Xxxi.—The Hula Manó

The hula manó, shark-dance, as its name signifies, was a performance that takes class with the hula kolea, already mentioned, as one of the animal dances. But little can be said about the physical features of this hula as a dance, save that the performers took a sitting position, that the action was without sensationalism, and that there was no instrumental accompaniment. The cantillation of the mele was in the distinct and quiet tone and manner which the Hawaiians termed ko’i-honua.

The last and only mention found of its performance in modern times was in the year 1847, during the tour, previously mentioned, which Kamehameha III made about Oahu. The place was the lonely and romantic valley of Waimea, a name already historic from having been the scene of the tragic death of Lieutenant Hergest (of the ship Dædalus) in 1792.

Mele

Auwe! pau au i ka manó nui, e! Lala-kea niho pa-kolu. Pau ka papa-ku o Lono I ka ai ia e ka manó nui, O Niuhi maka ahi, Olapa i ke kai lipo. Ahu e! au-we! A pua ka wili-wili, A nanahu ka manó, Auwe! pau au i ka manó nui! Kai uli, kai ele, Kai popolohua o Kane. A lealea au i ka’u hula, Pau au i ka manó nui!

[Translation.]

Song

Alas! I am seized by the shark, great shark! Lala-kea with triple-banked teeth. The stratum of Lono is gone, Torn up by the monster shark, Niuhi with fiery eyes, That flamed in the deep blue sea. Alas! and alas! When flowers the wili-wili tree, That is the time when the shark-god bites. Alas! I am seized by the huge shark! O blue sea, O dark sea, Foam-mottled sea of Kane! What pleasure I took in my dancing! Alas! now consumed by the monster shark!

Who would imagine that a Hawaiian would ever picture the god of love as a shark? As a bird, yes; but as a shark! What a light this fierce idyl casts on the imagination of the people of ancient Hawaii!