Unwritten Literature of Hawaii Part 39

2. Maanei mai kaua, He welina pa'a i ka piko, A nau no wau i imi mai, A loaa i ke aheahe a ka makani.

_Chorus_.

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[Translation]

_Resemblance_

1. When the rain drums loud on the leaf, It makes me think of my love; It whispers into my ear, Your love, your love--she is near.

_Chorus_:

Thou art the end of my longing, The crown of evening's delight, When I hear the c.o.c.k blithe crowing, In the middle watch of the night.

2. This way is the path for thee and me, A welcome warm at the end.

I waited long for thy coming, And found thee in waft of the breeze.

_Chorus_.

XIII--Song, Pili Aoao By permission of the Hawaiian News Co. (Ltd.) Arranged by H. BEEGER [Music]

NOTE.--The composer of the music and the author of the mele was a Hawaiian named John Meha, of the Hawaiian Band, who died some ten years ago, at the age of 40 years.

1. O ka ponaha iho a ke ao.

Ka pipi'o malie maluna, Ike oe i ka hana, mikiala, Nowelo i ka pili aoao.

_Chorus_:

Maikai ke aloha a ka ipo-- Hana mao ole i ka puuwai, Houhou liilii i ka poli-- Nowelo i ka pili aoao.

2. A mau ka pili'na olu pono; Huli a'e, hooheno malie, Hanu liilii nahenahe, Nowelo i ka pili aoao.

_Chorus_.

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The author of the mele was a Hawaiian named John Meha, who died some years ago. He was for many years a member of the Hawaiian Band and set the words to the music given below, which has since been arranged by Captain Berger.

[Translation]

_Side by Side_

1. Outspreads now the dawn, Arching itself on high-- But look! a wondrous thing, A thrill at touch of the side.

_Chorus_:

Most dear to the soul is a love-touch; Its pulse stirs ever the heart And gently throbs in the breast-- At thrill from the touch of the side.

2. In time awakes a new charm As you turn and gently caress; Short comes, the breath--at The thrill from the touch of the side.

_Chorus_.

The fragments of Hawaiian music that have drifted down to us no doubt remain true to the ancient type, however much they may have changed in quality. They show the characteristics that stamp all primitive music--plaintiveness to the degree almost of sadness, monotony, lack of acquaintance with the full range of intervals that make up our diatonic scale, and therefore a measurable absence of that ear-charm we call melody. These are among its deficiencies.

If, on the other hand, we set down the positive qualities by the possession of which it makes good its claim to be cla.s.sed as music, we shall find that it has a firm hold on rhythm.

This is indeed one of the special excellencies of Hawaiian music. Added to this, we find that it makes a limited use of such-intervals as the third, fifth, fourth, and at the same time resorts extravagantly, as if in compensation, to a fine tone-carving that divides up the tone-interval into fractions so much less than the semitone that our ears are almost indifferent to them, and are at first inclined to deny their existence. This minute division of the tone, or step, and neglect at the same time of the broader harmonic intervals, reminds one of work in which the artist charges his picture with unimportant detail, while failing in attention to the strong outlines. Among its merits we must not forget to mention a certain quality of tone-color which inheres in the Hawaiian tongue and which greatly tends to the enhancement of Hawaiian music, especially when thrown into rhythmic forms.

The first thing, then, to repeat, that will strike the auditor on listening to this primitive music will be its lack of melody. The voice goes wavering and lilting along like a canoe on a rippling ocean.

[Ill.u.s.tration: PLATE XVIII HALA FRUIT BUNCH AND DRUPE WITH A "LEI"

(PANDa.n.u.s ODORATISSIMUS)]

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Then, of a sudden, it swells upward, as if lifted by some wave of emotion; and there for a time it travels with the same fluctuating movement, soon descending to its old monotone, until again moved to rise on the breast of some fresh impulse. The intervals sounded may be, as already said, a third, or a fifth, or a fourth; but the whole movement leads nowhere; it is an unfinished sentence. Yet, in spite of all these drawbacks and of this childish immaturity, the amateur and enthusiast finds himself charmed and held as if in the clutch of some Old-World spell, and this at what others will call the dreary and monotonous intoning of the savage.

In matters that concern the emotions it is rarely possible to trace with certainty the lines that lead up from effect to cause. Such is the nature of art. If we would touch the cause which lends attractiveness to Hawaiian music, we must look elsewhere than to melody. In the belief of the author the two elements that conspire for this end are rhythm and tone-color, which comes of a delicate feeling for vowel-values.

The hall-mark of Hawaiian music is rhythm, for the Hawaiians belong to that cla.s.s of people who can not move hand or foot or perform any action except they do it rhythmically. Not alone in poetry and music and the dance do we find this recurring accent of pleasure, but in every action of life it seems to enter as a timekeeper and regulator, whether it be the movement of a fingerful of poi to the mouth or the swing of a _kahili_ through the incense-laden air at the burial of a chief.

The typical Hawaiian rhythm is a measure of four beats, varied at times by a 2-rhythm, or changed by syncopation into a 3-rhythm.

These people have an emotional susceptibility and a sympathy with environment that belongs to the artistic temperament; but their feelings, though easily stirred, are not persistent and ideally centered; they readily wander away from any example or pattern. In this way may be explained their inclination to lapse from their own standard of rhythm into inexplicable syncopations.

As an instance of sympathy with environment, an experience with a hula dancer may be mentioned. Wis.h.i.+ng to observe the movement of the dance in time with the singing of the mele, the author asked him to perform the two at one time. He made the attempt, but failed. At length, bethinking himself, he drew off his coat and bound it about his loins after the fas.h.i.+on of a pa-u, such as is worn by hula dancers. He at once caught inspiration, and was thus enabled to perform the double role of dancer and singer.

It has been often remarked by musical teachers who have had experience with these islanders that as singers they are p.r.o.ne to flat the tone and to drag the time, yet under the stimulus of emotion they show the ability to acquit themselves in these respects with great credit. The native [Page 172] inertia of their being demands the spur of excitement to keep them up to the mark. While human nature everywhere shares in this weakness, the tendency seems to be greater in the Hawaiian than in some other races of no higher intellectual and esthetic advancement.

Another quality of the Hawaiian character which reenforces this tendency is their spirit of communal sympathy. That is but another way of saying that they need the stimulus of the crowd, as well as of the occasion, even to make them keep step to the rhythm of their own music. In all of these points they are but an epitome of humanity.

Before closing this special subject, the treatment of which has grown to an unexpected length, the author feels constrained to add one more ill.u.s.tration of Hawaii's musical productions. The Hawaiian national hymn on its poetical side may be called the last appeal of royalty to the nation's feeling of race-pride. The music, though by a foreigner, is well suited to the words and is colored by the environment in which the composer has spent the best years of his life. The whole production seems well fitted to serve as the clarion of a people that need every help which art and imagination can offer.

XIV--Hawaii Ponoi Words by King KALAKAUA Composed by H. BERGER [Music:]

[Ill.u.s.tration: PU (TRITON TRITONIS) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 38 PLATE XIX]

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_HAWAI'I PONOI_

1. Hawai'i ponoi, Nana i kou Moi, Ka lani Ali'i, Ke Ali'i.