And when she became wife under the marriage bond, all power was given her as a god except that to see hidden things and those obscure deeds which were done at a distance; only her husband had this power.

Before they left Kauai to return to the heavens, a certain agreement was made in their assembly at the government council.

Lo! on that day, the rainbow pathway was let down from Nuumealani and Kaonohiokala and Laieikawai mounted upon that way, and she laid her last commands upon her sisters, the seer, and Laielohelohe; these were her words:

"My companions and our father the prophet, my sister born with me in the womb and your husband, I return according to our agreement! leave you and return to that place where you will not soon come to see me; therefore, live in peace, for each alike has prospered, not one of you lacks fortune. But Kaonohiokala will visit you to look after your welfare."

After these words they were borne away out of sight. And as to her saying Kaonohiokala would come to look after the welfare of her companions, this was the sole source of disturbance in Laieikawai's life with her husband.

While Laieikawai lived at home with her husband it was Kaonohiokala's custom to come down from time to time to look after his sisters' welfare and that of his young wife three times every year.

They had lived perhaps five years under the marriage contract, and about the sixth year of Laieikawai's happy life with her husband, Kaonohiokala fell into sin with Laielohelohe without anyone knowing of his falling into sin.

After Laieikawai had lived three months above, Kaonohiokala went down to look after his sister's welfare, and returned to Laieikawai; so he did until the third year, and after three years of going below to see after his sisters, lo! Laielohelohe was full-grown and her beauty had increased and surpassed that of her sister, Laieikawai's.

Not at this time, however, did Kaonohiokala fall into sin, but his sinful longing had its beginning.

On every trip Kaonohiokala took to do his work below, for four years, lo! Laielohelohe's loveliness grew beyond what he had seen before, and his sinful lust increased mightily, but by his nature as a child of god he persisted in checking his lust; for perhaps a minute the lust flew from him, then it clung to him once more.

In the fifth year, at the end of the first quarter, Kaonohiokala went away to do his work below.

At that time virtue departed far from the mind of Kaonohiokala and he fell into sin.

Now at this time, when he met his sisters, the prophet and his punalua and their wife (Laielohelohe), Kaonohiokala began to redistribute the land, so he called a fresh council.

And to carry out his evil purpose, he transferred his sisters to be guards over the land called Kealohilani, and arranged that they should live with Mokukelekahiki and have charge of the land with him.

When some of his sisters saw how much greater the honor was to become chiefs in a land they had never visited, and serve with Mokukelekahiki there, they agreed to consent to their brother's plan.

But Kahalaomapuana would not consent to return to Kealohilani, for she cared more for her former post of honor than to return to Kealohilani.

And in refusing, she spoke to her brother as follows: "My high one, as to your sending us to Kealohilani, let them go and I will remain here, living as you first placed me; for I love the land and the people and am accustomed to the life; and if I stay below here and you above and they between, then all will be well, just as we were born of our mother; for you broke the way, your little sisters followed you, and I stopped it up; that was the end, and so it was."

Now he knew that his youngest sister had spoken well; but because of Kaonohiokala's great desire to get her away so that she would not detect his mischievous doings, therefore he cast lots upon his sisters, and the one upon whom, the lot rested must go back to Kealohilani.

Said Kaonohiokala to his sisters, "Go and pull a grass flower; do not go together, every one by herself, then the oldest return and give it to me, in the order of your birth, and the one who has the longest grass stem, she shall go to Kealohilani."

Every one went separately and returned as they had been told.

The first one went and pulled one about two inches in length, and the second one pulled and broke her flower perhaps three inches and a half; and the third, she pulled her grass stem about two inches long; and the fourth of them, hers was about one inch long; and Kahalaomapuana did not pull the tall flowers, she pulled a very short one, about three feet long hers was, and she cut off half and came back, thinking her grass stem was the shortest.

But in comparing them, the oldest laid hers down before her brother. Kahalaomapuana saw it and was much surprised, so she secretly broke hers inside her clothing; but her brother saw her doing it and said, "Kahalaomapuana, no fooling! leave your grass stem as it is."

The others laid down theirs, but Kahalaomapuana did not show hers; said he, "The lot rests upon you."

Then she begged her brother to draw the lot again; again they drew lots, again the lot rested upon Kahalaomapuana; Kahalaomapuana had nothing left to say, for the lot rested upon her.

Lo! she was sorrowful at separating herself from her own chief-house and the people of the land; darkened was the princess's heart by the unwelcome lot that sent her back to Kealohilani.

And on the day when Kahalaomapuana was to depart for Kealohilani, the rainbow was let down from above the earth.

Then she said to her brother, "Let the pathway of my high one wait ten days, and let the chiefs be gathered together and all the people of the land, that I may show them my great love before you take me away."

When Kaonohiokala saw that his sister's words were well, he granted her wish; then the pathway was taken up again with her brother.

And on the tenth day, the pathway was let down again before the assembly, and Kahalaomapuana mounted upon the ladder way prepared for her and turned with heavy heart, her eyes filled with a flood of tears, the water drops of Kulanihakoi, and said: "O chiefs and people, I am leaving you to return to a land unknown to you; only I and my older sisters have visited it; it was not my wish to go back to this land; but my hand decided my leaving you according to the lot laid by my divine brother. But I know that every one of us has a god, no one is without; now, therefore, do you pray to your god and I will pray to my god, and if our prayer has might, then shall we meet again hereafter. Love to you all, love to the land, we cease and disappear."

Then she caught hold of her garment and held it up to her eyes before the assembly to hide her feeling for the people and the land. And she was borne by the rainbow to the land above the clouds, to Lanikuakaa, the heavens higher up.

The great reason why Kaonohiokala wished to separate Kahalaomapuana in Kealohilani was to hide his evil doings with Laielohelohe, for Kahalaomapuana was the only one who could see things done in secret; and she was a resolute girl, not one to give in. Kaonohiokala thought she might disclose to Moanalihaikawaokele this evil doing; so he got his sister away, and by his supernatural arts he made the lot fall to Kahalaomapuana.

When his sister had gone, about the end of the second quarter of the fifth year, he went away below to carry out his lustful design upon Laielohelohe.

Not just at that time, but he made things right with Kekalukaluokewa by putting him in Kahalaomapuana's place and the seer as his chief counsellor.

Mailehaiwale was made governor on Kauai, Mailekaluhea on Oahu, Mailelaulii on Maui and the other islands, Mailepakaha on Hawaii.



CHAPTER XXXII

When Kekalukaluokewa became head over the group, then Kaonohiokala sent him to make a tour of the islands and perform the functions of a ruler, and he put Laielohelohe in Kekalukaluokewa's place as his substitute.

And for this reason Kekalukaluokewa took his chief counsellor (the prophet) with him on the circuit.

So Kekalukaluokewa left Pihanakalani and started on the business of visiting the group; the same day Kaonohiokala left those below.

When Kaonohiokala started to return he did not go all the way up, but just watched that day the sailing of Kekalukaluokewa's canoes over the ocean.

Then Kaonohiokala came back down and sought the companionship of Laielohelohe, but not just then was the sin committed.

When the two met, Kaonohiokala asked Laielohelohe to separate herself from the rest, and at the high chief's command the princess's retainers withdrew.

When Laielohelohe and Kaonohiokala were alone he said, "This is the third year that I have desired you, for your beauty has grown and overshadowed your sister's, Laieikawai's. Now at last my patience no longer avails to turn away my passion from you."

"O my high one," said Laielohelohe, "how can you rid yourself of your passion? And what does my high one see fit to do?"

"Let us know one another," said Kaonohiokala, "this is the only thing to be done for me."

Said Laielohelohe, "We can not touch one another, my high one, for the one who brought me up from the time I was born until I found my husband, he has strictly bound me not to defile my flesh with anyone; and, therefore, my high one, it is his to grant your wish."

When Kaonohiokala heard this, then he had some check to his passion, then he returned to the heavens to his wife, Laieikawai. He had not been ten days there when, he was again thick-pressed by the thunders of his evil lust, and he could not hold out against it.

To ease this passion he was again forced down below to meet Laielohelohe.

And having heard that her guardian who bound her must give his consent, he first sought Kapukaihaoa and asked his consent to the chief's purpose.

So he went first and said to Kapukaihaoa: "I wish to unite myself with Laielohelohe for a time, not to take her away altogether, but to ease my heavy heart of its lust after your foster child; for I first begged my boon of her, but she sent me for your consent, and so I have come to you."

Said Kapukaihaoa: "High one of the highest, I grant your request, my high one; it is well for you to go in to my foster child; for no good has come to me from my charge. It was our strong desire, mine and hers who took care of your wife Laieikawai, that Kekalukaluokewa should be our foster child's husband; very good, but in settling the rule over the islands, the gain has gone to others and I have nothing. For he has given all the islands to your sisters, and I have nothing, the one who provided him with his wife; so it will be well, in order to avoid a second misfortune, that you have the wife for the two of you."

At the end of their secret conference, Kapukaihaoa went with the chief to Laielohelohe.

Said he, "My ward, here is the husband, be ruled by him; heavens above, earth beneath; a solid fortune, nothing can shake its foundation; and look to the one who bore the burden."

Then Laielohelohe dismissed her doubts; and Kaonohiokala took Laielohelohe and they took their pleasure together.

Three days after, Kaonohiokala returned to Kahakaekaea.

And after he had been some days absent, the pangs of love caught him fast, and changed his usual appearance.

Then on the fourth day of their separation, he told a lie to Laieikawai and said, "This was a strange night for me, I never slept, there was a drumming all night long."

Said Laieikawai, "What was it?"

Said Kaonohiokala, "Perhaps the people below are in trouble."

"Perhaps so," said Laieikawai. "Why not go down and see?"

And at his wife's mere suggestion, in less than no time Kaonohiokala was below in the companionship of Laielohelohe. But Laielohelohe never thought of harm; what was that to her mind!

When they met at the chief's wish. Laielohelohe did not love Kaonohiokala, for the princess did not wish to commit sin with the great chief from the heavens, but to satisfy her guardian's greed.

After perhaps ten days of these evil doings, Kaonohiokala returned above.

Then Laielohelohe's love for Kekalukaluokewa waxed and grew because she had fallen into sin with Kaonohiokala.

One day in the evening Laielohelohe said to Kapukaihaoa, "My good guard and protector, I am sorry for my sin with Kaonohiokala, and love grows within me for Kekalukaluokewa, my husband; good and happy has been our life together, and I sinned not by my own wish, but through your wish alone. What harm had you refused? I referred the matter to you because of your binding me not to keep companionship with anyone; I thought you would keep your oath; not so!"

Said Kapukaihaoa, "I allowed you to be another's because your husband gave me no gifts; for in my very face your husband's gifts were given to others; there I stood, then you were gone. Little he thought of me from whom he got his wife."

Said Laielohelohe to her foster father, "If that is why you have given me over to sin with Kaonohiokala, then you have done very wrong, for you know the rulers over the islands were not appointed by Kekalukaluokewa, but by Kaonohiokala; and therefore to-morrow I will go on board a double canoe and set sail to seek my husband."

That very evening she commanded her retainers, those who guarded the chief's canoe, to get the canoe ready to set sail to seek the husband.

And not wishing to meet Kaonohiokala, she hid inside the country people's houses where he would not come, lest Kaonohiokala should come again and sin with her against her wish; so she fled to the country people's houses, but he did not come until that night when she had left and was out at sea.

When she sailed, she came to Oahu and stayed in the country people's houses. So she journeyed until her meeting with Kekalukaluokewa.

About the time that Laielohelohe was come to Oahu, that next day Kaonohiokala came again to visit Laielohelohe; but on his arrival, no Laielohelohe at the chief's house; he did not question the guard for fear of his suspecting his sin with Laielohelohe. Now Laielohelohe had secretly told the guard of the chief's house why she was going. And failing in his desires he returned above.

The report of his lord's falling into sin had reached the ears of the chief through some of his retainers and he had heard also of Laielohelohe's displeasure.

Now the vagabond, Aiwohikupua, was one of the chief's retainers, he was the one who heard these things. And when he heard Laielohelohe's reason for setting sail to seek her husband, then he said to the palace guard, "If Kaonohiokala returns again, and asks for Laielohelohe, tell him she is ill, then he will not come back, for she would pollute Kaonohiokala and our parents; when the uncleanness is over, then the deeds of Venus may be done."

When Kaonohiokala came again and questioned the guard then he was told as Aiwohikupua had said, and he went back up again.



CHAPTER XXXIII

In Chapter XXXII of this story the reason was told why Laielohelohe went in search of her husband.

Now, she followed him from Kauai to Oahu and to Maui; she came to Lahaina, heard Kekalukaluokewa was in Hana, having returned from Hawaii.

She sailed by canoe and came to Honuaula; there they heard that Hinaikamalama was Kekalukaluokewa's wife; the Honuaula people did not know that this was his wife.

When Laielohelohe heard this news, they hurried forward at once and came to Kaupo and Kipahulu. There was substantiated the news they heard first at Honuaula, and there they beached the canoe at Kapohue, left it, went to Waiohonu and heard that Kekalukaluokewa and Hinaikamalama had gone to Kauwiki, and they came to Kauwiki; Kekalukaluokewa and his companion had gone on to Honokalani; many days they had been on the way.

On their arrival at Kauwiki, that afternoon, Laielohelohe asked a native of the place how much farther it was to Honokalani, where Kekalukaluokewa and Hinaikamalama were staying.

Said the native, "You can arrive by sundown."

They went on, accompanied by the natives, and at dusk reached Honokalani; there Laielohelohe sent the natives to see where the chiefs were staying.

The natives went and saw the chiefs drinking awa, and returned and told them.

Then Laielohelohe sent the natives again to go and see the chiefs, saying, "You go and find out where the chiefs sleep, then return to us."

And at her command, the natives went and found out where the chiefs slept, and returned and told Laielohelohe.

Then for the first time she told the natives that she was Kekalukaluokewa's married wife.

Before Laielohelohe's meeting with Kekalukaluokewa he had heard of her falling into sin with Kaonohiokala; he heard it from one of Kauakahialii's men, the one who became Aiwohikupua's chief counsellor; and, because of that man's hearing about Laielohelohe, he came there to tell Kekalukaluokewa.

When Laielohelohe and her companions came to the house where Kekalukaluokewa was staying, lo! they lay sleeping in the same place under one covering, drunk with awa.

Laielohelohe entered and sat down at their heads, kissed him and wept quietly over him; but the fountain of her tears overflowed when she saw another woman sleeping by her husband, nor did they know this; for they were drunk with awa.

Then Laielohelohe did not stay her anger against Hinaikamalama. So she got between them, pushed Hinaikamalama away, took Kekalukaluokewa and embraced him, and wakened him.

Then Kekalukaluokewa started from his sleep and saw his wife; just then, Hinaikamalama waked suddenly from sleep and saw this strange woman with them; she ran away from them in a rage, not knowing this was Kekalukaluokewa's wife.

When Kekalukaluokewa saw the anger in Hinaikamalama's eyes as she went, then he said, "O Hinaikamalama, will you run to people with angry eyes? Do not take this woman for a stranger, she is my wedded wife." Then her rage left her and shame and fear took the place of rage.

When Kekalukaluokewa awoke from his drunken sleep and saw his wife Laielohelohe, they kissed as strangers meet.

Then he said to his wife, "Laielohelohe, I have heard about your falling into sin with our lord, Kaonohiokala, and now this is well for you and him, and well for me to rule under you two; for from him this honor comes, and life and death are with him; if I should object, he would kill me; therefore, whatever our lord wishes it is best for us to obey; it was not for my pleasure that I gave you up, but for fear of death."

Then Laielohelohe said to her husband, "Where are you, husband of my childhood? What you have heard is true, and it is true that I have fallen into sin with the lord of the land, not many times, only twice have we sinned; but, my husband, it was not I who consented to defile my body with our lord, but it was my guardian who permitted the sin; for on the day when you went away, that very day our lord asked me to defile myself; but I did not wish it, therefore I referred my refusal to him; but on his return from above he asked Kapukaihaoa, and so we met twice; and because I did not like it, I hid myself in the country people's houses, and for the same reason have I left the seat appointed me, and have sought you; and when I arrived, I found you with that woman. Therefore we are square; I have nothing to complain of your you have nothing to complain of me; therefore, leave this woman this very night."

Now his wife's words seemed right to her husband; but at Laielohelohe's last request to separate them from their sinful companionship, then was kindled the fire of Hinaikamalama's hot love for Kekalukaluokewa.

Hinaikamalama returned home to Haneoo to live; every day that Hinaikamalama stayed at her chief-house, she was wont to sit at the door of the house and turn her face to Kauwiki, for the hot love that wrapped her about.

One day, as the princess sought to ease the love she bore to Kekalukaluokewa, she climbed Kaiwiopele with her attendants, and sat there with her face turned toward Kauwiki, facing Kahalaoaka, and as the clouds rested there right above Honokalahi then the heart of the princess was benumbed with love for her lover; then she chanted a little song, as follows:

Like a gathering cloud love settles upon me, Thick darkness wraps my heart. A stranger perhaps at the door of the house, My eyes dance. It may be they weep, alas! I shall be weeping for you. As flies the sea spray of Hanualele, Right over the heights of Honokalani. My high one! So it is I feel.

After this song she wept, and seeing her weep, her attendants wept with her.

They sat there until evening, then they returned to the house; her parents and her attendants commanded her to eat, but she had no appetite for food because of her love.

It was the same with Kekalukaluokewa, for when Hinaikamalama left Kekalukaluokewa that night, when Laielohelohe came, the chief was not happy, but he endured it for some days after their separation.

And on the day when Hinaikamalama went up on Kaiwiopele, that same night, he went to Hinaikamalama without Laielohelohe's knowledge, for she was asleep.

While Hinaikamalama lay awake, sleepless for love, entered Kekalukaluokewa, without the knowledge of anyone in the chief's house.

When Kekalukaluokewa came, he went right to the place where the princess slept, took the woman by the head and wakened her.

Then Hinaikamalama's heart leaped with the hope it was her lover; now when she seized him it was in truth the one she had hoped for. Then she called out to the attendants to light the lamps, and at dawn Kekalukaluokewa returned to his true wife, Laielohelohe. After that, Kekalukaluokewa went to Hinaikamalama every night without being seen; ten whole days passed that the two did evil together without the wife knowing it; for in order to carry out her husband's desire Laielohelohe's senses were darkened by the effects of awa.

One day one of the native-born women of the place felt pity for Laielohelohe, therefore the woman went to visit the princess.

While Kekalukaluokewa was in the fiber-combing house with the men, the woman visited with Laielohelohe, and she said mysteriously, "How is your husband? Does he not struggle and groan sometimes for the woman?"

Said Laielohelohe, "No; all is well with us."

Said the woman again, "It may be he is deceiving you."

"Perhaps so," answered Laielohelohe, "but so far as I see we are living very happily."

Then the woman told her plainly, "Where are you? Our garden patch is right on the edge of the road; my husband gets up to dig in our garden. As he was digging, Kekalukaluokewa came along from Haneoo; my husband thought at once he had been with Hinaikamalama; my husband returned and told me, but I was not sure. On the next night, at moonrise, I got up with my husband, and we went to fish for red fish in the sea at Haneoo; as we came to the edge of the gulch, we saw some one appear above the rise we had just left; then we turned aside and hid; it was Kekalukaluokewa coming; then we followed his footsteps until we came close to Hinaikamalama's house; here Kekalukaluokewa entered. After we had fished and returned to the place where we met him first, we met him going back, and we did not speak to him nor he to us; that is all, and this day Hinaikamalama's own guard told me—my husband's sister she is—ten days the chiefs have been together; that is my secret; and therefore my husband and I took pity on you and I came to tell you."



CHAPTER XXXIV

And at the woman's words, the princess's mind was moved; not at once did she show her rage; but she waited but to make sure. She said to the woman, "No wonder my husband forces me to drink awa so that when I am asleep under the influence of the awa, he can go; but to-night I will follow him."

That night Kekalukaluokewa again gave her the awa, then she obeyed him, but after she had drunk it all, she went outside the house immediately and threw it up; and afterwards her husband did not know of his wife's guile, and she returned to the house, and Laielohelohe lay down and pretended to sleep.

When Kekalukaluokewa thought that his wife was fast asleep under the effects of the awa, then he started to make his usual visit to Hinaikamalama.

When Laielohelohe saw that he had left her, she arose and followed Kekalukaluokewa without being seen.

Thus following, lo! she found her husband with Hinaikamalama.

Then Laielohelohe said to Kekalukaluokewa, when she came to Hinaikamalama's house where they were sleeping, "My husband, you have deceived me; no wonder you compelled me to drink awa, you had something to do; now I have found you two, I tell you it is not right to endure this any longer. We had best return to Kauai; we must go at once."

Her husband saw that the princess was right; they arose and returned to Honokalani and next day the canoes were hastily prepared to fulfill Laielohelohe's demand, thinking to sail that night; but they did not, for Kekalukaluokewa pretended to be ill, and they postponed going that night. The next day he did the same thing again, so Laielohelohe gave up her love for her husband and returned to Kauai with her canoe, without thinking again of Kekalukaluokewa.

The next day after Laielohelohe reached Kauai after leaving her husband, Kaonohiokala arrived again from Kahakaekaea, and met with Laielohelohe.

Four months passed of their amorous meetings; this long absence of Kaonohiokala's seemed strange to Laieikawai, he had been away four months; and as Laieikawai wondered at the long absence, Kaonohiokala returned.

Laieikawai asked, "Why were you gone four months? You have not done so before."

Said Kaonohiokala, "Laielohelohe has had trouble with her husband; Kekalukaluokewa has taken a stranger to wife, and this is why I was so long away."

Then Laieikawai said to her husband, "Get your wife and bring her up here and let us live together."

Therefore, Kaonohiokala left Laieikawai and went away, as Laieikawai thought, to carry out her command. Not so!

On this journey Kaonohiokala stayed away a year; now Laieikawai did not think her husband's long stay strange, she laid it to Laielohelohe's troubles with Kekalukaluokewa.

Then she longed to see how it was with her sister, so Laieikawai went to her father-in-law and asked, "How can I see how it is with my sister, for I have heard from my husband and high one that Laielohelohe is having trouble with Kekalukaluokewa, and so I have sent Kaonohiokala to fetch the woman and return hither; but he has not come back, and it is a year since he went, so give me power to see to that distant place to know how it is with my relatives."

Then said Moanalihaikawaokele, her father-in-law, "Go home and look for your mother-in-law; if she is asleep, then go into the taboo temple; if you see a gourd plaited with straw and feathers mounted on the edge of the cover, that is the gourd. Do not be afraid of the great birds that stand on either side of the gourd, they are not real birds, only wooden birds; they are plaited with straw and inwrought with feathers. And when you come to where the gourd is standing take off the cover, then put your head into the mouth of the gourd and call out the name of the gourd, 'Laukapalili, Trembling Leaf, give me wisdom.' Then you shall see your sister and all that is happening below. Only when you call do not call in a loud voice; it might resound; your mother-in-law, Laukieleula, might hear, the one who guards the gourd of wisdom."

Laukieleula was wont to watch the gourd of wisdom, at night, and by day she slept.

Very early next morning, at the time when the sun's warmth began to spread over the earth, she went to spy out Laukieleula; she was just asleep.

When she saw she was asleep Laieikawai did as Moanalihaikawaokele had directed, and she went as he had instructed her.

When she came to the gourd, the one called "the gourd of wisdom," she lifted the cover from the gourd and bent her head to the mouth of the gourd, and she called the name of the gourd, then she began to see all that was happening at a distance.

At noon Laieikawai's eyes glanced downward, lo! Kaonohiokala sinned with Laielohelohe.

Then Laieikawai went and told Moanalihaikawaokele about it, saying, "I have employed the power you gave me, but while I was looking my high lord sinned; he did evil with my sister; for the first time I understand why his business takes him so long down below."

Then Moanalihaikawaokele's wrath was kindled, and Laukieleula heard it also, and her parents-in-law went to the gourd—lo! they plainly saw the sin committed as Laieikawai had said.

That day they all came together, Laieikawai and her parents-in-law, to see what to do about Kaonohiokala, and they came to their decision.

Then the pathway was let down from Kahakaekaea and dropped before Kaonohiokala; then Kaonohiokala's heart beat with fear, because the road dropped before him; not for long was Kaonohiokala left to wonder.

Then the air was darkened and it was filled with the cry of wailing spirits and the voice of lamentation—"The divine one has fallen! The divine one has fallen!!" And when the darkness was over, lo! Moanalihaikawaokele and Laukieleula and Laieikawai sat above the rainbow pathway.

And Moanalihaikawaokele said to Kaonohiokala, "You have sinned, O Kaonohiokala, for you have defiled yourself and, therefore, you shall no longer have a place to dwell within Kahakaekaea, and the penalty you shall pay, to become a fearsome thing on the highway and at the doors of houses, and your name is Lapu, Vanity, and for your food you shall eat moths; and thus shall you live and your posterity."

Then was the pathway taken from him through his father's supernatural might. Then they returned to Kahakaekaea.

In this story it is told how Kaonohiokala was the first ghost on these islands, and from his day to this, the ghosts wander from place to place, and they resemble evil spirits in their nature.[76]

On the way back after Kaonohiokala's punishment, they encountered Kahalaomapuana in Kealohilani, and for the first time discovered she was there.

And at this discovery, Kahalaomapuana told the story of her dismissal, as we saw in Chapter XXVII of this story, and at the end Kahalaomapuana was taken to fill Kaonohiokala's place.

At Kahakaekaea, sometimes Laieikawai longed for Laielohelohe, but she could do nothing; often she wept for her sister, and her parents-in-law thought it strange to see Laieikawai's eyes looking as if she had wept.

Moanalihaikawaokele asked the reason for this; then she told him she wept for her sister.

Said Moanalihaikawaokele, "Your sister can not live here with us, for she is defiled with Kaonohiokala; but if you want your sister, then you go and fill Kekalukaluokewa's place." Now Laieikawai readily assented to this plan.

And on the day when Laieikawai was let down, Moanalihaikawaokele said, "Return to your sister and live virgin until your death, and from this time forth your name shall be no longer called Laieikawai, but your name shall be 'The Woman of the Twilight,' and by this name shall all your kin bow down to you and you shall be like a god to them."

And after this command, Moanalihaikawaokele took her, and both together mounted upon the pathway and returned below.

Then, Moanalihaikawaokele said all these things told above, and when he had ended he returned to the heavens and dwelt in the taboo house on the borders of Tahiti.

Then, The Woman of the Twilight placed the government upon the seer; so did Laieikawai, the one called The Woman of the Twilight, and she lived as a god, and to her the seer bowed down and her kindred, according to Moanalihaikawaokele's word to her. And so Laieikawai lived until her death.

And from that time to this she is still worshiped as The Woman of the Twilight.

(THE END)



NOTES ON THE TEXT

CHAPTER I

[Footnote 1: Haleole uses the foreign form for wife, wahine mare, literally "married woman," a relation which in Hawaiian is represented by the verb hoao. A temporary affair of the kind is expressed in Waka's advice to her granddaughter, "O ke kane ia moeia," literally, "the man this to be slept with".]

[Footnote 2: The chief's vow, olelo paa, or "fixed word," to slay all his daughters, would not be regarded as savage by a Polynesian audience, among whom infanticide was commonly practiced. In the early years of the mission on Hawaii, Dibble estimated that two-thirds of the children born perished at the hands of their parents. They were at the slightest provocation strangled or burned alive, often within the house. The powerful Areois society of Tahiti bound its members to slay every child born to them. The chief's preference for a son, however, is not so common, girls being prized as the means to alliances of rank. It is an interesting fact that in the last census the proportion of male and female full-blooded Hawaiians was about equal.]

[Footnote 3: The phrase nalo no hoi na wahi huna, which means literally "conceal the secret parts," has a significance akin to the Hebrew rendering "to cover his nakedness," and probably refers to the duty of a favorite to see that no enemy after death does insult to his patron's body. So the bodies of ancient chiefs are sewed into a kind of bag of fine woven coconut work, preserving the shape of the head and bust, or embalmed and wrapped in many folds of native cloth and hidden away in natural tombs, the secret of whose entrance is intrusted to only one or two followers, whose superstitious dread prevents their revealing the secret, even when offered large bribes. These bodies, if worshiped, may be repossessed by the spirit and act as supernatural guardians of the house. See page 494, where the Kauai chief sets out on his wedding embassy with "the embalmed bodies of his ancestors." Compare, for the service itself, Waka's wish that the Kauai chief might be the one to hide her bones, the prayer of Aiwohikupua's seer that his master might, in return for his lifelong service, "bury his bones"—"e kalua keai mau iwi," and his request of Laieikawai, that she would "leave this trust to your descendants unto the last generation."]

[Footnote 4: Prenatal infanticide, omilomilo, was practiced in various forms throughout Polynesia even in such communities as rejected infanticide after birth. The skeleton of a woman, who evidently died during the operation, is preserved in the Bishop Museum to attest the practice, were not testimony of language and authority conclusive.]

[Footnote 5: The manini (Tenthis sandvicensis, Street) is a flat-shaped striped fish common in Hawaiian waters. The spawn, called ohua, float in a jellylike mass on the surface of the water. It is considered a great delicacy and must be fished for in the early morning before the sun touches the water and releases the spawn, which instantly begin to feed and lose their rare transparency.]

[Footnote 6: The month Ikuwa is variously placed in the calendar year. According to Malo, on Hawaii it corresponds to our October; on Molokai and Maui, to January; on Oahu, to August; on Kauai, to April.]

[Footnote 7: The adoption by their grandparents and hiding away of the twins must be compared with a large number of concealed birth tales in which relatives of superior supernatural power preserve the hero or heroine at birth and train and endow their foster children for a life of adventure. This motive reflects Polynesian custom. Adoption was by no means uncommon among Polynesians, and many a man owed his preservation from death to the fancy of some distant relative who had literally picked him off the rubbish heap to make a pet of. The secret amours of chiefs, too, led, according to Malo (p. 82), to the theme of the high chief's son brought up in disguise, who later proves his rank, a theme as dear to the Polynesian as to romance lovers of other lands.]



CHAPTER II

[Footnote 8: The iako of a canoe are the two arched sticks which hold the outrigger. The kua iako are the points at which they are bound to the canoe, or rest upon it, aft and abaft of the canoe.]

[Footnote 9: The verb hookuiia means literally "cause to be pierced" as with a needle or other sharp instrument. Kui describes the act of piercing, hoo is the causative prefix, ia the passive particle, which was, in old Hawaiian, commonly attached to the verb as a suffix. The Hawaiian speech expresses much more exactly than our own the delicate distinction between the subject in its active and passive relation to an action, hence the passive is vastly more common. Mr. J.S. Emerson points out to me a classic example of the passive used as an imperative—an old form unknown to-day—in the story of the rock, Lekia, the "pohaku o Lekia" which overlooks the famous Green Lake at Kapoho, Puna. Lekia, the demigod, was attacked by the magician, Kaleikini, and when almost overcome, was encouraged by her mother, who called out, "Pohaku o Lekia, onia a paa"—"be planted firm." This the demigod effected so successfully as never again to be shaken from her position.]

[Footnote 10: Hawaiian challenge stories bring out a strongly felt distinction in the Polynesian mind between these two provinces, maloko a mawaho, "inside and outside" of a house. When the boy Kalapana comes to challenge his oppressor he is told to stay outside; inside is for the chief. "Very well," answers the hero, "I choose the outside; anyone who comes out does so at his peril." So he proves that he has the better of the exclusive company.]

[Footnote 11: In his invocation the man recognizes the two classes of Hawaiian society, chiefs and common people, and names certain distinctive ranks. The commoners are the farming class, hu, makaainu, lopakuakea, lopahoopiliwale referring to different grades of tenant farmers. Priests and soothsayers are ranked with chiefs, whose households, aialo, are made up of hangers-on of lower rank—courtiers as distinguished from the low-ranking countrymen—makaaina—who remain on the land. Chiefs of the highest rank, niaupio, claim descent within the single family of a high chief. All high-class chiefs must claim parentage at least of a mother of the highest rank; the low chiefs, kaukaualii, rise to rank through marriage (Malo, p. 82). The ohi are perhaps the wohi, high chiefs who are of the highest rank on the father's side and but a step lower on the mother's.]

[Footnote 12: With this judgment of beauty should be compared Fornander's story of Kepakailiula, where "mother's brothers" search for a woman beautiful enough to wed their protege, but find a flaw in each candidate; and the episode of the match of beauty in the tale of Kalanimanuia.]



CHAPTER III

[Footnote 13: The building of a heiau, or temple, was a common means of propitiating a deity and winning his help for a cause. Ellis records (1825) that on the journey from Kailua to Kealakekua he passed at least one heiau to every half mile. The classic instance in Hawaiian history is the building of the great temple of Puukohala at Kawaihae by Kamehamaha, in order to propitiate his war god, and the tolling thither of his rival, Keoua, to present as the first victim upon the altar, a treachery which practically concluded the conquest of Hawaii. Malo (p. 210) describes the "days of consecration of the temple."]

[Footnote 14: The nights of Kane and of Lono follow each other on the 27th and 28th of the month and constitute the days of taboo for the god Kane. Four such taboo seasons occur during the month, each lasting from two to three days and dedicated to the gods Ku, Kanaloa, and Kane, and to Hua at the time of full moon. The night Kukahi names the first night of the taboo for Ku, the highest god of Hawaii.]

[Footnote 15: By kahoaka the Hawaiians designate "the spirit or soul of a person still living," in distinction from the uhane, which may be the spirit of the dead. Aka means shadow, likeness; akaku, that kind of reflection in the mists which we call the "specter in the brocken." Hoakaku means "to have a vision," a power which seers possess. Since the spirit may go abroad independently of the body, such romantic shifts as the vision of a dream lover, so magically introduced into more sophisticated romance, are attended with no difficulties of plausibility to a Polynesian mind. It is in a dream that Halemano first sees the beauty of Puna. In a Samoan story (Taylor, I, 98) the sisters catch the image of their brother in a bottle and throw it upon the princess's bathing pool. When the youth turns over at home, the image turns in the water.]

[Footnote 16: The feathers of the oo bird (Moho nobilis), with which the princess's house is thatched, are the precious yellow feathers used for the manufacture of cloaks for chiefs of rank. The mamo (Drepanis pacifica) yields feathers of a richer color, but so distributed that they can not be plucked from the living bird. This bird is therefore almost extinct in Hawaiian forests, while the oo is fast recovering itself under the present strict hunting laws. Among all the royal capes preserved in the Bishop Museum, only one is made of the mamo feathers.]

[Footnote 17: The reference to the temple of Pahauna is one of a number of passages which concern themselves with antiquarian interest. In these and the transition passages the hand of the writer is directly visible.]

[Footnote 18: The whole treatment of the Kauakahialii episode suggests an inthrust. The flute, whose playing won for the chief his first bride, plays no part at all in the wooing of Laieikawai and hence is inconsistently emphasized. Given a widely sung hero like Kauakahialii, whose flute playing is so popularly connected with his love making, and a celebrated heroine like the beauty who dwelt among the birds of Paliuli, and the story-tellers are almost certain to couple their names in a tale, confused as regards the flute, to be sure, but whose classic character is perhaps attested by the grace of the description. The Hebraic form in which the story of the approach of the divine beauty is couched can not escape the reader, and may be compared with the advent of the Sun god later in the story. There is nothing in the content of this story to justify the idea that the chief had lost his first wife, Kailiokalauokekoa, unless it be the fact that he is searching Hawaii for another beauty. Perhaps, like the heroine of Halemano, the truant wife returns to her husband through jealousy of her rival's attractions. A special relation seems to exist in Hawaiian story between Kauai and the distant Puna on Hawaii, at the two extremes of the island group: it is here that Halemano from Kauai weds the beauty of his dream, and it is a Kauai boy who runs the sled race with Pele in the famous myth of Kalewalo. With the Kauakahialii tale (found in Hawaiian Annual, 1907, and Paradise of the Pacific, 1911) compare Grey's New Zealand story (p. 235) of Tu Tanekai and Tiki playing the horn and the pipe to attract Hinemoa, the maiden of Rotorua. In Malo, p. 117, one of the popular stories of this chief is recorded, a tale that resembles Gill's of the spirit meeting of Watea and Papa.]

[Footnote 19: These are all wood birds, in which form Gill tells us (Myths and Songs, p. 35) the gods spoke to man in former times. Henshaw tells us that the oo (Moho nobilis) has "a long shaking note with ventriloquial powers." The alala is the Hawaiian crow (Corvus hawaiiensis), whose note is higher than in our species. If, as Henshaw says, its range is limited to the dry Kona and Kau sections, the chief could hardly hear its note in the rainy uplands of Puna. But among the forest trees of Puna the crimson apapane (Himatione sanguinea) still sounds its "sweet monotonous note;" the bright vermillion iiwipolena (Vectiaria coccinea) hunts insects and trills its "sweet continual song;" the "four liquid notes" of the little rufous-patched elepaio (Eopsaltria sandvicensis), beloved of the canoe builder, is commonly to be heard. Of the birds described in the Laielohelohe series the cluck of the alae (Gallinula sandricensis) I have heard only in low marshes by the sea, and the ewaewaiki I am unable to identify. Andrews calls it the cry of a spirit.]

[Footnote 20: Moaulanuiakea means literally "Great-broad-red-cock," and is the name of Moikeka's house in Tahiti, where he built the temple Lanikeha near a mountain Kapaahu. His son Kila journeys thither to fetch his older brother, and finds it "grand, majestic, lofty, thatched with the feathers of birds, battened with bird bones, timbered with kauila wood." (See Fornander's Kila.)]



CHAPTER IV

[Footnote 21: Compare Gill's story of the first god, Watea, who dreams of a lovely woman and finds that she is Papa, of the underworld, who visits him in dreams to win him as her lover. (Myths and Songs, p. 8.)]

[Footnote 22: In the song the girl is likened to the lovely lehua, blossom, so common to the Puna forests, and the lover's longing to the fiery crater, Kilauea, that lies upon their edge. The wind is the carrier of the vision as it blows over the blossoming forest and scorches its wing across the flaming pit. In the Halemano story the chief describes his vision as follows: "She is very beautiful. Her eyes and form are perfect. She has long, straight, black hair and she seems to be of high rank, like a princess. Her garment seems scented with the pele and mahuna of Kauai, her skirt is made of some very light material dyed red. She wears a hala wreath on her head and a lehua wreath around her neck."]

[Footnote 23: No other intoxicating liquor save awa was known to the early Hawaiians, and this was sacred to the use of chiefs. So high is the percentage of free alcohol in this root that it has become an article of export to Germany for use in drug making. Vancouver, describing the famous Maui chief, Kahekili, says: "His age I suppose must have exceeded 60. He was greatly debilitated and emaciated, and from the color of his skin I judged his feebleness to have been brought on by excessive use of awa."]

[Footnote 21: In the Hawaiian form of checkers, called konane, the board, papamu, is a flat surface of stone or wood, of irregular shape, marked with depressions if of stone, often by bone set in if of wood; these depressions of no definite number, but arranged ordinarily at right angles. The pieces are beach pebbles, coral for white, lava for black. The smallest board in the museum collection holds 96, the largest, of wood, 180 men. The board is set up, leaving one space empty, and the game is played by jumping, the color remaining longest on the board winning the game. Konane was considered a pastime for chiefs and was accompanied by reckless betting. An old native conducting me up a valley in Kau district, Hawaii, pointed out a series of such evenly set depressions on the flat rock floor of the valley and assured me that this must once have been a chief's dwelling place.]

[Footnote 25: The malo is a loin cloth 3 or 4 yards long and a foot wide, one end of which passes between the legs and fastens in front. The red malo is the chief's badge, and his bodyguard, says Malo, wear the girdle higher than common and belted tight as if ready for instant service. Aiwohikupua evidently travels in disguise as the mere follower of a chief.]

[Footnote 28: In Hawaiian warfare, the biggest boaster was the best man, and to shame an antagonist by taunts was to score success. In the ceremonial boxing contest at the Makahiki festivities for Lono, god of the boxers, as described by Malo, the "reviling recitative" is part of the program. In the story of Kawelo, when his antagonist, punning on his grandfather's name of "cock," calls him a "mere chicken that scratches after roaches," Kawelo's sense of disgrace is so keen that he rolls down the hill for shame, but luckily bethinking himself that the cock roosts higher than the chief (compare the Arab etiquette that allows none higher than the king), and that out of its feathers, brushes are made which sweep the chief's back, he returns to the charge with a handsome retort which sends his antagonist in ignominious retreat. In the story of Lono, when the nephews of the rival chiefs meet, a sparring contest of wit is set up, depending on the fact that one is short and fat, the other long and lanky, "A little shelf for the rats," jeers the tall one. "Little like the smooth quoit that runs the full course," responds the short one, and retorts "Long and lanky, he will go down in the gale like a banana tree." "Like the ea banana that takes long to ripen," is the quick reply. Compare also the derisive chants with which Kuapakaa drives home the chiefs of the six districts of Hawaii who have got his father out of favor, and Lono's taunts against the revolting chiefs of Hawaii.]

[Footnote 27: The idiomatic passages "aohe puko momona o Kohala," etc., and (on page 387) "e huna oukou i ko oukou mau maka i ke aouli" are of doubtful interpretation.]

[Footnote 28: This boast of downing an antagonist with a single blow is illustrated in the story of Kawelo. His adversary, Kahapaloa, has struck him down and is leaving him for dead. "Strike again, he may revive," urge his supporters. Kahapaloa's refusal is couched in these words:

"He is dead; for it is a blow from the young, The young must kill with a blow Else will the fellow go down to Milu And say Kahapaloa struck frim twice, Thus was the fighter slain."

All Hawaiian stories of demigods emphasize the ease of achievement as a sign of divine rather than human capacity.]



CHAPTER V

[Footnote 29: Shaking hands was of foreign introduction and marks one of the several inconsistencies in Haleole's local coloring, of which "the deeds of Venus" is the most glaring. He not only uses such foreign coined words as wati, "watch," and mare, "marry," but terms which are late Hawaiian, such as the triple canoe, pukolu, and provision boat, pelehu, said to have been introduced in the reign of Kamehameha I.]

[Footnote 30: Famous Hawaiian boxing teachers kept master strokes in reserve for the pupils, upon whose success depended their own reputation. These strokes were known by name. Compare Kawelo, who before setting out to recapture Kauai sends his wife to secure from his father-in-law the stroke called wahieloa. The phrase "Ka ai a ke kumu i ao oleia ia oukou" has been translated with a double-punning meaning, literal and figurative, according to the interpretation of the words. Cold-nose's faith in his girdle parodies the far-fetched dependence upon name signs common to this punning race. The snapping of the end of his loin cloth is a good omen for the success of a stroke named "End-that-sounds"! Even his supporters jeer at him.]

[Footnote 31: Few similes are used in the story. This figure of the "blood of a lamb," the "blow like the whiz of the wind," the moo ploughing the earth with his jaw "like a shovel," a picture of the surf rider—"foam rose on each side of his neck like a boar's tusks," and the appearance of the Sun god's skin, "like a furnace where iron is melted," will, perhaps, cover them all. In each the figure is exact, but ornamental, evidently used to heighten the effect. Images are occasionally elaborated with exact realization of the bodily sensation produced. The rainbow "trembling in the hot rays of the sun" is an example, and those passages which convey the lover's sensations—"his heart fainted with love," "thick pressed with thunders of love," or such an image as "the burden of his mind was lifted." Sometimes the image carries the comparison into another field, as in "the windings and twistings of his journey"—a habit of mind well illustrated in the occasional proverbs, and in the highly figurative songs.]

[Footnote 32: The Polynesians, like the ancient Hebrews, practiced circumcision with strict ceremonial observances.]

[Footnote 33: The gods invoked by Aiwohikupua are not translated with certainty, but they evidently represent such forces of the elements as we see later belong among the family deities of the Aiwohikupua household. Prayer as an invocation to the gods who are called upon for help is one of the most characteristic features of native ritual, and the termination amama, generally accompanied by the finishing phrases ua noa, "it is finished," and lele wale aku la, "flown away," is genuine Polynesian. Literally mama means "to chew," but not for the purpose of swallowing like food, but to spit out of the mouth, as in the preparation of awa. The term may therefore, authorities say, be connected with the ceremonial chewing of awa in the ritualistic invocations to the gods. A similar prayer quoted by Gill (Myths and Songs, 120) he ascribes to the antiquity of the story.]

[Footnote 34: The laau palau, literally "wood-that-cuts," which Wise translates "war club," has not been identified on Hawaii in the Bishop Museum, but is described from other groups. Gill, from the Hervey Islands, calls it a sharpened digging stick, used also as a weapon. The gigantic dimensions of these sticks and their appellations are emphasized in the hero tales.]

[Footnote 35: The Hawaiian cloak or kihei is a large square, 2 yards in size, made of bark cloth worn over the shoulders and joined by two corners on one side in a knot.]

[Footnote 36: The meaning of the idiomatic boast he lala kamahele no ka laau ku i ka pali is uncertain. I take it to be a punning reference to the Pali family from whom the chief sprang, but it may simply be a way of saying "I am a very high chief." Kamahele is a term applied to a favorite and petted child, as, in later religious apostrophe, to Christ himself.]



CHAPTER VI

[Footnote 37: The puloulou is said to have been introduced by Paao some five hundred years ago, together with the ceremonial taboo of which it is the symbol. Since for a person of low rank to approach a sacred place or person was death to the intruder, it was necessary to guard against accidental offences by the use of a sign. The puloulou consisted of a ball-shaped bundle of white bark cloth attached to the end of a staff. This symbol is to be seen represented upon the Hawaiian coat of arms; and Kalakaua's puloulou, a gilded wooden ball on the end of a long staff, is preserved in the Bishop Museum.]

[Footnote 38: Long life was the Polynesian idea of divine blessing. Of Kualii the chanter boasts that he "lived to be carried to battle in a net." The word is kaikoko, "to carry on the back in a net," as in the case of old and feeble persons. Polynesian dialects contain a full vocabulary of age terms from infancy to old age.]

[Footnote 39: Chickens were a valuable part of a chief's wealth, since from their feathers were formed the beautiful fly brushes, kahili, used to wave over chiefs of rank and carried in ceremonial processions. The entrance to the rock cave is still shown, at the mouth of Kaliuwaa valley, where Kamapuaa's grandmother shut up her chickens at night, and it was for robbing his uncle's henroost that this rascally pig-god was chased away from Oahu. This reference is therefore one of many indications that the Laieikawai tale belongs with those of the ancient demigods.]

[Footnote 40: Mr. Meheula suggested to me this translation of the idiomatic allusions to the canoe and the coral reef.]



CHAPTER VIII

[Footnote 41: A peculiarly close family relation between brother and sister is reflected in Polynesian tales, as in those of Celtic, Finnish, and Scandinavian countries. Each serves as messenger or go-between for the other in matters of love or revenge, and guards the other's safety by magic arts. Such a condition represents a society in which the family group is closely bound together. For such illustrations compare the Fornander stories of Halemano, Hinaikamalama, Kalanimanuia, Nihoalaki, Kaulanapokii, Pamano. The character of accomplished sorceress belongs especially to the helpful sister, a woman of the Malio or Kahalaomapuana type, whose art depends upon a life of solitary virginity. She knows spells, she can see what is going on at a distance, and she can restore the dead to life. In the older stories she generally appears in bird form. In more human tales she wins her brother's wishes by strategy. This is particularly true of the characters in this story, who win their way by wit rather than magic. In this respect the youngest sister of Aiwohikupua should be compared with her prototype, Kaulanapokii, who weaves spells over plants and brings her slain brothers back to life. Kahalaomapuana never performs any such tasks, but she is pictured as invincible in persuasion; she never fails in sagacity, and is always right and always successful. She is, in fact, the most attractive character in the story. It is rather odd, since modern folk belief is firmly convinced of the power of love spells, that none appear in the recorded stories. All is accomplished by strategy.]

[Footnote 42: For the translation of this dialogue I am indebted, to the late Dr. Alexander, to whose abstract of the story I was fortunate enough to have access.]



CHAPTER X

[Footnote 43: To express the interrelation between brothers and sisters two pairs of kinship terms are used, depending upon the age and sex. Sisters speak of brothers as kaikunane, and brothers of sisters as kaikuahine, but within the same sex kaikuaana for the elder and kaikaina for the younger is used. So on page 431 Aiwohikupua deserts his sisters—kaikuahine—and the girls lament for their younger sister—kaikaina. After their reunion her older sisters—kaikuaana —ask her counsel. Notice, too, that when, on page 423, the brother bids his youngest sister—kaikuahine opiopio—stay with "her sisters" he uses the word kaikuaana, because he is thinking of her relation to them, not of his own. The word pokii,—"little sister"—is an endearing term used to good effect where the younger sister sings—

"I am going back to your little sisters (me o'u pokii) To my older sisters (kaikuaana) I return."]

[Footnote 44: The line translated "Fed upon the fruit of sin" contains one of those poetic plays upon words so frequent in Polynesian song, so difficult to reproduce in translation. Literally it might read "Sheltering under the great hala tree." But hala, also means "sin." This meaning is therefore caught up and employed in the next line—"is constancy then a sin?"—a repetition which is lost in translation. Malu, shade, is a doubtful word, which may, according to Andrews, mean "protected," or may stand for "wet and uncomfortable," a doubt evidently depending upon the nature of the case, which adds to the riddling character of the message. In their songs the sisters call up the natural scenery, place names, and childhood experiences of their native home on Kauai. The images used attempt actual description. The slant of the rain, the actual ladder of wood which helps scale the steep footpath up Nualolo Valley (compare Song of Kualii, line 269, Lyons' version), the rugged cliffs which are more easily rounded by sea—"swimming 'round the steeps"—picture actual conditions on the island. Notice especially how the song of the youngest sister reiterates the constant theme of the "follow your leader" relation between the brother and his younger sisters. Thus far they have unhesitatingly followed his lead; how, then, can he leave them leaderless? is the plea: first, in their sports at home; next, in this adventure over sea and through the forest; last, in that divine mystery of birth when he first opened the roadway and they, his little sisters, followed after.]



CHAPTER XI

[Footnote 45: This ti-leaf trumpet is constructed from the thin, dry, lilylike leaf of the wild ti much as children make whistles out of grass. It must be recalled that musical instruments were attributed to gods and awakened wonder and awe in Polynesian minds.]



CHAPTER XII

[Footnote 46: In the story of Kapuaokaoheloai we read that the daughter of the king of Kuaihelani, the younger brother of Hina, has a daughter who lives apart under a sacred taboo, with a bathing pool in which only virgins can safely bathe, and "ministered to by birds." Samoan accounts say that the chiefs kept tame birds in their houses as pets, which fluttered freely about the rafters. A stranger unaccustomed to such a sight might find in it something wonderful and hence supernatural.]



CHAPTER XIII

[Footnote 47: A strict taboo between man and woman forbade eating together on ordinary occasions. Such were the taboo restrictions that a well-regulated, household must set up at least six separate houses: a temple for the household gods, heiau; an eating house for the men, hale mua, which was taboo to the women; and four houses especially for the women—the living house, hale noa, which the husband might enter; the eating house, hale aina; the house of retirement at certain periods, which was taboo for the husband, hale pea; and the kua, where she beat out tapa. The food also must be cooked in two separate ovens and prepared separately in different food vessels.]

[Footnote 48: The place of surf riding in Hawaiian song and story reflects its popularity as a sport. It inspires chants to charm the sea into good surfing—an end also attained by lashing the water with the convolvulus vine of the sea beach; forms the background for many an amorous or competitive adventure; and leaves a number of words in the language descriptive of the surfing technique or of the surf itself at particular localities famous for the sport, as, for example, the "Makaiwa crest" in Moikeha's chant, or the "Huia" of this story. Three kinds of surfing are indulged in—riding the crest in a canoe, called pa ka waa; standing or lying flat upon a board, which is cut long, rounded at the front end and square at the back, with slightly convex surfaces, and highly polished; and, most difficult feat of all, riding the wave without support, body submerged and head and shoulders erect. The sport begins out where the high waves form. The foundation of the wave, honua, the crest side, muku, and the rear, lala, are all distinguished. The art of the surfer lies in catching the crest by active paddling and then allowing it to bear him in swift as a race horse to the hua, where the wave breaks near the beach. All swimmers know that three or four high waves follow in succession. As the first of these, called the kulana, is generally "a high crest which rolls in from end to end of the beach and falls over bodily," the surfer seldom takes it, but waits for the ohu or opuu, which is "low, smooth and strong." For other details, see the article by a Hawaiian from Kona, published in the Hawaiian Annual, 1896, page 106.]



CHAPTER XIV

[Footnote 49: Honi, to kiss, means to "touch" or "smell," and describes the Polynesian embrace, which is performed by rubbing noses. Williams (I, 152) describes it as "one smelling the other with a strong sniff."]



CHAPTER XV

[Footnote 50: The abrupt entrance of the great moo, as of its disappearance later in the story, is evidently due to the humanized and patched-together form in which we get the old romance. The moo is the animal form which the god takes who serves Aiwohikupua's sisters, and represents the helpful beast of Polynesian folk tale, whose appearance is a natural result of the transformation power ascribed to the true demigod, or kupua, in the wilder mythical tales. The myths of the coming of the moo to Hawaii in the days of the gods, and of their subjection by Hiiaka, sister of Pele, are recounted in Westervelt's "Legends of Honolulu" and in Emerson's "Pele and Hiiaka." Malo (p. 114) places Waka also among the lizard gods. These gods seem to have been connected] with the coming of the Pali family to Hawaii as recounted in Liliuokalani's "Song of Creation" and in Malo, page 20. The ritual of the god Lono, whose priests are inferior to those of Ku, is called that of "Paliku" (Malo, 210), a name also applied to the northern part of Hilo district on Hawaii with which this story deals. The name means "vertical precipice," according to Emerson, and refers to the rending by earthquakes. In fact, the description in this story of the approach of the great lizard, as well as his name—the word kiha referring to the writhing convulsions of the body preparatory to sneezing—identify the monster with the earthquakes so common to the Puna and Hilo districts of Hawaii, which border upon the active volcano, Kilauea. Natives say that a great lizard is the guardian spirit or aumakua of this section. At Kalapana is a pool of brackish water in which, they assert, lies the tail of a moo whose head is to be seen at the bottom of a pool a mile and a half distant, at Punaluu; and bathers in this latter place always dive and touch the head in order to avert harm. As the lizard guardians of folk tale are to be found "at the bottom of a pit" (see Fornander's story of Aukele), so the little gecko of Hawaii make their homes in cracks along cuts in the pali, and the natives fear to harm their eggs lest they "fall off a precipice" according to popular belief. When we consider the ready contractility of Polynesian demigods, the size of the monster dragons of the fabulous tales is no difficulty in the way of their identification with these tiny creatures, the largest of which found on Hawaii is 144 millimeters. By a plausible analogy, then, the earthquake which rends the earth is attributed to the god who clothes himself in the form of a lizard; still further, such a convulsion of nature may have been used to figure the arrival of some warlike band who peopled Hawaii, perhaps settling in this very Hilo region and forcing their cult upon the older form of worship.



CHAPTER XVI

[Footnote 51: The ieie vine and the sweet-scented fern are, like the maile vine, common in the Olaa forests, and are considered sacred plants dedicated to ceremonial purposes.]

[Footnote 52: The fight between two kupua, one in lizard form, the other in the form of a dog, occurs in Hawaiian story. Again, when Wahanui goes to Tahiti he touches a land where men are gathering coral for the food of the dead. This island takes the form of a dog to frighten travelers, and is named Kanehunamoku.]

[Footnote 53: The season for the bird catcher, kanaka kia manu, lay between March and May, when the lehua flowers were in bloom in the upland forest, where the birds of bright plumage congregated, especially the honey eaters, with their long-curved bill, shaped like an insect's proboscis. He armed himself with gum, snares of twisted fiber, and tough wooden spears shaped like long fishing poles, which were the kia manu. Having laid his snare and spread it with gum, he tolled the birds to it by decorating it with honey flowers or even transplanting a strange tree to attract their curiosity; he imitated the exact note of the bird he wished to trap or used a tamed bird in a cage as a decoy. All these practical devices must be accompanied by prayer. Emerson translates the following bird charm:

Na aumakua i ka Po, Na aumakua i ka Ao, Ia Kane i ka Po, Ia Kanaloa i ka Po, Ia Hoomeha i ka Po, I ko'u mau kapuna a pau loa i ka Po.

Spirits of darkness primeval, Spirits of light, To Kane the eternal, To Kanaloa the eternal, To Hoomeha the eternal, To all my ancestors from eternity.

Ia Ku-huluhulumanu i ka Po, Ia pale i ka Po, A puka i ke Ao, Owau, o Eleele, ka mea iaia ka mana, Homai he iki, Homai he loaa nui, Pii oukou a ke kuahiwi, A ke kualono, Ho'a mai oukou i ka manu a pau, Hooili oukou iluna o ke kepau kahi e pili ni, Amama! Ua noa.

To Kuhuluhulumanu, the eternal. That you may banish the darkness. That we may enter the light. To me, Eleele, give divine power. Give intelligence. Give great success. Climb to the wooded mountains. To the mountain ridges. Gather all the birds. Bring them to my gum to be held fast. Amen, it is finished.]



CHAPTER XVII

[Footnote 54: For the cloud sign compare the story of Kualii's battles and in Westervelt's Lepeamoa (Legends of Honolulu, p. 217), the fight with the water monster.]

[Footnote 55: Of Hawaiians at prayer Dibble says: "The people were in the habit of praying every morning to the gods, clapping their hands as they muttered a set form of words in a singsong voice."]



CHAPTER XVIII

[Footnote 56: The three mountain domes of Hawaii rise from 13,000 to 8,000 feet above the sea, and the two highest are in the wintertime often capped with snow.]

[Footnote 57: The games of kilu and ume, which furnished the popular evening entertainment of chiefs, were in form much like our "Spin the plate" and "Forfeits." Kilu was played with "a funnel-shaped toy fashioned from the upper portion of a drinking gourd, adorned with the pawehe ornamentation characteristic of Niihau calabashes." The player must spin the gourd in such a way as to hit the stake set up for his side. Each hit counted 5, 40 scoring a game. Each player sang a song before trying his hand, and the forfeit of a hula dance was exacted for a miss, the successful spinner claiming for his forfeit the favor of one of the women on the other side. Ume was merely a method of choosing partners by the master of ceremonies touching with a wand, called the maile, the couple selected for the forfeit, while he sang a jesting song. The sudden personal turn at the close of many of the oli may perhaps be accounted for by their composition for this game. The kaeke dance is that form of hula in which the beat is made on a kaekeeke instrument, a hollow bamboo cylinder struck upon the ground with a clear hollow sound, said to have been introduced by Laamaikahiki, the son of Moikeha, from Tahiti.]



CHAPTER XIX

[Footnote 58: In the story of Kauakahialii, his home at Pihanakalani is located in the mountains of Kauai back of the ridge Kuamoo, where, in spite of its inland position, he possesses a fishpond well stocked with fish.]

[Footnote 59: The Hawaiian custom of group marriages between brothers or sisters is clearly brought out in this and other passages in the story. "Guard our wife"—Ka wahine a kaua—says the Kauai chief to his comrade, "she belongs to us two"—ia ia kaua. The sisters of Aiwohikupua call their mistress's husband "our husband"—ka kakou kane. So Laieikawai's younger sister is called the "young wife"—wahine opio—of Laieikawai's husband, and her husband is called his punalua, which is a term used between friends who have wives in common, or women who have common husbands.]

[Footnote 60: The Hawaiian flute is believed to be of ancient origin. It is made of a bamboo joint pierced with holes and blown through the nose while the right hand plays the stops. The range is said to comprise five notes. The name Kanikawi means "changing sound" and is the same as that given to Kaponohu's supernatural spear.]



CHAPTER XX

[Footnote 61: At the accession of a new chief in Hawaii the land is redistributed among his followers.]

[Footnote 62: The names of Malio and Halaaniani are still to be found in Puna. Ellis (1825) notes the name Malio as one of three hills (evidently transformed demigods), which, according to tradition, joined at the base to block an immense flow of lava at Pualaa, Puna. Off the coast between Kalapana and Kahawalea lies a rock shaped like a headless human form and called Halaaniani, although its legend retains no trace of the Puna rascal.]



CHAPTER XXI

[Footnote 63: The huia is a specially high wave formed by the meeting of two crests, and is said to be characteristic of the surf at Kaipalaoa, Hawaii.]

[Footnote 64: Kumukahi is a bold cape of black lava on the extreme easterly point of the group. Beyond this cape stretches the limitless, landless Pacific. Against its fissured sides seethes and booms the swell from the ocean, in a dash of foaming spray. Piles of rocks mark the visits of chiefs to this sacred spot, and tombs of the dead abut upon its level heights. A visitor to this spot sees a magnificent horizon circling the wide heavens, hears the constant boom of the tides pulling across the measureless waters. It is one of the noteworthy places of Puna, often sung in ancient lays.]



CHAPTER XXII

[Footnote 65: The name of Laieikawai occurs in no old chants with which I am familiar. But in the story of Umi, the mother of his wife, Piikea, is called Laielohelohe. She is wife of Piilani and has four children who "have possession on the edge of the tabu," of whom Piikea is the first-born, and the famous rival chiefs of Maui, Lonopili, and Kihapiilani, are the next two; the last is Kalanilonoakea, who is described in the chant quoted by Fornander as white-skinned and wearing a white loin cloth. Umi's wife is traditionally descended from the Spaniards wrecked on the coast of Hawaii (see Lesson). The "Song of Creation" repeats the same genealogy and calls Laielohelohe the daughter of Keleanuinohoonaapiapi. In the "ninth era" of the same song Lohelohe is "the last one born of Lailai" and is "a woman of dark skin," who lived in Nuumealani.]

[Footnote 66: To preserve the umbilical cord in order to lengthen the life of a child was one of the first duties of a guardian. J.S. Emerson says that the piko was saved in a bottle or salted and wrapped in tapa until a suitable time came to deposit it in some sacred place. Such a depository was to be found on Oahu, according to Westervelt, in two rocks in the Nuuanu valley, the transformed moo women, Hauola and Haupuu. In Hawaii, in Puna district, on the north and south boundaries of Apuki, lie two smooth lava mounds whose surfaces are marked with cup hollows curiously ringed. Pictographs cover other surfaces. These are named Puuloa and Puumahawalea, or "Hill of long life" and "Hill that brings together with rejoicing," and the natives tell me that within their own lifetime pilgrimages have been made to this spot to deposit the piko within some hollow, cover it with a stone, and thus insure long life to the newborn infant.]



CHAPTER XXIV

[Footnote 67: More than 470 species of land snails of a single genus, Achatinella, are to be found in the mountains of Hawaii, a fact of marked interest to science in observing environmental effect upon the differentiation of species. One of these the natives call pupu kani oi or "shrill voiced snail," averring that a certain cricketlike chirp that rings through the stillness of the almost insectless valleys is the voice of this particular species. Emerson says that the name kahuli is applied to the land snail to describe the peculiar tilting motion as the snail crawls first to one side and then to the other of the leaf. He quotes a little song that runs:

Kahuli aku, kahuli mai, Kahuli lei ula, lei akolea. Kolea, kolea, e kii ka wai, Wai akolea.

Tilting this way and that Tilts the red fern-plume. Plover, plover, bring me dew, Dew from the fern-plume.]

[Footnote 68: This incident is unsatisfactorily treated. We never know how Waka circumvented Malio and restored her grandchild to the husband designed for her. The whole thing sounds like a dramatic innovation with farcical import, which appeared in the tale without motivation for the reason that it had none in its inception. The oral narrator is rather an actor than a composer; he may have introduced this episode as a surprise, and its success as farce perpetuated it as romance.]



CHAPTER XXVI

[Footnote 69: This episode of the storm is another inconsistency in the story. The storm signs belong to the gods of Aiwohikupua and his brother, the Sun god, not to Laieikawai, and were certainly not hers when Waka deserted her. If they were given her for protection by Kahalaomapuana or through the influence of the seer with the Kauai family, the story-teller does not inform us of the fact.]

[Footnote 70: The pa-u is a woman's main garment, and consists of five thicknesses of bark cloth 4 yards long and 3 or 4 feet wide, the outer printed in colors, and worn wrapped about the loins, reaching the knees.]



CHAPTER XXVII

[Footnote 71: In mythical quest stories the hero or heroine seeks, by proving his relationship, generally on the mother's side, to gain the favor of the supernatural guardian of whatever treasure he seeks. By breaking down the taboo he proclaims his rank, and by forcing the attention of the relative before the angry god (or chief) has a chance to kill him (compare the story of Kalaniamanuia, where the father recognizes too late the son whom he has slain), he gains time to reveal himself. In this episode the father's beard is, like the locks of Dionysus in Euripides' line, dedicated to the god, hence to seize it was a supreme act of lawlessness.]

[Footnote 72: According to the old Polynesian system of age groups, the "mother's brother" bears the relation to the child of makua equally with his real parents. Kahalaomapuana says to her father:

"I am your child (kama), The child of Laukieleula, The child of Mokukelekahiki, The child of Kaeloikamalama."

thus claiming rank from all four sources. Owing to inbreeding and this multiple method of inheriting title, Polynesian children may be of higher rank than either parent. The form of colloquy which follows each encounter (compare Kila's journey to Tahiti) is merely the customary salutation in meeting a stranger, according to Hawaiian etiquette.]

[Footnote 73: The name Laukieleula means "Red-kiele-leaf." The kiele, Andrews says, is "a sweet-scented flower growing in the forest," and is identified by some natives with the gardenia, of which there are two varieties native in Hawaii; but the form does not occur in any chants with which I am familiar. It is probably selected to express the idea of fragrance, which seems to be the kupua property of the mother's side of the family. It is the rareness of fragrant plants indigenous to the islands, coupled with sensuous delight in odor, which gives to perfume the attributes of deity, and to those few varieties which possess distinct scent like the maile and hala, a conspicuous place in religious ceremonial.

The name of Moanalihaikawaokele, on the other hand, appears in the "Song of Creation," in the eighth era where the generations of Uli are sung. In the time of calm is born the woman Lailai, and after her the gods Kii, Kane, and Kanaloa, and it is day. Then

"The drums are born, Called Moanaliha, Kawaomaaukele came next, The last was Kupololiilialiimuaoloipo, A man of long life and very high rank."

There follow 34 pages devoted to the history and generations of this family before the death of this last chief is recorded. Now it is clear that out of the first two names, Moanaliha and Kawao(maau)kele, is compounded that of the storm god. This would place him in the era of the gods as the father of Ku and ancestor of the Uli line.]



CHAPTER XXVIII

[Footnote 74: The story of the slaying of Halulu in the legend of Aukelenuiaiku is a close parallel to the Indian account of the adventure with the thunder bird. (See Matthews's "Navajo legends.") The thunder bird is often mentioned in Hawaiian chants. In the "Song of Creation" the last stanza of the third or bird era points out

"—the leaping point of the bird Halulu, Of Kiwaa, the bird of many notes, And of those birds that fly close together and shade the sun."]

[Footnote 75: The divine approach marked by thunder and lightning, shaken by earthquake and storm, indicates the kupua bodies in which the Sun god travels in his descent to earth. There are many parallels to be found in the folk stories. When the sister of Halemano sets out to woo the beauty of Puna she says: "When the lightning flashes, I am at Maui; when it thunders I am at Kohala; when the earth quakes, at Hamakua; when freshets stain the streams red, I am at Puna." When Hoamakeikekula, the beauty of Kohala, weds, "thunder was heard, lightning flashed, rain came down in torrents, hills were covered with fog; for ten days mist covered the earth." When Uweuwelekehau, son of Ku and Hula, is born "thunder, lightning, earthquake, water, floods and rain" attend his birth. In Aukelenuiaiku, when the wife of Makalii comes out of her house her beauty overshadows the rays of the sun, "darkness covered the land, the red rain, fog, and fine rain followed each other, then freshets flowed and lightning played in the heavens; after this the form of the woman, was seen coming along over the tips of the fingers of her servants, in all her beauty, the sun shone at her back and the rainbow was as though it were her footstool." In the prayer to the god Lono, quoted by Fornander, II, 352, we read:

"These are the sacred signs of the assembly; Bursting forth is the voice of the thunder; Striking are the rays of the lightning; Shaking the earth is the earthquake; Coming is the dark cloud and the rainbow; Wildly comes the rain and the wind; Whirlwinds sweep over the earth; Rolling down are the rocks of the ravines; The red mountain streams are rushing to the sea; Here the waterspouts; Tumbled about are the clustering clouds of heaven; Gushing forth are the springs of the mountains."]



CHAPTER XXXIV

[Footnote 75: Kaonohiokala, Mr. Emerson tells me, is the name of one of the evil spirits invoked by the priest in the art of po'iuhane or "soul-catching." The spirit is sent by the priest to entice the soul of an enemy while its owner sleeps, in order that he may catch it in a coconut gourd and crush it to death between his hands. "Lapu lapuwale" is the Hawaiian rendering of Solomon's ejaculation "Vanity of vanities!"]



APPENDIX

HAWAIIAN STORIES

ABSTRACTS FROM THE TALES COLLECTED BY

FORNANDER AND EDITED BY THOMAS G. THRUM.

THE BISHOP MUSEUM, HONOLULU

HAWAIIAN STORIES

I. SONG of CREATION, as translated by Liliuokalani

II. CHANTS RELATING THE ORIGIN OF THE GROUP: From the Fornander manuscript:

A. Kahakuikamoana B. Pakui C. Kamahualele D. Opukahonua E. Kukailani F. Kualii

III. HAWAIIAN FOLKTALES, ROMANCES, OR MOOLELO: From the Fornander manuscript:

A. Hero tales primarily of Oahu and Kauai

1. Aukelenuiaiku 2. Hinaaikamalama 3. Kaulu 4. Palila 5. Aiai 6. Puniaiki 7. Pikoiakaalala 8. Kawelo 9. Kualii 10. Opelemoemoe 11. Kalelealuaka

B. Hero tales primarily of Hawaii

1. Wahanui 2. Kamapuaa 3. Kana 4. Kapunohu 5. Kepakailiula 6. Kaipalaoa 7. Moikeha 8. Kila 9. Umi 10. Kihapiilani (of Maui) 11. Pakaa and Kuapakaa 12. Kalaepuni 13. Kalaehina 14. Lonoikamakahiki 15. Keaweikekahialii (an incident) 16. Kekuhaupio (an incident)

C. Love stories

1. Halemano 2. Uweuwelekehau 3. Laukiamanuikahiki 4. Hoamakeikekula 5. Kapunokaoheloai

D. Ghost stories and tales of men brought to life 1. Oahu stories

Kahalaopuna Kalanimanuia Pumaia Nihoalaki

2. Maui stories

Eleio Pamano

3. Hawaii stories

Kaulanapokii Pupuhuluena Hiku and Kawelu

E. Trickster stories

1. Thefts

Iwa Maniniholokuaua Pupualenalena

2. Contests with spirits

Kaululaau (see Eleio) Lepe Hanaaumoe Punia Wakaina

3. Stories of modern cunning

Kulepe Kawaunuiaola Maiauhaalenalenaupena Waawaaikinaaupo and Waawaaikinaanao Kuauamoa



I. SONG OF CREATION (HEKUMULIPO)

The "account of the creation of the world according to Hawaiian tradition" is said to celebrate Lonoikamakahiki, also called Kaiimamao, who was the father of Kalaniopuu, king of Hawaii at the time of Cook's visit. The song was "composed by Keaulumoku in 1700" and handed down by the chanters of the royal line since that day. It was translated by "Liliuokalani of Hawaii" in 1895-1897, and published in Boston, 1897.

From the Sea-bottom (?) (the male) and Darkness (the female) are born the coral insect, the starfish, sea urchin, and the shellfish. Next seaweed and grasses are born. Meanwhile land has arisen, and in the next era fishes of the sea and plants of the forest appear. Next are born the generations of insects and birds; after these the reptiles—all the "rolling, clinging" creatures. In the fifth era is born a creature half pig, half man; the races of men also appear (?). In the sixth come the rats; in the seventh, dogs and bats; in the eighth is born the woman Lailai (calmness), the man Kii, and the gods Kane and "the great octopus" Kanaloa. Lailai flies to heaven, rests upon "the boughs of the aoa tree in Nuumealani," and bears the earth. She weds Kii and begets a generation of gods and demigods.

In the course of these appear Wakea and his three wives, Haumea, Papa, and Hoohokukalani. Wakea, becoming unfaithful to Papa, changes the feast days and establishes the taboo. Later the stars are hung in the heavens. Wakea seeks in the sea for "seeds from Hina," with which to strew the heavens. Hina floats up from the bottom of the sea and bears sea creatures and volcanic rocks. Haumea, a stranger of high rank from Kuaihelani at Paliuli, marries her own sons and grandsons. To her line belong Waolena and his wife Mafuie, whose grandchild, Maui, is born in the shape of a fowl. The brothers of his mother, Hina, are angry and fight Maui, but are thrown. They send him to fetch a branch from the sacred awa bush; this, too, he achieves. He desires to learn the art of fishing, and his mother gives him a hook and line with which he catches "the royal fish Pimoe." He "scratches the eight eyes" of the bat who abducts Hina. He nooses the sun and so wins summer. He conquers (?) Hawaii, Maui, Kauai, and Oahu. From him descends "the only high chief of the island."