Language of the Heart

Language of the HeartLanguage of the HeartLanguage of the Heart!"#$%"$&'()'*+&',&"-*Language of the Heart

Language of the HeartLanguage of the Heart

Language of the Heart��

Language!of!the!Heart

Language of the Heart

Language of the Heart

Language of the HeartKalehua KatagiriKalehua Katagiri Wednesday, May 18, 2011 5:03:20 PM HST 00:25:bc:db:26:68

Kalehua Katagiri Wednesday, May 18, 2011 5:20:43 PM HST 00:25:bc:db:26:68

Table of Contents

Introduction

Oceania Poet: Mahealani Perez-‐Wendt

Biography

Poems

“E Ala ē”

“Sea”

“Small Remembrances”

“Voyage”

“Uluhaimalama”

“Uluhaimalama” Poem Analysis

Beyond Oceania Poet: Robert Frost

Biography

Poems

“A Peck of Gold”

“Fire and Ice”

“Fireflies in the Garden”

“One Step Backward Taken”

“The Road Not Taken”

“The Road Not Taken” Poem Analysis

Original Poetry

Concrete Poetry: “It’s Who You Are”

“It’s Who You Are” Poem Commentary

Free Verse Poetry: “Me”

“Me” Poem Commentary

Bibliographies


Introduction

Language of the Heart is a unique collection of poetry at its finest. These

poems will touch the hearts of all its readers. Here, the world is seen in a new and

refreshing perspective. I hope readers of this booklet will enjoy the unique thoughts

and ideas that are woven into the lines of each and every poem.

Mahealani Perez-‐Wendt is truly an astounding cultural poet. She expresses

her deep connection to the Hawaiian people and incorporates the feelings of pain

and suffering from our nation’s past in order to provide our people motivation for

the future. Wendt has a wide vocabulary with bold word choices to display strong

messages to our Hawaiian people. This is why I selected Wendt as a poet to

research from Oceania. I wanted to learn more about such a passionate woman with

a strong voice, teaching our Native Hawaiian families about the history of our people

and the changes in today’s modern society. I chose “E Ala ē” as my first poem

because it conveys a different side of Wendt’s writing. This poem has a calm and

rather dream-‐like mood, peacefully describing nature and the necessities it

provides. In our modern society, the environment is taken for granted. Our

ancestors, however, understood the significance of the land and the responsibility of

the people to care for every aspect of nature. I decided to include “Sea” as a poem

selection because of the many metaphors used to depict the ocean. Wendt describes

the sea as a “garden,” “blanket,” “lover,” “refuge,” and “haven.” The world is revealed

in a new light, and I now have a deeper gratitude for the ocean and its influence on

the Hawaiian people. I picked “Small Remembrances” because of its simplicity and

its blend of happy memories from Wendt’s life. I wanted to include the poem


“Voyage” in my research project because it reminded me of the long voyage that was

once taken by our kūpuna. The journey that continues to influence the nation we

are today and the accomplishments that we will make in the future. Finally,

“Uluhaimalama” was an extremely moving and inspirational poem. It captured the

hurt and the suffering of our people during the overthrow of Queen Lili`uokalani, as

well as expressed our strength and belief that the Hawaiian people will never stop

fighting for what is right.

Robert Frost was a man of true talent. His poetry is known across the globe

due to his capabilities of connecting with nature, as well as embracing the strong

emotions of sadness and sorrow. Frost is versatile, however, he is able to bring

forth sheer joy and exuberance in his countless poems. I chose “A Peck of Gold”

because it refers to the Golden Gate Bridge and his childhood memories from his

homeland. I feel that remembering who you are and where you came from creates

the foundation for a strong character. I love how he paints a picture of the golden

sky through this dulcet poem. “Fire and Ice” falls on the opposite end of Frost’s wide

spectrum of poetry. This poem deals with the tragedy of death and the opposing

forces of fire and ice. I selected this poem to show the many facets of Frost’s

abilities in writing poems that encapsulate every emotion the mind can possibly

think of. Next, “Fireflies in the Garden” was decided on because of its complexity

and its ability to allow the reader to ponder the meaning of the poem. I interpreted

the meaning as: individuals should not strive to live up to the expectations of

others. It may be fine for a short period of time, however, staying true to oneself

and becoming a unique individual will make a person shine like a star in the sky.


“One Step Backward Taken” is a poem dealing with hardships and challenges in life.

It’s a poem that can be easily related to and supports the idea that everything

happens for a reason. Lastly, “The Road Not Taken” is an intriguing poem, and after

reading it multiple times, I realize there can be many different meanings. In one

scenario, Frost expressed the idea that following one’s heart and taking a road that

many fear can lead to positive successes in the long run. On the other hand, Frost

may be also alluding to the feeling of self-‐doubt and the realization that we, as

humans, fear making choices because we are afraid that the other option was more

beneficial. Frost’s poetry leaves the reader with many questions and a new

perspective on the world we live in.

In order to experience the process of creating poetry and applying the

knowledge gained from researching Wendt and Frost, included in this booklet are

two original poems. One is a concrete poem entitled “It’s Who You Are,” as well as a

free-‐verse poem named “Me.” These poems express my ethnic background as well

as my perspective on life at this moment in time. Accompanying these poems are

two commentaries that explain the deeper meanings and metaphors behind each

poem. In addition, two personal analyses of Wendt’s “Uluhaimalama” and Frost’s

“The Road Not Taken” can be found in this book. It’s an amazing experience to

interpret both the literal and figurative meanings behind poetry and to attempt to

understand the feelings and intentions of the authors when they composed their

many masterpieces. I hope that readers will enjoy reading the wide variety of

poems collected in this booklet and understand the power of poetry.


Oceania Poet: Mahealani

Perez-Wendt


Mahealani Perez-‐Wendt Biography

Mahealani Perez-‐Wendt is a remarkable Native Hawaiian poet and writer

that has made great strides in leading our Hawaiian people to a better and brighter

future. She is also a community activist, speaking out for the native Hawaiian

population and is making a difference, one step at a time. Wendt has a vision for the

our culture with the belief that Hawaiian people can be great leaders in our world:

“We are voyagers / And sons of voyagers -‐-‐ / Our hands work the cordage / Of

peace” (Wendt 2007:76). She currently lives on the island of Maui with her husband

Ed Wendt, a hardworking taro farmer. Wendt also shares her knowledge and love

for the Hawaiian culture with three children and six grandchildren. Wendt was

born in Lawai, Kaua’i with a childhood filled with traditions from her Hawaiian,

Spanish, and Chinese cultural backgrounds. She established her love for writing at a

very young age and received a wide variety of education environments. The

formerly known Mahealani Ing attended Kalāheo Elementary School as well as the

Royal Elementary and Central Intermediate Schools. In addition, Wendt graduated

from the Kamehameha School for Girls in the year of 1965. Here, she received her

first literary award. This profound poet made the decision to further her education

here in Hawaiʻi, where she received her Bachelor of Arts in political science and her

graduate certificate in public administration while attending the University of

Hawaiʻi Mānoa (“Insight Center For Community Economic Development” 2010).

Wendt recently retired from her position as the executive directior of Native

Hawaiian Legal Corporation where she worked since 1978 (“Just One Book” 2009).


Wendt’s influential and bold poetry is truly a testament to the Hawaiian

culture and our people. She creates poems concerning the struggle of the Kanaka

Maoli, family violence, and the modern changes in today’s tourist dominated

economy. The reader is really able to feel the pain, the despair, and the suffering

found throughout our nation and the challenges we face as a society as the modern

world continues to be dominated by foreign traditions. Wendt describes poetry as

“dream catchers. A good poem captures the revelatory nuance of a moment before

that moment is gone” (“Four Hawaiian Women Poets” 2010). She speaks true from

her heart and reaches out to all readers, providing a blunt, yet real perspective of

hard times throughout the history of the Hawaiian people. Published in 2008,

Uluhaimalama was her first collection of poetry teaching about the identities of

Native Hawaiians and the relationships formed with the ‘āina: “And put down roots.

/ We have covered the Earth, / Bold flowers for her crown. / …We will not fall”

(Wendt 2007:39). Her masterpieces can also be read in Whetu Moana and Effigies,

which are collections of poems written by various Polynesian poets. Wendt’s

written works are found in numerous literary journals and anthologies that will

astound readers from beginning to end (“ʻŌiwi: A Native Hawaiian Journal” 2006).

Not only is Wendt a terrific poet, but also a humble role model for the

Hawaiian community. Consequently, she has been recognized for her countless

achievements and undertakings for the Kanaka Maoli of Hawaiʻi. She was honored

as being the first Native Hawaiian board member of the Native American Rights

Fund. Wendt also spent many hours fighting for issues involving prison for native

Hawaiians, sovereignty restoration, and so forth. She was commerated as


“Outstanding Hawaiian Woman for Community Services” by Alu Like in the year

1983. Wendt was awarded the Liberty Bell Award given by the Hawaiʻi State Bar

Association. Wendt also received the Charles Bannerman Fellowship award for

being a long-‐time activist of color. She was the recipient of the Kalanianaʻole award

given by the Association of Hawaiian Civic Clubs to recognize her service to the

community. The Elliott Cades Award was earned by Wendt for her outstanding

literature (“Insight Center For Community Economic Development” 2010).

To Wendt, Hawaiʻi is her birth-‐sands. She declares, “My love of Hawaiʻi is as

someone whose people have lived, loved and died here over countless generations”

(“Four Hawaiian Women Poets” 2010). She describes her beautiful birth sands

throughout her poetry: “Ocean’s baptism-‐ / The naked shiver of hiʻuwai; / For sand,

sacred; Inscrutable stone, and / Taciturn sea” (Wendt 2007:6). Wendt’s progress

and her contributions as a contemporary Polynesian poet are an important part of

the Hawaiian culture because it provides hope for the future. It shows the Hawaiian

people that with a courageous heart and valiant efforts, anything is possible. She

also provides a softer side of her poetry, telling of dreams from the past: “The sea is

a blanket / For cradling me / …And it sings lullabies / With each sooth trough and

rise” (Wendt 2007:101). Wendt’s work should be greatly appreciated and

respected. She has a unique perspective unlike any other. With her keen word

choice and the ability to capture a moment in time and provide vivid details, Wendt

is able to write like no other poet before. For example: “Whisper of stars, / An

interlace of hands, / The winds’ play with flowers, / Soft echo of footfall on sand”


(Wendt 2007:67). Her courageous efforts made to help our Native Hawaiian people

through her leadership qualities and talented poetry skills will never be forgotten.


E Ala ē Mahealani Perez-‐Wendt

The dream dreaming me Sings me through Coil and pearl Of heart’s concentric shell; It carries me Full-‐voiced for greeting Sun’s first scatter Of cloud And gentian sky. I sing praise For planting, For flowers’ stirring With earth’s morning prayer; I sing praise for Ocean’s baptism -‐-‐ The naked shiver of hiʻuwai; For sand, sacred; Inscrutable stone, and Taciturn sea. The dream dreaming me Sings me through Meter and rhyme, Syncopation of star and tide. I am a whisper Through shadow Of tall silver trees; A spirit feathered and white Rising with moon.


Sea Mahealani Perez-‐Wendt

The sea is a garden From starlight to lee The sea, the red flowering sea; And it waits there for me Ashen gray destiny The sea, great encircling sea. The sea is a blanket For cradling me The sea, the great billowing sea; And it sings lullabies With each sooth trough and rise The sea, the great blanketing sea. The sea is a lover For pleasuring me The sea, perfumed flowering sea; In its gentle blue hands I will lay in the sands Of the sea, the soft caressing sea. The sea is a refuge For secreting me The sea, the deep silencing sea; And there all harm forbear And there be no more care In the shroud of enveloping sea. The sea is a haven From moonlight to lee The sea, the all-‐hallowing sea; In its flowing embrace I will rest in the grace Of the great everlasting, the sea.


Small Remembrances Mahealani Perez-‐Wendt

You may have sought Earth’s granite and fire -‐-‐ Galloping wildly Among the gold aspen hills, Taken in The cool breath of winter, Breached November’s first snow, And in your dreaming, Ranged all possible horizons. I have small remembrances, Gentle stirrings: A wave’s surge -‐-‐ Diatoms awash with moon, Whisper of stars, An interlace of hands, The winds’ play with flowers, Soft echo of footfall on sand.


Voyage Mahealani Perez-‐Wendt

We are brothers In a vast blue heaven, Windswept kindred Souls at sea. We are the sons Of immense night, Planets, brilliant and obscure, Illimitable stars, Somnolent moon. We have loved Lash and sail, Shrill winds and calm, Heavy rains driven in squalls Over turbulent sea. We have lashed our hearts To souls of islands, Joined spirits with birds Rising to splendor In a gold acquiescence of sun. We are voyagers And sons of voyagers -‐-‐ Our hands work the cordage Of peace.


Uluhaimalama

Mahealani Perez-‐Wendt

We have gathered With manacled hands; We have gathered With shackled feet; We have gathered In the dust of forget Seeking the vein Which will not collapse. We have bolted The gunner’s fence, Given sacrament On blood-‐stained walls. We have linked souls End to end Against the razor’s slice. We have kissed brothers In frigid cells, Pressing our mouths Against their ice-‐hard pain. We have feasted well On the stones of this land: We have gathered In dark places And put down roots. We have covered the Earth, Bold flowers for her crown. We have climbed The high wire of treason -‐-‐ We will not fall.


“Uluhaimalama” Analysis

Mahealani Perez-‐Wendt shares her great passion for the Hawaiian people

and her bold commitment to the future generations through “Uluhaimalama.” In her

first lines “We have gathered / With manacled hands; / We have gathered with

shackled feet” the metaphor compares being chained and handcuffed to the feelings

of the Hawaiian people during the overthrow of Queen Liliʻuokalani (Wendt

2007:39). The power of the foreigner and the illegal overthrow of the Queen may be

compared to a literal shackle that prevented our ancestors from continuing the

traditions of long ago. Wendt also repeated “we have” multiple times throughout

the poem to emphasize the importance of working together and the idea that the

overthrow affected, and continues to affect, all people who share a connection to the

Native Hawaiian race. She compares the lack of modern understanding and

knowledge to the “dust of forget” with the use of a beautiful metaphor (Wendt

2007:39). “Seeking the vein / Which will not collapse” metaphorically compares the

strong and courageous Hawaiian people to the durability of a vein in the human

body that will not collapse (Wendt 2007:39).

“We have bolted the gunner’s fence” may symbolize the metaphorical

translation of how the Hawaiian people refused to let the negative influences of the

foreigners poison the determination of our people to continue the heritage passed

on by our kūpuna (Wendt 2007:39). The “fence” is a symbol of the separation

between the foreign and native traditions. The “sacrament” in the following line

refers to the Christian practice of producing a visible sign displaying one’s inner

divine grace. The mention of the “blood-‐stained walls” is very contradictory to the


concept of the Christian sacrament. The walls described may represent the pain and

suffering of the Hawaiian people when the foreign government captured our Queen.

“We have linked souls / End to end / Against the razor’s slice” expresses a metaphor

of how the Hawaiian people refuse to give in to the Western ways and will continue

to fight for what is rightfully ours (Wendt 2007:39). The slice of the razor

represents the hurt and destruction of our nation during the annexation. However,

our people overcame this hardship and continue to spread the Hawaiian culture in

today’s society. Wendt then explains the lack of freedom on our own land during

Liliʻuokalani’s overthrow, as well as connects these circumstances to the high

percentages of Hawaiians that are incarcerated today. These emotions are

conveyed through the lines: “We have kissed brothers / In frigid cells, / Pressing our

mouths / Against their ice-‐hard pain” (Wendt 2007:39). Wendt then continues by

showing the Hawaiian perspective and appreciation of the land and all its resources

it provides with: “We have feasted well / On the stones of this land;” (Wendt

2007:39). The stones being referred to may be an allusion to the song “Kaulana Nā

Pua” or the “Stone-‐Eating Song.” In this song, our Hawaiian people proclaim we are

satisfied with the rocks that are described as the food of the land. The Provisional

Government threatened our kūpuna by saying that all Hawaiian people refusing to

take the oath of allegiance would be compelled to “eat stones.” Our people would

rather “feast on stones” then comply with a foreign government seeking money and

power. In lines 22-‐24, the “dark places” allude to the dark times when our nation

struggled to continue on, for example, the year of 1893. It may also be a way of

saying that the Hawaiian people will always stand up for what is right, regardless of


the location, the people involved, and so forth. The “roots” described on line 24 are

metaphors for the foundations set by the Hawaiian people through the language and

the Hawaiian morals and beliefs set forth by ancient generations. “We have covered

the earth / Bold flowers for her crown” is a very powerful metaphor describing we,

the native Hawaiian people, as flowers that stand up for what Queen Liliʻuokalani

stood for (Wendt 2007:39). This also alludes to the song “Kaulana Nā Pua” and the

belief of the Hawaiian people that our Queen will be “crowned again” in the future.

We cover the earth with the enlightenment and leadership qualitites by which the

Queen led her people. “We have climbed / The hgh wire of treason -‐-‐ / We will not

fall” is an extremely inspirational conclusion to this poem (Wendt 2007:39). The

“high wire of treason” may allude to the rebellion of our people against the Western

influence, or the betrayal and negative effects of the Western tyranny. Regardless,

the last line clearly states that our people will never give up. We will continue to

rise and honor Quenn Liliʻuokalani. Uluhaimalama was the name given to

Liliʻuokalani’s garden. The symbolism of this word displays that as plants emerge

from the soil and out of the darkness towards the light, so will our Hawaiian people.

We will always remember the challenges in the past and use these hardships to

motivate our nation to seek enlightenment and become stronger everyday.


Beyond Oceania Poet: Robert Frost


Robert Frost Biography

Robert Lee Frost was one of the most brilliant and talented American poets

of his time. He astounded his readers with an extensive variety of poems that

touched the hearts of many. His compositions recall memories of his childhood and

of the many choices he made in life. Frost took the road “less traveled by, / And that

has made all the difference” (Frost 1967:131).

Frost was the lovely son of parents Isabelle Moodie and William Prescott

Frost Jr. He was born on March 26th, 1874 and was named after General Robert E.

Lee. San Francisco, California was the city of his birth, the city in which Frost

commonly refers back to in his breathtaking poetry: “Such was life in the Golden

Gate: / Gold dusted all we drank and ate, / And I was one of the children told, / ‘We

all must eat our peck of gold’” (Frost 1967:312). Frost’s father, William, was a

passionate Democrat and chose journalism as his profession. In his later years,

William became an editor and politician. Isabelle Moodie, Frost’s mother, was of

Scottish descent and worked as a schoolteacher. At the age of 11, a tragic event

occurred in the Frost family. Frost’s father passed away in 1884 from tuberculosis

(“Robert Frost Biography” 2001). Rather than letting this sadness prevent Frost

from composing poetry, he used these emotions as inspiration: “I felt my standpoint

shaken / In the universal crisis. / But with one step backward taken / I saved myself

from going” (Frost 1967:519). The family then decided to move to Lawrence,

Massachusetts where the children were guided along in life by their paternal

grandparents. Frost did well in school and graduated in 1892. He was elected co-‐

valedictorian with Elinor White, the love of his life whom he married in 1895. A


year earlier, Frost’s had his first poem published called “My Butterfly: An Elegy”

(Frost 1975). Soon after, Frost attended both Dartmouth and Harvard, yet did not

finish his education at either school. Frost was able to support himself and his wife

by teaching and farming. Soon, the house was full with six children, however, two

passed away at a young age. Interestingly, Frost found an unusual enthusiasm

towards botany. This hobby of studying plants greatly influenced many of his

poems written about New England (“Robert Frost” 2001).

In 1911, Frost decided it was time to make a change in his life. He made the

difficult decision of selling a farm that had great value to his family, and traveled to

London to introduce the world to his wonderful poetry. There were many more

opportunities to share his written verses in England in comparison to the United

States. With the gracious help of American poet Ezra Pound, Frost was able to

publish A Boy’s Will in 1913. This was a great step forward in his success as a poet.

By the 1920’s Frost was the most celebrated poet in America! He was also the

recipient of four Pulitzer Prizes throughout his poetry career. Other examples of his

miraculous works include North of Boston, Mountain Interval, New Hampshire, West

Running Brook, Collected Poems, and A Further Range. In the year 1934, a terrible

event created a new struggle for Frost. His daughter, Marjorie, passed away. In

addition, Frost’s lungs began to weaken, which caused great stress on himself as

well as his family. Four years later, Frost’s wife passed away from a heart attack.

Yet another two years later, his son took his own life away (“Encyclopedia World of

Biography” 2002). All of this grief and sadness was quite overbearing for Frost.

These powerful emotions impacted the many poems Frost wrote. Readers of his


poetry can feel his pain and sorrow when reading his wide variety of poetry

(“Robert Frost Biography” 2001).

On Frost’s seventy-‐fifth birthday, the United States Senate honored him and

his hard work and success in his career of poetry and his influence on the literary

world. He was then commemorated again on his eighty-‐fifth birthday as well. Frost

was also invited to a once-‐in-‐a-‐lifetime opportunity to recite the poem “The Gift

Outright” at John F. Kennedy’s presidential inauguration. Sadly, Frost died on

January 29th, 1963 in Boston, Massachusetts due to complications after an operation

(“Encyclopedia World of Biography” 2002). Frost was an important poet because he

was able to move his readers through his honest and beautiful poetry. Frost allowed

people to see the world in a new and refreshing perspective and touched upon the

mysterious questions about the world we live in: “Some say the world will end in

fire, / Some say in ice” (Frost 1967:268). He was able to describe images that can be

pictured in the mind and felt as if they were real. The words of his poetry fly off the

page and can paint pictures that are indescribable. His metaphors relating such

contrasting idea: are simply amazing: “Here come real stars to fill the upper skies, /

And here on earth come emulating flies, / That though they never equal stars in

size,” (Frost 1967:306). His poetry should be appreciated for its influence in the

American poetry realm as well as the standard it has set for the many aspiring

writers, poets, composers, and so forth that use Frost’s work for inspiration and

motivation. His legacy will continue to live on forever through the invaluable poems

he has left behind.


A PECK OF GOLD Robert Frost

Dust always blowing about the town,

Except when sea-‐fog laid it down,

And I was one of the children told

Some of the blowing dust was gold.

All the dust the wind blew high

Appeared like gold in the sunset sky,

But I was one of the children told

Some of the dust was really gold.

Such was life in the Golden Gate:

Gold dusted all we drank and ate,

And I was one of the children told,

‘We all must eat our peck of gold.’


FIRE AND ICE Robert Frost

Some say the world will end in fire,

Some say in ice.

From what I’ve tasted of desire

I hold with those who favor fire.

But if it had to perish twice,

I think I know enough of hate

To say that for destruction ice

Is also great

And would suffice.


FIREFLIES IN THE GARDEN Robert Frost

Here come real stars to fill the upper skies,

And here on earth come emulating flies,

That though they never equal stars in size,

(And they were never really stars at heart)

Achieve at times a very star-‐like start.

Only, of course, they can’t sustain the part.


ONE STEP BACKWARD TAKEN Robert Frost

Not only sands and gravels

Were once more on their travels,

But gulping muddy gallons

Great boulders off their balance

Bumped heads together dully

And started down the gully.

Whole capes caked off in slices.

I felt my standpoint shaken

In the universal crisis.

But with one step backward taken

I saved myself from going.

A world torn loose went by me.

Then the rain stopped and the blowing

And the sun came out to dry me.


THE ROAD NOT TAKEN Robert Frost

Two roads diverged in a yellow wood,

And sorry I could not travel both

And be one traveler, long I stood

And looked down one as far as I could

To where it bent in the undergrowth;

Then took the other, as just as fair,

And having perhaps the better claim,

Because it was grassy and wanted wear;

Though as for that the passing there

Had worn them really about the same,

And both that morning equally lay

In leaves no step had trodden black.

Oh, I kept the first for another day!

Yet knowing how way leads on to way,

I doubted if I should ever come back.

I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood, and I -‐-‐

I took the one less traveled by,

And that has made all the difference.


“The Road Not Taken” Analysis

“The Road Not Taken” is a well-‐known poem by Robert Frost that includes

many different meanings and literary techniques woven into each and every line.

The lines: “Two roads diverged in a yellow wood, / And sorry I could not travel

both” create a metaphor comparing a fork in the road to any decision made on the

journey of life (Frost 1967:131). Robert Frost may be referring to a choice that he

made in his personal life, that only one choice can be made. “And be one traveler

long I stood / And looked down one as far as I could / To where it bent in the

undergrowth” describes how people will always have a sense of uncertainty and

doubt when making crucial decisions in life (Frost 1967:131). The traveler in the

poem can symbolize either Frost or any individual that tries to visualize the

outcome of a situation and contemplates which option would be best in the given

circumstance. The word “undergrowth” in particular can be a metaphor for the final

destiny in which people try to perceive how a choice will impact his or her life in the

long run. In stanza two, Frost writes:

Then took the other, as just as fair, And having perhaps the better claim Because it was grassy and wanted wear; (Frost 1967:131)

The lines may refer to Frost and his decision to follow the path that appears to be

less traveled on or, in other words, making the same types of difficult decisions.

Frost also uses personification by giving the road the human-‐like ability to have a

“claim.” In addition, if the word “wanted” is interpreted as desiring or wishing, the

path is also personified by this human-‐like action. The specific description of the

grassy path that is in need of wear is an allusion to people that chose a pathway, or

possibly a career choice in life, that is different from the majority of society.


“Though as for that the passing there / Had worn them really about the same,”

contradicts Frost’s previous two lines where he claims one road seems to be taken

less often (Frost 1967:131). His newest observation decides that after careful

examination, both roads are equally worn down and, therefore, both choices are

equal. This is a metaphor comparing the idea of two equivalent paths to the idea

that many options in life have both benefits as well as negative aspects, which

makes it a daunting task to decide which course of action would be the most

beneficial.

Frost describes the two roads further in the lines: “And both that morning

equally lay / In leaves no step had trodden black” (Frost 1967:131). This provides

beautiful imagery for the reader that imagines two paths with leaves that are

untouched by black footprints. This metaphor can by representing how only the

individual can make certain decisions, and how the choice cannot be decided and

influenced by others (hence the lack of footprints on each road). The next three

lines read:

Oh, I kept the first for another day! Yet knowing how way leads on to way I doubted if I should ever come back (Frost 1967:131)

This section creates a metaphor displaying the insecurities of the human and how

individuals believe choices can be made a second time if one is not successful with

the first road taken. In the poem, Frost can also be referring to himself and his own

realization that he will never be able to come back to this scenario and take the

second alternative to the problem posed.

“I shall be telling this with sigh / Somewhere ages and ages hence” is a

critical line in the poem because the “sigh” can be taken as a sign of happiness and


relief for the road taken, as well as a sign of regret and sadness for the realization

that he (meaning Frost) will not be happy with his decision when he has grown old

(Frost 1967:131). This line can also be a metaphor of how the human mind doubts

the first natural instinct and second-‐guesses his or herself after a commitment is

made. The last lines of the poem say: “Two roads diverged in a wood, and I -‐-‐ / I

took the one less traveled by, / And that has made all the difference” (Frost

1967:131). This stanza can also have multiple interpretations depending on the

reader. If the sigh described was happy, the lines might be Frost’s way of expressing

the importance of being unique and to follow the desires of the heart, even if it is

different than the choices of others in life. However, if the sigh expresses remorse,

the “difference” can be a negative outcome. Frost uses irony by saying “the road less

traveled,” because in the second and third stanzas, it is clear that there is no road

less traveled. The paths are equally worn. There is a road that is chosen and a

corresponding path that was not chosen. The lines describing the two paths in a

yellow wood in the final stanza allude to the first line of the poem, creating a closing

effect to a poem full of hidden meanings.

Frost describes the freedom that all people have: the freedom to choose. He

expresses how individuals doubt the choices made and how regret and

disappointment are common feelings when a decision is determined. The poem also

touches upon the concept of fate and how many options are equal in benefits and

negative consequences, yet each can have a completely different effect on a person’s

life.


Original Poetry: Kalehua Katagiri


“It’s Who You Are” Concrete Poem Commentary

For the concrete poetry project, I tried to incorporate all of my cultural

backgrounds and express each ethnicity with different artistic techniques. I

represented my Hawaiian heritage by hand-‐drawing the Hawaiian flag made of a

variety of sayings learned throughout my years in ‘ōlelo Hawaiʻi class, where each

color and each stripe incorporates mottos translating to: “I am Hawaiian for now

and forever,” “Long live the Hawaiian language,” “I will stand up for what is right,”

and “famous are the children of Hawaiʻi.” These sayings are the foundation for the

strength of our nation, and express our determination for the future. I used the

letters to form a concrete poem in the shape of our native flag to emphasize a

deeper kaona. The words and language of our people are what hold together our

nation (where the nation is symbolized by the overall flag).

To display my Chinese, Russian, and Polish ethnicities, I painted black paint

over different color pastels and scratched out different words and phrases that

define me and my beliefs. This was done to bring a variety of different writing

techniques to my collage. This technique also has a metaphorical significance. Many

times, people are judged by looks or the appearance on the surface (represented by

the black paint). However, when one takes the time to look deeper inside a person,

one will realize that everyone has talents and resembles a diamond with many

facets (symbolized by the rainbow pastels beneath the paint). The Chinese

characters translate to “believe.” It’s such a simple word, yet it’s a word that can

change the world. It provides me with the hope and the power to know that

anything is possible in life. “я горд” is the Russian translation for “proud.” I am


proud of who I am and who I will become. I am proud to be a part of so many

diverse and unique cultures. I feel that it’s good to be proud of oneself with the

appropriate humility. My goal is to live my life to its fullest potential and make God

and all of my family proud of my character as well as my accomplishments. Lastly,

the Polish phrase “Mieszkam z serca” is defined as “I live from the heart.” We are all

individuals with different talents, morals, and expectations. If we live to the

standards of others, we will never truly be happy. Rather than attempting to be the

best at a specific skill, I strive to be my personal best because if this is achieved,

nothing else matters.

I used sand to introduce my Japanese and English ancestries into this

concrete poem. I think language can be expressed in many different ways other

than pen and paper. I created these images in the sand and then took photographs

of them. The Japanese characters that were traced in the sand and outlined in shells

represent the word “love.” I am so extremely grateful to be a part of a loving family

at home, as well as a school where everyone is treated with aloha. Love is the aspect

that brings people together, and what makes my life worth living. The pictures of

the Japanese characters are burned around the edges for a different perspective and

visual effect for the poem. The English words “It’s who you are” are sketched in

sand as well. I used different methods to display the pictures including straight

edges, ripped edges, crumpled papers, and burnt edges as well. This is a metaphor

for the idea that everyone is different with innovative ideas. Every person sees the

world in a different light, and I attempted to depict this through the different

presentations of the words.


Towards the middle of the paper, I created a cloud out of random letters cut

out from different magazines. This is a metaphor for confusion as well as a

representation of the world and the different styles and personalities of people

around the globe. Of all the jumbled letters, the word “identity” is formed. This

represents me as an individual. This symbolizes my journey of finding out who I am

and who I want to become. Amidst all the confusion, the morals I live by and the

values I stand by will define my identity. If one interprets the cloud as the world,

the word “identity” represents my part in the world and how all people contribute

to society. Another metaphor woven into this visual relates the necessity of rain for

a healthy earth, to the importance of a person’s identity for an individual.

I took a photo of the letters taken from different magazines as they were

sprawled out on my living room floor. I then used this picture to make a puzzle with

Kalehua written across the puzzle. I did this to produce a metaphor relating my life

to a puzzle. There are many different aspects to my life, and sometimes I feel as if I

am put together like a puzzle. Sometimes I am missing a piece, or the pieces just

won’t fit together. Yet, day-‐by-‐day, I become closer to completing the puzzle and

being the best person that I can be. With the remaining parts of the photograph, I

ripped them into tiny pieces and scattered them amongst my entire concrete poem

to express a more free-‐spirited and liberated side of myself.

Overall, I am happy with the outcome of my concrete poem. When I put all

the individual components together to create this picture, I realized that it’s amazing

to belong to so many different cultures and backgrounds. My artwork seems a little

crazy with items turned any which way. However, this is how I feel everyday, with


so many things on my schedule. Yet, somehow, everything works out in the end, and

I wouldn’t have my life any other way.

ME The world is like a puzzle. I feel like places are so far away, yet when you look from space, we all breathe the same air the same air that surrounds the minuscule dot of a planet in the vast universe which we call earth. One place. One people. Why can’t everything be this way? I don’t understand. Why are we here? Where did the world come from? Am I the best person that I can become? Who do I believe? Will I ever truly find the answers to these questions when I have grown old?

Old. Birthdays.

Growing older. Another year has drifted by, just as the fragrance of the sweet maile as it meanders

throughout the lush green forest, yet another year to anticipate, as if plunging into the ceaseless depths of a new

ocean, another chapter in life, another page turned, another step closer to a new beginning.

Do I fear what’s ahead? Fear.

Why do we fear? Why are we fearful of doing new things? I’m scared to make a mistake. So what? Everyone makes mistakes. Everyone

wishes they were perfect, but the mistakes we make help us grow and define who we are.

Wish. I wish I were at the beach Sitting in the sun with the delicate crystals of the sea foam reaching towards my toes. I look up at the ever-‐blue sky wishing that time would freeze and that this moment would last forever. Where life is simple and free. A place where time is slowed and the clouds pass by without a care in the world, as the sun yearns to rise, painting the sky with gold.


The sun. So important to our ancestors.

It provided a light that poured strength into the hearts of our kūpuna to hold on to the past, embrace the present, and surge ahead into the limitless future.

A light that inspired our people to seek knowledge and to fight for what was rightfully ours.

Ours. Yours. Mine. Can man truly own anything in this world?

We live in a society where possessions dominate our lives. Why do we focus on “things” when we really should be focusing on people, on

memories, on the reminiscences that cling to our hearts and will matter when they are gone?

Gone. Where do we go we leave this planet? To Heaven? Will my family be there? What will it be like? Will I be free?

Free. I am free. Free to be.

Free to be anybody who I wanna be. I am a student, a daughter, a sibling. I am an athlete, a singer, a friend, a listener, a

hard-‐worker. I am a dreamer, a fighter, a believer. I am Hawaiian, Chinese, Japanese, English, Russian, Polish. I am a part of something bigger than myself. I am

whatever I aspire to become, and not a darn thing in the world can stop me. We all believe that we need to be someone important, someone big, someone rich,

someone with ultimate power. Yet all those things are dust in the wind without defining who I am and what I have

to offer to the glorious world we all live in. All I need…is to be me.

Kalehua Katagiri


“Me” Poem Commentary

When I first began writing this poem, I wasn’t exactly sure the theme of the

poem. I simply started to write down the questions that were running through my

mind at the time. The first stanza expresses the deeper questions in life in which

most people ponder, yet hardly know how to answer these wonders. The metaphor

“The world is like a puzzle” relates the vast components of the world into a large

puzzle (Katagiri 2011). If all parts are not working together equally, or a puzzle

piece is missing, the world would not be complete. I believe that all individuals have

contemplated these uncertainties, and are intrigued to find the answers.

The second and third stanzas explain the beauty of time and growing older.

My classmates and I are at a pivotal point in our lives with a huge transition ahead,

eventually heading off to college and becoming unique individuals. With this change

comes many fears. I personally, am quite tentative about moving on. I have

attended Kamehameha since kindergarten and I cannot imagine anything different.

The lines “Another year has drifted by, just as the fragrance of the sweet maile / as it

meanders throughout the lush green forest” allude to the Hawaiian culture of

cherishing the maile, as well as create a metaphor displaying how quickly time

passes (Katagiri 2011). Although have many fears, I understand that life is a

learning process and mistakes will happen.

The section of the poem describes the luxury of living in Hawaiʻi and the

simple pleasure of going to the beach. I used personification in order to give the sun

the human-‐like ability to “paint” the sky. I included these descriptions of the beach

and the idea that time is slowed and even frozen when one is at ease to the opposing


idea that time never stops as noted in the previous lines. I feel this imagery of

relaxing and forgetting one’s troubles is an important part of life. We take so many

beautiful things for granted. I am slowly learning that taking a break and enjoying

nature balances my other aspects of life such as school, sports, family, friends, and

so forth.

The following passage talks about the sun and its ability to provide

motivation for our ancestors and knowledge for our people to push forward and

look to the future. I created both personification and metaphor: “It provided a light

that poured strength into the hearts of our / kūpuna to hold on to the past, embrace

the present, and surge / ahead in to the limitless future” in order to show that the

sun had so much depth and meaning to our people (Katagiri 2011). It’s important to

recognize this and use the sun to light our path as we continue on the journey of life

ahead.

The next two stanzas refer to the changes in our modernized society and the

presumptuous importance that is placed upon “things” (computers, cell phones, and

so on). These items will come and go as time progresses. It’s the people in my life

and the memories made that will be carried in my heart until I grow old. Without

these memories, life would be unmemorable. These stanzas also allude back to the

beginning of the poem regarding the questions about earth, the purpose for life, and

so forth. Although I’m uncertain as to what will happen after life on earth, I put my

faith into the values and morals about heaven instilled by my parents. In some

ways, these questions resemble the missing puzzles pieces mentioned earlier in the

poem. There are some questions that will never be understood.


To end my poem, I wanted to incorporate the things that define me, such as

my ethnicities, my beliefs, and so on. I tried to express how I see the world and how

I approach life. I used the metaphor: “Yet all those things are dust in the wind

without defining who I am” to describe the priorities of many people including

money, fame, and power (Katagiri 2011). However, all these things are not

important without staying true to oneself and being happy as an individual. If I be

myself, everything will fall in to place.


Bibliography

Allen, Ki. InsightCCED.org - Insight Center for Community Economic Development. Domain People, Inc., 17 Feb. 2010. Web. 28 Mar. 2011. <http://www.insightcced.org/communities/Closing-‐RWG/about-‐econ/expertDetail.html?expertID=174>.

Askar, Sakiev. Robert Frost Biography. Famous Poets and Poems -‐ Read and Enjoy Poetry, 1 Feb. 2001. Web. 28 Mar. 2011. <http://famouspoetsandpoems.com/poets/robert_frost/biography>.

Bloom, Harold, ed. Modern Critical Views Robert Frost. New York: Chelsea House Publishers, 1986.

Caravantes, Peggy. Deep Woods The Story of Robert Frost. Greensboro: Morgan Reynolds Publishing, 2006.

"Four Hawaiian Women Poets.” 21, Sept. 2010. Maui Time. <http://www.mauitime.com/Articles-‐i-‐2009-‐09-‐10-‐70816.113117-‐Four-‐Hawaiian-‐Women-‐Poets.html>.

Frost, Robert. “A Peck Of Gold.” Complete Poems of Robert Frost. New York: Holt, Rinehart and Winston, 1967.

Frost, Robert. Complete Poems of Robert Frost. New York: Holt, Rinehart and Winston, 1967.

Frost, Robert. “Fire and Ice.” Complete Poems of Robert Frost. New York: Holt, Rinehart and Winston, 1967.

Frost, Robert. “Fireflies In The Garden.” Complete Poems of Robert Frost. New York: Holt, Rinehart and Winston, 1967.

Frost, Robert. In The Clearing. New York: Holt, Rinehart and Winston, 1958.

Frost, Robert. “One Step Backward Taken.” Complete Poems of Robert Frost. New York: Holt, Rinehart and Winston, 1967.

Frost, Robert. “The Road Not Taken.” Complete Poems of Robert Frost. New York: Holt, Rinehart and Winston, 1967.

Hamilton-‐Emery, Chris. Just One Book. Salt, 16 Feb. 2009. Web. 28 Mar. 2011. <http://www.saltpublishing.com/books/ewk/9781844714070.htm>.

Hoʻomanawanui, Kuʻualoha. ‘Ōiwi: A Native Hawaiian Journal. Uluhaimalama by Mahealani Perez-‐Wendt, 2006. Web. 28 Mar. 2011. <http://www.hawaii.edu/oiwi/contact-‐us.php>.


Katagiri, Kalehua. “It’s Who You Are.” N.P. 2011.

Katagiri, Kalehua. “Me.” N.P. 2011.

Mazukr, Lech. Encyclopedia of World Biography. Advameg, Inc., 1 Feb. 2002. Web. 28 Mar. 2011. <http://www.notablebiographies.com/Fi-‐Gi/Frost-‐Robert.html>.

Potter, James. Robert Frost Handbook. University Park: The Pennsylvania State University Press, 1975.

Untermeyer, Louis, ed. Robert Frost The Road Not Taken. New York: Henry Holt and Company, 1985.

Wendt, Mahealani. “E Ala ē.” Uluhaimalama. Honolulu, Hawaii: Kuleana ʻŌiwi Press, 2007.

Wendt, Mahealani. “Sea.” Uluhaimalama. Honolulu, Hawaii: Kuleana ʻŌiwi Press, 2007.

Wendt, Mahealani. “Small Rememberances.” Uluhaimalama. Honolulu, Hawaii: Kuleana ʻŌiwi Press, 2007.

Wendt, Mahealani. Uluhaimalama. Honolulu, Hawaii: Kuleana ‘Ōiwi Press, 2007.

Wendt, Mahealani. “Uluhaimalama.” Uluhaimalama. Honolulu, Hawaii: Kuleana ʻŌiwi Press, 2007.

Wendt, Mahealani. “Voyage.” Uluhaimalama. Honolulu, Hawaii: Kuleana ʻŌiwi Press, 2007.

Wendt, Whaitiri et.al., eds. Whetu Moana. Honolulu: University of Hawaiʻi Press, 2003.


Select Bibliography

“Geyser.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 20 March 2007.

“Sun Painting.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 20 December 2010.

“Sand Sketch.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 1 March 2011.

“Sunrise.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 30 March 2011.

“Aotearoa Landscape.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 20 March 2007.

“Hilton at Dusk.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 5 July 2010.

“Aotearoa Sleeping Area.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 20 March 2007.

“Kalo Patch.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 7 February 2011.

“Fish Environment.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 5 July 2010.

“Sand with Shells.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 1 March 2011.

“Geyser 2.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 20 March 2007.

“Kaneohe.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 5 March 2011.

“Scenic View.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 5 March 2011.

“Waikaloa.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 15March 2007.

“Scenic View 2.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 5 March 2011.

“Forest.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 20 March 2007.

“Shrubs.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 20 March 2007.

“Sea.” Honolulu, HI. Personal photograph taken by Kalehua Katagiri. 5 March 2011.


Language of the Heart

Documents

Transcript of Language of the Heart