Читать книгу The Traditional Literature of Hawaii - Sacred Songs of the Hula - Nathaniel Bright Emerson - Страница 11

Altar-Prayer

Invoke we now the four thousand,

The myriads four of the nimble,

The four hundred thousand elves,

The countless host of sprites,

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Rank upon rank of woodland gods.

Pray, Kane, also inspire us;

Kanaloa, too, join the assembly.

Now grows the ohi'a, now leafs ie-ie;

God enters, resides in the place;

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He mounts, inspires, abides in the shrine.

This is our prayer, our plea this for life!

Chorus:

Life shall be thine!

From one point of view these pule are not to be regarded as prayers in the ordinary sense of the word, but rather as song-offerings, verbal bouquets, affectionate sacrifices to the gods.

2. Ai-lolo. See pp. 32, 34, 36.

3. Wao-kele. That portion of the mountain forest where grew the monarch trees was called wao-kele or wao-maukele.

4. Na Kane. Why was the offering, the black roast porkling, said to be for Kane, who was not a special patron, au-makúa, of the hula? The only answer the author has been able to obtain from any Hawaiian is that, though Kane was not a god of the hula, he was a near relative. On reflection, the author can see a propriety in devoting the reeking flesh of the swine to god Kane, while to the sylvan deity, Lâkâ, goddess of the peaceful hula, were devoted the rustic offerings that were the embodiment of her charms. Her image, or token--an uncarved block of wood--was set up in a prominent part of the kuahu, and at the close of a performance the wreaths that had been worn by the actors were draped about the image. Thus viewed, there is a delicate propriety and significance in such disposal of the pig.

5. Maka-li'i (Small eyes). The Pleiades; also the period of six months, including the rainy season, that began some time in October or November and was reckoned from the date when the Pleiades appeared in the East at sunset. Maka-li'i was also the name of a month, by some reckoned as the first month of the year.

6. Maka-léi. The name of a famous mythological tree which had the power of attracting fish. It did not poison, but only bewitched or fascinated them. There were two trees bearing this name, one a male, the other a female, which both grew at a place in Hilo called Pali-uli. One of these, the female, was, according to tradition, carried from its root home to the fish ponds in Kailua, Oahu, for the purpose of attracting fish to the neighboring waters. The enterprise was eminently successful.

7. Po. Literally night; the period in cosmogony when darkness and chaos reigned, before the affairs on earth had become settled under the rule of the gods. Here the word is used to indicate a period of remote mythologic antiquity. The use of the word Po in the following verse reminds one of the French adage, "La nuit porte conseil."

8. Kokúa. Another form for kakúa, to gird on the pa-ú. (See Pa-ú song, pp. 51–53.)

9. Uníki. A word not given in the dictionary. The debut of an actor at the hula, after passing the ai-lolo test and graduating from the school of the halau, a critical event.

10. Ha-íke-íke. Equivalent to ho-íke-íke, an exhibition, to exhibit.

11. Ou-alii. The Hawaiians seem to have lost the meaning of this word. The author has been at some pains to work it out somewhat conjecturally.

12. E Lono, e hu' ia, mai, etc. The unelided form of the word hu' would be hui. The final i is dropped before the similar vowel of ia.

13. Kukúlu o Kahíki. The pillars of Kahiki. The ancient Hawaiians supposed the starry heavens to be a solid dome supported by a wall or vertical construction--kukulu--set up along the horizon. That section of the wall that stood over against Kahiki they termed Kukulu o Kahiki. Our geographical name Tahiti is of course from Kahiki, though it does not apply to the same region. After the close of what has been termed "the period of intercourse," which, came probably during the twelfth and thirteenth centuries, and during which the ancient Hawaiians voyaged to and fro between Hawaii and the lands of the South, geographical ideas became hazy and the term Kahiki came to be applied to any foreign country.

14. Áno-ái. An old form of salutation, answering in general to the more modern word aloha, much used at the present time. Ano-ai seems to have had a shade of meaning more nearly answering to our word "welcome." This is the first instance the author has met with of its use in poetry.

15. Hoo-ulu. This word has a considerable range of meaning, well illustrated in this mele. In its simplest form, ulu, it means to grow, to become strong. Joined with the causative hoo, as here, it takes on the spiritual meaning of causing to prosper, of inspiring. The word "collect," used in the translation, has been chosen to express the double sense of gathering the garlands and of devoting them to the goddess as a religious offering. In the fourth verse this word, hooulu, is used in the sense of to heal. Compare note c.

16. Hiiaka. The youngest sister of Pele, often spoken of as Hiiaka-i-ka-poli-o-Pele, Hiiaka-of-the-bosom-of-Pele. Why she should be spoken of as capable of healing diseases is not at all clear.

17. Ulu. Here we have the word ulu in its simple, uncombined form, meaning to enter into and inspire.

18. Ilio nana e hae. The barking of a dog, the crowing of a cock, the grunting of a pig, the hooting of an owl, or any such sound occurring at the time of a religious solemnity, aha, broke the spell of the incantation and vitiated the ceremony. Such an untimely accident was as much deprecated as were the Turk, the Comet, and the Devil by pious Christian souls during the Middle Ages.

19. Lau-ki. The leaf of the ti plant--the same as the ki--(Dracæna terminalis), much used as an emblem of divine power, a charm or defense against malign spiritual influences. The kahuna often wore about his neck a fillet of this leaf. The ti leaf was a special emblem of Ha'i-wahine, or of Li'a-wahine. It was much used as a decoration about the halau.

20. Ha'i-ka-manawa. It is conjectured that this is the same as Ha'i-wahine. She was a mythological character, about whom there is a long and tragic story.

21. Kini o ke Akua. See note d, p. 24.