Nā Kaona o Ke Mele o Ke Aliʻi Liliʻuokalani (The Hidden Meanings of Queen Liliʻuokalani's Songs)
The illegal overthrow of the Hawaiian kingdom was one of the most monumental events in Hawaiian history. Our kingdom was illegally seized, our Queen imprisoned and our way of life forever changed. Queen Liliʻuokalani was imprisoned by a group that called themselves the provisional government. This was a group that had been conspiring to overthrow and take control of the kingdom for quite a while. During her time in prison Liliʻuokalani composed seven songs, two of which I will analyze. In my opinion, these reflect two of her many attempts to rebel against the oppressive factions while trying to maintain her composure as royalty. When analyzing Hawaiian music, the context is critical and one must be aware of kaona, or hidden meanings. Let us begin with the Queen’s arrest.
In her handbag at the time of her arrest was her Book of Commons. This book was of great importance to her. It became the foundation for many of her lyrics and gave her great solace during her incarceration. The Queen was banned from reading newspapers and was not allowed visitors. Her only companions were her jailers and attendants. The intent was to isolate her and give her no access to any news happening outside of her prison apartment walls. Any packages she received were searched for contraband. She was not allowed to have any instruments, only blank paper (Morris 41). Liliʻuokalani wrote seven songs during her incarceration; “He Inoa Wehi No Kalanianaʻole”, “Kuʻu Pua i Paoakalani”, "The Queen's Prayer," "Kiliʻoulani," "Leha Ku Kou Mau Maka," "E Ku'u Ho'ola (My Saviour)," and "Himeni Ho'ole 'A Davida (David's Hymn of Praise)" (Music).
The first song I will discuss is “The Queen’s Prayer,” or “Ke Aloha o Ka Haku,” written by Queen Liliʻuokalani during her imprisonment in 1895. Being a very religious woman, she found solace in her Book of Commons (Morris 71-72). Psalm XXXI in this book gave her the inspiration for this particular song. Of the seven songs she composed, “Ke Aloha o ka Haku,” “Kuʻu Pua i Paoakalani” and “Aloha ‘Oe” were the only ones published. The Queen wrote “Ke Aloha o Ka Haku” for her niece Princess Kaʻiulani, her heir apparent to the throne. The song gives the feeling that the Queen hopes they will be able to find the strength to forgive their adversaries for denying their birthright as monarchs (Morris 73). The following is a translation taken from the book, Island Fire:
ʻO kou aloha nō Your love
Aia i ka lani, Is in heaven
A ʻo kou ʻoiāʻiʻo And your truth
Hemolele hoʻi So perfect
Ko`u noho mihi `ana I live in sorrow
A pa`ahao `ia Imprisoned
`O `oe ku`u lama You are my light
Kou nani ko`u ko`o Your glory, my support
Mai nānā `ino`ino Behold not with malevolence
Nā hewa o kānaka The sins of man
Akā e huikala But forgive
A ma`ema`e nō And cleanse
Nō Laila e ka Haku And so, o Lord,
Ma lalo o kou ʻēheu Beneath your wings
Kō mākou maluhia Be our peace
A mau aku nō Forever more (6-7)
This translation is quite literal. While I don’t know who translated this particular version, I do agree with its “literal” translation. It is clear that she makes specific reference to being imprisoned, yet she is still trying to find solace in a higher power. She does not want to be caught up with all of the evil and injustice that is happening around her. Instead, she believes this higher power should look upon these people, forgive their sins and cleanse them. This is one interpretation but there are always many ways of interpreting Hawaiian mele.
A second translation that also appears on the original composition page published in He Buke Mele Hawaii which is a compilation of mele written by Queen Liliʻuokalani, has even more religious overtones.
O Lord, Thy loving mercy
Is high as the heavens;
It tells us of Thy truth
And ‘tis filled with holiness.
Whilst humbly meditating
Within these walls imprisoned,
Thou art my light, my haven
Thy glory my support.
Oh look not on our failing,
Nor on the sins of men.
Forgive with loving kindness
That we might be made pure.
For Thy grace I beseech Thee;
Bring us ‘neath Thy protection
And peace will be our portion,
Now and forevermore. Amen.
The Queen embraced the religious beliefs of those that held her captive. Ironically, it was this religion that provided the rationale used to undermine much of the Hawaiian culture and ultimately bring her rule to an end, shifting the balance of power and resulting in domination by the United States.
Hawaiian words can have several meanings when interpreting them within different contexts. Years after the song's release, the Queen’s enemies began to misconstrue its possible meanings. “Surely no one could read double meanings of sensuality, heresy, lasciviousness or lewdness in to [into] this song. Yet in the years that followed it was so construed (Allen 349).” Could her enemies have had ulterior motives? Missionaries or those in the provisional government may have used tactics such as these to diminish the Queen’s character in the eyes of her people. However, the Queen was a strong and very smart woman. She continued to protest the illegality of the seizure of her Hawaiian Kingdom.
Just after her release from prison, the Queen inscribed the song with these words: “Composed during my imprisonment at ʻIolani Palace, March 22, 1895 by the missionary party who overthrew my government (Morris 75).” I have included an image of this song below. This was a bold and brave act by the Queen. It was as if she was calling out her enemies. First of all it refers to those who had overthrown the government as missionaries instead of the provisional government (Morris 75). It is because of this that these words seem now to carry a bit more weight, especially from someone so firmly rooted in religion. It was as if she was specifically criticizing the religious faction and negating the previous religious context we were using to analyze the song. She was disgusted by how these missionaries or people of God had treated her. She was also bringing attention to the fact that these missionaries had disregarded internationally recognized principles of sovereignty by the act of illegal seizure of the throne (Morris 75). She had brazenly defied them all in just one simple sentence.
The Queen was disheartened by what was happening all around her. In one of her diary entries she stated: “I do not feel like going to church - perhaps never more. I never saw a more unchristian like set as these Missionaries and so uncharitable as to abuse me in the manner they do from the pulpit. Is it godly - No - It makes me feel as if I would not like to do anything [sic] more for Churches” (Siler 230). She was so mistreated by these people, who could blame her?
On the surface, the song seems to be one of piety and devotion, a plea for mercy and strength for herself and the Princess to act with compassion towards her adversaries. But, when one considers the context of her imprisonment and her torment at the hands of her captors, it appears to be much more a song of protest. The inscription at the bottom of her song written in He Buke Mele supports this interpretation.
The second song I discuss is called “Kuʻu Pua i Paoakalani.” This song was written as a means to communicate and inspire her subjects. However the politicization of her songs, whether by the Queen or her adversaries, shows just how much tension and contempt existed between the two. Although this song sounds quite melodious, it masks the true underlying message which is that of protest. The kaona expresses the anger and resentment of the Hawaiian people (Music). The song also has an interesting backstory.
This song was dedicated to John Wilson, the son of one of the Queen’s attendants, Evelyn Wilson, and the Marshal of the Provisional Government Charles Wilson. John delivered cut flowers to the Queen from her garden. Each time, they were searched for contraband. Evelyn would help the Queen arrange the flowers. The Provisional Government began to suspect that the Queen had been receiving information on current events somehow from outside her prison apartment. They tried to trace the leak, however they were unsuccessful. When the song was to be released, it had to first gain approval of the Provisional Government’s censors. They examined it for potential hidden messages before it could be released to the public. What they did not know was that the flowers delivered to the Queen by John had been wrapped in pages of the newspaper selected by the Queen’s supporters along with notes of love and encouragement (Morris 45-46).
Flowers from home I unwrapped myself, so as to be sure to save these bits of
news which I sought opportunity at intervals to read. There were times
when I saw something of such interest that I could not resist the temptation
to mention it to my companion, Mrs. Wilson. Then it seems she would
faithfully report all that I said to her husband.... At such times he would
withdraw with his wife to the boudoir, where she would repeat to him what
had been said by me, telling him also what had been received in the prison
through her. By some things she occasionally mentioned he thought that
newspapers had been secretly sent in; but when finally he discovered that
they had come as wrapping-paper, it made him very angry. (Liliʻuokalani
291)
Hence the dedication of this mele to John Wilson. The words of this mele composed by Liliʻuokalani are as follows:
E ka gentle breeze a pa mai nei O gentle breeze that waft to me
Ho`ohāli`ali`a mai ana ia`u Sweet, cherished memories of you
E ku`u sweet never fading flower Of my sweet never fading flower
I pua i ka uka o Paoakalani That blooms in the fields of Paoakalani
Hui: Chorus:
`Ike mau i ka nani o nā pua I've often seen those beauteous flowers
O ka uka o Uluhaimalama That grew at Uluhaimalama
`A`ole na`e ho`i e like But none of those could be compared
Me ku`u pua i ka la`i o Paoakalani To my flower that blooms in the fields of
Paoakalani
Lahilahi kona ma hi`ona Her face is fair to behold
With softest eyes as black as jet
Pink cheeks so delicate of hue
I ulu i ka uka o Paoakalani That grew in the fields of Paoakalani
Nane `ia mai ana ku`u aloha Now name to me the one I love
E ka gentle breeze e waft mai nei Gentle breezes passing by
O come to me k`au mea e li`a nei And bring to me that blossom fair
I ulu ika uka o Paoakalani That blooms in the fields of Paoakalani (huapala.org)
From the opening lines of the song the Queen is imagining sweet memories from a distance as if trapped. She is unable to visit her favorite flower gardens and must wait for the wind to bring the scent to her. She goes on to say “Iʻve often seen those beauteous flowers that grew at Uluhaimalama”. Uluhaimalama was a gathering place for the Queen’s supporters and only two miles north of where she was imprisoned. In order to understand the significance of Uluhaimalama, we must first try to understand the circumstances under which it was created (Morris 47-49).
On July 4, 1894 the Republic of Hawaiʻi was proclaimed. In August of 1894 the decision was made by the Cleveland administration to no longer pursue the matter of the restoration of the Hawaiian Kingdom (Morris 49). The Queen announced she would set aside some of her lands at Pauoa valley for the planting of pua. The planting would be according to the ceremonies of the old days. The Queen named the garden Uluhaimalama. There is much kaona in this name. Its meaning is “as the plants grow out of the dark into the light so shall light come to the nation” (Mellen 299). This could be interpreted as referring to a place to grow the resistance movement. Opening day for the gardens was in October of 1894. Trees and shrubs were planted to symbolize love and allegiance to the Queen. After the lehua tree had been blessed, other trees and flowers were planted in a circle around it, symbolizing the encircling love of the people for their Queen. As each was placed into the earth, the chanter chanted its purpose: “The Hala Polapola, your favorite lei, O Heavenly One, sweet to inhale....” The kukui, “A Light for your Government,” The pilimai, “The love of your people clings fast to you, O Heavenly One. Cling fast to your land, your people, your throne, O our Queen!” (Mellen 299-300). A stone was placed on the ground and it was said that “the land is the mother that never dies”. Attendees began to softly sing “Kaulana Nā Pua” a protest song that objected heavily to the overthrow of the Hawaiian Kingdom. This song also professes loyalty to Queen Liliʻuokalani. It states that the Hawaiians would rather eat stones then see their homeland taken by the U.S (Morris 50).
If we further analyze the singing of “Kaulana Nā Pua” at this event, we can see several instances of kaona that may be revealed in “Kuʻu Pua i Paoakalani”. “Kaulana Nā Pua” was written by Ellen Keho`ohiwaokalani Wright Prendergast . In “Kaulana Nā Pua”, Pua means flower, child, or perhaps something that emerges. It could also mean people in this context.
Kaulana nā pua a`o Hawai`i
Kāpa`a ma hope o ka `āina
Hiki mai ka `elele o ka loko `ino
Palapala `ānunu me ka pākaha
Pane mai Hawai`i moku o Keawe
Kōkua nā Hono a`o Pi`ilani
Kāko`o mai Kaua`i o Mano
Pa`apū me ke one Kākuhihewa
`A`ole a`e kau i ka pūlima
Ma luna o ka pepa o ka `ēnemi
Ho`ohui `āina kū`ai hewa
I ka pono sivila a`o ke kanaka
`A`ole mākou a`e minamina
I ka pu`u kālā o ke aupuni
Ua lawa mākou i ka pōhaku
I ka `ai kamaha`o o ka `āina
Ma hope mākou o Lili`ulani
A loa`a ē ka pono o ka `āina
*(A kau hou `ia e ke kalaunu)
Ha`ina `ia mai ana ka puana
Ka po`e i aloha i ka `āina
*Alternate Stanza
Famous are the children of Hawai`i
Ever loyal to the land
When the evil-hearted messenger comes
With his greedy document of extortion
Hawai`i, land of Keawe answers
Pi`ilani's bays help
Mano's Kaua`i lends support
And so do the sands of Kakuhihewa
No one will fix a signature
To the paper of the enemy
With its sin of annexation
And sale of native civil rights
We do not value
The government's sums of money
We are satisfied with the stones
Astonishing food of the land
We back Lili`ulani
Who has won the rights of the land
*(She will be crowned again)
Tell the story
Of the people who love their land
(Kaulana)
The use of “Pua” in this song can be compared to “Pua” in “Kuʻu Pua i Paoakalani”. It could be seen as a code or message to those working in the resistance. It could be making reference to the beauty of those who gathered in the garden. The references to the cultivation of pua could refer to budding nationalism, or a flowering resistance movement. At that time it was illegal for Hawaiians to gather in public. The garden provided a safe haven for the Queen’s supporters to meet out of earshot and eyesight of the Provisional Government. Uluhaimalama signifies the hopes and dreams of the Hawaiian people (Morris 50-52).
On the surface “Kuʻu Pua I Paoakalani” may seem like another beautiful love song, comparing love to the fragrance of flowers in the Queen’s favorite garden. Yet if we examine closer the context under which the song was written, quite another story emerges. It is a song of subversion. It is an acknowledgement of the Queen’s receipt of forbidden newspapers and a thank you to her supporters, Hawaiian patriots, for their never ending love, devotion and unwavering support (Morris 53).
Queen Liliʻuokalani was an amazing woman and an inspiring Queen. Her strength and devotion to her people and her kingdom never wavered. She fought the oppression of the Hawaiian people and the illegal seizure of the Hawaiian Kingdom every step of the way. She will forever be in our hearts.
Works Cited
Allen, Helena G. 1982.The Betrayal of Liliuokalani Last Queen of Hawaii 1838- 1917. Glendale, CA: The Arthur H. Clarke Company,
"Kaulana Nā Pua." Kaulana Nā Pua. Web. 23 Apr. 2015. <http://www.huapala.org/Pa/Paoakalani.html>.
Liliʻuokalani, Queen. "The Queen's Prayer." Harstad, Cheryl A. Harstad and James R. Island Fire: An Anthology of Literature from Hawaiʻi. University of Hawaiʻi Press, 2002. 6-7.
Lili’uokalani. 1895. “Ke Aloha o ka Haku” Holographic manuscript. Liliuokalani Collection, M-93 Item 216, Hawaii State Archives.
Lili’uokalani. 1897. He Buke Mele Hawaii. Copied by Edmund Hart & Charles E. King, M-93, Queen Liliuokalani Collection, Box 14, Hawaii State Archives. Hawai’i State Archives.
Liliʻuokalani. 1964. Hawaii’s Story by Hawaii’s Queen. Tokyo: Charles E. Tuttle.
Mellen, Kathleen Dickenson. 1958. An Island Kingdom Passes. New York: Hastings House.
Morris, Cynthia L. 2013. The Prison Songs of Lili'uokalani. UC Santa Cruz: Music. Retrieved from: http://escholarship.org/uc/item/4jx613tr
"Music | UC Santa Cruz." Aloha 'Oe: Politics and the Prison Songs of Lili'uokalani. Web. 23 Apr. 2015. <http://music.ucsc.edu/faculty_works/aloha-oe-politics-and-prison-songs-liliuokalani-0>.
"Paoakalani." Paoakalani. Web. 23 Apr. 2015. <http://www.huapala.org/Pa/Paoakalani.html>.
Siler, Julia Flynn. 2012. Lost Kingdom: Hawaii’s Last Queen, the Sugar Kings, and America’s First Imperial Adventure. New York: Atlantic Monthly Press.
