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. . . O ke Akua ke komo, ʻaʻoe komo kanaka, 368. Certainly “excessive” she was in her favors according to the custom of chiefs in high-ranking circles, so that the story of struggle and turmoil throughout the turbulent eighteenth century on the island, marked toward its close by the intrusion of foreigners and culminating in the conquest of the group under Kamehameha I, is bound up in great part with the activities of the rival offspring of this restless and accommodating chiefess. by The University of Chicago Press, Published in 1951 by the University of Chicago Press 1. Wave after wave of men moving in company, Tranquil was the time when men multiplied, 610. It is hardly necessary to repeat that both canoe and “image” (kiʻi) are perfectly understood male sex symbols and are to be so understood in the folk-tale versions here noticed. . Haumea, woman of Nuʻumea in Kukuihaʻa, Of Mehani the impenetrable land of Kuaihealani in Paliuli, The beautiful, the dark [land], darkening the heavens, A solitude for the heavenly one, Kameha-ʻi-kaua [? 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. . Fornander, Polynesian Race, II, 277; Malo, p. 83. Black is the skin of the beloved Po-lalo-uli, 485. Who sleeps as a wife to the Night-digger, The beaked nose that digs the earth is erected, Let it dig at the land, increase it, heap it up. My informants read. The juxtaposition of the two words has passed into classic use. On the other hand, the word mahu, unaccented, may apply to a smoldering fire and it would then be possible to think of Kiʻi as personifying the fire of sexual passion, with a place in the interior of the house at the oven kept smoldering for quick rekindling, were it not for the fact that Hawaiians built their ovens out of doors and had no need of house fires for heating. Kava drink made of the black-stemmed variety is sacred to the “gods.” The “bamboo” may be the knife used for the rite of incision, perhaps similarly limited to the chief class. . Each class is governed by a parent-pair passing progressively from darkness toward the light, Kumulipo and Poʻele for the first class, Pouliuli and Powehiwehi for the second, Poʻeleʻele and Pohaha for the third, Popanopano and Polalowehi for the fourth. Beckwith, Hawaiian Mythology, pp. This is scarcely straight personification but rather a doctrine of souls corresponding to and animating material bodies and grouped in succession in time as a means of reaching a system of classification corresponding to the Hawaiian approach to the universe and to society as a whole. . . . . . Born is the family of crawlers in the dim past—. Hanau ka ʻUku-koʻakoʻa, hanau kana, he ʻAkoʻakoʻa, puka, 16. . . . 6), p. 268. . The part of the volume concerning the social and historical background of the chant cannot fail to interest the reader. Certainly by the time of the American mission in 1820 the idea prevailed that Kanaloa was rebellious against Kane and worked against him. . Fornander, Collection (“Memoirs,” No. Keaweʻs period must date back to, the early eighteenth century. pairs, parts of a compound name often separated without hyphens. 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”). This would be in keeping with Polynesian thought, although we have no confirmation of such an idea in Hawaii. A person even accidentally profaning thus the sacred taboo chief was in danger of death. . Changes and substitutions in cult practice must lie back of these variations upon the common theme of world beginnings. The next four stress the idea of remoteness, at the very roots where darkness begins, far from the sun, far from the “night.” Bastian is thinking in terms of a European concept, that of a world conflagration out of which a new world rises. Haw. . ; Fornander, Polynesian Race, II, 157-65, 167-79. took place. . 294, 296-98. . He writes: Kumulipo was the husband, Poʻele the wife. 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. Man for the narrow stream, woman for the broad stream, Born is the Ulae [lizard fish] living in the sea, 250. Nacht. There a Tangaroa god “who delighted in doing evil” set fire in the highest heaven “seeking thus to destroy everything.” “Tangaroa-i-te-po” he is called and “supreme ruler of the underworld.”16 In New Zealand a quarrel is said to have arisen between Tane and Tangaroa when reptiles took to the land and Tangaroa resented this encroachment upon his preserves.17 In the Tahitian octopus myth it is Tane who cuts away the clinging arms of the octopus body of Taʻaroa and fills earth and sky with beauty. Popular legend has localized the life of Haumea up Kalihi Valley and added details to the story. Changes from the text have been made only after careful comparison with variant texts or on the advice or with the approval of native interpreters. 121-22; Gill, pp. Born is Po-elua [Second-night] on the lineage of Wakea, Ended is [the line of] the first chief of the dim past dwelling in cold uplands, Dead is the current sweeping in from the navel of the earth: that was a warrior wave, 1545. Gave birth to those who produce eggs, Produce and multiply in the passing night, The children roll about, play in the sand, 395. The name of Hina-of-the-fire, Hina-a-ke-ahi, according to one old Hawaiian, is the fire goddess Peleʻs sacred name as controlling fire from the earth. Appendixes include King Kalakaua's entire text (the major manuscript source of the Kumulipo), textual notes, and references. WILLIAM WYATT. After the conventional introduction of mythical allusion, he goes back abruptly to the rootstalk, the Haha that “passes into a hundred branches.” And with this “branching of the nightborn” the ode concludes: A male born in the time of black darkness, 275. 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. MS Col. Chant après chant was composed rapidly, in just a few weeks, on a commission from Les Percussions de Strasbourg. During the Makahiki period athletic sports were celebrated, said to have been inaugurated by the god Lono in person. 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, … How much more readily, then, might a common ancestral deity be marked off for worship under a particular attribute according to the function he was called upon to fulfil or the special relation that he held to the family of the petitioner. The Creation for Ka I i mamao, from him to his daughter Alapai wahine, Liliuokalaniʻs great-grandmother. Hanau ka iʻa, hanau ka Naiʻa i ke kai la holo, 139. . O ke Akua ke komo, ʻaʻoe komo kanaka, 437. O ke Akua ke komo, ʻaʻoe komo kanaka, 443. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 60. So White enumerates the “acts” of Maui under the term patunga.5 The first contest is against his own kindred, those who seem to be guarding Hinaʻs virginity. . There she had spent eighteen years as research professor in the Folklore Foundation established for her by her childhood friend, Annie M. Alexander, to whom the translation of the Kumulipo is dedicated. THE KALAKAUA TEXT     . after telling the story of the “Lauloa taro” that grew from the buried foetus of Wakeaʻs first child, after which the living child was named: “Now you must understand that the children born to Haloa these are yourselves. translation and commentary is an excellent guide to this transitional era and to Hawaiian philosophical concepts as expressed through the medium of this magnificent primitive chant. Not that we should even attempt to identify historically the long lists of names that make up the genealogical portions of the Kumulipo. . . . . He ʻili[hia] ʻilio kama a ka po h[an]eʻe aku, 582. Ka ʻiliʻili hua ʻohiʻa, hua ʻole o ka uka, 563. The jaw of Pimoe as it snapped open, The lordly fish that shouts over the ocean, 2025. He grows to be a lad, still within the “shell” out of which he has formed a sky for the new land. keep something back” is the thought in the mind of every native informant, however helpful he may seem and really wishes to be in his relation with the foreign inquirer. . ——. The whole treatment of Haumea as wife of the god Kanaloa in the two chants elaborating her story can hardly be anything but a symbolic retelling of some such event in the family history, to be discussed more in detail under the closing section of the chant. . The coral was the first stone in the foundation of the earth mentioned in the chant. L’automne; L’hiver; Le printemps . Rootlets (paia[ʻa]) carry water to bathe and soften the developing tuber. I infer that the multiplication of overseers went hand in hand with the development of cultivation of the soil for food crops, perhaps primarily with the introduction of wet taro culture as described in the chant of the rooting pig. 3     . Kau ka ʻomea ke aka ʻula haʻihaʻilona, 654. A position of humility as an acknowledgment of rank was, as we know, widespread throughout Asiatic courts. 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. . The word hili means “to deviate from the path,” hence, according to Parker, “from a settled line of conduct,” and may well apply to social innovations. . We the Tikopia: A Sociological Study of Kinship in Primitive Polynesia. Trochanteric bursitis is a type of inflammation that affects your hips. Mauiʻs exploits or ua in his struggle for power are listed by number. 140-51; Hobbs, chap. The pairing of species matching parent and child, plant and animal, or land and sea forms has no apparent rational basis but rather depends upon word-play between names. . Man for the narrow stream, woman for the broad stream, Guarded by the Ekupuʻu bird living on land, 359. 14     . . I can only add here a purely speculative suggestion that the curious birth “from the brain” (ma ka lolo) may derive from a play upon the ʻOlolo (“Brain”) branch and carry a hint of some liaison on the elder Paliku line with the younger branch, as of Laʻilaʻi with Ce conseil ne vaut pas pour l’école maternelle, où la voix de l’adulte sert de moteur et de « guide-chant ». In Hawaii, a prayer at the launching of a canoe names both gods, Kane as god of the forest from which the tree was cut, Kanaloa as god of the element over which the canoe must travel. . “Games of My Hawaiian Childhood,” California Folklore Quarterly, II (Berkeley, 1943), ——. Haumea is goddess of childbirth and in the Hawaiian “Book of Medicine” is credited with having saved a chiefʻs daughter of Oahu from a Caesarean opera-. 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. . . . . . A girl born to Keawe by his own daughter was reckoned of naha rank. Adaptation of traditional elements depends in each case upon the special migration history of the group, its fresh contacts and their resulting influence upon family and cult history. The spread of the rat family over the land and their nibbling habits as described in the chant are interpreted by one of Dr. Beckwithʻs native assistants as “symbolic of the rise of new lines of chiefs under whom taboos multiplied” and under whom parcels of land were alienated from their former owners. Each usually had a different interpretation, particularly about the earlier sections which describe the development of natural phenomena and life. The scratching-out of the eyes of the eight-eyed Peʻapeʻa who has abducted his mother is declared to be his “last exploit.” But there follows the sun-snaring, introduced by the line “With Moemoe the strife ended.” The story is probably merely another version of the abduction incident, so well known through popular retelling as to be scarcely worth repeating. The original text of the Kumulipo was first printed in Honolulu in 1889 from a manuscript copy in the possession of King Kalakaua. . . . Collection (“Memoirs,” No. She bore to him a daughter, and this girl Kamehameha took as his own chief wife and parent of the. . . . Both were born in Hawaii, and no legend tells of either of them sailing away with a promise to return. Otherwise he has no important place upon the final genealogy leading to the chief stock with which the chant concludes. Man for the narrow stream, woman for the broad stream, Guarded by the Hau tree [hibiscus] living on land, 184. Set a few days after the original, a championship basketball team's bus is attacked by The Creeper, the winged, flesh-eating terror, on the last day of his 23-day feeding frenzy. . Tumu-po as source of the night world is no other than Kumu-([u]li-)po of the Hawaiian prayer chant. gives rather a humorous than a sordid turn to the whole picture. In the first division are “born” (hanau) or “come forth” (puka) species belonging to the plant and animal world, in the second appear gods and men. by the shouts of thousands and thousands of armies of Po announcing in a genealogical chant. . . b) Présentation du chant Eviter de parler, ce qui nuit à l'écoute et à l'attention.

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