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Witi IhimaeraA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
This phrase appears throughout the novel whenever an action that adheres to Fate is actualized. The first instance where this phrase is seen is when the final spear is thrown, and Kahutia Te Rangi proclaims that it will strike land when man needs it once more. In the throwing of the spear, Kahu’s Fate is subsequently sealed. The phrase appears again when Kahu’s birth cord is buried under the statue of Kahutia Te Rangi. From a literary standpoint, not only is Kahu’s Fate as the final spear further explained, but it is also foreshadowed. Therefore, this phrase can also be used to track important moments in the novel that develop the plot and add instances of foreshadowing. Ihimaera also uses the phrase during the sections dedicated to the whale’s migration. He writes, “They were right to worry because the ancient whale could only despair that the place of life, and the Gods, had now become a place of death. The herd thundered through the sea. Haumi e, hui e, taiki e. Let it be done” (33). This particular use of the phrase alludes to the eventual stranding of the whales on Whangara, turning the island into a place of death. Ihimaera also couples the Maori language with the English phrase “Let it be done.” In Maori, “Haumi e, hui e” is spoken by a single person, and then the group responds with “taiki e.” It is similar to proclaiming “Amen” as a confirmation of belief. Other instances where the phrase is used include when the ancient bull whale approaches the beach from the sea, Kahu retrieves the carved stone, and Koro Apirana believes the stranded whales to be a sign. The final instance where the phrase is used is when the ancient bull whale finally understands that Kahu is the final spear. In understanding Kahu’s Fate, he understands both his own Fate and the function of Fate in life itself. As they return Kahu to land to fulfill her role as the final spear, Ihimaera writes, “Let it be done,” finalizing for the last time Kahu’s destiny (76).
Spears, and spear imagery, come to symbolize a life-giving force that instructs man how to live in communion with nature. When Kahutia Te Rangi first throws the spears onto the land, “Some spears in mid-flight turned into pigeons which flew into the forests. Others on landing in the sea changed into eels” (9). The spears turn into animals and plants that populate and fertilize the land, adding diversity and life to the once barren island. Along with turning into physical beings, the spears also represent knowledge. The spears “were brought from the Houses of Learning called Te Whakaeroero, Te Rawheoro, Rangitane, and Tapere Nui a Whatonga” (20). The spears represent a type of knowing, which the reader sees in both Kahutia Te Rangi and Kahu in their ability to communicate with whales. In their representation of wisdom and knowledge, the spears are able to instruct man how to live in union with beasts.
Spear imagery is used to refer to Kahu and foreshadows her identity as the final spear. Rawiri notices something like a spear fly through the air when he and Nanny Flowers bury Kahu’s birth cord under the statue of her ancestor. Looking back at where her birth cord had been placed, Rawiri recalls, “At that moment the moon came out and shone full upon the carved figure of Kahutia Te Rangi on his whale. I saw something flying through the air. It looked like a small spear” (17). Later on, when Rawiri finds Kahu by the sea, he recounts,
She was standing facing the sea and listened to voices in the surf. There, there, Kahu. There, there. Suddenly Kahu turned and saw me. She ran toward me like a seagull. ‘Uncle Rawiri!’ I saw three silver shapes leaping into the dawn (31).
Whenever Kahu’s identity is confirmed either by someone else or by her own actions, spear imagery is portrayed. Images of spears accompany acts of oneness, where the duality of nature and man is transcended, and thus the final spear’s purpose is realized.
The swirling moko is the identifying mark of the ancient bull whale ridden by Kahutia Te Rangi. Its depiction as swirling adheres to usages of eternity in the novel. For example, the song of the flute has eternity in it, “Suddenly the sea was filled with awesome singing, a song with eternity in it, a song to the land: You have called and I have come, bearing the gift of the Gods” (9). The eternal nature of this symbol situates the ancient bull whale as equally integral to sustaining Maori culture as Kahutia Te Rangi and Kahu. Even more so, it is only in union with the whale that the Maori way of life can be sustained, as he is marked with the moko and not man. The swirling moko then comes to represent the eternal nature of Maori culture and the very culture itself. Upon returning from Papua New Guinea, Rawiri sees the whale with the swirling moko in the clouds and understands it as a sign calling him home. When Koro Apirana notices that the stranded whale bears the moko, he understands it as an opportunity to save the Maori people. Lastly, the moko is described as primal, “None of us had been prepared for the physical size of the beast. It seemed to tower over us. A primal force gleamed in its swirling tattoo. Twenty metres long, it brought with it a reminder of our fantastic past” (62). The whale comes to symbolize the eternity of the future and the eternal nature of the past. Man is reminded of his ancestry and the centuries that have come before him, serving to contextualize man as nothing more than a brief moment in time. The primal nature also situates whales at the beginning of time, alluding to their bridging of fantasy and fact. This point is articulated in Koro Apirana’s speech positing the ancient whale as both real and unreal, surmounting yet another dichotomy.