HEnglish 10 Portfolio

Book of Pebbles

Kahiwakuikanaulu Kelikokauaikekai Hoe

For my Father, Keliko,

and my Mother, Hoku

Kahiwakui Hoe Tuesday, May 5, 2015 at 9:45:20 AM Hawaii-Aleutian Standard Time 88:1f:a1:06:bf:d8

TABLE OF CONTENTS

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1. INTRODUCTION

2. QUARTER 1 A. ENTRY ESSAY B. MACBETH ESSAY

3. QUARTER 2 A. LĀ‘IEIKAWAI ESSAY

4. QUARTER 3 A. GILGAMESH JOURNAL B. OEDIPUS LETTERS

5. QUARTER 4 A. ORIGINAL POEM B. CONCRETE POEM C. POTIKI REVIEW D. BOOK OF STONES REVIEW E. ANNOTATIONS F. OUTRO

6. BIBLIOGRAPHY

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PAGE 20PAGE 21PAGE 23PAGE 25PAGE 27PAGE 29PAGE 29

PAGE XXXI


Hello Mom and Dad, I would like to wish you two a relaxing and jovial Father’s and Mother’s Day. This iBooks presentation is a compilation of my literary and visual works over the course of my Hon-ors English 10 experience. Some more recent pieces are my Oedipus Letters, which are staged in ancient Greece, addressing the stepbrother and uncle of Oedipus, Creon. Within my letter, I address several ideas and feelings that Creon may have had whilst advising the king and being the king. One such feeling I am sure he experienced is the insecurity and need for control over others. This then lead to him controlling his own family. Unfortunately, his need for dominance ultimately lead to their demise. My collection also includes my earlier works, like my entry essay, showing the progression of my writing abilities and skills. From this compilation, I hope to learn from my mistakes and improve upon my current standing in order to better shape my future. I hope you enjoy my compositions within this iBook folder.

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MY BOOK OF PEBBLES

2Kahiwakui Hoe Tuesday, May 5, 2015 at 9:45:20 AM Hawaii-Aleutian Standard Time 88:1f:a1:06:bf:d8

QUARTER I


Some believe that destinies are set in stone and a person’s purpose is decided before they are born, while others believe that an individual forges their own path. The Earth has a destiny and a path that it follows and adheres to as well. The road that it is walking currently has most recently been a downward stroll. But, it is believed that if humans change their ways for the better of the planet, the Earth will start a new and upward path.

The Earth has been through better times than the ones it faces now. When humanity was younger, there was less pollution than there is now. This is mostly due to their thirst for knowledge and becoming better than was previously thought, increasing the need for certain substances that were harder to access. These unsustainable substances had to be obtained with different meth-ods. And in the end result of many of these acquisitions, pollu-tion was released. An example of this is the mining of ores like iron, gold, and other such metals. This process sometimes in-volves the destruction of mountains and hills, which creates ero-sion, that eventually reaches the sea, where the marine life suf-fers from the runoff. Another case of pollution caused by humans is the manufacturing business. The manufacturing of goods like

ENTRY ESSAY


plastic and food products can emit harmful gas-ses like carbon monoxide into the atmosphere. These emissions can then work to break down the ozone layer that protects the Earth from the sun’s harmful UV rays. Humans have been the largest cause of pollution in the world so far.

Although humans have made a huge nega-tive impact on the world, it is possible to turn the tide. Efforts to make sustainable energy ma-chines a major source of electricity have been helpful to the process. Reduction in emissions like carbon monoxide and other such gases has been attempted and successful at times. The hybrid and electric cars have been a successful example in the emission reductions. Solar pan-els are examples of sustainable solar energy gradually replacing unsustainable energy sources like oil and fossil fuels. Aspects of na-ture like photosynthesis in grass have been the basis of our new sustainability trend. To help combat air pollution, the EPA (Environmental Pro-tection Agency) and other similar organizations have induced limits on corporations as to their emission amounts. This means that major corpo-rations like Kraft® and Apple® will have to make sure that the emissions from their factories are limited to a certain amount to avoid prosecution. This has been another effective method induced to inhibit pollution. Humanity has the capability to change the tide of the pollution “war”.

If the sustainable movement is adhered and enacted, the Earth will probably experience many benefits. One of the most obvious rewards the Earth and all life on it will reap is the repaired ozone layer, which is currently damaged. The fixing of this vital protection will decrease the amount of ultraviolet radiation from the sun leak-ing into the Earth’s atmosphere, decreasing the

chances for diseases inflicted by such rays. An-other benefit of a world free of pollution would be the surplus of renewable energy generated in the process of becoming sustainable, driving down the price for energy. In the current state, gaso-line prices are expensive and continuing to rise because it is a finite resource. However, with “free” energy being generated, the price for elec-tricity would plummet and make life easier for the average citizen. With the world’s energy prob-lems obliterated, wars over oil and oil deposits would cease to exist as well. With fewer wars, more money could be spent on education, cul-ture, and other important things, sparking a new age of exploration into the future. On the visual side, the skies would become clearer, allowing better telescope images and creating a pleasant viewing experience for people. Once polluted towns and cities would become a clean destina-tion for interaction, rather than a polluted land of foul-smelling area where sickness would dwell. The world could become an even more beautiful place without the pollution that constantly inhibits it.

The world has a destiny that it follows and is largely affected by the decisions of Homo sapi-ens. From the mistakes made in the past that have damaged the present, we must learn to heal the earth and renew the former glory of this wondrous planet. Humans have started upon the glorious path but must keep faith and perse-vere through the times to revitalize the world that was and uplift it even more.


Macbeth and People’s Struggle for Power

Dominance and power are poisons that corrode the jovial side of humanity. In truth, life is so short and insignificant com-pared to the expanse of time that one lifetime of harsh and selfish rule is nothing compared leaving an immortal legacy of kindness and well being in one’s stead. The play Macbeth by William Shakespeare made me feel a sense of disgust toward humanity as it illuminates the inhumane things people do in the pursuit of power. My illustration entails the carnage and nauseatingly vile legacy that Macbeth gained in order to become the monarch of Ireland.

MACBETH ESSAY


I have found my learning style to be based on the conceptual understanding of literature. In my illustration, the symbolism of the dark throne being placed upon the mountain of corpses is a metaphor for a single person or group that has risen to dominance from the death and suffering of others. This is a major concept in the literature where Macbeth murders his friends and enemies alike to become king. This concept is present in many aspects of human life and literature.

The idea of degrading or reducing a per-son or a group to increase the amount or power of another has been shown throughout history. The basis of this concept is balance: where something will falter, another will thrive. In Mac-beth, Macbeth seizes the throne by killing Dun-can, placing him at the head. Even in the pre-sent, this notion is prevalent in the domestic sense, where major companies increase their prices to drive the wealth of the common people down while increasing their own affluence. A specific example would be interest from loans that constantly saps the earnings of a person and build the bank’s wealth. In ancient Hawai’i, in order to increase one’s spiritual rank, known as mana, they would often have to kill the person to gain their mana. In 19th century Hawai’i, the missionaries would trick the native people into giving up the land to increase their dominance over Hawai’I, eventually leading to the overthrow of the Hawaiian monarchy in 1893. Whether it is in Hawai’i, Macbeth, or beyond, one will gain while another will lose. My illustration provides a visual description of this.

There are multiple visual metaphors within my artwork. For one, the many red marks and splotches symbolize the murder in Macbeth and the suffering in life. The skeletons help to further

indicate the atrocities that are committed in the pursuit of power. The skeletons also signify Mac-beth’s victims, such as Duncan, Banquo, and Macduff’s family. The black throne upon the mountain illustrates the dominance of a figure that sits upon all that they have smitten to rise to leadership. The mountain also signifies the previ-ous actions that define a person’s background. When the sergeant says “For brave Macbeth / well he deserves that name…” (I,ii,16-23) he de-tails how Macbeth was the greatest warrior in that battle. This glorification of Macbeth played a part in King Duncan’s decision to appoint Mac-beth as Thane of Cawdor, leading to the usurpation of the throne. This can also allude to the 19th century in Hawai’i when the missionaries glorified themselves. As time passed, they be-came a majority, as did the idea of Westerners being dominant. When the witches address Mac-beth and rant “All hail, Macbeth! / That shalt be king hereafter” (I.iii.50) they prophesize Mac-beth’s rise to power. At the time Macbeth and Banquo dismiss the prophecy as a notion from a deranged creature, but as time goes on, Mac-beth becomes convinced that the witches’ rant was meant to come true, leading to Macbeth’s decision to kill Duncan for the right to rule. In terms of the regard that Macbeth and Banquo have for the witches, sexism is present. Shake-speare’s depiction of the witches, who are single women, makes them look like hags who are evil and deranged showing the distaste for single women in the Elizabethan era. While Macbeth is thinking to himself, he says “If it were done when ‘tis done, then ‘twere well…” (I.vii.1-27) showing his contemplation as to how the assassination would play out. Although his analysis of the at-tack does not prove enough to motivate him, his wife is one of the main pushers for the attack.


This is another example of sexism, portraying Lady Macbeth as an antagonist poisoning the mind of the just man who would be otherwise pure without her. In scene two, Macbeth quotes “I go, and it is done / the bell invites me / Hear it not, Duncan / for it is a knell / that summons thee to heaven or to hell” (II.i.62-64). From this we now know that Macbeth has carried out the deed. This cause is the main reason that brings Macbeth to his rule. The quote “The sovereignty will fall upon Macbeth” (II.iv.30) speaks of Ross’ saying that Macbeth will become king in place of Duncan. This quote entitles the effect of all the subsequent causes.

For all the pain and trouble in the pursuit of power, it bears fruit to similar effects that will pain society in the future. If power and prosperity for all were sought after, the subsequent effects would also benefit those of future generations. The inhumane actions that push others down for one’s selfish gain must be stopped if we are to thrive as a community and as a species. Mac-beth is a piece of literature that evokes the feel-ing of disgust at our own race in me, but this trag-edy also makes me want to fix this issue.


QUARTER II


Humans have a tendency to want more than what they need, an example being the desire to obtain more land when one has enough to fulfill their own necessities. Humans have many pastimes and pleasures that they indulge in, like sex, drugs, and alcohol. Whether these satiations are well worth one’s attention remains in the eye of the beholder. Lāʻieikawai, by S. N. Haleole, is a literary masterpiece that serves to illuminate character flaws, selfish desires, and deceptions.

In Lāʻieikawai, there are many men who choose to meander off the path away from their spouses, choosing the sexual com-forts of other women. One such example relates to Halaaniani’s betrayal, where, instead of loving his newly found wife and being a devoted and affectionate husband, he egotistically chose to please himself by defiling Lāʻielohelohe, Lāʻieikawai’s sister. He then lied to Lāʻieikawai, stating that he would be dead if he didn’t return to her in two days, while he was in fact stalking and seduc-ing Lāʻielohelohe. When Lāʻieikawai believed that he had per-ished, she mourned the fallacious demise of her husband. Dur-ing this time she recited chants of deep sorrow and longing for her supposed deceased. A line from one such lamentation chant

THE PURSUIT OF FALLACIOUS JOVIALITY IN LĀ‘IEIKAWAI


states, “My feelings tremble, love shakes…”, de-scribing the overwhelming anguish she experi-ences (Haleole 2006: 63). In another poignant ex-ample, Waka, Lāʻieikawai’s grandmother, discov-ered her intimacy with someone other than whom she chose. Waka then disowned Lāʻieikawai and stripped her of her title, leaving her with nothing but her beauty and her hānai sisters.

A perhaps greater betrayal appeared later in the tragedy, with Lāʻieikawai’s second hus-band, Kaʻōnohiokalā. This new husband was meant to compensate for her loss and rejuvenate her ravaged ego. Kaʻōnohiokalā was an akua and descended to Hawaiʻi to marry Lāʻieikawai, and he became a mortal aliʻi in the process. Once the two aliʻi were wed, they lived together contently until a wicked desire for Lāʻieilohelohe arose in Kaʻōnohiokalā. He then guilefully rear-ranged the government in order to relocate his sisters and Kekalukaluokēwā away from Lāʻielo-helohe, allowing him to commit wicked adultery.

The two previous betrayals mirror that of the foreigners who deceitfully took the land and forced many of their ways upon the native peo-ple after they had obtained the Hawaiians’ trust, despite being invited to live amongst the kanaka maoli. This betrayal uncovers another aspect of humanity, the unquenchable thirst for domi-nance. In many cultures and civilizations there are those who wish to ascend above their “weaker” brethren. An example of such an occur-rence would be the exterminating conquest of Adolf Hitler, where he believed that people of the Jewish religion were abominations and that it was his duty to eradicate the likes of such peo-ple. Like Kaʻōnohiokalā’s deception, one can see that same aspect of the missionaries and their descendants in Hawaiʻi who painstakingly

helped to reform the government in order to place themselves and others as the dominant race, thrusting down the Hawaiian populace eco-nomically and socially.

The manipulation of Lāʻieikawai’s emotions by Kaʻōnohiokalā could also be alluding to the number of women who are cheated on by their spouses. Haleole knew that there are tempta-tions that arise in the darkest corner of our minds. However, if the problem is not addressed, this immoral notion may grow into something more devious, creating tumultuous conflicts not only with oneself, but with others.

At another point in the story, Haleole ac-quaints readers with the natural machinations of Kapukaihaoa, Lāʻielohelohe’s hānai grandfather. Initially, he seems a protagonist and righteous character when he helps Mālaekahana, Lāʻieika-wai and Lāʻielohelohe’s mother, save the twins. For years, Kapukaihaoa protected Lāʻielohelohe. However, when Lāʻielohelohe weds Kekalu-kaluokēwā, Kapukaihaoa receives no special re-ward besides remaining a part of the ʻohana (fam-ily). Until Kaʻōnohiokalā confronts Kapukaihaoa, readers believe that he is content with what he has already, ʻaʻole kā (absolutely not). Tragically, when Kaʻōnohiokalā seeks Kapukaihaoa’s con-sent to defile Lāʻielohelohe, her grandfather re-veals that he wishes only to be rewarded for his actions and that he would gladly give his con-sent for a reward at his granddaughter's ex-pense. In his betrayal, we see the great thirst of humanity to thirst for more than is needed. This relates to an attitude of entitlement for that which is not rightfully theirs. This lack of satisfaction on Kapukaihaoa’s part could have been appeased if he had recollected his great accomplishments and the astounding kindness he had shown the


family of Lāʻieikawai. My grandfather Calvin Hoe once said, “We are lucky to live in such a beauti-ful world, and we are even luckier if we know that we’re lucky.” In Lāʻieikawai, many of the men do not appreciate what they have already and in-stead desire pleasures that are faulty, like sexual intercourse with a woman at the expense of the woman’s emotions. There is much truth here be-cause we are all fortunate for many things, but if we do not appreciate our good fortune we can-not entirely revel in our splendor.

Haleole was as great a devoted Christian as he was a loyal native Hawaiian. He allegedly makes many references to the Bible, especially in the later sections of the story. One such exem-plification was the arrival of Kaʻōnohiokalā and his judgment of those below, accompanied by the makāula Hulumaniani proclaiming the arrival of the heavenly being. This event could be a ref-erence to the second coming of Christ and how he would bring the judgment of God along with him. The makāula can be compared to a prophet, like Muhammad, declaring the coming of his Lord; Hulumaniani he was rejected and sentenced to death by ʻAiwohikupua. This can also mirror the Roman’s decision to crucify the Christian son of God. The idea of a great being descending from the heavens to bring death and destruction to those who do not give in to their ways, while those who submit will ascend into the glorious lands, seems to have made Haleole contemplate the hypocrisy of those who judge the guiltiness of others. Ironically, Kaʻōnohiokalā possessed wicked thoughts of defiling his own sister-in-law. Metaphorically one must ask whether all of Hawaiʻi’s missionaries and Chris-tians were performing their religion ethically or not?

While the tale of Lāʻieikawai divulges the weakest temptations of humanity, the story can relate to the betrayal of the foreigners who wrought Hawaiʻi from the hands of its people. In his references to Christian values and the Bible, Haleole seems to have analyzed what the west-erners intended even before the overthrow oc-curred in his references to Christian values and the Bible. In life, people must ask themselves and others whether they are living ethically or whether their actions as such are blinded by con-forming to a society that tolerates corruptions, de-ceit, and hypocrisy.


QUARTER III


Much research has been conducted as to our origins and our purpose in life, specifically the theory of the “Big Bang” to ex-plain the spontaneous creation of the universe from seemingly nothing to an ever expanding cosmos. It is often said that our ori-gins and our roots show ourselves for what are and what is to come, but I believe that to live in the past, and seek what is so distant, is folly. In the epic tale of Gilgamesh, a Sumerian tale of his spiritual transformation to become human, entails the lesson of relinquishing our faulty reminiscence of the past and our deso-lation in loss. Immense power can be wrought from one’s accep-tance of what has come to pass and their ability to look ahead into the future. Enkidu was a man in physical appearance, but originally animal in mindset. He was forged into a man through enlightenment at the hand of sexual intercourse, sequestering him from his former beastial acquaintances. This led him to the god-king Gilgamesh, where a similar spirit of great strength was recognized in both men. Gilgamesh’s empire seemed to be bound by the mighty forest in the lands afar. After this tumultu-ous journey, Enkidu had fallen into the flaming hands of death and was ultimately consumed by a sickness inflicted by the kill-ing of Humbaba. This loss was one whose’s poignancy was unbe-

GLIGAMESH JOURNAL


knownst to Gilgamesh and induced a desolate longing and depression that turned the once tri-umphant king into a grotesque amalgamation of human despair. Only after he had weathered the sea of death and returned to his kingdom, he learned that death was humanity’s and it was as common as the breath that escapes our decay-ing bodies. This acceptance freed him from the surly bonds of regret and despair, truly a power-ful lesson.

Whether development and progression in society is more advantageous or detrimental to society is quite the controversial debate. It must be known that for something to rise in power, an-other must decrease as well in order to satiate the balance of nature. Gilgamesh’s conquest to overcome the forest in order to make way for his growing empire mirrors the conflict of whether to advance or to keep the ways of old. Humbaba, the forest guardian, was seen as an evil being that challenged the power of Gilgamesh. But when he was confronted, the battle was short lived, for his power was unworthy in the face of Gilgamesh’s and Enkidu’s might. The truth was uncovered, which showed Humbaba was merely one who wanted to protect the forest life and fauna within his domain. This battle is a possible allusion to the destruction of forests in our time and poses the question of whether development is truly in our best interest.

What seems unknown to so many is the no-tion that evil or darkness must exist in order for light to be recognized as such. Too often people seek a utopia in which no evil or hatred exists, and although such an elysium appears as the ideal existence, it is fallacious. The main point being that you don’t know what you have till it is gone, can relate to the concept of “negative”

space to envision the object surrounded by the “negative” space. In the tale of Gilgamesh, the king of Uruk took a journey to seek his deceased friend and companion. In this story, only after Gil-gamesh’s friend passed and was taken from him, did he realize how he took their friendship for granted and how blind he had been to his rash decisions leading to Enkidu’s death. In addition, only after Gilgamesh had faced the sea of death and experienced Utnapishtim’s words of wisdom, did he mature in thinking. He then came to the realization of how futile his actions were and how Enkidu’s death was unavoidable.

Fear often grows from a lack of understand-ing, and so humanity has often created beings to explain what is unknown in order to surpass the bondage of fear. This was necessary because a sturdy house cannot be built upon amorphous soil, but rather solid and definite stone. How-ever, this belief in these immortal beings has pro-gressively grown stronger, to the point where a majority of the populace believes in a religion. In Gilgamesh, there are multiple gods, goddesses, and supernatural figures. Although these celes-tial beings hold much strength, it is ignorant to think that their power entitles them to such a stat-ure in wisdom and exemption from a “fractured” mentality. After Gilgamesh and Enkidu had de-feated Humbaba, they were met by Ishtar, the goddess of love, fruitfulness, and war (Ma-son,II,42). She offered immense wealth and pros-perity to Gilgamesh if he would consent to her proposal of marriage, but Gilgamesh retorted and smote her with words of great vulgarity. In this act of defiance, it seems that perhaps be-cause he was so rash and enraged that she would think him so shallow, but perhaps this act is an example of him seeing her as a human at heart.


At the end of the epic, the reader is told that Gilgamesh had looked upon the wall that his people had built and finally appreciated their great monument. At the beginning of the tale, Gil-gamesh seemed to disregard his loyal people, making his acknowledgement an immense re-form. This transformation mirrors the shift from polytheistic ideology in Sumerian culture to mono-theistic religions that many follow today. The story seems to travel from the first two parts, which include many gods that seem to cause much disruption and tumult, to Gilgamesh’s se-renity after his realization of death as a natural part of life. In the first half of Gilgamesh, the peo-ple look upon the gods as beings of great power and authority, whom reveal their deities to be human-like in nature. However, as the story pro-gressed, the ideology of the people seemed to be free from human tumult and instead seeking deities, or one deity who would oversee all, and who are removed from suffering.

The serpent in Gilgamesh seemed to be very similar to the serpentine Lucifer in the Bible. In the tale of Gilgamesh, the serpent consumes the plant that holds the power of immortality, and allows Gilgamesh to realize the futility in his plan to save Enkidu. In the Bible, the serpent tempts Eve to eat the forbidden fruit, which would send them away from the Garden of Eden. In Gil-gamesh, the serpent appears to be pure in inten-tions and not evil, for he appeared wishing only to satiate his hunger. But, in the Bible, the ser-pent is viewed as a symbol of evil that would cor-rupt the minds of man. Furthermore, the Garden of Eden is thought of as a paradise, which can be defined as a place “surrounded by walls.” This notion seems to show God’s paradise in ex-tremity as a prison, holding Adam and Eve within. We also see that many things have been

accomplished since the Fall and perhaps it was necessary for Eve to consume the fruit in order for humanity to flourish. Gilgamesh perhaps shines a new light upon the serpent. Perhaps the serpent is instead of a virtuous and just na-ture, for the serpent provided Adam and Eve with the power of freedom and the ability to forge their own path.


Dear Creon,

When you were notified of your brother’s death, were you met with a feeling of anguish and sorrow, or perhaps a notion of joviality? People often think that heirs to the throne are eager and perhaps impatient for their turn at the lead position. However, you were graced with the privileges of nobility, yet without the tu-multuous concerns and burdens that often follow. You had wit-nessed firsthand, your brother’s conflicts and the many strains that were placed upon him. Although you grew up with Laius and was raised in the mindset of the Theban nobility alongside him, perhaps you harbored a dark idea of jealousy. Have you long waited for his end and for your rule to envelop and reign su-preme? Families share a strong bond, yet everything fades given time. How did you react to this unexpected arrival of Oedi-pus and his quick ascendance to the throne? Was the brotherly love that you shared with Laius present in your outlook on Oedi-pus, and you would rather see him cut down and you placed upon the throne instead. What do you think of this stranger who arrived soon after your brother’s death? Perhaps you have suspi-

OEDIPUS LETTERS


cions of his origins and whether he has any affilia-tion to your brother’s untimely demise.

Oedipus has been revealed and his actions are now apparent. He has murdered his father and impregnated your sister. However, although you may feel great poignancy and disgust at what he has committed, do you think Oedipus a sinner? It seems that it was not in his intention to commit such terrible actions; Oedipus merely re-acted to the situations he was presented with. His father, the late king Laius, had acted rashly and tried to kill Oedipus because he was simply in the way of Laius’ entourage; self-defense seems to be Oedipus’ only action. Because a vacancy was created in the leadership and Oedi-pus was the savior of Thebes, his reward as Io-casta’s hand in marriage seemed fitting. How ironic that he saved the city from the sphinx’s grasp, only to bring a plague of sorrow later.

Sincerely,

Choragos

Dear Creon,

Now that a plague has befallen Thebes and you must fetch Oedipus in order to appease the anger of the gods, do you feel as though you are losing some authority? Even though you are the king’s godfather and you remain the second in line to the throne, it seems that you have been tasked with a messenger’s errand to fetch an indi-vidual. Or is it that you have been given a most prestigious task of using your silver tongue to per-suade Oedipus into willingly returning to Thebes. Perhaps this is so, but even then, if you were to

become king, how would you gain the trust and approval of your people?

Oedipus’ death seems to have been a be-fuddling occurrence. He left willingly and ac-cepted his predetermined fate. However, the most intriguing fact was how he was taken, be-cause a transcendent force was the obvious cul-prit. Oedipus’ physical form seemed to have dis-appeared from existence at the foot of the tem-ple. However, Oedipus’ transgressions were ab-horrent and terrible, which would have sparked an equally vile death by the hand of the gods. But, his death granted him peace from the guilt of murdering his father and making love to his mother, which would seem to say that the gods condoned the actions that he had committed. Perhaps Oedipus’ actions were only transgres-sions in the eyes of the laws that were created, but unfortunate coincidences in the eyes of those above. Such a reality would show error in the laws of society. If you were to become king, how would you govern your people? Would you use the laws of your people, or forge them anew?

Sincerely,

Choragos

Dear Creon,

Although you saw Polyneices as a heathen and a traitor to the Theban populace, do you not fear any repercussions that the gods may inflict unto you for not appeasing your nephew’s soul? Even if the prohibition of Polyneices’ burial was suitable, was Eteocles’ commemoration and bur-ial as a warrior rightfully bestowed? After all, you of all people should know that it was Eteocles who failed to relinquish his rights as king to Poly-


neices, as they agreed, and yet Polyneices is banished from his homeland. When Oedipus was in charge, you seemed to be an honest counselor, a friend even, who advised Oedipus in his struggle with Fate. However, when he was stripped of his title and demoted to a wandering, blind traveler, you sought to dupe him into be-coming a prisoner in his own homeland in order to combat your dilemma. Has your mind mor-phed into a grotesque imposter of its former self, or was your ideology already so corrupt and un-just?

Now that you have sentenced Antigone to death, your son has sought to alter your deci-sion; do you believe his action to be a sign that your decision was perhaps wrong and his right? Or would arrogance lead you to accept only your word and yours alone? Do you believe that the king alone holds the most ethical verdict and that you are the one with such power? As it was seen in Oedipus’ situation, his decision to rebuff the proclamations of Teiresias resulted in his downfall. Will your disregard for Haimon’s plea result in a similar fate? Your son seems to hold a deep regard for Antigone; do you believe this to be a connection worthy of concern or rather a trivial yearning for a woman? If you believe Hai-mon’s plea so trivial, do you worry for when he will surpass your rule and carry on your name?

Now that your entire family has passed, do you truly see the fault in your actions? It seems that Oedipus’ presence brought the beginning of the plague; but yet, you have let the epidemic fester. What will you do now? You have tried to control your family to such an extent that your power over the people wears thin. And now you have no one to manipulate, for even your son, Haimon, has met his demise while attempting to

murder you. Now that you have no heir, what will happen to your line? If your people have seen how your family crumbled, perhaps they may take the charge and impeach your rule in order to replace you with another. Or perhaps, they may overlook this most poignant period and al-low you to continue your rule. What will be the fate of Thebes?

Sincerely,

Choragos


QUARTER IV


This original poem, titled “The Earth Weeps,” is a poetic composition entailing the poignancy of humanity’s current, unsus-tainable actions. The poem refers to the Earth as a mother, deal-ing with the ambitious and even destructive nature of her child. This poem also illustrates multiple natural disasters, like torna-does and earthquakes, as byproducts of Mother Earth’s turmoil. In the ending of the poem, it seems to show how depressed and crippled she is. The sun is a force that could surely kill and de-stroy her, yet he does not; this is like someone who is blind to an-other’s cries, and who doesn’t absolve another of their pain.

The earth weeps,

sending forth a torrent of water,

claiming the lives of many.

The trees weep

tears of green,

THE EARTH WEEPS


they drown in the green water of their own crea-tion.

The earth trembles,

shuddering in the cold, black eternity.

She cracks her own skin in her tumult,

plunging the multitudes into her sorrowful sores.

The earth coughs,

afflicted by the sickness of greed,

not of her own, but by those she has harbored,

nurtured and raised.

These ungrateful children beat their mother with the tossing of a can,

the dumping of trash,

and the constant excretion of gaseous poison.

The earth smolders,

lit aflame by the furious fires within her depths,

scorching her very exterior with fountains of flames.

The earth breathes,

trying to calm her baleful fury,

but her breaths are fast and short.

She releases gales of bone-cracking winds,

staircases made of air rise to the heavens,

giving those who would come to its base,

a one way journey to the land afar.

The earth weeps,

her children have struck her,

and in her rage,

she has struck back.

Now she sees the cut,

a crimson-red river flows,

the bodies of her massacre,

her rivers of sorrow dyed red.

She cannot bear the pain any longer,

she prays for the almighty Fire to end her agony,

to take her life in one fell swoop,

but he is silent,

ignorant to her cries,

she will live for now.


This poem illustrates the conflict between humanity’s great ego and nature’s necessities. In the upper left corner, the word “prison” is embedded within a waterfall. This imagery symbol-izes a “natural prison,” constructed by humans, showing the earth has been snared by its own offspring, hence the word “natu-ral.” Below the waterfall lies an image of several towers. The first has stripes that reflect the image of some candies; this image cre-ates an allusion to the production of many edible products in the present. Protruding from this column is wispy smoke shaped into the image of a claw, evoking a scary feeling because of its simi-larity to a nightmarish monster. The middle tower is bedecked with futuristic and technological designs, which reference to hu-

MY CONCRETE POEM


manity’s lust for materialistic items and the latest gadgets and fads. Inlaid within the emissions of this tower is a dagger, referencing to the tale of Macbeth. This pertains to Macbeth’s paranoia and lust for control and power, which lead him to kill his best friend, like how our need as humans for dominance is metaphorically backstabbing the Earth. The third and final tower is a summari-zation and satirical reference to humanities detri-mental production habits; the skull within the smoke is an allusion to death and the fated “death of the Earth.”

The smoke mentioned previously, eventu-ally morphs into chains that bind the hands of “Mother Earth,” as depicted in this illustration. This binding of only her hands symbolizes that she can do little to combat the onslaught of hu-man development; yet she is not bound by her feet, showing that she remains undaunted and rooted upon her foundation. Her dual-natured appearance symbolizes the beauty of her caring side of water and growth, as well as her power-ful, blazing fire. Beneath her roots is the word “people,” symbolizing how the people are meant to take care of the Earth in order for that care to be reciprocated, as told in the Hawaiian ʻōlelo noʻeau, “He aliʻi ka ʻāina, he kauā ke kanaka,” as well as the Hawaiian moʻōlelo of Hāloa.

In the upper right of the drawing lies the word “betray.” This references to the unsustainable ac-tions of the human race as acts of betrayal to our Mother Earth. The words are entwined with a pink heart, which symbolizes how our mother’s heart and love has been pierced by our heinous acts. Below the heart is an image of a child sit-ting on a throne in the shape of a missile. The child is colored brown, blue, and green to show its connection to the Earth; however, the crown

shows the child’s self-appointed dominance. The child is an allusion to humanity as a whole and how young our life has been in comparison to the Earth’s. The seven-pointed ring above the child represents the seven continents of the world, upon which we have settled. The throne itself shows mimics a booster-seat of a toddler and a missile, showing how our nuclear and ag-gressive actions, including war, will rocket us forth into a less-than-hospitable world.


The tale of Potiki, by Patricia Grace, is a modern one; the story illustrates the struggle between the Maori people and the developing Westerners. The characters themselves seem to em-body certain aspects of the conflict between these two forces. One such individual is Toko, a child born to an afflicted mother. He was born upon the gray sea rocks as his mother returned home. His mother was known to return things that belonged to the sea, and had it not been for his cousin, Tangimoana, he would have been thrown into the ocean. He later became a fig-ure of hope and perseverance to his family. Besides a symbol, he also became a seer; a visionary who foreboded events to come. When his father and brother, Hemi and James respec-tively, had invited Toko to a fishing excursion, he told his family that he would catch a fish. His father and brother doubted this premonition because Toko was a small and delicately build child. However, when they were on the boat, a strong tug was felt in Toko’s fishing line, and with some struggle, they pulled in a size-able eel. This was the revealing of Toko’s innate ability. Farther on in the tale, he also predicted the flood that had demolished much of his family’s house, as well as his own demise. However, even after he passed, Toko empowered his near and extended

POTIKI


family, ultimately leading them to victory over the oppressive Westerners.

Another character, Hemi, seemed to em-body the last generation that had truly learned from the land all his life. These individuals were faced with the responsibility and challenge of transferring their acquired knowledge unto the younger generations. This showed to be a par-ticularly difficult feat because the Western influ-ence seemed to introduce a new set of ideals, one being the pursuit of wealth and prosperity. Hemi’s son James and daughter Tangimoana are both enrolled in school in order to obtain a col-lege degree. Tangi hopes to obtain a degree in the art of law in order to argue against the for-eign oppression against her people. With this spirit of contention, she embodies the fighting spirit of the Maori people and the eternal flame that burns within. Toko’s death seemed to en-rage and fan her flame, causing her to travel to the digging site of the construction company, de-manding for answers to her brother’s death. She is seen shouting and yelling for a confession, to which they are quiet with a few remarks that they had not committed the crime. The third child of Hemi and Roimata, Manu, is a fearful child. He is afflicted by great trepidation and nightmares throughout the night. He attended a public school at one point, but he seemed to struggle with his fear and agitation. In response to this, his parents pulled him from school and began to homeschool him. From their actions, we can see both compassion for their child and an opportu-nity for Manu to progress and thrive. This shows a fault in the schooling system, if it cannot pro-vide to its scholars.


The “Book of Stones”, by Dr. Michael Puleloa, is collection of liter-ary pieces that express prevalent conflicts in today’s environ-ment. The first story is titled, Waves, and confronts the meaning of the word “smart.” When someone is called smart, they are usu-ally attributed with academic ability and prowess. However, the story follows a boy who has developed a way of memorizing, seemingly challenging concepts with easier letters. His specific application is the use of the letters “w, f, and v” for the words “wavelength, frequency, and velocity,” in order to counteract the fast-paced lesson. He also mentions that he is achieving a “B” in terms of his academic standing, showing that one needn’t be academically talented in order to survive in a scholarly world.

BOOK OF STONES


The second literary piece, A Call for Hae-haeku, is a tale of sustainability and changes in perspective as one grows older. The story fol-lows a village of what appears to be children and their actions. In the beginning of the story, the children are in constant motion, playing end-lessly among the clouds and earth, surrounded by a beautiful paradise. This could represent the Hawaiian people, untouched by western ideals and influences. However, they eventually be-come unsatisfied and scour the land for a satia-tion to their boredom, an ironic situation, consid-ering they are in paradise. They even overturn stones and disturb the serenity of the landscape, still to no avail. This search for chaos seems to reflect to instantaneous combustion and the “natural” greed among humans. One morning, they are met with a surprise; one of their fellow people has grown to a colossal size. This changed being is Haehaeku. He becomes an outcast and the smaller children begin to seques-ter him from the majority. Haehaeku’s transforma-tion seems to reflect the first of the Hawaiian peo-ple to configure and conform themselves to the Western influences. Haehaeku eventually leaves the population under the cover of night. The “children” become different and begin to change themselves, morphing their minds as well in a pursuit of material wealth. They begin to fight against nature, eventually fighting against them-selves, until not much people are left in their population. They begin to weep in sorrow as they reminisce for the times when they were younger. These unfortunate events seem to al-lude to the unfortunate events that follow human-ity’s lust for materialistic things. In the end of this tale, Haehaeku returns to the people and begins to embrace them in comforting intentions. This could be a possible allusion to the Earth forgiv-

ing humanity for its transgressions and the spiri-tual healing of its people.

The fourth and fifth pieces, Children of the Shoreline and Changes in the Weather respec-tively, are connected and talk about the constant learning process and the seniority of nature. In the first story, a group of children plays and learns from a beach. However, they seem to be haughty in their youth and approach an older man, whom they see strolling along the wall of a fishpond. They ask him about the whereabouts of “the heʻe,” which they are implying that this man knows not of this shoreline. But to their sur-prise, he retorts with the notion that he knows where the heʻe is. The old man becomes a sec-ond father to the children and teaches them much about the shoreline, which they had thought to be completely known. The old man is revealed in the second story to be Henry Kaiki-lani, a man who parallels the children in the sense that he also became well acquainted with the elders of his time. However, in Changes in the Weather, he confronts an octopus of a mas-sive size and becomes overwhelmed by its might. Surprisingly, the heʻe releases him from its grasp. This action of mercy illustrates that na-ture is in control and that despite Henry’s pro-longed association and familiarization with the sea, he was ill-prepared to defeat the majestic force of nature.


Throughout my English journey, I made many annotations to the literary pieces that our class analyzed. Above is a collage composed of pages from each of the books and plays that I an-notated. In the center of this piece, lies my annotations from the first composition we read, Macbeth. All the other annotations, in-cluding that of Lāʻieikawai and Book of Stones, branch out and surround the Macbeth annotations, showing how my analytic writ-ing within the compositions has grown.

I hope you have enjoyed my collection of literary and poetic pieces that I have accumulated over my Honors English 10 year. If there is one thing that I have learned from Mr. Hamasaki, it is

ANNOTATIONS


that someone could care less about one’s achievements or prowess, whether it be becom-ing a doctor or a lawyer or becoming tremen-dously rich. Someone would rather know how that person obtained such a stature. Aloha and mahalo.


Gilgamesh. Trans. Herbert Mason. Boston: Houghton Mifflin Com pany, 1970. Print.

Grace, Patricia. Potiki. Honolulu: University of Hawaiʻi Press, 1986.Print.

Haleole, S.N. Lāʻieikawai. Honolulu: Kalamakū Press, 2006. Print.

Hoe, Kahiwa. “Jumping off of Lumahai.” n.d. Photograph

___________. “Annotations.” n.d. Photograph

___________. “Boat in the Grass.” n.d. Photograph

___________. “Concrete Poem.” n.d. Photograph

___________. “Congregation of Stones.” n.d. Photograph

___________. “Huli.” n.d. Photograph

___________. “Ipu at California.” n.d. Photograph

___________. “Jumping off of Lumahai.” n.d. Photograph

___________. “Kapalama Skyline.” n.d. Photograph

___________. “Kapalama Sunset.” n.d. Photograph

___________. “Kualoa Shoreline.” n.d. Photograph

___________. “Looking Into the Trees.” n.d. Photograph

___________. “Macbeth Concrete Poem.” n.d. Photograph

___________. “Outlook on Mokolii.” n.d. Photograph

___________. “Sunset on the Beach.” n.d. Photograph

Puleloa, Michael. “Book of Stones.” N.p. 2015.

BIBLIOGRAPHY

xxxiKahiwakui Hoe Tuesday, May 5, 2015 at 9:45:20 AM Hawaii-Aleutian Standard Time 88:1f:a1:06:bf:d8

Shakespeare, William. Macbeth. Lincoln: Cliff’s Notes, 1964. Print.

Sophocles. The Oedipus Cycle. Dudley Fitts and Robert Fitzgerald, translators. Or lando: Harcourt, Inc., 1949. Print.

xxxiiKahiwakui Hoe Tuesday, May 5, 2015 at 9:45:20 AM Hawaii-Aleutian Standard Time 88:1f:a1:06:bf:d8

xxxiiiKahiwakui Hoe Tuesday, May 5, 2015 at 9:45:20 AM Hawaii-Aleutian Standard Time 88:1f:a1:06:bf:d8

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