Unwritten Literature of Hawaii.The Sacred Songs of the Hula |
Table des matières
| 32 | |
| 38 | |
| 42 | |
| 44 | |
| 49 | |
| 56 | |
| 57 | |
| 72 | |
| 73 | |
| 90 | |
| 92 | |
| 102 | |
| 103 | |
| 106 | |
| 107 | |
| 113 | |
| 116 | |
| 119 | |
| 119 | |
| 122 | |
| 125 | |
| 125 | |
| 130 | |
| 132 | |
| 134 | |
| 135 | |
| 138 | |
| 142 | |
| 202 | |
| 207 | |
| 210 | |
| 212 | |
| 216 | |
| 219 | |
| 221 | |
| 223 | |
| 228 | |
| 233 | |
| 235 | |
| 244 | |
| 246 | |
| 248 | |
| 249 | |
| 254 | |
| 257 | |
| 260 | |
| 265 | |
| 267 | |
| 268 | |
| 271 | |
| 272 | |
| 273 | |
| 274 | |
| 275 | |
| 276 | |
| 282 | |
Autres éditions - Tout afficher
Unwritten Literature of Hawaii; The Sacred Songs of the Hula Nathaniel Bright Emerson Aucun aperçu disponible - 2018 |
Unwritten Literature of Hawaii: The Sacred Songs of the Hula - Scholar's ... Nathaniel Bright Emerson Aucun aperçu disponible - 2015 |
Expressions et termes fréquents
Akua alii aloha altar AMERICAN ETHNOLOGY BULLETIN ancient Hawaii BULLETIN 38 PLATE canoe cantillation dance ETHNOLOGY BULLETIN 38 flowers gesture goddess gods hala halau hana hand Haumea Hawaii Hawaiian poetry Hiiaka hiki Hilo hula i-lalo iluna instrument island Ka-ú Kahiki kahuna Kama-pua'a Kamehameha kanaka Kanaloa Kane Kapo kapu kaua Kauai ki'i Kilauea kilu king Kona Koolau ku'i ku'u kuahu kumu kupua Laka land lani lehua lele Liloa literally Lohiau Lono makani malo Maná Maui meaning mele moku Molokai mountain nahele Nana Niihau noho Oahu ocean olapa opua pa-ú pahu pali passion Pele performance pili poem poet prayer pule Puna rain shark song sound tabu tion tone Translation tree utterance verse wa'a wahine Wailua Waimea Wakea wind woman word wreath
Fréquemment cités
Page 29 - Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue : but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines.
Page 8 - And Jacob went near unto Isaac his father; and he felt him, and said, The voice is Jacob's voice, but the hands are the hands of Esau.
Page 149 - Their dances have a much nearer resemblance to those of the New Zealanders, than of the Otaheiteans or Friendly Islanders. They are prefaced with a slow, solemn song, in which all the party join, moving their legs, and gently striking their breasts, in a manner, and with attitudes, that are perfectly easy and graceful ; and so far they are the same with the dances of the Society Islands.
Page 140 - Further attention will correct this impression and show that the Hawaiians paid strict attention not only to the lesser rhythm which deals with the time and accent of the syllable, but also to that more comprehensive form which puts a limit to the verse. " With the Hawaiians musical phrasing was arranged to fit the verse of the mele,, not to express a musical idea. The cadencing of a musical phrase in Hawaiian song was marked by a peculiarity all its own. It consisted of a prolonged trilling or fluctuating...
Page 176 - Hawaiians were adepts in this sort of art. Hand and foot, face and eye, and those convolutions of gray matter which are linked to the organs of speech, all worked in such harmony that, when the man spoke, he spoke not alone with his vocal organs, but all over, from head to foot, every part adding its emphasis to the utterance. Von Moltke could be reticent in six languages; the Hawaiian found it impossible to be reticent in one. " The hands of the hula dancer are ever going out in gesture, her body...
Page 150 - Their music is also of a ruder kind, having neither flutes nor reeds, nor instruments of any other sort, that we saw, except drums of various sizes. But. their songs, which they sung in parts*, and accompany with a gentle motion of the arms, in the same manner as the Friendly Islanders, had a very pleasing effect.
Page 7 - Hawaiian poetry — mele — whether epic, or eulogy, or prayer, sounding through them all we shall find the lyric note. The most telling record of a people's intimate life is the record which it unconsciously makes in its songs. This record which the Hawaiian people have left of themselves is full and specific. When, therefore, we ask what emotions stirred the heart of the old-time Hawaiian as he approached the great themes of life and death, of ambition and jealousy, of sexual...
Page 176 - Gesture is a voiceless speech, a short-hand dramatic picture. The Hawaiians were adepts in this sort of art. Hand and foot, face and eye, and those convolutions of gray matter which are linked to the organs of speech, all worked in such harmony that, when the man spoke, he spoke not alone with his vocal organs, but all over, from head to foot, every part adding its emphasis to the utterance.
Page 150 - ... applauded as the best dancer. It is to be observed, that, in this dance, the women only take a part, and that the dancing of the men is nearly of the same kind with what we saw of the small parties at the Friendly Islands; and which may, perhaps, with more propriety, be called the accompaniment of songs, with corresponding and graceful motions of the whole body. Yet, as we were spectators of boxing exhibitions of the same kind with those we were entertained with at the Friendly Islands, it is...
Page 28 - Maori always says te tangata instead of kc kanaka. 10 " The young men and young women who could best illustrate in their persons the grace and beauty of the human form. It was theirs, sometimes while singing^ to move and pose and gesture in the dance; sometimes also to punctuate their song and action with the lighter instruments of music.