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The Laieikawai is a Hawaiian romance which recounts the wooing of a native chiefess of high rank and her final deification among the gods. The story was handed down orally from ancient times in the form of a kaao, a narrative rehearsed in prose interspersed with song, in which form old tales are still recited by Hawaiian story-tellers. It was put into writing by a native Hawaiian, Haleole by name, who hoped thus to awaken in his countrymen an interest in genuine native story-telling based upon the folklore of their race and preserving its ancient customs—already fast disappearing since Cook's rediscovery of the group in 1778 opened the way to foreign influence—and by this means to inspire in them old ideals of racial glory. Haleole was born about the time of the death of Kaméhaméha I, a year or two before the arrival of the first American missionaries and the establishment of the Protestant mission in Hawaii. In 1834 he entered the mission school at Lahainaluna, Maui, where his interest in the ancient history of his people was stimulated and trained under the teaching of Lorrin Andrews, compiler of the Hawaiian dictionary, published in 1865, and Sheldon Dibble, under whose direction David Malo prepared his collection of "Hawaiian Antiquities," and whose History of the Sandwich Islands (1843) is an authentic source for the early history of the mission. Such early Hawaiian writers as Malo, Kamakau, and John Ii were among Haleole's fellow students. After leaving school he became first a teacher, then an editor. In the early sixties he brought out the Laieikawai, first as a serial in the Hawaiian newspaper, the Kuokoa, then, in 1863, in book form. Later, in 1885, two part-Hawaiian editors, Bolster and Meheula, revised and reprinted the story, this time in pamphlet form, together with several other romances culled from Hawaiian journals, as the initial volumes of a series of Hawaiian reprints, a venture which ended in financial failure. The romance of Laieikawai therefore remains the sole piece of Hawaiian, imaginative writing to reach book form. Not only this, but it represents the single composition of a Polynesian mind working upon the material of an old legend and eager to create a genuine national literature. As such it claims a kind of classic interest.
This Hawaiian language text, intended for self-learning as well as classroom use, presents the principal conversational and grammatical patterns of the language in 67 lessons, each containing English-Hawaiian dialogues. Emphasis is given to idiomatic speech, and a vocabulary of approximately 800 words, selected on the basis of frequency of usage and cultural importance, is introduced. The frequent humor of the lessons makes Elbert's Spoken Hawaiian an enjoyable learning experience. Also noteworthy is the author's inclusion of old Hawaiian in the text - legends, songs, stories - to enable the student to read the rich Hawaiian traditional literature in the vernacular language. The illustrations by noted artist Jean Charlot are a charming and amusing complement to the text. Spoken Hawaiian will help the student not only to read and speak the language, but at the same time to appreciate the rich heritage of the Hawaiian past and its literature. of the sixty-seven lessons is a sample dialog in Hawaiian with English translation.
Here for the first time is a large collection of Hawaiian songs in an authoritative text with translation (music not included). The texts have never before been written consistently with the glottal stops (indicating syllabic breaks between vowels) and macrons (indicating long vowels and stresses) that make the words pronounceable by those unfamiliar with the Hawaiian language. Many of the songs have not been translated before or have only been freely adapted rather than translated. These 101 songs are all postmissionary and owe their musical origin to missionary hymns, although only a few are religious. None are technically chants, though some are chants that have been edited and set to music. They date from the mid-1850s (most are from the time of the monarchy) to 1968 (the date of Mary Kawena Pukui's translation of Christmas songs). Nearly all of these songs are sung today and are well known to Hawaiian singers. Included are love songs, and Christmas songs. There is an exhaustive introduction, which includes classification and arrangement of the songs; a note on the composers; and analysis of the structure, symbolism, and meanings of the songs; and a note on the translations and on the poetic vocabulary of the Hawaiian words.
How many place names are there in the Hawaiian Islands? Even a rough estimate is impossible. Hawaiians named taro patches, rocks, trees, canoe landings, resting places in the forests, and the tiniest spots where miraculous events are believed to have taken place. And place names are far from static--names are constantly being given to new houses and buildings, streets and towns, and old names are replaced by new ones. It is essential, then, to record the names and the lore associated with them now, while Hawaiians are here to lend us their knowledge. And, whatever the fate of the Hawaiian language, the place names will endure. The first edition of Place Names of Hawaii contained only 1,125 entries. The coverage is expanded in the present edition to include about 4,000 entries, including names in English. Also, approximately 800 more names are included in this volume than appear in the second edition of the Atlas of Hawaii.
Hawaiian legends figure greatly in the image of tropical paradise that has come to represent Hawai'i in popular imagination. But what are we buying into when we read these stories as texts in English-language translations? Cristina Bacchilega poses this question in her examination of the way these stories have been adapted to produce a legendary Hawai'i primarily for non-Hawaiian readers or other audiences. With an understanding of tradition that foregrounds history and change, Bacchilega examines how, following the 1898 annexation of Hawai'i by the United States, the publication of Hawaiian legends in English delegitimized indigenous narratives and traditions and at the same time constructed them as representative of Hawaiian culture. Hawaiian mo'olelo were translated in popular and scholarly English-language publications to market a new cultural product: a space constructed primarily for Euro-Americans as something simultaneously exotic and primitive and beautiful and welcoming. To analyze this representation of Hawaiian traditions, place, and genre, Bacchilega focuses on translation across languages, cultures, and media; on photography, as the technology that contributed to the visual formation of a westernized image of Hawai'i; and on tourism as determining postannexation economic and ideological machinery. In a book with interdisciplinary appeal, Bacchilega demonstrates both how the myth of legendary Hawai'i emerged and how this vision can be unmade and reimagined.
From the green and fertile lands of Kauai Kuapapa (ancient Kauai) came the most beautiful chiefesses, the bravest heroes, the strongest warriors, and the fiercest giants. It was a land of dauntless raiders who boldly sailed out to sea while others crept cautiously from island to island. Gods and demi-gods participated in the everyday life of the people, and the places where they lived, fought, and loved were remembered and celebrated. Gathered here for the first time are the delightful stories behind the place-names of ancient Kauai. Over a period of almost two thousand years, each ridge, mountain, valley, and stream was named, as were unusual rocks, groves of trees - every corner of the island on which people lived and worked. The names tied people to the land and to places where mauli ola, the sacred essence of life, was to be found. Today these names serve as colorful windows on the past, telling of the rich and wondrous heritage of the people of Kauai Kuapapa.