112 BUREAU OF AMERICAN ETHNOLOGY [bull. 38 



an interesting study, and brings us closer in human sympathy to the 

 people who took pleasure in such things. 



In translating this poem, while not following literally the language 

 of the poet, the aim has been to hit the targe of his deeper meaning, 

 without hopelessly involving the reader in the complexities of Ha- 

 waiian color and local topography. A few words of explanation 

 must suffice. 



The Makani Inu-wai (verse 1) — known to all the islands — is d 

 wind that dries ujd vegetation, literally a water-drinking wind. 



The Naulu (verse 3) is the ordinary sea-breeze at Waimea, Kauai, 

 sometimes accompanied by showers. 



Hala-lvi (verse 5) is a sandy plain on Niihau, and the peculiarity 

 of its canes is that they sprawl along on the ground, and are often 

 to a considerable extent covered by the loose soil. 



Lehua (verse 6) i§ the well-known bird-island, lying north of 

 Niihau and visible from the Waimea side of Kauai. 



The Avreath-maker, haku-lei (verse 7), who dwells at Waimea, is 

 perhaps the ocean-vapor, or the moist sea-breeze, or, it may be, some 

 figment of the poet's imagination — the author can not make out 

 exactly what. 



The hinahina (verse 14), a native geranium, is a mountain shrub 

 that stands about 3 feet high, with silver-gray leaves. 



Maka-weli, Maka-liH, Koae'a^ and Pa-ie-ie are names of places on 

 Kauai. 



Puu-ka-Pele (verse 20) as the name indicates, is a volcanic hill, 

 situated near Waimea. 



The key or answer {puana)^ to the allegory given in verse 20, Ke 

 kahuna kalai-hoe o Pnu-ka-Pele^ the paddle-making kahuna of Pele's 

 mount, when declared by the poet {haku-mele) , is not very inform- 

 ing to the foreign mind; but to the Hawaiian auditor it, no doubt, 

 took the place of our haec fabula docet, and it at least showed that 

 the poet was not without an intelligent motive. In the poem in 

 point the author acknowledges his inability to make connection be- 

 tween it and the body of the song. 



One merit we must concede to Hawaiian poetry, it wastes no time 

 in slow approach. The first stroke of the artist places the auditor 

 in mediae res. 



