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seems to have been the nurse of a more delicate imagination than was wont to flourish elsewhere. Its tone is archaic, and it has the rare merit of not transfusing the more crudely erotic human emotions into the romantic sentiments inspired by nature. The Hawaiians dearly loved fable and allegory. Argument or truth, dressed out in such fanciful garb, gained double force and acceptance. We may not be able to follow a poet in his wanderings; his local allusions may obscure to us much of his meaning; the doctrine of his allegory may be to us largely a riddle; and the connection between the body of its thought and illustration and the application, or solution, of the poetical conundrum may be past our comprehension; but the [Page 112] play of the poet's fancy, whether childish or mature, is an interesting study, and brings us closer in human sympathy to the people who took pleasure in such things. In translating this poem, while not following literally the language of the poet, the aim has been to hit the target of his deeper meaning, without hopelessly involving the reader in the complexities of Hawaiian color and local topography. A few words of explanation must suffice. The _Makani Inu-wai_ (verse 1)--known to all the islands--is a wind that dries up vegetation, literally a water-drinking wind. The _Naulu_ (verse 3) is the ordinary sea-breeze at Waimea, Kauai, sometimes accompanied by showers. _Hala-li'i_ (verse 5) is a sandy plain on Niihau, and the peculiarity of its canes is that they sprawl along on the ground, and are often to a considerable extent covered by the loose soil. _Lehua_ (verse 6) is the well-known bird-island, lying north of Niihau and visible from the Waimea side of Kauai. The wreath-maker, _haku-lei_ (verse 7), who dwells at Waimea, is perhaps the ocean-vapor, or the moist sea-breeze, or, it may be, some figment of the poet's imagination--the author can not make out exactly what. The _hinahina_ (verse 14), a native geranium, is a mountain shrub that stands about 3 feet high, with silver-gray
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