PLATE XV
WOMAN PLAYING ON THE NOSE FLUTE (OHE-HANO-IHU)
The action of the hula ohe had some resemblance to one of the figures of the Virginia reel. The dancers, ranged in two parallel rows, moved forward with an accompaniment of gestures until the head of each row had reached the limit in that direction, and then, turning outward to right and left, countermarched in the same manner to the point of starting, and so continued to do. They kept step and timed their gestures and movements to the music of the bamboo nose-flute, the ohe.
In a performance of this hula witnessed by an informant the chorus of dancers was composed entirely of girls, while the kumu operated the nose-flute and at the same time led the cantillation of the mele. This seemed an extraordinary statement, and the author challenged the possibility of a person blowing with the nose into a flute and at the same time uttering words with the mouth. The Hawaiian asserted, nevertheless, that the leader of the hula, the kumu, did accomplish these two functions; yet his answer did not remove doubt that they were accomplished jointly and at the same time. The author is inclined to think that the kumu performed the two actions alternately.
The musical range of the nose-flute was very limited; it had but two or, at the most, three stops. The player with his left hand held the flute to the nostril, at the same time applying a finger of the same hand to keep the other nostril closed. With the fingers of his right hand he operated the stops (pl. XV). Mele
E pi’ i ka nahele,
E ike ia Ka-wai-kini, 269
Nana ia Pihana-ka-lani, 270
I kela manu hulu ma’e-ma’e, 3
5 Noho pu me Ka-hale-lehua, Punahele ia Kaua-kahi-alii.271 E Kaili, 272 e Kaili, e!
E Kaili, lau o ke koa,
E Kaili, lau o ke koa,
10 Moopuna a Hooipo-i-ka-Malanai, 273
Hiwa-hiwa a ka Lehua-wehe! 274
Aia ka nani i Wai-ehu,
I ka wai kaili puuwai o ka makemake. Makemake au i ke kalukalu o Kewá, 275 15 E he’e ana i ka nalu o Maka-iwa.
He iwa-iwa oe na ke aloha, I Wai-lua nui hoano.
Ano-ano ka hale, aohe kanaka, Ua la’i oe no ke one o Ali-ó. 20 Aia ka ipo i ka nahele.
[Translation]
Song
Come up to the wildwood, come;
Let us visit Wai-kini, And gaze on Pihana-ka-lani,
Its birds of plumage so fine;
5 Be comrade to Hale-lehua, Soul-mate to Kau’kahi-alii.
O, Kaili, Kaili!
Kaili, leaf of the koa,
Graceful as leaf of the koa,
10 Granddaughter of goddess, Whose name is the breath of love, Darling of blooming Lehua.
My lady rides with the gray foam, On the surge that enthralls the desire.
15 I pine for the sylph robed in gauze, Who rides on the surf Maka-iwa-- Aye, cynosure thou of all hearts, In all of sacred Wailua.
Forlorn and soul-empty the house; 20 You pleasure on the beach Ali-ó;
Your love is up here in the wildwood.
This mele hoipoipo, love-song, like the one previously given, is from Kauai. The proper names that abound in it, whether of places, of persons, or of winds, seem to have been mostly of Kauaian origin, furnished by its topography, its myths and legends. They have, however, become the common property of the whole group through having been interwoven in the national songs that pass current from island to island.
