Tu‘u Fakaunga (Standing Partly Hidden) ^Featured

Koe ta‘anga hiva kakala

Koe fakafatu-fakafa‘u mo fakaafo-fakafasi ‘e ‘Unga Afuha‘amango

Kupu, veesi, 1

Kuo te fiu he nofo ko ‘eni

‘Ala hono fa‘a veteki

Hange kuo te ‘ihe matapa ‘o heli

Hono fakamavae kita mei hoto feleni

Kupu, veesi 2

Ko hai ‘ena, ‘oku tu‘u fakaunga?

‘Ihe fihi ‘oe ‘akau koe maile

Toli he lile moe si‘i huni pea moe fa

Neu ‘ai kiai ‘ae sila ‘o ‘eku ‘ofa

Kupu, veesi 3

 Ko ‘eni kuo u ‘akilotoa

Kuo hamu ‘eku kolo ‘ehe ‘ofa

Ko hoku loto ‘eni kuo to‘oa

‘Ihe malama ‘ae fuhifalahola

Tau, kolesi 1

 Fakapo! ‘A ‘ete nofo ‘o manatu

Kihe fahina pea moe kukuvalu

Pea ifo leva ‘ae mate kiate au

Ho‘o ‘alu ‘o ‘ikai toe ha‘u

Tau, kolesi 2

 Neu loto leva keu nofo tokotaha

Ha tele‘a toafa pe koha potulala

Pea neu misi tokua kuo ta talanga

‘Eva koe kau nofo ‘o hoha‘a

Koe ki‘i fakamatala moe huluhulu nounou

 ‘Oku taku na‘e fakafatu-fakafa‘u, fakaafo-fakafasi ‘ae hiva kakala malie ni “Tu‘u Fakaunga[1]” ‘ehe punake Vava‘u kakato ‘iloa ko ‘Unga Afuha‘amango ma‘a Pilinisi Tungi Mailefihi he‘ene tango kia Kuini Salote fakatouloua he‘ena kei tamasi‘i mo ta‘ahine si‘i he 1914. ‘Oku lahi ‘ene ngaahi hiva kakala moe hiva viki (mo sani), ‘o hange koe “Sola ki Selusalema[2]” he‘ene viki ‘ae maa‘imoa ako ‘a Pilinisi Tungi (Taufa‘ahau Tupou IV) hono mata‘itohi BA/LLB. ‘Oku vaofi ‘ae hiva viki moe hiva fetau, ‘o hange koe hiva fetau koe “Pa‘ehe[3] ‘Ae Tokelau” ‘a Taitusi Funaki hono viki ‘e Vava‘u ‘a ‘Ulukalala, ‘Ne pa‘ehe ‘ae Tokelau, Pea kata moe Makamaile[4], He ongoongo ne ‘omi mei Vava‘u, Viki pea sani ‘ae Hala Pukepuke[5], Kau nofo pe mou longo au, ‘A Nuku‘alofa koe Kolohau, Koe vu‘anga ‘oe lea kehekehe.’

‘Oku toe ‘iloa ‘ae hiva ‘ofa, hiva tango, moe hiva ‘eva koe hiva kakala, ‘aia koe heliaki kihe hoihoifua ‘oe fefine he faiva ‘eva ‘ae tangata kihe fefine he va ‘oe tangata moe fefine, ‘o humaki he ‘ofa, ‘aia ‘oku fakatatau kihe mate kihe ‘ofa (‘ofa = mate). ‘O kapau ‘oku tu‘ia ‘ae ‘atamai moe fakakaukau he ‘uto moe ongo moe loto he fatu, mafu ha taha he ‘ofa ‘oku ‘ifo’ mo ‘vovo’ ange tokua ‘ae mate he langa moe uhu ‘oe mamahi ‘ae ‘ofa, ‘aia ko hono faito‘o taupotu pe koe mate, ‘o ma‘u ai ‘ae ‘ekuasi fakaheliaki, fakapunake, koe ‘ofa = mate, ‘o hange koe 1 + 1 = 1 kiha ongo me‘a ‘oku na tatau (1), ‘o hange koe Tu‘i Tonga + Tu‘i Ha‘atakalaua = Tu‘i Kanokupolu[6]. ‘Oku ‘asi ‘eni he tau, kolesi ‘oe maa‘imoa ta‘anga loloto koe ‘Hala Kuo Papa’ ‘a Kuini Salote, ‘Koe hala kuo papa talu e kilukilua … Kuila e Lomipeau kuo taha ai ‘ae ua[7].’

‘Oku ngaue‘aki lelei ‘ehe punake ‘ae fa‘ahinga lalahi ‘e tolu ‘oe heliaki, ‘o ‘uhinga koe ‘lea kihe me‘a taha kae ‘uhinga kihe me‘a ‘e taha,’ ‘aia koe heliaki fakafekauaki, ‘o hange koe ‘veteki’ moe ‘heli’ (kupu, veesi 1, kohi, laini 2 & 3), heliaki fakafekauaki, ‘o hange koe ‘maile fihi’ moe ‘Tungi Mailefihi’ (kupu, veesi 2, kohi, laini 2), moe heliaki fakafefonuaki, ‘o hange koe ‘‘akilotoa’ moe ‘faingata‘a’ (kupu, veesi 3, kohi, laini 1). ‘Oku ne ngaue‘aki lelei ‘ae ngaahi lea Tonga moe ‘Ingilisi mohu moe fonu koe heliaki ‘ae mamahi, langa, moe uhu ‘oe ‘ofa ‘oku tatau tele moe mate, ‘o hange koe fiu, ‘ala, veteki, heli (hell), feleni (friend), fakamavae, fakaunga, fihi, toli, lile (lily), sila (seal), ‘ofa, ‘akilotoa, hamu, loto, to‘oa, malama, fakapo, manatu, ifo, mate, tele‘a, toafa, lala, misi, talanga, moe hoha‘a (kupu, veesi, 1-3, kohi, laini 1-4, tau, kolesi 1 & 2, kohi, laini 1-4).

‘Oku lave malie ‘ae punake kihe faingata‘a (mamahi, langa, moe uhu) ‘oe ‘nunu-mo-vete’ ‘ae nofo mamani, ‘aia ‘oku kau ai hono fakamavae ‘ene ‘ofa mei hono ‘ofa‘anga, ‘o fakatatau kihe ha‘aha‘a moe nunu‘a ‘o heli (koe to‘o mei he tohitapu kihe mate he vela ‘ae afi moe fengai‘itaki ‘oe nifo) (kupu, veesi 1, kohi, laini 1-4). ‘Oku ne toe lave kihe ma‘ali hono ‘ofa‘anga hono ‘atamai moe fakakaukau moe ongo moe loto he fihitu‘u ‘ene ‘ofa, ‘o fotu mai koe lile, huni, moe fa, ‘oku ha‘i kiai ‘ene ‘ofa (kupu, veesi 2, kohi, laini 1-4). ‘Oku foki mai ‘ae punake kihe faingata‘a ‘oku tofanga ai he ta‘uluafi ‘ae faingata‘a he kolotau malu ‘ene ‘ofa he‘ene ‘a‘avea he fetapaki moe tu‘utai hono fungani moe masani, ‘aia ‘oku langa mo uhu ‘ene mamahi hange tofu koe makafokafo ‘ae sino, ‘o ne tu‘ia hono ongo moe loto hange tofu koe te‘ia ‘ehe fa‘ahikehe[8] (kupu, veesi 3, kohi, laini 1-4).

‘Oku langanoa mo langa‘ia ‘ae manatu ‘ae punake ki hono ‘ofa‘anga (fahina, kukuvalu) koe koto fakapo (fakamate), pea iku leva kihe ifo moe vovo ‘ae mate koe mavae (tau, kolesi 1, kohi, laini 1-4). ‘Oku akenoa leva ‘ene loto ke nofo paea li‘ekina tokotaha ha tele‘a (lilifa), toafa (pakuka), moe potu lala (potu ma‘uma‘unganoa), pea ne misi tokua kuo na talanga mo talave he‘ene ‘a‘eva fakamanimani he funga ‘oe nonga moe fiefia kae taumaia kene ‘ilo‘ia mai ‘ene nofo moe hoha‘atu‘u moe puputu‘u (tau, kolesi 2, kohi, laini 1-4). ‘Oku mohu atu mo fonu fau ‘ae ‘ilo ‘ae kau punake kihe to‘onga ‘ae ‘atamai moe fakakaukau moe ongo moe loto, ‘o hange koe misi moe ‘ofa, ‘aia ‘oku lave kiai ‘ae kau punake, ‘o hange koe misi koe me‘a launoa moe ‘ofa he ‘ikai lava ‘o faito‘oa, ‘aia ko hono faito‘o pe koe mate ‘oku pau, ‘o ‘uhinga koe ‘ofa mo‘oni moe mate loi.

[1] Tu‘u fakaunga = tu‘u toitoi, tukutoitoi, tu‘u fakapuli.

[2] Seluslema = Jerusalem (he tohitapu): ‘Ta koe sola ki Selusalema, Kihe Pi‘ei‘ele‘elapi (BA/LLB).’

[3] Pa‘ehe = kakata, vava; ‘oku liliulea ‘Ingilisi ‘ae “Pa‘ehe ‘ae Tokelau” koe “North‘s Laughter Sounded.”

[4] Makamaile = maka lau, fua maile he tu‘ungafuka; hingoa heliaki fakatenetene ‘o Nuku‘alofa (Tonga‘eiki, Tongatapu mo Tongalahi); vakai kihe ta‘anga lakalaka malie atu koe “Takafalu” ‘a Kuini Salote he toli, tufa, moe luva ‘oe kakala ki Tonga kotoa: ‘Kae ve‘eve‘e si‘i Makamaile.’

[5] Hala Pukepuke = Hala ‘Ete‘ete; hingoa heliaki fakatenetene ‘o Tu‘anuku (koe kolo havili mo makamaka), ‘aia koe tofi‘a ‘o ‘Ulukalala.

[6] ‘O hange koe Tu‘i Ha‘atakalaua + Tu‘i Kanokupolu = Tu‘i Tupou (Tu‘i Tautahi).

[7] 1 + 1 = 1 = kuila e Lomipeau kuo taha ai ‘ae ua.

[8] Fa‘ahikehe (fa‘ahi ‘ae mate moe kau mate) : fa‘ahitatau, fa‘ahitaha (fa‘ahi ‘ae mo‘ui moe kau mo‘ui); ‘oku ngaue‘aki ‘ae fa‘ahitevolo (fa‘ahi ‘ae tevolo moe kau, fanga tevolo) kihe fa‘ahikehe koe ngaue ‘ae kau misinale; ‘oku ngaue‘aki ‘ae toetu‘u ‘a Sisu mei he mate kihe mo‘ui koe ‘ha fakakehe’ (kae ‘ikai koe ‘ha fakatevolo’).

Standing Partly Hidden

Song of love ‘sweet-scented flowers’ Poetry and music composed by ‘Unga Afuha‘amango

English translation by Fetongikava Dr Viliami Uasike Latu & Hufanga He Ako Moe Lotu Professor Dr ‘Okusitino Mahina

Verse 1

I‘ve had enough of this life

So divisive as it always does

It is as if I‘ve been at hell‘s doorway

When I am separated from my friend

Verse 2

Who‘s that, standing partly hidden?

In amongst the entangled maile leaves

Plucking the fragrant lily, huni and fa

On which, I stamped my seal of love 

Verse 3 

Herein, I‘m totally underseized

My fortress defeated by love

My heart overwhelmed by desire

Of the fine shining blood-red falahola

Chorus 1

Alas! As I recall my memories

Of the sweet-scented fahina and kukuvalu

Now, death is welcome an option for me

When you leave and never to return

Chorus 2

I was yearning to stay on my own

In a cliffy, rocky cave or a solitary place

Where I dreamt that we had spoken

Go on your leisurely way, while I stay agonized

In brief English summary

This great work of art and literature in poetry of love ‘sweet-scented-flowers’ titled ‘Standing Partly Hidden’ by Vava‘u master poet ‘Unga Afuha‘amango is said to have been composed, both poetry and music, for Prince Tungi Mailefihi in his courting of Queen Salote, when they were young sweethearts in 1915. He is renowned for his artistic and literary work in poetry of love and of praise, as in ‘Stranger to Jerusalem,’ where he praises the eceptional success of Taufa‘ahau Tupou IV (then Prince Tungi), who as the first Tongan achieved university Bachelor of Arts and Bachelor of Laws (BA/LLB) degrees. The poet makes excellent use of the three general forms of Tongan heliaki, defined as ‘metaphorically saying one thing bur meaning another,’ namely, qualitative epiphoric heliaki, associative metaphoric heliaki, and constitutive metonymic heliaki.

Moreover, he uses both affectively and effectively the power and beauty of language, both Tongan and English (translated), as means of heliaki, in his artistic and literary creation, where love knows no boundaries, even to the point of death, when life is readily given up for love. These, inter alia, include divisive, hell, separated (verse 1, lines 2-4), hidden (verse 2, line 1), underseized, defeated, overwhelmed (verse 3, lines 1-3), memories, death, (chorus 1, lines 1 & 3), yearning, solitary place, and agonised (chorus 2, lines. 1-4). In Tongan love poetry, factual love is made equal to symbolic death, which is, as a metaphorical, poetical equation, love = death, and Tu‘i Tonga + Tu‘i Ha‘atakalua = Tu‘i Kanokupolu, that is, 1 + 1 = 1, as in Queen Salote‘s poetry ‘Under Lomipeau‘s flagship two have become one[1]’ versus 1 + 1 = 2, in logical and mathematical equations.

Both Fetongikava Dr Latu and Hufanga He Ako Moe Lotu Professor Dr Mahina did an approximate translation of “Standing Partly Hidden,” especially in view of the fact that there may not be perfect translation but only, at best, approximation. By definition, translation engages in the mediation of human meanings in two languages, which are, in this case, Tongan and English, where they are, in temporal-spatial, formal-substantial, and functional-practical ways, through sustained symmetry, harmony, and beauty, transformed from a condition of chaos to a state of order. This confirms the fact that languages, like cultures, are organised differently across societies, where knowledge (and skills) are constituted or composed in culture, and transmitted or communicated in language, both merely as mediums, vehicles or vessels, with all three as inseparable entities.

[1] As in a couple of lines from the chorus of “Hala Kuo Papa” (“Well-trodden Path”) by Queen Salote: ‘Koe hala kuo papa talu e kilukilua (Well-trodden path since time-space immemorial) … Kuila e Lomipeau kuo taha ai ‘ae ua’ (Under the flagship of Lomipeau two have become one);’ This is a poetical, metaphorical reference to the historical development of the three Tongan kingly lines, namely, Tu‘i Tonga, Tu‘i Ha‘atakalaua, and Tu‘i Kanokupolu, which is, as a poetical, metaphorical equation, 1 + 1 = 1. It is possible that there is a fourth kingly line, namely, Tu‘i Tupou, now newly renumbered, 1-6, of the Tau Tahi (Sea Warriors), which is defined by the so-called ‘modern’ trappings which include, inter alia, educational, legal-constitutional, democratic-capitalist (politico-economic), government and legislative, and religious institutions.