They were mixed this way and that, became melted, and are called the Kumulipo, the slimey beginning of the earth.” Poepoe is here bringing to bear upon the text the scientific knowledge acquired through foreign culture. 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. . kumulipo a hawaiian creation chant Dec 23, 2020 Posted By Robin Cook Public Library TEXT ID 334ea2d0 Online PDF Ebook Epub Library device pc phones or tablets use features like bookmarks note taking and highlighting while reading the kumulipo a hawaiian creation chant kumulipo hawaiian creation The typical stanza pairing the tough edible seaweed called ʻakiʻaki, “living in the sea,” with the tough-stemmed manienie grass, “living on land,” may thus be read. Born is the Aku [bonito], born the Ahi [albacore] in the sea there swimming, Born is the Opelu [mackerel], born the Akule fish in the sea there swimming, Born is theʻAmaʻama [mullet], born theʻAnae [adult mullet] in the sea there swimming, Born is the Ehu, born the Nehu fish in the sea there swimming, ʻIno, born the ʻAoʻao in the sea there swimming, 155. Man for the narrow stream, woman for the broad stream, Born is the Ulae [lizard fish] living in the sea, 250. . Ku omits lines 280, 299, 300, 311-14, 330, 331, 342, 343, 360, 361, and all refrains but the first. But in old days time was reckoned by the migration of rats to the shore when wild food plants failed in the uplands, thus “telling the seasons” to the lowland planter by the depredations. However, none was available in English when Martha Beckwith completed her own translation and detailed study, first published in 1951 by the University of Chicago Press. . . Each ode opens with a poetic passage naming these generative agents, male and female, and setting the key word for the development of the pattern within each class. Fornander, Collection (“Memoirs,” No. . A period of intermarriage follows among her posterity: literally, they increase “by forty thousand and by four thousand” (he kini, he mano) corresponding to the sacred numbering of the lesser gods invoked in temple prayers. . From the messengers and guards down to the commoners among the gods come the innumerable hosts of night. 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. A fairy wife who sends her favorite son to seek a wife among her own kin in a land of deities is a popular theme in Hawaiian as well as South Sea family story cycles. 6 vols. . “There was whispering, lip-smacking and clucking, At the time that turned the heat of the earth, At the time when the heavens turned and changed, At the time when the light of the sun was subdued, At the time of the night of Makalii [winter]. Chronology gives 1752 as the date of his succession. 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. . ], The loincloth of Kalana, that was your father”, 2015. Written by Hawaiian students and corrected by one of the instructors, adding. These, though important in themselves, have no direct bearing upon the interpretation of the Kumulipo chant. that review is quoted here, with permission of the American Folklore Society, as an introduction and guide to the reading of the scholarly work. memorized and kept that genealogy. 8. Lahainaluna, 1838. A Fornander note equates Lihauʻula, “a priest of greater renown than any other,” with Kanaloa. 15. Relationships disappear. . In the sixth line walewale is changed to welawela, meaning “intense heat” or “strong emotion” and. 157). We also found that it was a title belonging to a person of great rank and power in the island, who resembles pretty much the Delai Lama of the Tartars, and the celestial emperor of Japan.”, The stone platform is still standing that marks the site of the heiau to which the priests of Lono conducted Cook and his companion for the ceremony of chanting and offerings appropriate to the welcome of a god. Perhaps because Kanaloa made his figure first, all men must eventually die. . . 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. 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. . Kamehameha himself genealogists claim direct descent in the fourth generation from the union of Kaulele with her half-brother Keawe. HOBBS, JEAN. Today, whether one attempts a retranslation of a word, a phrase, an ode, or the entire poem; delves to uncover yet another level of meaning in it; hopes to judge its age relative to other cosmogonic genealogical chants; or seeks to evaluate its representativeness of Hawaiian philosophy and artistic style in the pre-European period, her authoritative work is the key. . The fact seems to be that children are born but by whom Kane is ignorant. tale telling how Maui learned from the red-headed mudhens the secret of fire-making by the use of fire sticks is conspicuously absent from the enumeration here of Mauiʻs exploits. . The two differ basically in theme, she pointed out, with the Kumulipo more reminiscent of Greek than of Hebrew origins. Kupihea attaches the name to “a chief from a distant land, brought to Hawaii by one of the chiefs,” possibly the visitor who introduced the custom of consulting feathered images as oracles; but the saying itself may have originated otherwise. 17-20. lipo. Kukahi omits lines 403-12, 426, 427, 438, 439, 462, 463, 469-72, 476, and repeats the refrain but once. In its heyday, the town grew to over 2,000 residents and was the first non-Hawaiian settlement on Lanai. Hanau ka Peʻa, hanau ka Lupe i ke kai la holo, 149. . . This agrees with what is said today of the early preference for short family names before elaborate compounds became the fashion. Actual blood relationship must always be a debatable point under the social etiquette then prevailing in court circles. With Hikapuanaiea the heavenly one became barren, She lived like a dog, this woman of Nuʻumea [? The. . 4), p. 406. little, like incantational value.8 Liʻs wife Ke-aka-huli-honua, on the other hand, may most certainly be equated with Ata-(huli-ho) nua, wife of Tagaroa in Mangareva, and of ʻAtea in the Marquesas. WAKEA in the form of Atea or Vatea, replaced in New Zealand by Rangi (Lani) meaning “Sky,” appears as a primary male generative force throughout eastern Polynesia, the name a symbol of the upper regions of air, whence descend sunshine and rain to fertilize earth. Through strict attention to her purpose of presenting her translation and her explanations of the chant, Dr. Beckwith has greatly reduced the number of names and Hawaiian-language expressions which might be expected in a scholarly work such as this. O ke Akua ke komo, ʻaʻoe komo kanaka, 419. 117-22, 136-37; Grey, pp. Born was the woman Kahaʻula [“Erotic-dreams”] from the brain, Born was Ka-haka-uakoko [“The-perch-of-the-low-lying-rainbow”] from the brain, The god Kaua-kahi [“First-strife”] was born from the brain, 1790. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 195. He writes: Like the first seven divisions in the first period of the world in the genealogical account of the Kumulipo night followed night and there lived gods alone [?]. Corrections are from Makemsonʻs alphabetical star list. Haw. In the Hawaiian version told at the east end of the island of Maui, Hina, walking on the beach, picks up a manʻs loincloth and, girding herself with it, lies down to sleep. . by these signs peculiar to this people. There is, moreover, a hesitation inherent in the character of the content in the case of a sacred chant like the Kumulipo that hinders frank explanation even when the meaning is clear to the one questioned. HANDY, EDWARD S. C., and PUKUI. Hanau ka Pala, hanau ke Kala i ke kai la holo, 145. 1. She retains the stylistic features of the original—formal repetition as a mnemonic device and a play of opposites, in this case the idea of earth (honua) as opposed to heaven (lani); of darkness (po) used here with the contrasting word la, meaning the light of day or “sun”; of illumination, hoʻomalamalama, used in contrast to “deep darkness” or “depth of darkness,” lipo, lipolipo. Ibid., p. 407; Beckwith, Hawaiian Mythology, pp. . A vivid description of natural scenes or activities, some mood of nature or inthrust of myth, may conceal an allusion recognized by the native listener but wholly misinterpreted by us of another culture who attempt translation. 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.”. As they watched closely they saw a bright star over the land to the east and believed and knew that a great person from Po had come to dwell with man. Each year the difficulty of editing and translating becomes greater. Maui is born to a god, as the phrase goes. Man for the narrow stream, woman for the broad stream, Born is the Nene shellfish living in the sea, Guarded by the Manene grass living on land, 449. Except for considerable abridgment, the edition differs but little from the Kalakaua text. . Thus, after. 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. The kumulipo is a genealogy chant written in honor of the high chief Kalaninuiiamamau of Hawaii Island. . . 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