bmerson] 



trXWRlTTEN LITERATURE OP HAWAII 71 



This is not a line-for-line translation ; that the author found infea- 

 sible. Line 8 of the English represents line 7 of the Hawaiian. 

 Given more literally, it might be, " He'll shake the buttocks of Hilo's 

 forty thousand." 



The metaphor of this song is disjointed, but hot with the primeval 

 passions of humanity. 



Pauku 4 



Ho-ina-inau ]nea ipo i ka nabele ; 

 Haa-kokoe ana ka ruaka i ka Moaui, 

 I ka ike i na pua i hoomahie 'luna ; 

 Ua hi-hi-liina wale i ka moe awakea. 

 5 Ka ino' na poina ia Mali'o. 

 Aia ka i Pua- lei o Ha'o. 

 I Puna no ka waihona o ka niakani ; 

 Kaela ka rualama ana a lea Pu"u-lena, 

 I kabi mea ho-aloha-loha, e ! 

 10 E aloha, e! 



[Translation] 

 Stanza 4 



Love is at play in the grove , 

 A jealous swain glares fierce 

 At the flowers tying love-knots, 

 Lying wilted at noon-tide. 

 5 So you've forgotten Mali'o, 



Turned to the flower of Puna — 

 Puna, the cave of shifty winds. 

 Long have I cherished this blossom, 

 A treasure bid in my heart ! 

 10 Oh, sweetheart! 



The folloAving account is taken from the Polynesian Researches of 

 the Rev. William Ellis, the well-known English missionary, who 

 visited these islands in the years 1822 and 1823, and whose recorded 

 observations have been of the highest value in preserving a knowl- 

 edge of the institutions of ancient Hawaii : 



In the afternoon, a party of strolling musicians and dancers arrived at 

 Kairua. About four o'clock they came, followed by crowds of people, and ar- 

 ranged themselves on a fine sandy beach in front of one of the governor's 

 houses, where they exhibited a native dance, called hura araapapa. 



The five musicians first seated themselves in a line on the ground, and spread 

 a piece of folded cloth on the sand before them. Their instrument was a 

 large calabash, or rather two, one of an oval shape about three feet high, the 

 other perfectly round, very neatly fastened to it, having also an aperture 

 about three inches in diameter at the top. Each musician held his instrument be- 

 fore him with both hands, and produced his music by striking it on the ground, 

 where he liad laid a piece of cloth, and beating it with bis fingers, or the palms 

 of his hands. As soon as they began to sound their calabashes, the dancer, a 

 young man about the middle stature, advanced through the opening crowd 



