka, a puka mai ka ua la.
Waliwali ke one i ka hehi'a e ka ua;
Ua holo-wai na kaha-wai;
Ua ko-ke wale na pali.
10 Aia ka wai la i ka ilina,[126] he ilio,
He ilio hae, ke nahu nei e puka.

[Translation]

_Song for the Hula Ala'a-papa._

CANTO I

STANZA 1

'Twas in Koolau I met with the rain:
It comes with lifting and tossing of dust,
Advancing in columns, dashing along.
The rain, It sighs In the forest;
5 The rain, it beats and whelms, like the surf;
It smites, it smites now the land.
Pasty the earth from the stamping rain;
Full run the streams, a rushing flood;
The mountain walls leap with the rain.
10 See the water chafing its bounds like a dog,
A raging dog, gnawing its way to pass out.

This song is from the story of Hiiaka on her journey to Kauai
to bring the handsome prince, Lohiau, to Pele. The region is
that on the windward, _Koolau_, side of Oahu.

[Footnote 126: _Ilina_. A sink, a place where a stream sinks
into the earth or sand.]

[Page 60]

PAUKU 2

Hoopono oe, he aina kai Waialua i ka hau;
Ke olelo[127] wale no la i ka lani.
Lohe ka uka o ka pehu i Ku-kani-loko.[128]
I-loko, i-waho kaua la, e ka hoa,
5 I kahi e pau ai o ka oni?
Oni ana i ka manawa o ka lili.
Pee oe, pee ana iloko o ka hilahila.
I hilahila wale ia no e oe;
Nou no ka hale,[129] komo mai maloko.

The lines from, the fourth to the ninth in this stanza
(_pauku_) represent a dialogue between two lovers.

[Translation]

STANZA 2

Look now, Waialua, land clothed with ocean-mist--
Its wilderness-cries heaven's ear only hears,
The wilderness-gods of Ku-kani-loko.
Within or without shall we stay, friend,
5 Until we have stilled the motion?
To toss is a sign of impatience.
You hide, hiding as if from shame,
I am bashful because of your presence;
The house is yours, you've only to enter.

PAUKU 3

(Ko'i-honua)

Paku Kea-au,[130] lulu Wai-akea;[131]
Noho i ka la'i Ioa o Hana-kahi,[132]
O Hilo, i olokea[133] ia, i au la, e, i kai,
O Lele-iwi,[134] o Maka-hana-loa.[135]
5 Me he kaele-papa[136] la Hilo, i lalo ka noho.
Kaele[137] wale Hilo i ke alai ia e ka ua.
Oi ka niho o ka ua o Hilo i ka lani;
Kua-wa'a-wa'a Hilo eli 'a e ka wai;
Kai-koo, haki na nalu, ka ua o Hilo;
[Page 61] 10 Ha'i lau-wili mai ka nahele.
Nanalu, kahe waikahe o Wai-luku;
Hohonu Waiau,[138] nalo ke poo o ka lae o Moku-pane;[139]
Wai ulaula o Wai-anue-nue;[140]
Ka-wowo nui i ka wai o Kolo-pule-pule;[141]
15 Halulu i ha-ku'i, ku me he uahi la
Ka pua, o ka wai ua o-aka i ka lani.
Eleele Hilo e, pano e, i ka ua;
Okakala ka hulu o Hilo i ke anu;
Pili-kau[142] mai Hilo ia ua loa.
20 Pali-ku laau ka uka o Haili[143]
Ka lae ohi'a e kope-kope,
Me he aha moa la, ka pale pa laau,
Ka nahele o Pa-ie-ie,[144]
Ku'u po'e lehua iwaena konu o Mo-kau-lele;[145]
25 Me ka ha'i laau i pu-kaula hala'i i ka ua.
Ke nana ia la e la'i i Hanakahi.
Oni aku Hilo, oni ku'u kai lipo-lipo,
A Lele-iwi, ku'u kai ahu mimiki a ka Malua.[146]
Lei kahiko, lei nalu ka poai.
30 Nana Pu'u-eo[147] e! makai ka iwi-honua,[148] e!
Puna-hoa la, ino, ku, ku wau a Wai-akea la.

[Footnote 127: _Olelo_. To speak, to converse; here used
figuratively to mean that the place is lonely, has no view of
the ocean, looks only to the sky. "Looks that commerce with
the sky."]

[Footnote 128: _Ku-kani-loko_. A land in Waialua, Oahu, to
which princesses resorted in the olden times at the time of
childbirth, that their offspring might have the distinction
of being an _alii kapu_, a chief with a tabu.]

[Footnote 129: _Hale_ House; a familiar euphemism of the human
body.]

[Footnote 130: _Kea-au_. An _ahu-pua'a_, small division of
land, in Puna adjoining Hilo, represented as sheltering Hilo
on that side.]

[Footnote 131: _Waiakea_. A river in Hilo, and the land through
which it flows.]

[Footnote 132: _Hana-kahi_. A land on the Hamakua side of Hilo,
also a king whose name was a synonym for profound peace.]

[Footnote 133: _Olo-kea_. To be invited or pulled many ways at
once; distracted.]

[Footnote 134: _Lele-iwi_. A cape on the north side of Hilo.]

[Footnote 135: _Maka-hana-loa_. A cape.]

[Footnote 136: _Kaele-papa_. A large, round, hollowed board on
which to pound taro in the making of poi. The poi-board was
usually long and oval.]

[Footnote 137: _Kaele_. In this connection the meaning is
surrounded, encompassed by.]

[Footnote 138: _Waiau_. The name given to the stretch of
Wailuku river near its mouth.]

[Footnote 139: _Moku-pane_. The cape between the mouth of the
Wailuku river and the town of Hilo.]

[Footnote 140: _Wai-anue-nue_. Rainbow falls and the river that
makes the leap.]

[Footnote 141: _Kolo-pule-pule_. Another branch of the Wailuku
stream.]

[Footnote 142: _Pili-kau_. To hang low, said of a cloud.]

[Footnote 143: _Haili_. A region in the inland, woody, part of
Hilo.]

[Footnote 144: _Pa-ieie_. A well-wooded part of Hilo, once much
resorted to by bird-hunters; a place celebrated in Hawaiian
song.]

[Footnote 145: _Mokau-lele_. A wild, woody region In the
interior of Hilo.]

[Footnote 146: _Malua_. Name given to a wind from a northerly
or northwesterly direction on several of the islands. The
full form is Malua-lua.]

[Footnote 147: _Pu'u-eo_. A village in the Hilo district near
Puna.]

[Footnote 148: _Iwi-honua_. Literally a bone of the earth: a
projecting rock or a shoal; if in the water, an object to be
avoided by the surf-rider. In this connection see note _e_,
p. 36.]

[Translation]

STANZA 3

(With distinct utterance)

Kea-au shelters, Waiakea lies in the calm,
The deep peace of King Hana-kahi.
Hilo, of many diversions, swims in the ocean,
'Tween Point Lele-iwi and Maka-hana-loa;
5 And the village rests in the bowl,
Its border surrounded with rain--
Sharp from the sky the tooth of Hilo's rain.
Trenched is the land, scooped out by the downpour--
Tossed and like gnawing surf is Hilo's rain--
10 Beach strewn with a tangle of thicket growth;
A billowy freshet pours in Wailuku;
Swoll'n is Wai-au, flooding the point Moku-pane;
And red leaps the water of Anue-nue.
A roar to heaven sends up Kolo-pule,
[Page 62] 15 Shaking like thunder, mist rising like smoke.
The rain-cloud unfolds in the heavens;
Dark grows Hilo, black with the rain.
The skin of Hilo grows rough from the cold;
The storm-cloud hangs low o'er the land.
20 A rampart stand the woods of Haili;
Ohi'as thick-set must be brushed aside,
To tear one's way, like a covey of fowl,
In the wilds of Pa-ie-ie--
Lehua growths mine--heart of Mokau-lele.
25 A breaking, a weaving of boughs, to shield from rain;
A look enraptured on Hana-kahi,
Sees Hilo astir, the blue ocean tossing
Wind-thrown-spray--dear sea--'gainst Point Lele-iwi--
A time-worn foam-wreath to encircle its brow.
30 Look, Pu'u-eo! guard 'gainst the earth-rib!
It's Puna-hoa reef; halt!
At Waiakea halt!

PAUKU 4

(Ai-ha'a)

Kua loloa Kea-au i ka nahele;
Hala kua hulu-hulu Pana-ewa i ka laau;
Inoino ka maha o ka ohia o La'a.
Ua ku kepakepa ka maha o ka lehua;
5 Ua po-po'o-hina i ka wela a ke Akua.
Ua u-ahi Puna i ka oloka'a pohaku,
I ka huna pa'a ia e ka wahine.
Nanahu ahi ka papa o Olu-ea;
Momoku ahi Puna hala i Apua;
10 Ulu-a ka nahele me ka laau.
Oloka'a kekahi ko'i e Papa-lau-ahi;
I eli 'a kahi ko'i e Ku-lili-kaua.
Kai-ahea a hala i Ka-li'u;
A eu e, e ka La, ka malama-lama.
15 O-na-naka ka piko o Hilo ua me ke one,
I hull i uka la, i hulihia i kai;
Ua wa-wahi 'a, ua na-ha-ha,
Ua he-hele-lei!

[Translation]

STANZA 4

(Bombastic style)

Ke'-au is a long strip of wildwood;
Shag of pandanus mantles Pan'-ewa;
Scraggy the branching of Laa's ohias;
The lehua limbs at sixes and sevens--
5 They are gray from the heat of the goddess.
[Page 63] Puna smokes mid the bowling of rocks--
Wood and rock the She-god heaps in confusion,
The plain Oluea's one bed of live coals;
Puna is strewn with fires clean to Apua,
10 Thickets and tall trees a-blazing.
Sweep on, oh fire-ax, thy flame-shooting flood!
Smit by this ax is Ku-lili-kaua.
It's a flood tide of lava clean to Kali'u,
And the Sun, the light-giver, is conquered.
15 The bones of wet Hilo rattle from drought;
She turns for comfort to mountain, to sea,
Fissured and broken, resolved into dust.

This poem is taken from the story of Hiiaka. On her return
from the journey to fetch Lohiau she found that her sister
Pele had treacherously ravaged with fire Puna, the district
that contained her own dear woodlands. The description given
in the poem is of the resulting desolation.

PAUKA 5

No-luna ka Hale-kai[149] no ka ma'a-lewa,[150]
Nana ka maka ia Moana-nui-ka-lehua.[151]
Noi au i ke Kai, e mali'o.[152]
Ina ku a'e la he lehua[153] ilaila!
5 Hopoe-lehua[154] kiekie.
Maka'u ka lehua i ke kanaka,[155]
Lilo ilalo e hele ai, e-e,
A ilalo hoi.
O Kea-au[156] ili-ili nehe ke kai,
[Page 64] 10 Hoo-lono[157] ke kai o Puna
I ka ulu hala la, e-e,
Kai-ko'o Puna.
Ia hooneenee ia pili mai[158] kaua, e ke hoa.
Ke waiho e mai la oe ilaila.
15 Ela ka mea ino la, he anu,
A he anu me he mea la iwaho kaua, e ke hoa;
Me he wai la ko kaua ili.

[Footnote 149: _Hale-kai_. A wild mountain, glen back of
Hanalei valley, Kauai.]

[Footnote 150: _Ma'alewa_. An aerial root that formed a sort
of ladder by which one climbed the mountain steeps; literally
a shaking sling.]

[Footnote 151: _Moana-nui-ka-lehua_. A female demigod that came
from the South (_Ku-kulu-o-Kahiki_) at about the same
mythical period as that of Pele's arrival--If not in her
company--and who was put in charge of a portion of the
channel that lies between Kauai and Oahu. This channel was
generally termed _Ie-ie-waena_ and _Ie-ie-waho_. Here the
name _Moana-nui-ka-lehua_ seems to be used to indicate the
sea as well as the demigoddess, whose dominion it was.
Ordinarily she appeared as a powerful fish, but she was
capable of assuming the form of a beautiful woman (mermaid?).
The title _lehua_ was given her on account of her womanly
charms.]

[Footnote 152: _Mali'o_. Apparently another form of the word
_malino_, calm; at any rate it has the same meaning.]

[Footnote 153: _Lehua_. An allusion to the ill-fated' young
woman Hopoe, who was Hiiaka's intimate friend. The allusion
is amplified in the next line.]

[Footnote 154: _Hopoe-lehua_. The lehua tree was one of the
forms in which Hopoe appeared, and after her death, due to
the jealous rage of Pele, she was turned into a charred lehua
tree which stood on the coast subject to the beating of the
surf.]

[Footnote 155: _Maka'u ka lehua i ke kanaka_. Another version
has it _Maka'u ke kanaka i ka lehua_; Man fears the lehua.
The form here used is perhaps an ironical allusion to man's
fondness not only to despoil the tree of its scarlet flowers,
but womanhood, the woman it represented.]

[Footnote 156: _Kea-au_. Often shortened in pronunciation to
_Ke-au_, a fishing village in Puna near Hilo town. It now has
a landing place for small vessels.]

[Footnote 157: _Hoolono_. To call, to make an uproar, to spread
a report.]

[Footnote 158: _Ia hoo-nee-nee ia pili mai_. A very peculiar
figure of speech. It Is as if the poet personified, the act
of two lovers snuggling up close to each other. Compare with
this the expression _No huli mai_, used by another poet in
the thirteenth line of the lyric given on p. 204. The motive
is the same in each case.]

The author of this poem of venerable age is not known. It is
spoken of as belonging to the _wa po_, the twilight of
tradition. It is represented to be part of a mele taught to
Hiiaka by her friend and preceptress in the hula, Hopoe.
Hopoe is often called _Hopoe-wahine_. From internal evidence
one can see that it can not be in form the same as was given
to Hiiaka by Hopoe; it may have been founded on the poem of
Hopoe. If so, it has been modified.

[Translation]

STANZA 5

From mountain retreat and root-woven ladder
Mine eye looks down on goddess Moana-Lehua;
I beg of the Sea, Be thou calm;
Would there might stand on thy shore a lehua--
5 Lehua-tree tall of Ho-poe.
The lehua is fearful of man;
It leaves him to walk on the ground below,
To walk the ground far below.
The pebbles at Ke'-au grind in the surf.
10 The sea at Ke'-au shouts to Puna's palms,
"Fierce is the sea of Puna."
Move hither, snug close, companion mine;
You lie so aloof over there.
Oh what a bad fellow is cold!
15 'Tis as if we were out on the wold;
Our bodies so clammy and chill, friend!

The last five verses, which sound like a love song, may
possibly be a modern addition to this old poem. The sentiment
they contain is comparable to that expressed in the Song of
Welcome on page 39:

Eia ka pu'u nui o waho nei, he anu.
The hill of Affliction out there is the cold.


[Page 65]

MAHELE-HELE II

Hi'u-o-lani,[159] kii ka ua o Hilo[160] i ka lani;
Ke hookiikii mai la ke ao o Pua-lani;[161]
O mahele ana,[162] pulu Hilo i ka ua--
O Hilo Hana-kahi.[163]

5 Ha'i ka nalu, wai kaka lepo o Pii-lani;
Hai'na ka iwi o Hilo,
I ke ku ia e ka wai.
Oni'o lele a ka ua o Hilo i ka lanu

Ke hookiikii mai la ke ao o Pua-lani,
10 Ke holuholu a'e la e puka,
Puka e nana ke kiki a ka ua,
Ka nonoho a ka ua i ka hale o Hilo.

Like Hilo me Puna ke ku a mauna-ole[164]
He ole ke ku a mauna Hilo me Puna.
15 He kowa Puna mawaena Hilo me Ka-u;
Ke pili wale la i ke kua i mauna-ole;
Pili hoohaha i ke kua o Mauna-loa.

He kuahiwi Ka-u e pa ka makani.
Ke alai ia a'e la Ka-u e ke A'e;[165]
20 Ka-u ku ke ehu lepo ke A'e;
Ku ke ehu-lepo mai la Ka-u i ka makani.
Makani Kawa hu'a-lepo Ka-u i ke A'e.

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