In the region known as Kulkagla, lived a woman named Tanga, and in the hills of Kupi, a man named Tagla. One day, Tagla climbed Mount Kaylkenga and spotted a distant fire. He returned home to inform his parents of his desire to explore that distant place. After some initial hesitation, his parents agreed and assisted him in preparing for the journey by roasting a pig. Once dressed and ready, Tagla set out to court Tanga in the hills of Kulkagla.
Tagla arrived in Kulkagla, where he found Tanga living with her sisters. While all the sisters lusted for Tagla, his affections were reserved for Tanga. Tanga's sisters provided the newly formed couple with roast pork and granted their departure with one stipulation: Tanga would not enter Tagla's village and instead would spend the night in the middle of the road.
Remaining true to her word, upon returning to Kupi, Tanga refrained from entering Tagla’s village and slept in a nearby meadow instead. When Tagla returned to his parents, he appeared to have come back empty-handed. The following morning, he awoke to discover that Tanga had magically transformed the meadow into a haven with gardens, precious palm oil, and rows of tethered cassowaries and fattened pigs . Their life together thrived, and Tagla earned a reputation as a respected ‘big man’.
Nonetheless, Tagla couldn't shake the memory of Tanga's earlier declaration about not living as husband and wife. Troubled by this, he stopped eating, but Tanga consoled him by proposing that they do indeed consummate their marriage. They shared their bed, but when Tagla woke up, Tanga and everything else had mysteriously disappeared. Tagla found himself mired in a bog, stripped of all his possessions. Hungry and disheveled, he roamed the forest until the day of his death.
The second word of this line, isik, is apparently a mistake. After saying it, the performer pauses as if to correct himself and then says a similar sounding word lku-suku, 'inside the house'.
352.
subulu topa por-o sirim-o
353.
kanab taka taka nyirim-o
354.
suluma kadikad-o
355.
kanumanga ab tenga sulumena
356.
yunu kanilyo kana
357.
ab tenga sulumena yunu-o kana-a
358.
ab tenga sulumena yunu-o kana-a
359.
kunungu lubilyiring-o kana
360.
lubilyik nosuk molkuk-o kana
361.
ab te-n yunu sukud lyibu nyiba pilyirim-o kana-a
362.
ab te-n yunu sukud lyibu nyiba pilyirim-o kana-a
363.
ab te-n yunu lyibu nyiba pilyirim-o kana
364.
kanu pilyik midi-o muluring-o
365.
kulukala yi-e tanga
366.
nu suku-d un-ko nyiring-e
367.
yi kupi-e tanga-e
368.
nu suku-d un-ko nyiring-o
369.
na naa obu-o nyirim-o
370.
na ulsi pebu-o nyirim-o
371.
nu nabina-ye nyiring-e
372.
na naa obu nyirim-e
373.
nyik molkulsuk puring-o kana
374.
wi ai subulu-o turum-o
375.
nu uru okum mola mol-ye nyiring-o
376.
na uru naa okum-o nyirim-o
377.
nu nabina molti-ya nyiring-e
378.
na isip mel molyo nyirim,
379.
na eni-kin naa ud-o nyirim-o
380.
na kulkala ab tanga nyilsi-ri molym na udiyl-ko nyirim-o
381.
eni-kin naa ud-o nyirim-o
382.
ab kanuma-n neked yak-d kulkala ab tanga nyilysi-ro kana-a
383.
eni kaninu naa-o kanilymolu-o
384.
eni bi naa-o pilyilymolu-o
385.
kolya tek-d molym-mur-ija nyiring-e
386.
eni pilyi naa pilyilymolayl-ko nyiring-e
387.
nu tena pani un ye nyiring-e, nyiring-e
388.
wi kupi yi-e tala pilyipa mel-o molurum-o
389.
eni naa kanilymolayl-ke
390.
ka papu telymelayl na ibi pilyilyayl-ko nyirim-a
391.
pilyip molym nyiylmelayl-e pilyily-e
392.
pilyip ilyinga pubu-d iyl-ke nyirim
393.
nyik muluring-e kana
394.
ab-te kanuwa-o kana
395.
pirim sulumena kanuna-o kana
396.
oba sukud mel-o purum-o
397.
abu mingi-na pirim-e kana
398.
kulkala abo tanga-o
399.
abo mingi-na pirim-o kanilyo
400.
nyilynga naa nyilynga-melo tirim-o
401.
wi kupi-ye tala
402.
nu lyibu nyiba um-iyl
403.
nu puni mola mol-ye nyirim-e
404.
walsipa mel-o pilyirim-o
405.
na kanaba yiyl nabiiyl-ir-je nyirim-e
406.
na kanab kanabo nyirim-o
407.
na we-d wabo nyirim-o
408.
kulakala ab tanga-o kaniyl-o
409.
puku-to we-d mel-e urum-e
410.
meri kupi yi-o tala-a
411.
molupa kanarum mel-e kana
412.
kulkala ab-o tanga-a
413.
kanakur nyibu-o tirim-o
414.
mai-na meltiro lirim-o
415.
lyipa ma mel-o kanarum-o
416.
kulkala abu tanga-a
417.
wi kupi-e tala kanakur nyiba-o tirim-o
418.
mai-na mel-ti mekir-o lirim-o
419.
lyipa ma mel-o kanarum-o
420.
pepina-nga kis-o kana
421.
mong topa kuib kel-o mudurum-o
422.
kubin topa mong kel-o mudurum-o
423.
kanab taka taka nyirim-o
424.
lapsiya meba aj-e lyirim-e
425.
wale meba yade lyirim-e
426.
pilyini kub pupu-e nyirim-e
427.
kanini kub pupu-e nyirim-e
428.
kanab taka taka nyirim-o
429.
pilyini kub papu-o nyirim-o
430.
i lyid papu-o nyiba-a
431.
nyiba yi kaniyl pilyirim-o
432.
ab kaniyl na yi-yl pud papu-o nyiba pilyirim-o
433.
elsinga numun kanisil-o kana
434.
ne kanuna terileki pora siringl-o
435.
pilyini papu-o nyirim-o
436.
wi subulu topa-o tirim-o
437.
wi sulumena kanun-o kana-
438.
pel liringl-o kana-
439.
wi tangapa mel-o angijirum-o
440.
pekl puringl-o kana
441.
yabu kanuma-n o nyik-a
442.
ab anginapilyi kanuma-n-o nyik-a
443.
nu abayl lyini uniyl-ka
444.
nyiring ilyi eninga kibu tepi-e noba-a
445.
eninga ki tepi-e nojiba-a
446.
nu naa simulu-o nyiring-o
447.
na meb pubu papu-o nyirim-o
448.
pilyini kub papo nyirim-o
449.
ab kanuma-n ti ne mel kanuma-o kana
450.
eni-nga kung ariyl te mek adaring-o kaniyl-o
451.
top koimolu papu-o nyiring-o
452.
pilyini kub papu-o nyirim-o
453.
mel kanuma-o kana-a
454.
le kuni-o kana
455.
le paba-o kana-a
456.
mel kanuma paike lyiring-o
457.
nurab tek mek ok kana
458.
uj suluring-o kana-a
459.
murupiya kibulu te tek-e lyiring-e
460.
imi obil kana-o nusijiring-o
461.
polupa alyiyl wal ki-o turum-o
462.
kanab taka taka-o nyirim-o
463.
idi-n pereli mareli mel e adarung-e
464.
kanab taka taka-o nyirim-o
465.
idi kalku moluring-e kana
466.
wilysi poili punya-o kanuna
467.
kumu lau-sil-o liringl-e
468.
isil nabeli nyik-o pilyiring-o
469.
meam mangal mel-e kaniyl-e
470.
enga mos-n mel-e kaniyl-e
471.
kumu lausil-o liringl-o
472.
kanab taka taka-o nyirim-a
473.
enga kung kum milsi nunga yana-ye nyirim-a
474.
meam kung orim tuls nunga yana-yo
475.
meam mangal-mel-e kaniyl-e
476.
enga yupal mel-o kaniyl-o
477.
makara aj mel-e mudupa-e
478.
paja wiju mel-o mudurum-o
479.
keng mongayl pulu-o turum-o
480.
paja medu mel lyirim-o
481.
le mongayl pulu-o turum-o
482.
kanab taka taka nyirim-o
483.
pilyini kub papo nyirim-o
484.
kanini kub papo nyirim-o
485.
ab kadi mel-e kanuma-n-e
486.
mel kanuma mel-o uring-o
487.
keangany taka taka-o nyiring-o
488.
midi tokumul nyik-o tiring-o
489.
poin suku singi nyiba pirim-o
490.
maip suku singi nyiba pirim-o
491.
kanab taka taka-o nyirim-o, nyirim-a
492.
midi kanama-o kana nuring mol-o kana-a
493.
ung we nyik e muluring-e
494.
kumu-ma aje nusiring-e
495.
kanab taka taka-e nyirim-a
496.
pilyini kub papu-o nyirim-o
497.
kulkala ab-e tanga-a
498.
pilyini-kub papu-e nyirim-e
499.
kanini kub papu-e nyirim-e
500.
pilyini kub papu-e nyirim-e
501.
tek molk-o kana-a
502.
ab kaniyl-o puku topa
503.
lkusuku mel-e purum-e
504.
kanab taka taka-o tirim-o
505.
ninu-e tirim-e
506.
pilyini kub papu-e nyirim-e
507.
pepina kis-e kaniyl-e
508.
kole meba aju-o mudurum-o
509.
wale meba yad-e lyirim-e
510.
pepina kis-o kaniyl-o
511.
wi kupi yi-e tala
512.
kanab taka taka-o nyirim-o
513.
aki tirim-o kanikin-a
514.
kung wal mel-o kaniyl
515.
koik lalyijik molk-o kana-a
516.
elsi paly-o kana
517.
kupulanum pukl pukl-o kana-a
518.
abayl suku suku-o kana-a
519.
naa pulymayl puba-kiyl-e nyiring-e
520.
kanab taka taka nyirim-o
521.
kupulanum suku singi-na-e kana-a
522.
pajik kel-kin pui-o nyiring-o
523.
pilyini-kub papu-o nyiring-o
524.
kanini kub papu-o nyiring-o
525.
wi kupi yi-o tala
526.
nyiring ung mel-o kanuma-o
527.
pilyipa mel-o mulurum-o
528.
pukubul kiyl-o nyiringl-o
529.
paly mel-o nyiring-o
530.
kanab taka taka nyirim-o
531.
pilyini kub papu-o nyirim-o
532.
tuip mulu-e puringl-e
533.
taip mulu-o kana-a
534.
uringl uringl-o kana
535.
urum kanumel-o kana
536.
ne kep mad-e kana
537.
ya kep olad-e kana
538.
uringl uringl-o kana-a
539.
ol ol-o kana-a
540.
kari alkenya-mel suku uringl-e kana
541.
alkenya kuyl mel-o kanuna
542.
kinya yununga lku-yl kana-o kana-a
543.
wid puksa mel-o angilyirum-o
544.
nodopa pungli okul-ly-e nyiringl-e
545.
wi kupi-o tala-a
546.
nunga lku-yl tena mel-ye nyirim-a
547.
widiyl-ko nyirim-o
548.
aku na pu naa pubu-e nyirim-e
549.
na yad ilyinga pebu-o nyirim-o
550.
na suku pu naa pubu-e nyirim-e
551.
kanab taka taka-o nyirim-e
552.
nu lku-r mol-ayl nabisik pini-e nyirim-o
553.
mol na mari-nga pebu-o nyirim-o
554.
nu pui-o nyirim-o
555.
ulsulumui okun kanain-kin pui-o nyirim-o
556.
na ilyi-nga pebu papu-o nyirim-o
557.
kanab taka taka-o nyirim-o
558.
kupi yi tala mel-o kaniyl-o
559.
ab kaniyl-nga ung kaniyl pilyipa nyirim-o
560.
ung teng sip-o nyirim-o
561.
yi kaniyl taka nyiba purum-o
562.
kani yu purum-o kana-a
563.
wi yunga lku kanuna-o
564.
anum mel-o kaniyl-o
565.
lapa mel-o kaniyl-o
566.
moluringl kanakin-o kana
567.
kupi yi tala mel-o kaniyl-o
568.
pengayl topa lku mel-e mudurum-a
569.
kanab taka taka nyirim-o
570.
kupi yi tala mel-e kaniyl-e
571.
nu sika okun-ye nyiringl-a
572.
nu pun kaniyl-ke nyiringl-a
573.
nu mekir naa mek un-lum nyiring-e
574.
na nabolka lyibu pudiy-e nyirim-e
575.
kanab taka taka-o
576.
na elsi-nga melir lyijibu pudi-ye nyirim-e
577.
na we pud kaniyl-ko nyirim-o
578.
na we okuraly-ko nyirim-o
579.
kanab taka taka-o nyirim-o
580.
kupi yi tala mel-e kaniyl-e
581.
pek liring-o ka,
582.
piring kanukin-o kana-a
583.
pek lek-o kana
584.
ulsulamui kanuna-e kana
585.
kolya kani wi tangapa-a angijirum-o
586.
nanga ul-ur adiyl-ka-e nyiba pilyrim
587.
kupi yi tala mel-o kaniyl-o
588.
numan-ayl wi wa-o nyirim-o
589.
pilyipa midi-o mulurum-o
590.
pilyipa midi-o mulurum-o
591.
ulsulamui kaniyl-o kana
592.
anum lapa sil muluringl kanukin-o kana-a
593.
adi muluyl-idi topa-o kana-a
594.
meri kanuna pupa-o kana-a
595.
pupa kuyl kanun-o purum-o
596.
meri kuyl kaniyl nyiba kanab nyiba tirim-o kana-a kana-a
597.
meri manya kolya kanuma-o kana-a
598.
kopia murmur-o kana-a
599.
kangun murmur-o kana,
600.
manyawi punya-ma u nyirim-o kana-a
601.
wilymanya kanumanga-o kana-a
602.
bukapadu punya-ma-o kana-a
603.
wily manya kanuma-nga ab waya nornar-o nyirim-o nyirim-o
604.
po pala kaibu punya-ma-o kana-a
605.
pilyini kub papu-e nyirim-e
606.
widila ola teril mulu walo tirim-o
607.
kanab taka taka-o nyirim-o
608.
pilyini kub papu-e nyirim-e
609.
kanab taka taka-o nyirim-o
610.
noma nama pena-e kanuwa
611.
pena sulu te-wa kanuwa
612.
adi lirim-o kana
613.
kanab taka taka-o nyirim-o
614.
lyip wiji sip kanab nyiba tirim-e kana-a
615.
lapa lku punya kanuma
616.
wi manya kewulu-kawulu-ma-e purum-e
617.
kanab taka taka nyirim(-e),
618.
kanab taka take nyirim(-e)
619.
pena arere, pena ola amad kanumanga-o kanarum-o
620.
laima punya-ma-o kana-a
621.
palya topa purum-o kana
622.
wilymanya kanumanga kewulu-kawulu-e tirim-e
623.
kanab taka taka-o nyirim-e
624.
lku amad kanuna kanab nyiba tirim-o
625.
mabola kipgaw-o kanuma
626.
gom angilyuyl punya-ma kana
627.
wi manya kewulu-kawulu-o nyirim-a
628.
mangali piya lyipa pijirim-e
629.
kanab taka taka-o nyirim-a
630.
ul-ur adiyl tin-lum- nyiba-e kanarum-e
631.
yi kaniyl-nga mudmongayl meba wilyala-na purum-o
632.
kanab taka taka-o nyirim-o
633.
pilyini papu-o nyirim-o
634.
meri-d manya kanab nyiba-e tirim-e kana-a kana-a
635.
ab lku oruku-o kana-a
636.
uwa kibu lirim-e kanawa-nga
637.
kapu punya-ma-o kana-a
638.
kapu punya-ma-o kana
639.
ari tok noltu-lum-o nyirim-o
640.
kapu punya-ma-o kana
641.
german wiji nyiba-e pirim-e
642.
wily manya kanuma pelypa urum-o kana
643.
pely purum-o kana
644.
kiripul kanuwanga waki tepa mulurum-o
645.
yi kaniyl numan obu lupu-r-o sirim-o
646.
lku purum-o kana
647.
ab kaniyl kanui-o
648.
meri kawal tep-o kana-a
649.
ga kalapa mako turum-o
650.
adi mulurum-o kana
651.
wi kupi-e tala-a
652.
nu okun-yo nyirim-o
653.
na okur-o nyirim-o
654.
pupa kanapa-o kana
655.
yi kaniyl-nga mudmong kaniyl uluri lupu tepa-a pirim-o
656.
kanab taka taka-o nyirim-o
657.
ga kanuma sirim-o kana
658.
ga kanuma nurum-o kana
659.
kung kanuma koipa nusirum- kanuma-o
660.
meri kanuma lyipa sirim-o kana
661.
kanuma noba mulurum-o kana
662.
noba molupa-o kana-a
663.
kolya kanuma adapa kanapa molupa-o nyirim-o
664.
pi wi yununga lku anum-lapa-sil-nga lku
kanina wiji mel-o urum-o
665.
oba wi anum lapa sil kani muluringl-na urum-o
666.
takan anum lapa sil-n ga kanuma kalka siringl-o kana-a
667.
noba kanuna molurum-o kana-a
668.
mola- pilyipa-o kana
669.
pi medi-ko-o urum-a
670.
meri yunga ab kaniyl oba kanarum-o kana-a
671.
kela wiji-o purum-o
672.
anum lapa sil moluringl-o kana
673.
telsik adaring-o kanukin-o
674.
anum lapa kanisil kuluringl-o kana-a
675.
kanisil angijipa pajipa-o kana-a
676.
yi kaniyl yunu pepa mulurum
677.
pepa mulupa-o kana
678.
meri yunga ab kaniyl-kin-o kana
679.
pek adaringl-o kana
680.
pek adaringl-o kana
681.
kung makayl-o tiring-o
682.
ul nabolkul-ma tiring-o
683.
sumuyl obil-o kanuma
684.
paka midi-o turum-o
685.
kung kapo-o kanuma
686.
pangali midi-o sirim-o
687.
mabola gipi gau-o kanuma-o
688.
pangali sirim-o kana
689.
kera laima kanuma-o kana-a
690.
pangali sirim-o kana-a
691.
yi kanuwa nuim mulurum-o kana-a
692.
kamaku kanuwanga-o kana-a
693.
oladapa mel-o mulurum-o
694.
omak kanukung urum-o kana
695.
meri manya pu topa kajirum-o kana
696.
kuduli kuduli meba-o adarum-o
697.
kanab taka taka-o nyirim-o
698.
pilyini kub papu-u nyirim-o
699.
yi kanuwa kamak puluwu molurum-a
700.
tepa mel mel-o adarum-o
701.
ab kaniyln-o kana-a
702.
ung nyiring-o kanuma-a
703.
pilyipa midi-yo adarum-o
704.
ab yi nyibulu-o kana-a
705.
naa pilyabiyl-o nyirim-o
706.
we pepil-o adabiyl-o
707.
pa pepul-o adabiyl-o
According to my assistants the first word of this line, pa, has no meaning and is a mistake: it should have been we 'nothing', without' as in the previous line.
The first two words of this line, numan kaniyl ('that mind') are apparently a mistake. The performer takes a breath after them and then begins a new sentence.
744.
yi kaniyl-o kana-a
745.
kubi kulyuwu tai pirim-o kana
746.
yi kaniyl-e kana ung nyirim-o
747.
i kapola mel-o tin-o
748.
kinya peabiyl-o nyirim-o
749.
pe yi kaniyl o kana-a
750.
pe uj sululyipa-o kana-a
751.
ab kaniyl-o kana-a
752.
ga kalurum-o kana
753.
sulumena kanuna-o kana
754.
piringl kanikin-o kana
755.
ipulum piringl-o kaniylkin-o
756.
ab kaniyl-o, i-kid purum molo kanily-o
757.
i-kid purum-ja-o kana-a
758.
yi kaniyl-o kana-a
759.
alkenya kuyl mel-o kanuna-a
760.
oral mukupuyl-o lirim-o
761.
uyl mukupuyl-o lirim-o
762.
kulya-kalya pul mel-o kanuna
763.
adi kanui-o kaniyl-o
764.
manya pepa lirim-o kanui-o
765.
yi kaniyl-o,
Here the performer apparently ran out of breath after the first two words of the line and was not able to finish it before taking a breath, after which he began a new line. Accordingly, I have translated the line with a shorter-than-usual English one, with only two beats instead of three.
766.
suru nyiba-e kanarum-e
767.
ya kuyl kanuna pepa lirim-o-kana
768.
nanga ab-e nyirim-e
769.
nanga kera layma-o nyirim-o
770.
nanga kung kapo-e nyirim-e
771.
nanga mabola gom angulyuyl-o nyirim(-a)
772.
nanga mel kanuma teked pum-ye nyirim-e
773.
nanga ab kaniyl teked pum-yo nyirim-o
774.
i tep-o adarum-o kana-o
775.
yi kaniyl-o kana-a
776.
nab aya nyiba-a pirim-o
777.
madi kibilyi nyiba pirim-o
778.
kung-ka surub nyiba turum-o
779.
nolam piru nyiba piri
780.
ui kamako mulurum-o
781.
pe kaniylo-o kana-a
782.
nab baya nyiba pirim-o
783.
nolam piru nyiba pirim-o
784.
ulsipa sukupa tepa adarum-o
785.
ai-pala kanuna-o kana
786.
kolupa yu li-purum-o kana
787.
aku nyikirayl kange tokurayl-o
788.
top-o pora sikir-o
789.
kinya kange tokurayl
790.
akuna porajikir
1.
The woman was Kalkagla Tanga
2.
The man was Kupi Tagla
3.
"They all know I'm here" she said.
4.
"They all know I'm here" he said.
5.
In my mind's eye the story unfolds.
6.
You will hear and enjoy it in yours.
7.
You will see and enjoy it in yours.
8.
In my mind's eye the story unfolds.
9.
I'll tell of the man Kupi Tagla.
10.
"It's known that I sleep here" he said.
11.
"It's known that I stay here" he said.
12.
"They all want to see it" he said.
i
'It' here was said by Alan Rumsey's transcription assistants to refer to Tagla's homeland, Kupi.
13.
"Father what man are you?
14.
Mother what woman are you?
15.
I want to go" he said.
16.
"You want to go where?" she asked.
17.
In my mind's eye the story unfolds.
18.
You will hear and enjoy it in yours.
19.
He stayed and heard what she said.
20.
Then he set off for old Mount Kalykenga.
21.
A big poni tree was there.
22.
On top stood its massive trunk.
23.
Some branches went right out to Enga.
24.
Others went right out to Mendi.
25.
Others went right out to Chimbu.
26.
Others went right out to Tari.
i
Enga is the next province to the west of Winjaka (in the Western Highlands Province) where the performer Engakl Kep lives; Mendi and Tari are towns in the Southern Highlands Province, about 30 and 90 miles away respectively, and Chimbu is the next province to the east, about 50 miles away.
27.
Up the tree he climbed.
28.
He climbed onto one of the branches.
29.
There sat a big and small tree-kangaroo.
30.
He killed them and threw them down.
31.
Then he climbed to another branch.
32.
There sat a big and small possum.
33.
He killed them and threw them down.
34.
In my mind's eye the story unfolds.
35.
He slid down the tree with a "WHOOSH"
36.
And stayed down below at the base.
37.
In my mind's eye the story unfolds.
38.
You will hear and enjoy it in yours.
39.
You will see and enjoy it in yours.
40.
In my mind's eye the story unfolds.
41.
He walked along and then saw
42.
A place like Winjaka, see!
i
Winjaka is Kep's home village, at which the performance is being recorded. This is an instance of the common practice of drawing parallels between people and places in the story and ones in the social setting where it is being told.
43.
A fire said "I'm burning"
44.
It was really going, straight up.
45.
The smoke went higher and higher.
46.
Then stopped and hung in the sky.
47.
"Wow! Oh Mother!" he said.
48.
"Wow! Oh Father!" he said.
49.
It really got him thinking.
50.
He thought of that place that he'd seen.
51.
In my mind's eye the story unfolds.
52.
You will hear and enjoy it in yours.
53.
He thought as he came back home.
54.
He came back there to his mother.
55.
His father was staying there too.
56.
In my mind's eye the story unfolds.
57.
Mother what woman are you?
58.
Father what man are you?
59.
"I saw a place" he said.
60.
"But I want to see more" he said.
61.
"But you're our only boy!
62.
Our one and only boy!
63.
So where do you want to go?
64.
Please, not you!" they said.
65.
"Is that a place that you know?
66.
Is that a place that you've seen?
67.
Let's think about this" they said.
68.
"Please, not you!" they said.
69.
"Mother, what woman are you?
70.
Father what man are you?
71.
I'm eager to go" he said.
72.
In my mind's eye the story unfolds.
73.
"Mother, your little pet pig,
74.
Mother, what woman are you?
75.
Let's slaughter and roast your pet pig.
76.
Then I must go!" he said
77.
"Who is this woman my mother?
78.
Who is this man my father?
79.
I'm eager to go" he said.
80.
In my mind's eye the story unfolds.
81.
And then that mother of his
82.
Jumped and dashed into the garden.
83.
She gathered some jim chervil greens.
84.
She gathered some kimbilyi greens.
85.
She threw them out into a pile.
86.
In my mind's eye the story unfolds.
87.
See the fields of sweet bukapandu!
i
Bukapandu is a variety of cane grass, setaria palmifolia, the inner pulp of which is eaten.
88.
She gathered and piled it up.
89.
I can picture her doing it now.
90.
You will hear and delight in the story.
91.
And then that father of his
92.
Jumped and dashed into the house.
93.
There lay a mara wood log
94.
And when he picked it up
95.
The dust fell off like soot.
96.
In my mind's eye the story unfolds.
97.
Then he took it away
98.
In my mind's eye the story unfolds.
99.
And with his little ax
100.
He split it all up into pieces.
101.
He put them into a pile.
102.
In my mind's eye the story unfolds.
103.
"Have you raised him to eat him?" she asked.
104.
But where the club would strike
105.
A little depression appeared.
106.
When it rained it formed a pool there.
107.
The tail of the pig was short
108.
Its tusks were very long.
109.
A big muripiya wood club
110.
Gave its tail the twitch of death.
111.
It quivered and then fell still.
112.
In my mind's eye the story unfolds.
113.
On the road to the lower Jimi
114.
He fetched a branch of makapiya
115.
He really wanted to go
116.
A long way away, you see.
117.
He'd killed the pig and left it
118.
And split some mara wood logs
119.
And put them there on the fire.
120.
Then singed the hair from the carcass.
121.
In my mind's eye the story unfolds
122.
You will hear and enjoy it in yours.
123.
While singing the bristles he noticed
124.
In the grassland beside the house
125.
Two little creatures were there
126.
Wrestling and rolling around.
127.
He wondered who they were.
128.
It was the bamboo knife from Meam
129.
And the knife known as mos from Enga.
130.
They wrestled and rolled around.
131.
"Enga, you're greedy for pork.
132.
Is this your pig?" asked Meam.
133.
Mos said "Meam, you carve it too small.
134.
And then that Enga mos
135.
Was beaten back by Meam.
136.
Meam then started his carving.
137.
First he cut the pig upward
138.
Right up to the base of the throat.
139.
Then he cut it downward
140.
He severed the gut at the bottom.
141.
In my mind's eye the story unfolds.
142.
You will hear and enjoy it in yours.
143.
You will see and enjoy it in yours.
144.
"Mother what woman are you?
145.
See that kora stringbag?
146.
Please bring it here" he said.
147.
And then the stomach and guts
148.
He pulled out and left in a pile.
149.
In my mind's eye the story unfolds.
150.
After doing that and leaving them there
151.
He cut out some pieces of meat.
152.
It looked just like inside a poin tree.
153.
It looked just like inside a maip tree.
154.
He cut up the meat and left it
155.
For his mother and for his father,
156.
For them to cook and eat.
157.
In my mind's eye the story unfolds.
158.
Then that fine young man
159.
Quietly working away
160.
Gutted the carcass, see,
161.
And heated the cooking stones.
162.
In my mind's eye the story unfolds.
163.
You will hear and enjoy it in yours.
164.
He stayed there roasting the pig.
165.
See him quietly working.
166.
"Mother what woman are you?
167.
Father what man are you?"
168.
Saying "Stay and eat this pork"
169.
He went on down the Jimi
170.
There he peeled a banana.
171.
In my mind's eye the story unfolds.
172.
He rubbed his skin with the peel
173.
Till it really looked shiny and nice.
174.
Then he wiped himself down with his hands
175.
His nose made his eyes look small
176.
And his eyes made his nose look small.
i
In other words, both the eyes and the nose were large. This is a common way of saying that someone is really good-looking, big eyes and noses being considered a hallmark of beauty.
177.
The fellow looked simply gorgeous.
178.
In my mind I can just see him now.
179.
The fellow looked lip-smacking good.
180.
In my mind I can just see him now.
181.
The fellow looked out-of-this world
182.
In my mind I can just see him now.
183.
He jumped and dashed into the house.
184.
See that toglubu bark belt!
185.
He tightened it 'round his waist.
186.
In my mind's eye the story unfolds.
187.
He put on his woven bark belt.
188.
In my mind's eye the story unfolds.
189.
He put on his best festive loincloth.
190.
In my mind's eye the story unfolds.
191.
From the back of his belt hung tassles.
192.
They fanned out like pigs' cloven hooves.
193.
In my mind's eye the story unfolds.
194.
From his hip hung a sinsipai ax
195.
In my mind's eye the story unfolds.
196.
His cassowary-claw-tipped spear
197.
Had the color of new-born babies.
198.
His plumes from a cassowary bird
199.
Looked like beautiful murwi flowers
200.
In my mind's eye the story unfolds.
201.
You will hear and enjoy it in yours.
202.
Then to that mother of his
203.
He gave the roasted rib meat.
204.
And to that father of his
205.
He gave the roasted loin.
206.
"You two stay here and eat
207.
I'm going away" he said.
208.
"At Kulkala there's a lass called Tanga
209.
I've heard her name" he said.
210.
I haven't ever seen her.
211.
I know of her only by name.
212.
I'm dying to go and see her.
213.
You two stay here" he said.
214.
In my mind's eye the story unfolds.
215.
You will hear and enjoy it in yours.
216.
Perhaps I'll return from my journey.
217.
But maybe I won't, you see.
218.
If not, then I might have been killed.
219.
If I die then so be it" he said.
220.
In my mind's eye the story unfolds.
221.
You will hear and enjoy it in yours.
222.
With that, his bag of cooked pork
223.
He slung around his shoulder.
224.
You will hear and delight in the story.
225.
You will see and delight in the story.
226.
Past Mount Tuip, see it there?
227.
Past Mount Taip, see it there?
228.
Past places that we know
229.
And places that we don't
230.
Down into distant gorges
231.
And up the other side
232.
See him travelling on!
233.
Past Mount Tuip, you see
234.
On over that way he went.
235.
See him, just look at him go!
236.
See how he just keeps going!
237.
See him come down to that place.
238.
See it there, like Winjaka.
239.
But it still was not enough.
240.
See that other place there.
241.
To the one like Mount Kepa he came.
242.
But it still was not enough.
243.
In my mind's eye the story unfolds.
244.
He came to a place like Koroka
245.
And into that place he went.
246.
See the wood fence that was there.
247.
It was old and broken down.
248.
For a while he stopped there, see,
249.
Then broke through and kept on going.
250.
Then further on down he went
251.
Till he came to another fence.
252.
He broke through again, you see
253.
And kept going, right on down.
254.
Then, see the long display ground!
i
Display grounds of the kind described here are a common feature of Western Highlands settlements. They are used for public gatherings and festive occasions, especially those involving wealth exchange.
255.
See the fine beds of bright lilies!
256.
See the neat rows of hibiscus!
257.
See on the long display ground!
258.
The manicured lawn of noma grass.
259.
The manicured lawn of nama grass.
260.
What a fine display it was!
261.
See Kupi Tagla behold it.
262.
With its beautiful beds of bright lilies
263.
And rows of lovely hibiscus.
264.
And pine trees that swayed in the breeze.
265.
See him look at the display ground.
266.
See the round house at the end
267.
With its lovely landscaped garden.
268.
See the kunai thatch on the house
269.
A meeting house for men.
270.
See it proudly standing there.
271.
Going there he gazed upon it.
272.
See the gardens of women
i
The word punya literally means 'gardens', but is regularly used in this figurative sense for things which are present in abundance.
273.
Sitting inside the house.
274.
Now look there at the doorway.
275.
See the women all rush right up.
276.
"A man is coming," they said.
277.
"He's mine!" said one of the women.
278.
"He's mine" said another, you see.
279.
"No he's mine" said yet another.
280.
Then they whooped and laughed together.
i
The kind of group laughing referred to here is common in this part of the highlands, among men, women and children alike. It starts with a whooping sound that people make together with a rising pitch, followed by a precisely timed burst of synchronized laughter.
281.
Just look at them all down there!
282.
They all rushed out and grabbed him.
283.
They all tried to hug him and fondle him.
284.
One lass took hold of his pork bag.
285.
One lass took hold of his ax.
286.
One lass took hold of his spear.
287.
One lass held one of his arms.
288.
One lass took hold of the other.
289.
One lass held one of his legs.
290.
One lass took hold of the other.
291.
See them all clutch him and carry him
292.
And take him up into the house.
293.
There they laid out a mat for him
294.
Saying "You can sit down here."
295.
Just look at that man up there!
296.
Then just look at that woman!
297.
See her put down the string-bag of pork!
298.
See her jump and rush inside
299.
Into the bedroom, see!
300.
See that big shoulder of pork.
301.
Just look at that big shoulder!
302.
Like poison from Poika-Palimi
i
According to my assistants, the comparison to 'poison from Poika-Palimi' does not imply that the meat was poisonous, but rather, that it was a precious object, brought from a long way away–Poika and Palimi being distant tribes. The kind of poison referred to here is carried in a container which is wedged into a forked stick of pandanus wood.
303.
Carried in a fork of pandanus.
304.
The meat was jagged and scrappy.
305.
She got it out and brought it.
306.
See her bring it and put it down.
307.
See her take out the bone.
308.
She put it down on the stones
309.
Then onto the fire to grill.
310.
Now see them heat up the stones
311.
And slowly roast the meat.
312.
Now see them give him the bone.
313.
Now see him sit there and eat.
314.
Now look at those sides of pork
315.
As they roast in the oven, you see?
316.
Now see them finish the cooking
317.
And taking the pork out to eat.
318.
But the lass of Kulkala called Tanga
319.
Stayed back in the bedroom, you see.
320.
She slept in a gourd, you see.
321.
She hadn't been seen at all.
322.
Only those other women
323.
Were there with the man, you see.
324.
They stayed on and on, you see.
325.
One woman called out "he's mine".
326.
Another one called out "he's mine".
327.
Another one called out "he's mine".
328.
One woman asked him to sleep with her.
329.
Another one asked him the same.
330.
But that fellow from Kupi called Tagla
331.
Seeing all of those women
332.
Did not really like them at all.
333.
For in his own mind, you see
334.
They weren't the one he would marry.
335.
He heard them but paid no attention.
336.
He saw them but held his ground.
337.
See, the woman he wanted to marry
338.
Must live somewhere else, he thought.
339.
That man called Kupi Tagla
i
The Ku Waru line yi kulkala yi-o tala actually means 'the man Tagla from Kulkala'. As my assistants have pointed out, this is clearly a mistake, as the man named Tala (=Tagla) in the rest of the story is not from Kulkala (=Kulkagla), but from Kupi. The person who is from Kulkagla is the central female character of the story, Tanga. So what the performer should have said is either yi kupi yi(-o) tala 'the man Tagla from Kupi', 'Kupi Tagla'; or ab kulkala ab(-o) tanga 'the woman Tanga from Kulkagla', 'Kulkagla Tanga'. Either would make sense in this context, the former referring to the person that Tagla was thinking about, the latter to him as the person having the thoughts. My assistants thought that the latter interpretation fit the context better, so I have followed their judgement.
340.
As he sat there and looked around.
341.
See those women there!
342.
See those sides of succulent pork!
343.
See as they take them all out.
344.
And heap them all up in a pile.
345.
But how could he eat, you see?
346.
He covered the pork and left it
347.
And stayed sitting right there.
348.
Just imagine that place in your mind.
349.
The sun started going down
350.
And the sky getting dark as pitch.
351.
See, they stayed in the house and talked.
i
The second word of this line, isik, is apparently a mistake. After saying it, the performer pauses as if to correct himself and then says a similar sounding word lku-suku, 'inside the house'.
352.
It really was getting dark.
353.
In my mind's eye the story unfolds.
354.
The house had many bedrooms.
355.
One bedroom for each of the women.
356.
For this one, see, that room there.
357.
For that other lass, see, that room there.
358.
For that other lass, see, that room there.
359.
See each of them unroll a mat
360.
And lay it out for Tagla.
361.
See, the first woman hoped to seduce him
362.
And the second one hoped to seduce him
363.
And the third woman hoped to seduce him.
364.
Each of them thought the same thing.
365.
"Oh Tagla, man of Kupi
i
As in line 339, the performer again uses the wrong name for the male character, this time kulukala yi-e tanga, combining the woman Kulkagla Tanga's name with the word yi 'man'. In context this should clearly have been kupi yi tala 'The man Tagla from Kupi'.
366.
Please come inside" they said.
367.
"Oh Tagla, man of Kupi
i
In this line, the performer identifies Tagla's origin place correctly (that, is consistently with what he says elsewhere) as Kupi, but again (as in line 367) uses the women's name Tanga for him instead. In the translation this has again been corrected to 'Tagla, man of Kupi'.
368.
Please come inside" they said.
369.
"I will not come in" he said.
370.
Instead I'll sleep outside" he said.
371.
But why, oh why?" they asked him.
372.
"I will not come in" he said.
373.
They begged him and begged him you see,
374.
On and on till midnight.
375.
"Aren't you getting sleepy?" they asked
376.
"No I'm not" he said.
377.
"But why stay there?" they asked.
378.
"I'm staying like this" he said.
379.
"I haven't come for you
380.
But for a woman called Kulkala Tanga.
381.
I haven't come for you".
382.
Then the women around him said:
383.
"We've never seen such a woman.
384.
We've never heard that name.
385.
Where does she live?" they asked.
386.
"We've never ever heard of her.
387.
So where will you go to now?"
388.
Kupi Tagla just sat there and listened
389.
As they told him they didn't know her.
390.
"I've heard her name, " he said.
391.
"And I've heard that she's here, so I know".
392.
And that's why I've come here" he said.
393.
Then they kept on talking, you see.
394.
Then, see there, one of the lasses
395.
See there, the room where she slept.
396.
She got up and went inside.
397.
And see there, asleep in the gourd
398.
Who but Kulkagla Tanga!
399.
Sleeping there in that gourd!
400.
Softly the woman spoke to her.
401.
"Tagla the man from Kupi
402.
Has come here to try to marry you.
403.
Will you marry him or will you not?"
404.
She asked that Kulkagla Tanga.
405.
"What sort of man is he?
406.
I want to see" she said.
407.
"Let me come out" she said,
408.
That woman Kulkagla Tanga.
409.
She jumped and came out of her room.
410.
And then the man Tagla from Kupi
411.
Stood there and looked at her, see.
412.
That woman Kulkagla Tanga
413.
Wanted to look at him too.
414.
But something was there on her forehead.
i
This is a figure of speech which conveys the idea that Tanga was too shy to look at Tala.
415.
So instead she looked down to the ground.
416.
That woman Kulkagla Tanga
417.
Wanted to see Kupi Tagla
418.
But something was blocking her forehead
419.
So instead she looked down to the ground
420.
How badly beautiful she was!
i
The expression which I have translated literally as 'badly beautiful', pepina(-nga) kis, ('of beauty bad') is example of the frequent Ku Waru use of the word kis 'bad' to mean just the opposite: very good indeed.
421.
Her nose made her eyes look small
422.
And her eyes made his nose look small.
423.
In my mind's eye the story unfolds.
424.
Some of her hair was tucked back
425.
Some of it fell to the front.
426.
You will hear and delight in the story.
427.
You will see and delight in the story.
428.
In my mind's eye the story unfolds.
429.
You will hear and enjoy it in yours.
430.
Right then he wanted to marry her.
431.
That's what the man was thinking
432.
And she thought the same about him.
433.
The minds of both, you see
434.
Were working completely as one.
435.
You will hear and delight in the story.
436.
Up there in the darkness of night
437.
Up there in that bedroom, see.
438.
See the two of them sleeping.
439.
Then when daybreak came
440.
The two of them left, you see.
441.
And then those people there,
442.
Those sisters of hers, said this:
443.
"You came to take her in marriage
444.
But we fear that her feet will get burned.
445.
We fear that her hands will get burned.
i
In other words, you might not take good care of her.
446.
To you we can not give her"
447.
"But I'm dying to marry her" he said.
448.
You will hear and delight in the story.
449.
Then, see, the women said
450.
"You know that pet pig of ours?
451.
Let's kill it and roast it" they said
452.
You will hear and delight in the story.
453.
Now see all those things.
454.
See all those chervil greens.
455.
See those savory ferns.
456.
They gathered them all
457.
And brought them back, you see,
458.
And then split firewood, see?
459.
Then they fetched a big club
460.
And whacked that pig on the skull.
461.
As he fell on the ground his tail quivered.
462.
In my mind's eye the story unfolds.
463.
Then they singed off the bristles.
464.
In my mind's eye the story unfolds.
465.
And after they'd singed off the bristles
466.
Over in there in the grass
467.
Those two knives were wrestling again.
468.
"Who's that?" thought those people.
469.
The bamboo knife from Meam
470.
And the Mos knife from Enga
471.
Those two were wrestling again.
472.
In my mind's eye the story unfolds.
473.
"Enga, you're greedy" said Meam.
474.
Mos said "Meam, you carve it too small"
475.
And then that Meam bamboo
476.
Turned to the Enga knife
477.
And chased him far away.
478.
First he cut the pig upward
479.
Right up to the base of the throat.
480.
Then he cut it downward
481.
He severed the gut at the bottom.
482.
In my mind's eye the story unfolds.
483.
You will hear and enjoy it in yours.
484.
You will see and enjoy it in yours.
485.
And then that bevy of lasses
486.
Brought all the greens that they'd gathered.
487.
"Easy now" they said.
488.
They quietly cut up the meat.
489.
It looked just like inside a poin tree.
490.
It looked just like inside a maip tree.
491.
In my mind's eye the story unfolds.
492.
Now see them sample the meat
493.
As they stayed there quietly chatting.
494.
They covered it and left it there.
495.
In my mind's eye the story unfolds.
496.
You will hear and delight in the story.
497.
As for that woman Kulkagla Tanga
498.
You will hear and delight in the story.
499.
You will see and delight in the story.
500.
You will hear and delight in the story.
501.
As they did all this, you see
502.
That woman jumped for joy
503.
And into the house she dashed.
504.
In my mind's eye the story unfolds.
505.
The lass looked simply gorgeous.
506.
The lass looked lip-smacking good.
507.
The lass was badly beautiful.
508.
Some of her hair was swept backward.
509.
Some of it fell to the front.
510.
The lass was badly beautiful.
511.
And Kupi the man from Tagla
512.
In my mind's eye the story unfolds
513.
When all this had been done
514.
That netbag for carrying pork
515.
They filled for him and said
516.
"You two can go now, you see.
517.
But when your journey is over
518.
Into the house, this woman,
i
The first of the two words suku suku 'inside inside' is evidently a mistake. Alan Rumsey and his assistants agreed that from the context, and from what happens in the rest of the story, the first word should clearly have been lku, lku suku meaning 'inside the house'.
519.
will not go" they said
520.
In my mind's eye the story unfolds.
521.
Just out on the road, you see,
522.
Is where she must sleep" they said
523.
You will hear and delight in the story.
524.
You will see and delight in the story.
525.
And then the man Tagla from Kupi
526.
Hearing the words that they'd said
527.
Pondered them long and hard.
528.
"We’re going” the two then said.
529.
"Off with you then!" said the others.
530.
In my mind's eye the story unfolds.
531.
You will hear and enjoy it in yours.
532.
Off they went, past Mount Tuip
533.
And past Mount Taip, you see?
534.
On they came, you see?
535.
Back on the road that he'd come on
536.
Down that hill there, you see
537.
And up this hill here, you see
538.
On and on they came.
539.
Coming and coming, you see?
540.
To a place just like dear old Alkena
541.
To a place just like Alkena meadow
542.
Now see there, his very own house!
543.
Like the one over there at Puksa
i
Puksa is the name of the place where Alan Rumsey and his assistants spent the night on our visit to Alkena where this performance was recorded.
544.
As they got close they quietly chatted
545.
"Oh Kupi from up at Tagla
546.
Where is your house?" she asked.
547.
"Just up there" he answered.
548.
"I won't go there", she said.
549.
"I'll just sleep here" she said.
550.
"I won't go in there" she said.
551.
In my mind's eye the story unfolds.
552.
"How can you sleep houseless?" he asked
553.
"No, I'll sleep somewhere else
554.
You just go on" she said
555.
"Come and look tomorrow.
556.
I'll do fine sleeping here" she said
557.
In my mind's eye the story unfolds.
558.
As for Tagla the man from Kupi
559.
He listened to that woman's words
560.
And considered just what she had said.
561.
Then the man quietly went.
562.
See as he went on his way.
563.
Now up at that house where he lived
564.
That mother of his was there.
565.
That father of his was there.
566.
There they sat, you see.
567.
Then Tagla the man of Kupi
568.
Looked inside of the house.
569.
In my mind's eye the story unfolds.
570.
"Tagla you man of Kupi
571.
You've really returned" they said
572.
"But the thing that you went to get
573.
You haven't come back with" they said
574.
"What did I go for?" he asked
575.
In my mind's eye the story unfolds.
576.
"Was it something for you?" he asked
577.
"I went there for nothing" he said
578.
"And came back with nothing" he said.
579.
Softly, he spoke, I see
580.
Tagla the man of Kupi.
581.
Then all of them went off to bed.
582.
They slept and slept, you see.
583.
See them sleeping there?
584.
Then early next morning, see?
585.
Just as day was breaking
586.
He thought of the fix he was in.
587.
That Tagla, that man of Kupi.
588.
His mind was racing in circles.
589.
He lay there thinking of that
590.
He lay there and thought some more.
591.
Later that morning, you see
592.
While his parents were there, you see
593.
He pretended to stay nearby
594.
But really he'd headed on down
595.
Down to that grassland below
596.
Or down where he thought it would be.
597.
But look what he found instead!
598.
See that fine kopia foliage!
599.
See those kangun trees!
600.
And those white-flowered manyami trees!
601.
Look at those things over there!
602.
See the fields of bukapandu cane
603.
Standing up like weeping widows!
604.
See the fields of pagla sugarcane
605.
Tied up in tall shocks for the taking!
606.
With the terikl bird nesting on top
i
According to Alan Rumsey's assistants, the point of this line is that it shows that the sugarcane shocks were very tall; otherwise the terikl bird would not be nesting in them.
607.
In my mind's eye the story unfolds.
608.
You will hear and enjoy it in yours.
609.
In my mind's eye the story unfolds.
610.
A lawn of noma and nama grass
611.
A long and stately display ground
612.
Had appeared over night, just look!
613.
In my mind's eye the story unfolds.
614.
See him behold it in wonder!
615.
Gardens of grand men's-houses.
616.
Were lined up neatly there
617.
In my mind's eye the story unfolds.
618.
In my mind's eye the story unfolds.
619.
He looked along the yard's edges
i
The performer first uses the Tok Pisin Word arere 'side, edge', and then corrects himself, replacing it with the Ku Waru word amad.
620.
See the gardens of cassowary birds!
621.
Tethered there in neat rows.
622.
How they did glisten and shine!
623.
In my mind's eye the story unfolds.
624.
Alongside the houses he saw
625.
Oil of the kipgau palm
626.
And gardens of bamboo oil
627.
In tubes all lined up neatly
628.
Like bundles of bamboo stalks.
629.
In my mind's eye the story unfolds.
630.
"You've done this!" he thought about her.
631.
The man's heart was pounding with joy.
632.
In my mind's eye the story unfolds.
633.
You will hear and delight in the story.
634.
Then he looked down there, you see?
635.
See the huge long woman's house
636.
With its massive central beam.
637.
Not only one, but acres!
638.
Acres of them, see!
639.
As they say, "Do you tend and eat pigs?"
i
This a commonplace rhetorical question–rather like 'Is the pope Catholic?–which here serves to introduce the subject of pigs.
640.
Acres of them, see!
641.
Their tusks all stuck right out.
642.
See them all lined up there!
643.
See them all lying there!
644.
In rows right up to the doorway.
645.
That man could not have been happier.
646.
See him go into the house.
647.
See that woman there
648.
Knitting a beautiful netbag
649.
Cooking and serving the sweet potatoes.
650.
There she was, you see?
651.
"Tagla, man of Kupi
652.
Is it you who's coming?" she asked.
653.
"Yes, I'm coming" he said.
654.
See him go in and behold her.
655.
His heart was going like crazy.
i
Literally: 'What his heart was doing was something else'.
656.
In my mind's eye the story unfolds.
657.
See her give him sweet potatoes.
658.
See him eat them all up.
659.
See her roast and prepare the pork.
660.
See as she served him these things.
661.
See as he stayed there and ate them.
662.
See how after eating
663.
He walked around and looked
664.
Then came to the house of his parents.
665.
He came to the place where they were.
666.
See as they quietly fed him.
667.
See as he ate and stayed there.
668.
See as he stayed and listened
669.
And then came back to his place
670.
He came and saw his wife there.
671.
And then he’d go back up
672.
Back to the home of his parents.
673.
They kept going on like that
674.
Till both of his parents had died.
675.
See as he buried each one
676.
And he alone survived.
677.
See as he kept on living
678.
See, down the hill with his wife.
679.
See the two of them going 'round together.
680.
See the two of them going 'round together.
681.
Together they traded in pigs
682.
And who knows what sorts of wealth
683.
Kina shells shiny as bones.
684.
She backed him up all of the way.
685.
Those wonderfully fattened pigs
686.
She pushed upon him to trade
687.
Those tubes of precious palm oil
688.
She pushed upon him, see?
689.
Those cassowary birds, you see
690.
She pushed upon him, see?
691.
Till he got to be a big-man, see?
692.
A really rich man, you see?
693.
He really went right to the top.
694.
His tally necklace, you see
i
These necklaces, omak, where worn by big-men to show how many pigs they had given in moka, with one stick laying across the man's chest for each quantum of pigs (often reckoned in sets of eight, ten, or twenty cf. Strathern 1971:6,189 et passim).
695.
Hung so low it was pissed on,
696.
So low that it dragged on the ground.
697.
In my mind's eye the story unfolds.
698.
You will hear and delight in the story.
699.
That man became richer than rich.
700.
He went around doing these things.
701.
But that wife of his, you see,
702.
And the words that they'd spoken about her
703.
He couldn't get out of his mind.
704.
"To do as man and wife
705.
Is not our lot" she said.
706.
"We must keep living without it.
707.
We must keep living without it."
i
According to Alan Rumsey's assistants the first word of this line, pa, has no meaning and is a mistake: it should have been we 'nothing', without' as in the previous line.
708.
So they'd kept on living without it.
709.
"Until we die" as she'd said.
710.
That's all he could ever think of.
711.
That's all the man had on his mind.
712.
As he made his daily rounds.
713.
And then one day, picture this,
714.
She'd cooked and served his sweet potato
715.
But the man ate none at all.
716.
She'd cut sugar cane and served it
717.
But, see, he did not eat.
718.
She'd roasted pork and served it
719.
But, see, he did not eat.
720.
She said to Kupi Tagla
721.
"Look, you don't eat the food that I give you.
722.
What are you doing?" she asked.
723.
The man didn't answer at all.
724.
He'd certainly heard her, you see.
725.
But just made an angry face.
726.
He heard and just stayed without answering.
727.
"His mind's on something else"
728.
The woman thought to herself.
729.
The two kept thinking like that.
730.
They then went to bed, you see.
731.
As they lay there, towards morning she asked him
732.
"What are you thinking about?
733.
I give you all these foods
734.
But you won't eat a single thing.
735.
So what's on your mind?" she asked.
736.
But did that man answer her question?
737.
No, see that man there.
738.
He said not a word in reply
739.
"What are you really thinking?
740.
Are you thinking of 'man and wife'
741.
What are you thinking?" she asked
742.
Then the man felt better.
743.
He smiled when he heard what she'd said
i
The first two words of this line, numan kaniyl ('that mind') are apparently a mistake. The performer takes a breath after them and then begins a new sentence.
744.
Now see that man there
745.
See the smile on his face.
746.
Then the man spoke, you see.
747.
"What you have done is good.
748.
Now let us sleep" he said.
749.
Then, see that man there
750.
See him split firewood.
751.
See that woman there.
752.
See her cook sweet potato
753.
There in the bedroom, see
754.
As the two of them lay there, see?
755.
They lay there at night, and then
756.
Did the woman go this way or that?
757.
She might have gone that way, look!
758.
But look at that poor man!
759.
At that place like Alkena grassland
760.
There he lay in the swamp
761.
His body all covered with mud
762.
Down amongst the swamp grass.
763.
Just look at him lying there!
764.
Still sleeping but now in the swamp.
765.
Then that man,
i
Here the performer apparently ran out of breath after the first two words of the line and was not able to finish it before taking a breath, after which he began a new line. Accordingly, Alan Rumsey translated the line with a shorter-than-usual English one, with only two beats instead of three.