Summary

George S. Chappell The Cruise of the Kawa: Wanderings in the South Seas

In the beauty of nature about him it is evident that the great artist felt only the dominant feature of island life, the glorious, untrammeled womanhood of the South Seas. The wild abandon, the primitive gesture of modesty, the eyes of adoration—symbolically expressed as detached entities floating about the loved one—all are present in this remarkable picture. Thus expressed, too, we may find the ever-present ocean, the waving palms and, if we seek carefully, the Kawa herself, scudding before the trade wind. Truly may this be called, as the artist prefers, the Venus of Polynesia.
Source: Gutenberg

George S. Chappell The Cruise of the Kawa: Wanderings in the South Seas

Under our keel spread limeaceous trees of myriad hues in whose branches perched variegated fish nibbling the coral buds or thoughtfully scratching their backs on the roseate bark. Pearls the size of onions rolled aimlessly on ocean's floor. But of these later; for the nonce our tale leads landward.
As our canvas scraped the shingle we leaped out, tossing the dory lightly beyond the reach of the waves, and fell into the agreed-upon formation. Triplett in the van, then Whinney, Swank and myself, in the order named. Beyond the beach was a luxuriant growth of haro.
Source: Gutenberg

George S. Chappell The Cruise of the Kawa: Wanderings in the South Seas

Plainly not of the same social class as the beautiful women whom Baahaabaa had selected for us, she yet possessed an eerie charm of her own which instantly stirred strange emotions in my breast. I heard Swank gasp and Whinney's face was white and drawn, his favorite expression when deeply moved. She stood close to her husband, half-twined about him with the grace and strength of an eva-eva vine while her kindling eyes burned questioningly, her lithe body tense and protective. "He is to be christened," said Baahaabaa, with a magnificent gesture toward William Henry Thomas.
Source: Gutenberg

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