The report on the rare appearance of a comet in New Zealand skies this coming week has prompted cultural reflection among Tongans, bringing renewed attention to the meaning of fetu‘u fuka—the Tongan term for comet—and its deeper significance in poetic expression, which many had not fully understood despite its long-standing use in song.
Known scientifically as C/2025 R3 PanSTARRS, the comet will be visible for a limited time before disappearing for an estimated 170,000 years—a rarity that helps explain why a song, Fonua Mana, celebrating the singular greatness of Queen Sālote Tupou III, the beloved Queen of Tonga, was so highly regarded for its use of fetu‘u fuka.
It is one of the early compositions crafted in line with the figurative standards of the traditional pop genre known as hiva kakala, yet it remains popular to this day.
The comet’s rare and unpredictable appearance conveys a sense of uniqueness, suggesting a figure who is unparalleled and unlikely to be seen again in the same way.
At the same time, the comet’s striking brightness as it crosses the sky signifies radiance and distinction. As a poetic device, it reflects the Queen’s commanding presence, dignity, and exceptional stature, portraying a leading figure in Tongan literature whose excellence stands out vividly and endures in memory.
Grace That Outlived Time
Queen Sālote ascended to the throne in 1918 at just 18 years of age and reigned for nearly 48 years until her death in 1965, leaving a profound imprint on Tonga’s cultural and national identity.
Regarded as the greatest punake Tonga has ever produced, she composed more than 100 works, including lullabies, laments, hiva kakala (figurative lyrical songs), and dances.
In recognition of her enduring contribution to Pacific music and culture, she was posthumously honoured with a Lifetime Achievement Award at the 2019 Pacific Music Awards in Auckland, presented during the ceremony’s 15th anniversary.
Professor Futa Helu, a highly respected Tongan scholar of literature and song, once noted that the use of fetu‘u fuka in Fonua Mana represents one of the highest forms of heliaki (poetic expression) in a hiva kakala, symbolising the Queen’s singular greatness.
The song Fonua Mana, composed by Sēmisi ‘Iongi—often regarded as the “Shakespeare of Tonga”—features fetu‘u fuka as a powerful lyrical hook in its opening line.
Fonua Mana
Lupe fano ‘i he fetu’u fuka
Takafia e la’ā mo e ‘otu nēpula
Kaveinga ko si’ene mafua
Koe ola ‘o e tavatava ‘i Manuka
The first verse figuratively portrays Queen Sālote as a dove (lupe) soaring endlessly (fano) upon a comet (fetu‘u fuka), journeying beyond the sun and nebulae toward the stars (kaveinga). These layered expressions elevate her as a figure of rare distinction, moving beyond earthly boundaries and embodying a presence both far-reaching and exceptional.
The placement of fetu‘u fuka as the lyrical hook in the opening line is significant, immediately establishing the song’s central image and giving its message clarity, power, and lasting impact.
The reference to tavatava ‘i Manuka introduces a nuanced proverb, often associated with the act of revealing what is usually kept guarded; in this poetic context, it suggests the sharing or outpouring of her inner gifts—particularly her poetic brilliance—offered openly and generously beyond expected bounds.
Maui fusifonua pea tauala
‘O ne tuku ‘a Tonga ki he ‘olovaha
‘Eva laukau ‘i he fonua mana
Nofo he nonga kae toe holi vaka
In the second verse, the punake elevates Queen Sālote’s legacy by likening it to the demigod Māui Fusifonua—the land-puller—celebrated in Tongan tradition for securing and shaping the land for his people. Through this imagery, the Queen is portrayed as a guiding force who set Tonga on a firm and purposeful path, enabling her people to dwell in a flourishing and blessed land (fonua mana).
The closing line introduces the proverb nofo he nonga kae toe holi vaka, a caution against risking stability by venturing into uncertainty. In this context, it underscores the value of the peace and order established under her leadership, reminding her people to safeguard what has been secured rather than endanger it.
[Chorus]
Fangumahua mei Falelahi
Fakafunga ‘a e laumanu ekiaki
Moto e heilala ve’eve’e ‘o e Paki
‘Elito e lolo ‘alaha kei tangitangi
In the chorus, the punake distils the essence of the Queen’s legacy as an overflowing fangu (calabash) of fragrant oil poured out from Falelahi, symbolising the royal source of blessing and abundance. The imagery suggests a richness that spreads beyond its origin, drawing attention and admiration, as reflected in the reference to the white dove that encircles and honours it.
The final lines employ metonymy, linking the Queen to treasured indigenous fragrant flowers and oils—symbols of refinement, beauty, and enduring value—evoking a legacy that continues to diffuse its fragrance and presence long after its source is unseen.
He ‘oku tatau ‘a e tua moe palai
Kae tuku ‘a ‘eta matalafo laukai
Ko e mui vaka ‘a e folau tongiaki
Na’e fēfē ho’o kau ‘i he’emau telekaki
In the final verse, the punake delivers a reflective and cautionary message, addressing those who may question or lose faith in the Queen’s leadership. Through a series of proverbs and idiomatic expressions, the verse draws on contrasts—such as sameness versus discernment—to challenge superficial judgment. Together, these expressions create an antithesis that ultimately highlights the Queen’s distinctiveness, urging recognition of her wisdom, leadership, and enduring legacy.
Editor’s Note: The authorship of this song has been variously attributed to Peni Lātū, while others maintain it was composed by Sēmisi ‘Iongi. Both punake were close associates of Queen Sālote, and some of their works were performed by the Queen’s acoustic ensemble, Fuiva ‘o Fangatapu. For this article, ‘Iongi is identified as the composer, based on Professor Futa Helu’s account.
