This short lament (Métraux 1940:357) is significant because it is clearly composed from the viewpoint of a secluded girl. Furthermore it designates the menarche as marking the end of the seclusion and confirms the taboo on eating sweet potatoes that was mentioned to Englert by Arturo Teao and Juan Tepano (1939:208-
O "birds", until (my) blood is spilled,
this gloomy place will be mine!
In this darkness, o "birds",
I am not eating the sweet potatoes
prepared by the old folk!
This beautiful girl has grown pale!
E Manu e, ka pari mai toto /
Hare keri ena aaku
i te po, e Manu e. /
E au tae kai i te kumara /
O tau korohua nei
e manu e ka pari mai toto
hare kere ena 'a'aku
i te po e manu e
e au ta'e kai i te kumara
o tou korohua nei
ko mae a te renga
The text as published by Métraux (1940:357) requires only minor adjustments to be understood in a neru context. The "love" detected by Métraux is that of parents for a secluded child. Interestingly, the neru is twice addressed as "fish". While the term probably had its origin in metaphors like that of the paroko, in later times it was only understood as "victim", "sacrifice". And after the neru context was entirely lost, as is the case in Métraux's translation, it was often taken literally. The loss of this context was also responsible for reinterpretations of key words such as ahu, "swollen", and koro Miru, "Miru festival", as "platform" and "toromiro-
You make (us) sick with longing!
(You) are left down there until (you) grow fat, my beautiful girl!
(You) will become a "fish" with a bristling topknot
if you stay down there!
O (my) beloved "fish" girl, (destined) for the Miru festival!
That place (you) are sitting in is not visited by (your) parents!
Those high cliffs are separating (you)!
E mau koe i te mate o te manava /
E tupa ki raro ki Ahu Akurenga. /
E ika tuutuu pukao /
Mo raro koe, /
E, ika, uka hoa e. / Mo toro-
tae hahati / Hare-
vaai a / Toka roaroa
e mau koe i te mate o te manava
e topa ki raro ki ahu 'a'aku renga
e ika tuutuu pukao
mo raro koe
e ika uka hoa e mo koro Miru
tae hahati hare pepe a matua
vahi a toka roaroa
Although the last line of this text clearly identifies it as belonging to the neru repertoire, Métraux went with the fanciful explanation that it was "supposed to be recited by a girl whose younger sister loves the same man as she does" (1940:356). However, if it is interpreted as a neru chant in dialogue form, it appears as a coherent whole that is relatively easy to translate. A neru girl (N) is addressed by a friend (F) who is concerned for her wellbeing – either an admirer, a caretaker, or a relative, At the time of the recording of the chant, the relation between the neru and the pangoro-
O fair one, (your) body must be aching and ailing!
For both the mild and the severe (pains),
(your) flowers give (me) support, friend!
How (they) smell, o how (they) smell,
(but) what a stench there is in here!
These flowers are blooming, friend,
(but) how colorless this face of mine is,
(I) am worried (about you), o noble maiden!
Where are the bandages for (your) wounds,
lest (you) will be shedding (tears)?
Because (you) took (them) away,
(you) will be shedding tears!
(And) where is your sister, o fair one?
There is (too) much sunlight,
so (my) pangoro-
in the back of this cave that hides the neru!
E Mea, a tino mamahi rua e
ki te iti, ki te nui e. /
He tonga, te pua, repa hoa /
Ka eo, ka eo,
ka kava nei. /
He hora, te pua, repa hoa, /
Ka mariri mai tooku aro nei,
aue, aue. /
Ku mataku mai a i te vie honui e, /
He te kotaki mo haroa
o te rei,
rei mata nei. /
He tou taina, e Mea e. /
E Mea a te raa e. /
Taina panioro roa. /
I tua i te Ana-
e mea a tino mamaki rua e
ki te 'iti ki te nui e
he tonga te pua repa hoa
ka eo ka eo
ka kava nei
he hora te pua repa hoa
ka mariri mai to'oku aro nei
ko mataku mai a e te vi'e honui e
he te kotaki mo haoa
'o te rei
rei mata vai nei
he to'ou taina e mea e
e mea a te raa e
taina pangoro roa
itu'a i te 'ana hue neru e
These three neru texts were collected by Métraux in 1934-