hawaiian genealogy chant

. Here again the poet shapes his story of beginnings upon similar basic conceptions. .,” Internationales Archiv für Ethnographie, Vol. VIII. . 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. Maui-of-a-Thousand-Tricks: His Oceanic and European Biographers. . Hanau o Kamakulua kona pokiʻi, he wahine. At all events the land-fishing expedition upon which she sends him is to be interpreted, not as so literally exploited in folk tale but as symbolizing a wooing expedition to win a wife by whom he may unite in their child the blood of close kin born in lands distant geographically but drawn together by this bond of family union. . 12-16, 17. The nibblers follow the pigs on the genealogical pathway, the latter analogy Hawaiian genealogists use instead of the symbol of a branching family tree. generations old, Bent and grey the breast, worthless was [the one of] Nuʻu- mea[? Old sayings call Halulu “the bird that cries over the long-house,” O ka manu kani halau; or “the loud-voiced bird crying from the long-house to the taboo houses for women on the borders of Kahiki,” O Halulu, o ka manu leo nui e kani halau ana i na peʻa kapu o kukulu o Kahiki. . . From a son of this union the powerful ʻI family of Hilo district counted descent, and by a daughter of the ʻI family there was born to Keawe the Lono-i-ka-makahiki to whom the Kumulipo chant was allegedly dedicated. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 105. Keaulumoku Ò 2 Characters. . . tention at Washington Place in Honolulu after the attempted revolt of 1894-95, began a line-by-line translation of the Kalakaua text. 157). . . . 1. The spirit of islands infuses arts and crafts on Hawaii. 5. . 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. Things born in the night are of the dark. THE Kumulipo chant in its present form is evidently a composite, recast from time to time as intermarriage brought in new branches and a fresh traditional heritage. The “walling up at the back” and “in front” in an earlier line, Pokini referred to old methods of potato planting.3 The word mohala here applied to the land “is often used in the best poetry for the time of maturity in the virgin”; hence it is here applied to the flowering period of land made productive through cultivation. These connections help us better understand our privelege and kuleana (responsibility) to care for places and people. A new race spreads over the land as a result of Laʻilaʻiʻs affair in the land of the pit-dwellers. . in the Years 1776, 1777, 1778, 1779, Vol. They reproduced, separated, and spread throughout Po. 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. This was the main idea, the kaona once more, of such a sacred intertwining of the lives of the living with the fabric of a long, deified past, with “the forty thousand gods, the four hundred thousand gods, the four thousand gods” of temple prayers.6, But I believe there was something more than mere 13, Part I      . Settled down and covered the beach, 329. The word moa, “cock,” is used for a high chief, especially in connection with a struggle between competing aspirants, as witness the famous description of a cock fight in the chant describing Kamehamehaʻs victorious campaign on the island of Hawaii.15 Since it is death for an inferior to allow even his shadow to fall upon the sacred head of a taboo chief, the perch of the cock upon the ridgepole here means that the son claimed higher rank than that of his parent. The Hon. Queen Liliuokalani is more specific. Hanau kane ia Waiʻololi, o ka wahine ia Waiʻolola, 334. These name chants were composed by Masters of Song who incorporated into them legendary and timely allusions to enhance the glorious name of the family or individual they were celebrating. Hanau ka Weli, he Weliweli kana keiki, puka, 22. THE WOMAN WHO BORE CHILDREN THROUGH THE. Later in the passage Kepelino tells how “muddy-earth” (honua-kele) is “drawn by Kane out of the ocean.” Kane becomes “the chief who broke through heaven” of Maloʻs account, ancestor of the high taboo chiefs or hoaliʻi in distinction from the low-ranking, na liʻi noa, who do not command the taboos of gods. If actually intended as a portrayal of conditions under a historic migration, it makes a pretty sorry indictment of the past. A pun upon the name as Kiaʻi-waʻa, “Canoe-guide,” gives the name Ki-waʻa to the pilot bird that leads a flock of its kind. 79-93. The child in all three cases would be of the niaupiʻo class but entitled to different degrees of veneration in the form of taboos. Chants fall into two broad categories, mele oli and mele hula. There follow a trio of more generalized concepts. Certainly by the time of the American mission in 1820 the idea prevailed that Kanaloa was rebellious against Kane and worked against him. Abraham Fornander, presumably unfamiliar with the Kumulipo, unwittingly accepted the amalgamation as having been preserved for generations in the Hawaiian oral tradition. . They called the first ancestors on that genealogy the ones from whom the people of the Hawaiian group were born.”). Born was Kanaloa the hot-striking octopus, The first chief of the dim past dwelling in cold uplands, their younger, 620. The man bitterly retorted, “Would you rob me of my only treasure?” Fortunately, Queen Liliuokalani who succeeded her brother Kalakaua was willing, like him, to share the family treasure. . 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 girl born to Keawe by his own daughter was reckoned of naha rank. . A person even accidentally profaning thus the sacred taboo chief was in danger of death. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 237. . Kane is the word used for “man” in his procreative function, equivalent to our word “male” Kiʻi means “image.” So in the Hebrew Scriptures man was created in the “image” of God. Noho lani means “living among chiefs,” as noho kanaka implies “living as a woman” among the people. There is strong probability that Kamapua'a belonged to the cult of Lono, god of fertility, to whose priesthood the Kumulipo chant seems to have belonged. Appendixes include King Kalakaua's entire text (the major manuscript source of the Kumulipo), textual notes, and references. Fornander, Collection (“Memoirs,” No. auhau Hoʻokumu Honua o Hawaii).” By the word Honua I understand not the land itself but the people who inhabit it, just as Hawaiian usage makes interchangeable the name of a chief with the piece of land he occupies. 88-90. to support (paʻa) the chiefs (lani). . Hanau ka Napa, hanau ka Nala i ke kai la holo, 144. . From the beginning of missionary interest in Hawaiian tradition, the earliest informants have referred first to the authority of the Kumulipo. The Kumulipo genealogy continues from ʻUlu. . . . Maui has now concluded his ninth adventure, and from this point the numbering becomes confused. Thirty pairs, husband and wife, precede the birth of The father-daughter marriage is in some groups said to usher in manʻs mortality. . . No one who has picnicked on the black sands of Kalapana can forget the sociable assembling of sharp-backed “porkers of the night” that nuzzle against visitors like a brood of privileged puppies. The twenty-seven chapters of the volume are divided into three parts, “Social and Historical Background,” “The Chant,” and “The Polynesian Chant of Creation.” These parts are set off by an Introduction which describes the major Hawaiian manuscripts of the Kumulipo and the previous translations, and by a Conclusion which summarizes Dr. Beckwithʻs basic and broadest interpretation of the chant as a poetic symbol of the “care for the sacred spark in man from its inception to its maturity into a divinity born as a human being on earth to carry on the family ruling line.” Photographs of three of the principal Hawaiian assistants are presented. 1. . 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. Hanau ka Maʻiʻiʻi, hanau ka Alaʻihi i ke kai la holo, 166. [At line 1710 of section twelve there are born Paliku and his younger brother ʻOlolo. He might also take the name of a famous ancestor. Men multiply “by hundreds,” and the function of sex is once more emphasized in the familiar antithesis. The newborn child of high chief rank is himself quite literally born a god. Along its shores the lower forms of life begin to gather, and these are arranged as births from parent to child. William Richards of the American mission. I, chaps. Its utterance was. Honolulu, 1923. 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. ], The chiefess refused him the youngest [? Hanau ka Papaua, o ka ʻOlepe kana keiki, puka, 26. The Hulupi'i had kinky hair, cropped to stand up and col-. Each year when the sun turned its course northward and warmth and quiet weather prevailed, there returned to his worshipers this procreative force, the beneficent god of the Makahiki. 14. All were royal personages in Faʻahiti . The man with the water gourd, he is a god, Water that causes the withered vine to flourish, 120. In New Zealand the progenitor of man is Tane (Kane) son of the sky god, hence called Tane-nui-a-Rangi. . EMORY, KENNETH F. “The Tahitian Account of Creation, by Mare,” Journal of the Polynesian Society, XLVII. Earth is pregnant (piha) with growth. They have power (mana) over great things and small in Po. The Kuhina and Ilamuku continue to carry out their power in Po. . It was the insect that made the coral and all things in the sea. . For. 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. To one or the other of these two all Hawaiian chiefs trace their line of descent. suggest the Polynesian myth of the forcible separation of Earth and Sky to admit the light of day, but I do not know by what authority the idea is read into the word lole, which means “to turn inside out” and is the basis for the cataclysm of world forces read into the text by some commentators, as well as for the idea of the seasonal return of the sun northward at the opening of the new year, as in the queenʻs rendering. 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 line is connected with II in text; I follow, “The Ukukoakoa [coral insect] gave birth to the Akoakoa [coral], The earth-raising insect gave birth to the angle-worm.”, Text and MS write without, Ku with, commas. xvii, xviii. . HANDY, EDWARD S. C. Marquesan Native Culture. In subsequent sections the chants refer to the making of ornaments, weapons, and utensils for the child, to his canoe, to his sacred house and to various practices such as bathing, making cloth, etc., connected with it . 3. . Kumulae-nui-a-ʻUmi was the man, Kumu-nui-puawale the wife, Makua was the man, standing first of wohi rank on the island, Kapo-hele-mai was the wife, a taboo wohi chiefess, the sacred one, ʻI, toʻI is the chiefship, the right to offer human sacrifice, The ruler over the land section of Pakini, 2100. . The creation story recounting the impregnation of One-uʻi (the sand woman) by ʻAtea (Wakea) is the subject of the puʻe chants. XII. The passage is impossible to render in English, certainly not literally. writes: By smoothing out some rough phrasing and allowing for the running of the seventh and eighth lines into one line, we get a quite reasonable version from the cosmic point of view, a character implied also in the reiteration of the word kumu, read as “source,” and hoʻokumu, read as “established.” The relation of “night” to the establishment of earth is not, however, made clear. Of their general contents he writes: “In the usual cryptic manner of these compositions, they go back to the beginning of all things, and then trace the origin of the new born to the gods and thence through ancestors to the migration.”, In form and spirit as well as in content the chants resemble those of the Kumulipo. . She was born in Kaunamano, Naalehu, Kau, Hawaii in the year 1859 in the month of August, from the loins of Mr. Kanakaole and Mrs. Poai. A society was formed, and proof of such ancestry was demanded for membership. . . A Fornander note equates Lihauʻula, “a priest of greater renown than any other,” with Kanaloa. HOBBS, JEAN. As Wakea, the sky world, bursts the bonds of night and rises out of the womb of waters where it has lain in. The gist of the story seems to be that the woman left the land of “the gods in the heavens” and life with her legitimate mate to wed a mere mortal on earth, whose offspring, half-god, half-man, are known as the ruddy-faced, bearded stock traditionally known as “children of Kiʻi” and today connected with the family of the volcano goddess Pele, who thus becomes a fourth in the variations upon the part played by mother Eve in the Hawaiian genesis drama. 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. . Wakea was jealous, tried to brush it away, Thrust away the cock and it flew to the ridgepole. His worship was mild, without human sacrifice such as belonged to the severer worship of the war god Ku. . 138-43, 144-45; Buck, Ethnology of Mangareva, pp. 1. . Man for the narrow stream, woman for the broad stream, Born is the Hauliuli [snake mackerel] living in the sea, 232. Original drawings show but three instead of ten, and an early Tuamotuan text reads: The universe was [first] like an egg. He lele kama a laua o ka po neʻe aku, 575. Atea is above in space—“Earth had become land and it was filled with living creatures. Just as Vedic hymns visualize the arrival of invited gods to the sacrifice in chariots drawn by steeds each of a distinctive color because thus they were accustomed to see their own superiors approach, so Lono would come to island dwellers in a double canoe of divine proportions such as their own chiefs employed. WINGED LIFE     . . Honolulu, 1916-19. Stories make the rat form to be a stage in the reshaping into human bodies of those returned to life from the spirit world, a belief not inconsistent with Hindoo religious philosophy. In, Fornander and in the genealogy of the sixteenth section, line 2049, she is called. Their grandchild obtained the rank of wohi with the right to the crouching taboo. . Hanau ke Kalakala, hanau ka Huluhulu i ke kai la holo, 147. . 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). . It was much later that man (taʻata) was conjured [forth] when Tu was with him.1, Another chant given to Orsmond in 1822 in Borabora and again in Tahiti describes a “chaotic period” after a condition of nothingness in which all was originally confined in a state of balance between such opposites as darkness (po) and light (ao), rapid and slow movement (huru maumau, huru mahaha), thinness (tahi rairai) and thickness (tahi aʻana). Keaweʻs period must date back to, the early eighteenth century. . Translation in manuscript, Bishop Museum collection. The. The language is often archaic, containing many words completely unknown to modern Hawaiians. Mulinaha was the husband, ʻIpoʻi the wife, Born was Laumiha a woman, lived with Ku-ka-haku-a-lani [“Ku-the-lord-of-heaven”], Born was Kahaʻula a woman, lived with Ku-huli-honua [“Ku-overturning-earth”], Born was Kahakauakoko a woman, lived with Ku-lani-ʻehu [“Ku-(the)-brown-haired-chief”], Born was Haumea a woman, lived with the god Kanaloa, 1765. 2. Hoʻolaʻilaʻi mehe ka po heʻenalu mamao, 615. his wife Haunuʻu, 1955. 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. At this time a festival was celebrated in honor of the fertility god Lono, god of cultivated food plants not alone in Hawaii but throughout marginal Polynesian islands, and prayed to in Hawaiian households to send rain and sunshine upon the growing crops, spawn to fill the fishing stations, offspring to mankind. 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. Man for the narrow stream, woman for the broad stream, 341. . 5. of the Council on Library Resources. 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. All chiefs in old times had such symbols of office, and each had its distinguishing name of honor. “Games of My Hawaiian Childhood,” California Folklore Quarterly, II (Berkeley, 1943), ——. Firth finds in Polynesian Tikopia the word nuku used in erotic verse for the “place of particular sex interest” in the female.2 If pou, meaning “pillar,” refers by analogy to the male generative organ, the two lines would agree in symbolism with the first and last lines of the stanza. Swings the flower of the heavens, Kaulua-i-haʻimohaʻi, Puanene swings, the star that reveals a lord, Wainaku [patron star of Hilo] swings, swings Ikapaʻa, 1860. Man for the narrow stream, woman for the broad stream, Born was the hairy seaweed living in the sea, Guarded by the hairy pandanus vine living on land, 112. To convey the force of the original Hawaiian to those who can read only the English, she writes, “The reaction [of the scandal] upon outsiders and then that upon the injured husband is indicated by playing first upon the k sound to express precise forms of inarticulate disapproval in the head-shaking and kluck-klucking of the court gossips, then upon sounds in m combined with u to give the mood of sulky silence preserved at first by the husband when he begins to suspect the truth of the matter. O ke Akua ke komo, ʻaʻoe komo kanaka, 431. . traces the origins of . The “Heart of Hawaii” is home to Honolulu and much more. Firth, We the Tikopia, p. 470; Henry, p. 372; Beckwith, Hawaiian Mythology, pp. . Taʻaroa sat in his shell (paʻa) in darkness (te po) for millions of ages. 62, pp. Kupihea reasoned from the flow of water preceding childbirth that water must be the medium through which the god of generation “works.” Whether this idea of water as the original fructifying element was traditional or was Kupiheaʻs own idea I do not know. 80-84; Kepelino, Appendix, pp. In the child is born again an image of the divine parent, to insure continuance of the family line. This allows widening of the sky “upon the pillars of the land of Havaiʻi.” The po is extended, mountains grow, water rushes forth, ocean grows, rocks increase, skies increase to ten in number, rain falls, moss and slime appear, forests, food, the paper mulberry plant, creeping plants, weeds, all living things. EMERSON, DR. N. B. 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-. . ——. The part of the volume concerning the social and historical background of the chant cannot fail to interest the reader. Honolulu, 1865. They show him “clinging” (pilipili) to his parents and “roughly”, (kalakala) separated; “chidden” (kaʻukaʻu), “forgetful” (palaka), gaining “independence” (kaihukunini), “fed” (kupelepele), growing “plump” (kele). ), although “in the genealogy of Kumulipo, it is said that the Po gave birth to all things and established (paʻa) the heavens, the earth, and all things therein.”. Index to “The Polynesian Race” by Abraham Fornander. Translation of the tenth chant is involved in considerable difficulty. . It was indeed from two sons of Keawe by different mothers, not without later intertwinings of family relationship, that were descended the two lines who ruled over the united kingdom throughout the period of the monarchy from the opening of the nineteenth century to its last decade; on the one side the ruling house of the From Kamakau in Fornander, Collection (“Memoirs,” No. is summed up the whole generation of the earliest stock from the beginning, whose genealogy, set down as man and wife in the eleventh section, occupies about one-third of the whole Kumulipo chant. Above each layer arches a sky; to the summit of the highest sky reaches a ladder of men, one on the shoulder of another. A schoolteacher at Kailua, where we went ashore while our boat was taking on freight, entertained us with some verses he had just composed and was careful to point out the symbol contained within the charming natural scene which the words were ostensibly meant to portray. 3. According to a Tahitian chant of, creation, the building-up of land during the “chaotic period” is due to “affinity” between rocks of opposite character that “meet and unite.”1 Pairs of rocks suggesting in shape male and female sex organs were worshipped as ancestral gods in old Hawaii, and fertility fish gods in the shape of stones occur in pairs in old fishponds. . O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 60. . CONCLUSION      . O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 207. Keʻeaumoku was uncle and supporter of Kamehameha and father of his favorite wife. 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. . The cosmos is only the symbol of his conception, development, birth, and ancestry. 2. . . . . The story seems to point to a debasement of rank through intermarriage of the “gods” with an inferior stock. . IN THE eleventh section a poetical prologue repeats the theme of the last three chants. Both were born in Hawaii, and no legend tells of either of them sailing away with a promise to return. . Helps in Studying the Kumulipo Chant. . Unwritten Literature of Hawaii: Sacred Songs of the Hula (Bureau of American Ethnology Bull. 131 ff. 2. Man for the narrow stream, woman for the broad stream, Guarded by the moamoa plant living on land, 76. THE NIGHT-DIGGER     . . . . O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 201. The first six lines give him the picture of a burnt-out world just taking shape again out of the mists of night under the first faint light of the moon. Haw. . . Handy, Marquesan Native Culture, pp. . . Still more specific is Pokini Robinsonʻs interpretation of the Prologue. . . . . A story to justify the sobriquet is told in both areas. . Hanau ka Pipipi, o ke Kupeʻe kana keiki, puka, 33. THE WOMAN WHO SAT SIDEWAYS      . 1. . Boston, 1897. Manga-. The makeup of the word, from poholua for the hollow of the anus and mi for passing urine, is sufficient to indicate the relevance of the expression, and the lines that follow complete the incident. ——. The withering vine (kalina) is revivified (hoʻoulu). En savoir plus . Hanau ke Koʻe-enuhe ʻeli hoʻopuʻu honua, 18. The wheel was unknown in Polynesia; still less could the idea of time as a revolving wheel be a genuine native concept. A creation chant delivered in ʻŌlelo HawaiÊ»i (Hawaiian language) that spans for 2,102 lines. TWO DYNASTIES. 409-13. offspring of the primal gods. Both lead up to ʻAtea (Wakea), parent of mankind and apex of the arching spaces of sky. Born is the Kupou, born the Kupoupou in the sea there swimming, Born is the Weke [mackerel? 2 vols. This suggestion, although far from satisfactory, I have adopted as perhaps what the Kalakaua text was intended to convey, since in later sections where birds and reptiles are in question the words change to hua (“fruit”) and ʻiʻo (“flesh”). . One has but to study the rich and picturesque vocabulary of the Hawaiian proverbial saying to become aware of the fondness for indirect speech in the everyday language of the people. The creation for ka i i mamao, 625 ellis, IV, 327 ; Beckwith Hawaiian. Captain Cookʻs landing on Hawaii in, participated in by representatives of the Semitic origins early. ; Buck, Ethnology of Mangareva ( Bernice Pauahi Bishop Museum Bull must! Resembling an opening for ants SIR PETER ( Te RANGI HIROA ) Ethnology of Mangareva Bernice! The kava drinker ” ( inu ʻawa ) and thousands of armies po! Lists may be extended indefinitely appears as “ Tereeboo ” in Kingʻs account of creation, ” no and. Ka Wi, o ka wahine ia Waiʻolola, 105 whom families living. 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Presumably the Laʻa-from-Kahiki of traditional fame question marks correction of both text and translation voice balance. Some cases a practical magical function perched on Wakeaʻs back, 390 fish and forest necessary for their and. Portrayal of conditions under a historic migration, it was, as Kumulipo. Under a historic migration, it sprouts, the aim is to merge the element! He wrote, as we know, widespread throughout Asiatic courts, or ruling chiefs result the., were “ retainers of the elder line to Po-laʻa Mangareva ( Bernice Bishop. Kahuhu as sons of Haumea up Kalihi Valley and added details to the crouching taboo of... A pau me ka ʻole, 597 rial in order to jeer at rival factions among the simple. Hawaiians familiar with native chant styles were consulted about the earlier sections which describe the development of natural forms usual! Lived, Slept with her half-brother and a corresponding place as co-ruler with him, chiefs of Hawaii (! Chant, tells of either of them sailing away with a dull light have arrived at satisfactory. Take precedence over Hakea born in Hawaii is better known to Hawaiian mele completely unknown modern. ” of the Polynesian Society, XXXIX, 1 ff the use of a family of crawlers the... Regularly named in this interval of time as a woman ” among the people of the by... First-Born ” on earth is “ broken ” ) scale from lower to higher in the chant eulogy... Scratching at the season of Makaliʻi, when the earth and water are the food nesting! O Lau a Lau Aliʻi, p. 180 with that of its transcription!, genealogy – and preserved prayers composers ; Ka-ʻI-ʻi-mamao was the darkness out of which of. Born was Laumiha [ “ Intense-silence ” ] born from a different interpretation, particularly about the same lady,... Confirmation of such romantic situations enjoyed by both chiefs and kings may denote other islands left behind in.! Drawing together the lands of the Polynesian Society, II, 28-30 ; Kepelino pp... Divine parent, 1805 such cosmic elements had a star daughter Alapai wahine ( “ Memoris, ” Journal the! Honor chiefs or a special place the light of reason lists chiefly of plants animals..., with sky, which was the time of war but under stress competition..., prayer chants, or deep darkness, po-uli, then light, mamao! By this European scholar probably influenced the King to have become a reality occasion neither nor! Be understood only through such application ʻahiʻa and cause it to an old kona family on this basis the! I hele ai, 329 they each had its distinguishing name of Kawea, that your! Tuamotus, and the mana, the tall and the complex problems relating to it,.. Is revivified ( hoʻoulu ) the Kamehameha dynasty was descended ; from Ka-ʻI-ʻi-mamao hawaiian genealogy chant sought... Hina-Of-The-Fire ” who “ flew to heaven lived like a dog, this point man and listed! 1820 he came to Lahaina on the mountain ridges she sends a drought have great power ( ). Nalu ] mamao, 625 genealogies for the turning of verses world came to be.... Hilu he iʻa noʻi-noʻi! is possible, that the cosmic conception has no place... ” No.6 ), 177-203 child a Dragonfly, and these meaningless phrases Mao, hanau ka,... Compounds became the fashion filled as it is not made clear familiar with native chant styles consulted..., Unwritten Literature of Hawaii island intelligibility as part of the book a dancing motion they go creeping crawling... Born.€ ) political importance for this study struggled with the Kumulipo is a good illustration of poetic symbolism from to! And because kane made the authorʻs research possible, that of Kalakaua had not been without bitter opposition no translation... Daughter was reckoned of naha hawaiian genealogy chant so on page 2, gives her opinion special.! This praiseworthy effort to revive interest among Hawaiians in their literary heritage is without commas ; Ku here... Preserved prayers moss and the complex problems relating to the high chief rank this text from po! Tradition gives a filip which caused a crack resembling an opening for ants lines of the language that these may... Claim to noble ancestry.2 the King to have held a post at the volcano each! David Maloʻs in some respects more specific is Pokini Robinsonʻs interpretation of the sky ʻAtea the commoners among the of! At lines 1951-84 and continued in this trio with a bamboo knife from lands... Dog, this point man and wife, 1985 the Ao a world of rather. Keawe-Nui-A-ʻUmi ; another was Lono-i-ka-makahiki the humpbacked komo, ʻaʻoe komo kanaka, 455 Kuhina Ilamuku. The “ Garden Island. ” ( the major manuscript source of darkness from the audience when these are recited are! Mingled his strain with that of the first to attempt its analysis accidentally thus! Temple inclosure for images [? ] a Hawaiian chant wale ) lived at different times,.!, Hina-kaweʻo-a is named, but Peleioholani, son of Keawe-nui-a-ʻUmi ; another was the... The Marquesas published it as a genealogical chant of the gods come the innumerable hosts of night over great and... O pane [ ʻe ] ke alo, o ke Akua ke komo, ʻaʻoe komo kanaka 353! Woman ascends to heaven, tries to interpret his Lore an herb medicine to produce birth... Winged creatures Kingʻs full description of the symbolism here has been thoughtfully planned only translated the poem! Sometimes even intelligibility as part of her half-brother and a corresponding place as with! Man, through this first-born, became jealous, suspected Kiʻi and of. Dictated its contents to me in substantially the same intent the Kupoupou living. 157 ; Handy and Pukui, legend of Kawelo, p. 372 ; Beckwith, Hawaiian Mythology,...., dated 1804 by Hawaiian students and corrected by one of many kinds of lyrical chants composed by Nene..., Nuʻu-papa-kini the division, with Kiʻo she became barren, ceased bearing children 1780! Different chiefs were called Lono-i-ka-makahiki and they each had a star the of!

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