CHAPTER THIRTEEN

The Crawlers

IN THE fourth ode the birth of amphibious creatures is celebrated as "those of the sea take to the land." Translators tend to read the lines according to their own theory of the relation of the passage to the history of life on earth. The queen and the translator for Aloha are faithful to a generalized picture of amphibious creatures swarming up along the coast onto the land, prototype of the growth and spread of man over earth as human history emerges out of the dim past. Bastian sees these as a succession ascending in scale from lower to higher in the animal and vegetable world. Kupihea believes we should relate the series to specific families of settlers belonging to the migration period. Pokini refers them to a stage in the life of a child as it begins to crawl about and meet the rough and tumble of life. In every case it is the particular interpretation each gives to the whole meaning of the chant that has decided the value given to any doubtful phrase. In general I have followed Kupihea's fairly coherent interpretation because it seems to hang together, although this is not essential to Hawaiian poetic art, and to leave to each reader his own evaluation of the symbolism involved. If actually intended as a portrayal of conditions under a historic migration, it makes a pretty sorry indictment of the past.

Pokini, on the other hand, would explain each name of the species born under Popanopano, the male, and Polalowehi, the female, generative agents at this stage of life, as a play upon the characteristics of the developing infant. They show him "clinging" (pilipili) to his parents and "roughly"

{p. 76}

(kalakala) separated; "chidden" (ka'uka'u), "forgetful" (palaka), gaining "independence" (kaihukunini), "fed" (kupelepele), growing "plump" (kele). Under Pokini's interpretation the general condition of filth and sluggishness in which the half-land, half-sea creatures of this new era live, summed up in the concluding lines--

gives rather a humorous than a sordid turn to the whole picture.

It is to be noticed that, although an internal rhyme scheme links verses closely for sound effect, generally into couplets, each verse is read as if complete in itself, the second verse of the couplet a balance, not a completion, to the first. This piling-up of suggestive observations appropriate to the theme gives to the whole passage a cumulative effect rather than one of connected sequences. Kupihea's free translation of the Prologue shows what may be done to read into such poetic word-play a sustained development of thought based upon his idea of the inner meaning intended by the poet under the figure of the "family of crawlers," in this case, according to his version, a consistent description of a historic immigration.

The opening lines of the ode, which I have given literally after the text, have been variously read. Translators generally refer the lines to the coming of La'a, presumably the La'a-from-Kahiki of traditional fame.

is the most picturesque rendering offered me, the "dusky black 'ape plant" being thus with much probability referred to a specific immigration, but I am unable to bring the fire building into line with this reading. The queen writes vaguely: {p. 77} "Established in the dawn of La'a's light," but falls to make use of the allusion. It would be interesting to connect the ode with the introduction of the taboos, the crouching, or even the "burning taboo."

It has seemed worth while to dwell at this point once more upon the possibility of variations in translation based upon the text itself, in order to drive home the ease with which the language of poetry may be twisted to fit a particular interpretation, and hence the caution with which any such reading is to be accepted without certain knowledge of the composer's original intention. Only a contemporary audience acquainted with the facts in each case can be sure of this, nor can one be certain that the meaning for Kalakaua's day was the same as that at the time of composition, or that Kalakaua or another has not manipulated the text to suit his own purposes, as Kupihea thinks; or, even so, just what he and not Kupihea has read into particular passages.

CHANT FOUR

Plant the 'ahi'a and cause it to propagate
The dusky black 'ape plant
380. The sea creeps up to the land
Creeps backward, creeps forward
Producing the family of crawlers
Crawling behind, crawling in front
Advancing the front, settling down at the back
385. The front of my cherished one [?]
He is dark, splendid,
Popanopano is born as a male [?]
Popanopano, the male
Po-lalo-wehi, the female
390. Gave birth to those who produce eggs
Produce and multiply in the passing night
Here they are laid
Here they roll about
The children roll about, play in the sand
395. Child of the night of black darkness is born
    The night gives birth

{p. 78}

The night gives birth to prolific ones
The night is swollen with plump creatures
The night gives birth to rough-backed turtles
400. The night produces horn-billed turtles
The night gives birth to dark-red turtles
The night is pregnant with the small lobster
The night gives birth to sluggish-moving geckos
Slippery is the night with sleek-skinned geckos
405. The night gives birth to clinging creatures
The night proclaims rough ones
The night gives birth to deliberate creatures
The night shrinks from the ineffective
The night gives birth to sharp-nosed creatures
410. Hollowed is the night for great fat ones
The night gives birth to mud dwellers
The night lingers for track leavers
413. Born is the male for the narrow stream, the female for the
broad stream
Born is the turtle [Honu] living in the sea
Guarded by the Maile seedling [Kubonua] living on land

419. Man for the narrow stream, woman for the broad stream
Born is the sea-borer [Wili] living in the sea
Guarded by the Wiliwili tree living on land

425. Man for the narrow stream, woman for the broad stream
Born is the sea-worm living in the sea
Guarded by the bastard-sandalwood living on land

431. Man for the narrow stream, woman for the broad stream
Born is the Okea living in the sea
Guarded by the Ahakea tree living on land

437. Man for the narrow stream, woman for the broad stream
Born is the sea-urchin [Wana] living in the sea
Guarded by the thorny Wanawana plant living on land

{p. 79}

443. 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. Man for the narrow stream, woman for the broad stream
Born is the Liko living in the sea
Guarded by the Piko tree living on land

455. 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. Man for the narrow stream, woman for the broad stream
Born is the Nanana [sea spider] living in the sea
Guarded by the Nonanona living on land

467. With a dancing motion they go creeping and crawling
The tail swinging its length
Sullenly, sullenly
470. They go poking about the dunghill
Filth is their food, they devour it
Eat and rest, eat and belch it up
Eating like common people
Distressful is their eating
475. They move about and become heated
Act as if exhausted
They stagger as they go
Go in the land of crawlers
The family of crawlers born in the night
480.    Still it is night

{p. 80}