Historical accuracy just does not exist as we understand the term, and the painstaking toil of our own scholars in calculating dates far into the past from these oratorical recitations must certainly be abandoned as a case of virtue its own and only reward. 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. Hanau ka Peʻa, hanau ka Lupe i ke kai la holo, 149. “The whole means that Kiʻi slept with her,” summarized Hoʻolapa, thus bringing the entire declamatory effusion down to a most explicit conclusion. Ka-ʻI-ʻi-mamao was the correct name. Father Sky and Mother Earth are the first parents of human life on earth as they are of plant life that springs living from earth under the influence of sun and rain from heaven and of animal life that feeds upon it. . It is altogether possible, however, that. Kane sees that his own son will serve the son of Interpréter un chant avec expressivité. ], Kameha-ʻi-kaua, The-secluded-one-supreme-in-war, god of Kauakahi, 1935. Noch sonnenlos die Zeit verhüllten Lichtes, Und schwankend nur im matten Mondgeschimmer. after all of whom stars are named.” So in Tahiti an obscure passage in the story of the “Birth of the Heavenly Bodies” tells how Taʻura “The red one,” a name given to the star Sirius, took a wife of whom “princes” were born, Matariʻi (Makaliʻi) being one; then were “created kings of the chiefs of earthly hosts on one side, and of chiefs in the skies on the other side. Fornander, Polynesian Race, I, 113-14, II, 28-30; Kepelino, pp. No adequate interpretation has been offered for the lines as a whole, and a variation in the Kalakaua text from the manuscript form adds to the uncertainty. L’automne; L’hiver; Le printemps . Besides explaining the dedication of the chant under two different names, the prose note seems to connect it with the consecration of Keaweʻs son in the temple at the time of his birth, as well as with two other occasions at which its recitation is definitely stated. Thus Pokini says the first term is given to a narrow bay along the coast where the water carries the fish in with a rush, the second to a wide shore line where the surf rolls in without breaking. The native idea of the word lipo is of “dark from the depth of a cavern, or from the depth of the sea.” It implies a space concept and at the same time one of degree of shade as applied, for example, to the change in color of the ocean as one gets away from shore into deep water. . If an object connected with his person such as clothing or bath. . . O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 210. Mangaian Society (Bernice Pauahi Bishop Museum Bull. From the slime of the mother the stock began. . ), HENRY, TEUIRA. I am not sure whether Pokini would push the symbolism back to an Adamic birth, origin of the race, or give it a more immediate reference to the birth of the child for whom the chant was first composed, whether Keaweʻs or another. The beneficent activities of the two gods, sung in chant and told in story and commemorated in local legend, may belong to this early period before the quarrel took place which separated the two brothers, so that Olopana, alias Kanaloa, remained in the south when Moikeha, or. Moʻolelo Hawaii, p. 36; Fornander, Polynesian Race, I, 188-90; Malo, p. 311; Kepelino, Appendix, p. 182. Even chiefs, if of lower rank, must uncover the upper part of the body in coming into his presence, as a token of reverence. . Before this creation of heaven and earth, etc.. 14. O ke Akua ke komo, ʻaʻoe komo kanaka, 262. Some make him a bungler, vainglorious and re-. Pukui, Ke Awa Lau o Puʻuloa, pp. Man for the narrow stream, woman for the broad stream, Born was the touch seagrass living in the sea, Guarded by the tough landgrass living on land, 46. A Kauai conqueror has a brother born in the form of a rat. The affair took place at a time of unfathomable antiquity, referred to in the two phrases ka po heʻe mamao and ka po kinikini; Kanaka mai ka po mai, that is, “from the far past,” is the modern expression. Changes and substitutions in cult practice must lie back of these variations upon the common theme of world beginnings. strug-. He published it as genuinely ancient evidence in support of his hypothesis of the Semitic origins of the Polynesian people. The. . . Equally on the common tongue, although stoutly repudiated by the Moʻolelo Hawaii and called “doubtful” by Malo, was the story of Wakeaʻs desire for his youthful daughter, the plan to allay Papaʻs suspicions by instituting taboo nights when men should live apart from their wives, Papaʻs discovery, her repudiation of Wakea and her taking a mate in another land, finally her return to Wakea upon hearing that he, too, had solaced himself with another wife.2 A famous chant of Kamehamehaʻs day tells the story under the figure of the “birth of islands,” symbolizing by means of the various alliances of the two parents in the myth the actual rise of ruling chief families on the islands of the Hawaiian group.3 The sly sobriquet of “Wakea” said to have been attached to the Ka-ʻI-ʻi-mamao to whom the Kumulipo chant was allegedly dedicated, who took his own daughter to wife, further shows the myth to have been current at the time that the prose note to the Kumulipo was written down. . Both genealogies for the Kalakaua family derive finally through the mother. sur les notes do-mi-sol-do-sol-mi-do (arpèges), faire chanter pa-ta-la-gra-la-ta-pa. Ceci permet de travailler avec différents volumes de la cavité de résonance buccale, grâce au recul de langue de /p/ à /g/. pose that Wakea and Papa as parent-pair responsible through Haloa for the spread of mankind over earth had no initial importance for the family whose divine ancestors were commemorated in the Kumulipo prayer chant. The father of Kalani-opuʻu is said to have been, not Ka-ʻI-ʻi-mamao, but Peleioholani, son of Kualiʻi and ruling chief of Oahu. Chant après chant (Song after Song) is a composition for soprano singer, piano, and six percussionists, by the French composer Jean Barraqué, written in 1966.It is the third part of a projected but unfinished cycle of works based on Hermann Broch’s novel The Death of Virgil, and uses texts written by the composer as well as extracts from the second book of Broch’s novel, … 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. . THRUM, THOMAS G. More Hawaiian Folk Tales: A Collection of Native Legends and Traditions. . Hanau ka ʻOno, hanau ke Omo i ke kai la holo, 156. Elle s’adresse tout particulièrement aux enseignantes et enseignants en exercice qui souhaitent approfondir et prolonger leur formation. A position of humility as an acknowledgment of rank was, as we know, widespread throughout Asiatic courts. To understand such a family chant, it is necessary to know what we can of its social and political background, how it came to be composed, the part it played in the ceremonial life of a chiefʻs household, its importance as a perquisite of rank. Man for the narrow stream, woman for the broad stream, Born was the Lipuʻupuʻu living in the sea, 94. A discreet form of compliment in praising a pretty infant, since open admiration was not only in bad taste but might bring bad luck, was to call him a hilu fish. What is here symbolically pictured as the “earth” (honua) is to be interpreted as “Hawaiiʻs original royal line, hot with fiercest tabu—kapu wela.” Makaliʻi is the season when seeds sprout, fish spawn, and the Pleiades (the Makaliʻi) appear with other stars high in the heavens. IN THE eleventh section a poetical prologue repeats the theme of the last three chants. . IX. Riotte, André. X. From, this point man and wife listed on the Paliku branch lead to Mulinaha and his wife, as below. She was perhaps already studying it twenty years earlier when she began planning another major work, Hawaiian Mythology, which was published in 1940 (reissued in 1970 by the University of Hawaii Press). . Both were born in Hawaii, and no legend tells of either of them sailing away with a promise to return. . . Even the second four hundred of the eleventh, shorn of their word play, have monosyllabic values. 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. Tahitian texts recorded by John Orsmond before 1848 and edited by his daughter Teuira Henry for the Bishop Museum publications do contain quite similar concepts based upon a like nature philosophy in their treatment of cosmic forces. Under the surface meaning of the words lies the hidden meaning, or meanings, the kaona, as the Hawaiians say. tion by giving her an herb medicine to produce natural birth. Kamakau writes: “The voice took a tone almost on one note and each word was enunciated distinctly. . But for genealogical purposes a wifeʻs children were generally accepted as his own by the nominal husband unless the actual parent was in a position of advantage in rank and power which made him worth cultivating by an ambitious offspring. . . . 3. The right claimed for his descendant ʻI to offer human sacrifice and to cut down ʻohiʻa wood for images would imply that as ruling chief over the land section of Pakini, lying in Ka-ʻu district, he was entitled to erect a war heiau, a right denied to lesser chiefs. Hanau ke Aku, hanau ke ʻAhi i ke kai la holo, 151. The lines read: Bastian, who knew the text from the manuscript alone, was the first to attempt its analysis. ], 2060. “Each island had a separate tree,” notes Fornander,7 and the attempt to synchronize genealogies on a historical basis alone without reference to this possessive urge to poetic invention would be barren of results. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 460. Everything is Taʻaroaʻs. ——. One such noted cycle, intrenched at the east end of the island of Maui, is headed by Ai-kanaka and the stranger wife who fled back to the moon.2 At line 2070 are born the sons of Palena and his wife Hikawainui, Hanalaʻa the great and Little Hanalaʻa, from whom important family lines branch on Hawaiian genealogies. The powers of the three joined together were sufficient to create and fix heaven and earth [from Ke Au Okoa, October 14, 1869].15, Since neither Ku nor Lono is named in the Kumulipo chant, it looks as if the displacement of Kanaloa in national worship took place after its composition. Not that the cosmic conception has no place in the poetʻs imagery. . The Maui figure, sometimes represented as a son of the Tagaroa family, is “eight-headed” in Tahiti, “eighth born” in Samoa.14 In the Marquesas, according to Handy, “an octopus, or if one could not be obtained, a taro root with eight rootlets was used ceremonially in certain rites.”. Kiaʻi ia e ke ko Punapuna, ko ʻeleʻele, noho i uka, 64. “The second sea that made the chiefs fall down,” Ka lua o ke kai o Kahinaliʻi. . The Maui chiefess Kalola was, after the affable custom of chief wives, both mother of Kiwalaʻo as consort of Kalani-opuʻu and, by this husbandʻs half-brother of Kona—the same who became father of Kamehameha—she was mother also of Kiwalaʻoʻs chief wife. The struggle for the privileges of rank turns Mauiʻs attention to the question of his parentage. . Thus, although the whole is strung together within a unified framework, it may in fact consist of a collection of independent family genealogies pieced together with name songs and hymns memorializing the gods venerated by different branches of the ancestral stock. Moreover, it is one of the principal sources of information on Hawaiian mythology, early culture, political structure, and way of life. 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. There is no other explanation except the memory of the old faith held by this race that the chiefs are offspring and descendants of the ruling gods of Po, those who have power over the heavens and the earth. A typical stanza reads: 40. It is not surprising that during the days that followed the successful attack against a god who had proved fallible to weapons, the old warrior advised putting to rout the whole expedition, while the young chief, who had acted as political head during the absence of his superior, remained friendly. E. K. Lilikalani was court genealogist during the last period of the monarchy, and his manuscript, prepared “for the information of Liliuokalani” and published in 1932 by the Bishop Museum as an Appendix to Kepelino, must fall within the queenʻs reign. Kamehamehaʻs conquest, which finally brought the whole group under the one ruling family, began with a struggle for land of a disinherited faction after the death of Kalani-opuʻu, grandson of Keawe. This is the flying place of the bird Halulu, Of Kiwaʻa, the bird that cries over the canoe house, Birds that fly in a flock shutting out the sun, The earth is covered with the fledgelings of the night breaking into dawn, The time when the dawning light spreads abroad. New Haven, 1940——. . The closing lines are particularly difficult; some must go untranslated as I was unable to keep the flood motive, where double meanings were involved, consistent with the text. O ke Akua ke komo, ʻaʻoe komo kanaka, 467. 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. Especially it refers perhaps to the dividing up of the land to landlords and these again to subordinate overseers, each taking toll from the crop of the next lower and all expected to contribute to the head chief, the haku or “lord,” to whom all land was handed down by inheritance from his predecessor.4 This idea as the kaona or theme of the chant I have tried to bring out in following, generally, Kupihea's translation. Nom / Pseudo : E-mail (facultatif) : Site Web (facultatif) : Commentaire : Me prévenir par mail en cas de réponse. One, the hard-grained aulima, is held upright in the hand (lima) and rubbed back and forth upon the hollowed surface of the other, the softer aunaki, to produce the spark, the action being a perfectly understood sex symbol among Hawaiians. upstanding,” the “trace of the nibbling of these reddish ones,” the “mark left upon the rind” of the so-called “mountain apple” or 'ohi'a from a tree whose upland variety bears no fruit, all these passages bring the rat tribe itself clearly before the eye. . All rights reserved Man for the narrow stream, woman for the broad stream, Guarded by the Hau tree [hibiscus] living on land, 184. O ke Akua ke komo, ʻaʻoe komo kanaka, 178. Above each layer arches a sky; to the summit of the highest sky reaches a ladder of men, one on the shoulder of another. 15, Part II     . Eviter le chant à plusieurs voix avant le cycle 3 Penser à la pertinence du thème du chant choisi en fonction des projets de la classe, de la vie de celle-ci. Beckwith, Hawaiian Mythology, pp. . The fact seems to be that children are born but by whom Kane is ignorant. May not the familiar Polynesian myth of the sky pushed apart from earth to let in the light of day, often forced upward upon the leaves of a growing plant, refer similarly in a figure to the rise of the chief class in distinction from that of the commoners? Hanau ka Nahawele, o ka Unauna kana keiki, puka, 27. Fornander, Collection (“Memoirs,” No. 2. . . 2. Of the depth of darkness, of the depth of darkness. . . The word walewale names the seven-day purification period for the mother after childbirth as well as the “slime” whence the divine seed sprouted. Except for these two poetic passages, the ode consists in an enumeration of species paired one with another in monotonous sequence, tiresome in text translation but no doubt as pleasing in chanted recitation as our own memory tests in popular game formulas. Men of other races . Altogether we must sup-. Hanau ka ʻAmaʻama, hanau ka ʻAnae i ke kai la holo, 153. The Hulupi'i had kinky hair, cropped to stand up and col-. . . He controls vegetable food and is niggardly with it, “hangs it up in the heavens,” as the saying is, when a drought burns up a crop. XXI. Fornander, Polynesian Race, II, 277; Malo, p. 83. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 48. Vikings of the Sunrise. 197-98; Beckwith, Hawaiian Mythology, pp. Well-formed is the child, well-formed now, Child in the time when men came from afar, They two slept together in the time long ago, 605. Handy by the Austrian philologist Dr. Joseph Rock. Kupihea believes that the phrases “dark leaf” (lau pahiwa), “leaf of high chiefs” (lau palailiʻi), and “the sprout from the rootstalk” (ka pua o ka Haha) refer specifically to the Uli line from whom chiefs of the islands of Maui and Hawaii reckon descent. . . . 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. Keaweʻs period must date back to, the early eighteenth century. Her literal rendering keeps fairly within native thought. She was Lono-ma-ʻI-kanaka. TREGEAR, EDWARD. . A curious Tahitian chant gives to the god ʻAtea such a shift of sex, a shift that would, if accepted in Hawaii, explain how Wakea, further on in the Kumulipo chant, lures a water maiden to shore by setting up images (kiʻi), or why the god Kauakahi, in a folktale from Hilo district on Hawaii, is de-. . . Both are preserved in manuscript in the Bishop Museum, and the second is printed as an appendix to Kepelino.4 It concludes, without mentioning the chant itself, “This is the genealogy of the Hawaiian people, that is, from Kumulipo-ka-po to Wakea and Papa.”. Kukahi is said to have held a post at the palace as a member of Kalakauaʻs household. His mother is Hina-of-the-fire, his grandparent Mahuiʻe is known throughout Polynesia as keeper of underground fire. .The crowd, which had been collected on the shore, retired at our approach; and not a person was to be seen, except a few lying prostrate on the ground, near the huts of the adjoining village.”2 The account tallies well with what we know of the prostrating taboo in the presence of deity and of the identification of the visitor with the god of the Makahiki, about the time of which festival Cookʻs arrival. With the eighth section man emerges, and the period of the Ao has to do with the children of men, who multiply on the earth from the first birth of the god of procreation in the body of man. . He ʻili[hia] ʻilio kama a ka po h[an]eʻe aku, 582. THE GENEALOGIES      . 330-33. 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. O ke Akua ke komo, ʻaʻoe komo kanaka, 244. The point of meeting at which the ropes are attached is called hanai, a word Hoʻolapa seemed to connect with the manai of Mauiʻs hook. 156, 157; Handy and Pukui, Hawaiian Planter, pp. . 429-432). . O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 424. The story is told circumstantially by Cookʻs underofficer, Captain James King, who often accompanied Cook on his visits to shore and was taken by the natives for his son.1 Upon first landing, King writes that they “were received by four men, who carried wands tipped with dogʻs hair, and marched before us, pronouncing with a loud voice a short sentence, in which we could only distinguish the word Orono. Kupihea believes we should relate the series to specific families of settlers belonging to the migration period. With Jonathan Breck, Ray Wise, Nicki Aycox, Garikayi Mutambirwa. 4 - Du rythme dans les chants Le chant, activité musicale majeure à l'école primaire. . In the ninth chant Laʻilaʻi seems to live successively with Kane and with Kiʻi. . whose meaning can not be understood in these days. VI. The last line is an equally clear reference to the office of gods rather than man in the fertilizing process—. The journey of a first-born child of his mother to seek recognition of a highborn father in a distant land is hence a favorite theme of Hawaiian saga and romance. A string figure called “net of Makaliʻi” shows the net, its several divisions, and the exact point where, with a single cut, the whole figure falls to pieces. Poepoe, who was Riversʻ Hawaiian informant for his volumes on Melanesian society, himself left an unfinished text and commentary on what he calls “Kamokuikiʻs Genealogy of Kumulipo.” Another manuscript by an unknown hand gives a genealogy of Laʻilaʻi from the “creation” to Kalakaua. 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. “The man with the water gourd, that is a god,” begins the passage, and there follows the softening-up of earth and the increase of plant growth. The translation of the poetic passages in this section must necessarily be idiomatic. The Pi'ipi'i were picked men of Kalaniopu'u's army, said to stand “seven feet six inches” in height, the same who were caught in ambush at the battle of the sandhills at the time of the invasion of Maui from Hawaii. Above them lies the land of . Pokini, on the other hand, would explain each name of the species born under Popanopano, the male, and Polalowehi, the female, generative agents at this stage of life, as a play upon the characteristics of the developing infant. . . The Moikeha saga further states that the two younger brothers live for a time at Waipiʻo on the island of Hawaii until they are driven out by a freshet and return to Tahiti. . . Dr. Beckwith does not, accept Queen Liliuokalaniʻs date of 1700 as the period when the Kumulipo was composed, but soundly, I think, emphasizes the composite nature of this chant which as various breaks and joins indicate was many times revised and reworked to incorporate genealogical pairs and traditions of family lines entering the genealogical pathway through intermarriage. The oral recitation of a completed chant of eulogy required a special technique in handling the voice. . At the parting of earth, at the parting of high heaven, Left the land, jealous of her husbandʻs second mate, Came to the land of Lua, to ʻAhu of Lua, lived at Wawau, Haumea became a woman of Kalihi in Koʻolau, 1940. . The next stanzaic-like verses are recited in turn by representatives from the assembled company, as explained by the translator: “. He crawls out and stands upon its outer edge. After that the men and women of the hula company danced and recited the mele inoa of the unborn chief with great rejoicing, keeping it up until such time as the prince was born; then the hula ceased. iii. . This is not necessarily because he knows that allusions which are to him the natural subjects of jest and story may be considered indelicate by a foreigner. If he went abroad by day he was preceded by the cry Tapu! UN CHANT POUR LA RENTREE. Saison 2013-2014 01-Les programmes 2015 en éducation musicale DES CHANTS POUR L’ECOLE du cycle 2 au cycle 3 Chants et danses traditionnels … 140-51; Hobbs, chap. Her sons flee with their father by boat, and when she follows they slay her and leave her body to be broken to pieces by the sea. Wave after wave come the new race, one following after another, the “gods” distinguished by ruddy faces and “white chins” or beards, the men of undetermined ancestry, the kanaka, dark in color. 3. Des séances de 15 à 20 minutes chaque jour permettent de faire des miracles ! . of words once common to chiefs within their own inner circle. As the sun symbolizes the procreative power whence life proceeds, whose source is the god of generation in the spirit world, so a chief descended from the god and “hot with fiercest taboo” carries on through procreation the continuity of the family line. At least it seems to me that Smithʻs translation of the word vananga in this connection by “oration” does not give the full implication. WE KNOW that once, indeed, in historic times, the god Lonoʻs looked-for return seemed to have become a reality. lines 676-85 and Ku, page 59. ——. v-vi. The way to the po for the god (Te ara ki te po no te atua), The way to the ao for the man (Te ara ki te ao no te . 3. in which he was joined by Koah.” Of their manner of chanting King writes: “Their speeches, or prayers, were delivered . Although popularly called a creation chant it is more than, and other than, an account of the creation of the universe. Four times their names occur as a refrain, first when Maui seizes the “bunch of black-stemmed kava,” again with the strife over the “bamboo” of Kane and Kanaloa. Nacht. Ce conseil ne vaut pas pour l’école maternelle, où la voix de l’adulte sert de moteur et de « guide-chant ». The highly conventionalized form employed in poetic composition by court poets throughout marginal Polynesian groups has thus far discouraged an intensive study of so important a contribution to the oral literature of this isolated people. The line reading No ka aunaki kuku ahi kanaka is an allusion to the common method of starting a fire by means of two firesticks. Bishop Museum Bull. . Cf. from Puanue back to Kumulipo and forward to Wakea.” Of the two thousand one hundred and two lines of the Kumulipo chant as it appears in the Kalakaua text, over one-half are straight listings of names of man and wife, kane and wahine. . It is the third part of a projected but unfinished cycle of works based on Hermann Broch’s novel The Death of Virgil, and uses texts written by the composer as well as extracts from the second book of Broch’s novel, in the French translation by Albert Kohn. The folk. ROCK, DR. JOSEPH. PAPA AND WAKEA     . O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 448. Ku omits lines 141-43, 145-47, 153-55, 157, 158, 161, 164, 166, 173, 174, 191, 192, 197, 198, 209, 210, 215, 216,     221, 222, 251, 252, 262-67, and all refrains after the first. . . Before his banishment by the commoners of Ka-u for his evil deeds, [because of] his sleeping with his own daughter, with Kaolanialiʻi, he was called by the name of “Wakea.” It was under this name that he went with his kahu, Kapaʻihi-a-Hilina, to Kauai, to Kalihi-by-the-sea and Kalihi-by-the-streams, and to Hanalei, and he went to the bush country of Kahihikolo and became demented and wandered about in the uplands. Keʻeaumoku was uncle and supporter of Kamehameha and father of his favorite wife. Man for the narrow stream, woman for the broad stream, Born is the Opeope jellyfish living in the sea, Guarded by the Oheohe [bamboo] living on land, 461. Since writing was unknown in Polynesia before contact with foreign culture, a master of song usually gathered together two or more of his fellows to edit and memorize the lines or themselves to contribute passages. However inexact, they certainly preclude the possibility that the same man composed a birth chant for Keaweʻs son and heir and a threnody for the defeat of the young heir who inherited the overlordship after the long rule ended of Keaweʻs grandson born to the same parent for whom the Kumulipo prayer chant is claimed. Journal of the Polynesian Society, XL VII, 50. symbol of generation from a single stock which allows the young adventurer to approach his kin over seas.7. The line of thought seems to be next deflected to the journey of the disembodied dead, perhaps of one who has been. Wela-ahi-lani, named just at the close of the twelfth section with his wife Owe, a contraction of Owehewehe meaning “to open,” is Maloʻs W (ela-) ahi-lani who “opens” the heavens and comes down to the beautiful Laʻilaʻi on earth,9 she here synonomous with Owe and both with Wakea and Papa under special family titles, perhaps those played upon in the two opening lines of the ninth section. 8. . . . 1. XVI. “A prayer of dedication of a chief, A Kumulipo for Ka-ʻI-amamao and (passed on by him) to Alapaʻi-wahine (woman),” reads the title-page of the Kalakaua text. In the Moikeha saga Kumuhonua is the eldest of three sons descended from the migrating Maweke family, who, at his fatherʻs death, inherits the family lands on Oahu. 56-62. Certainly the composer of this portion of the Kumulipo chant and the Mangarevan mythmaker must have drawn from a common source. In the Honolulu Advertiser for November 12, 1936, Theodore Kelsey, born in Hawaii and familiar with the language, although not himself of Hawaiian parentage, printed a “combined literal and symbolic interpretation.” Without quoting his whole paraphrase, I wish to point out some ideas it contains that may throw light upon the underlying mean-.

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