This short dialogue (Barthel 1960:844; text j) between two neru (N) and possibly a parent (P), may have been part of a longer question-
Campbell (1971:120) has published a version of this chant which starts with E nua! E koro! Ta-
How those little mourners just go on crying!
Up there in that crevice, (they) have been crying!
Why are you crying like that?
Because of our cave,
this isolated shelter, drafty and gloomy!
(We) were let down in a net
with wide meshes
Because of this capture, these "fish" are mourning!
ka tatangi no / nga heva rikiriki /
i runga i te opata / i tatangi ai /
heaha korua e tatangi ena /
mo tomaua haana / a
pare kivakiva / a hau marumaru /
hakaturu hai kupenga /
mata patapata /
mo rarau mai / o te ika timo ena
ka tatangi no nga heva rikiriki
irunga i te 'opata i tatangi ai
heaha korua e tatangi ena
mo tomaua 'ana a
pare kivakiva a hau marumaru
mo rarau mai o te ika timo ena
Barthel collected these four neru texts in 1957-
Published by Barthel (1960:845) and Campbell (1971:410). Maiho is located south of Rano Raraku, between Hanga Mahiku and Hanga Tuu Hata (Ojeda 1947:146). The latter name may have been confused with Hanga Tavake on the northern coast of Poike peninsula as Barthel's text has hanga tuu tavake. Campbell's version has the variants uka, "girl", for uha in line 6 and ka here, "get trapped", for ka rere in line 7.
Barthel's accompanying translation fails to make much sense: "How colorful is the yellowroot in Maio. The powder of the colored earth is shaken out at Hanga Tuu Tavake. She goes, jumps, floats, the little girl Tino Rere. Go! Jump! Float overthere! Blink your eyes! Grow strong!" This incoherent interpretation is further worsened by the remark that in this version of the song the "jumping body" of the girl apparently originates from the earth that is used for bodypainting (Barthel 1960:845; fn. 12).
How fair that pretty girl was in Maiho!
How (she) poured out
the fine dust of that kiata powder!
In Hanga Tavake,
she left, she ran away, she became a recluse,
that little “hen”, that running body!
Go ahead, leave! Run away! Become a recluse!
Sit tight (in that hole)! Get fat!
ka mea era te renga i maio /
ka paringi era /
te hunga o te kiata /
i hanga tuu tavake /
he oho he rere he ranga ia /
ka oho ka rere ka ranga /
ka kamo ka hiohio
ka mea era te renga i Maiho
ka paringi era
te hunga o te kiata
i Hanga Tavake
he oho he rere he ranga ia
uha ‘iti‘iti a tino rere
ka oho ka rere ka ranga
ka kamo ka hiohio
This text is important because it refers tot 'Ana O Keke as hue, which could have been meant as place of "gathering" or "hiding", but may also have been a reference to the cave as "gourd" (i.e., as "womb"). Furthermore, it correctly gives the location of the cave as "behind Puakatiki", Poike's main peak, it mentions "juice" as the source of the fattening (affirming the use of sweet foods such as banana flower and sugarcane juice found elsewhere), and it hints at the reason for the seclusion as being "for the family (or clan)" and "for the gods". Barthel gives this text as variant 3 of the last part of a longer text (1960:849-
Go up, o Mati, to the "swollen ones"!
(You) will join the beautiful girls
in (their) gathering place behind Puakatiki!
(You) must lap up your food,
for the family, for the gods,
with those "hatchlings", o exiled one!
ka iri e mati e / ki te ahu
titiro korenga /
i vai nga hue / i tua te puakatiki /
ka amo taau kahi /
e renga mitimiti a vai e /
mo te hare / mo te atua /
ma punua e toi e
ka iri e Mati e ki te ahu
titiro ko renga
i vaenga hue itu'a te Puakatiki
ka amo ta'au kai
e renga mitimiti a vai e
mo te hare mo te 'atua
ma punua e tui e