Chapter II (7)

A pau ke kahea ana a ka pueo a me ke kaikamahine, maopopo iho la iaia o ke kaikamahine no, Laukiamanuikahiki; wahi ae la ia i ka puoa, lalau aku la i ke kaikamahine, a uwe iho la. I loko nae o ka wa i pii ai na kiai e olelo i ke ’lii, lele iho la ua pueo nei, a pai iho la i na eheu i luna o ke kaikamahine, a lei iho la i ka palaoa, kakua i ka pau, aahu i ka ahuula. Oia na hoike a Makiioeoe i waiho ai ia Hina. Ao loa ae la, kena ae la o Makiioeoe e ho-a i ka umu, a enaena ka umu, kalua ia na kanaka nana i niania wale, ka poe olelo kikoola i ke kaikamahine, pau loa i loko o ka umu, a make iho la. O ke aikane a ianei, lilo ae la i alii, a noho pu iho la me Laukiamanuikahiki.

Kapu ae la o Laukiamanuikahiki, aole e hele i waho, aohe kanaka maalo i kona hale noho, aohe mea kamailio ia ia. He wahine maikai loa ia ke nana aku, aohe ona lua e like ai ma ka aina o Kuaihelani, ua puka kona ula ma waho o ka hale e a ai, me he ahi la.

Holo mai la o Kahikiula, keiki a Makiioeoe mai Kahikiku mai, me ka waa ula, pea ula, kaulaula, hoe ula, kanaka ula, ka waa nui, ka waa iki, ke kanaka nui, kanaka iki. O keia keiki, na Makiioeoe me kana hanaukama, ua hoao hoi me Kahalaokolepuupuu, oia ka Kahikiula wahine, ua noho no nae i Kahikiku, aole i holo pu mai. A hiki o Kahikiula i Kuaihelani, halawai me kona makuahine, makuakane, na mea a pau loa. I aku o Makiioeoe ia Kahikiula, e hele e ike i ke kaikuahine ia Laukiamanuikahiki; ae mai o Kahikiula.

Hele aku la laua a hiki i ka hale, nana aku o Kahikiula i keia mea ula ma waho o ka hale, a olelo aku ia Makiioeoe: “E! Pau ko hale i ke ahi.” I mai o Makiioeoe: “Aohe ahi, he kanaka, aia i loko kahi i moe ai, o ko kaikuahine.” Wehe aku la laua i ka puka a nana aku la; kii aku la o Makiioeoe, hoala: “E, ia nei e, e ala, eia ko kaikunane, o Kahikiula.” Ala ae la o Laukiamanuikahiki, a huli papio iho la ka umauma i lalo. Nana mai la ia Kahikiula, a aloha mai la: “Aloha oe.” Nani no a nani, ui no a ui, aala no a aala, onaona no a onaona, he keu o ka maikai, e nana ia Laukiamanuikahiki, e nana ia Kahikiula, ua like a like.

Nolaila, olelo aku o Makiioeoe ia Kahikiula, eia no kau wahine o ko kaikuahine, hui ae la laua, pale ia i ke kapa. Pela laua i noho pu ai a hala he mau anahulu elima, koi aku ke kaikunane e hoi; hoole mai ke kaikuahine: “Aole oe e hoi, aia o kaua pu ke holo, alaila, hoi oe.” “A oe pona e mainoino auanei oe i ko kaikoeke; e noho no oe, owau ke hoi.” No keia hoi pinepine o Kahikiku, ae aku o Laukiamanuikahiki: “Ae, e hoi oe, mai hoohewahewa nae ia’u ke hele aku mahope aku nei, o make oe, make ko wahine o Kahalaokolepuupuu ia’u.” Hoi aku la o Kahikiula i Kahikiku, a noho me Kahalaokolepuupuu. Noho iho la o Laukiamanuikahiki, a aloha ia Kahikiula, uwe iho la, a nana aku la i ka lele a ke ao o Kahikiku, oli aku la:

Kau ana ka la e kau ana,
Kau ana ke aloha i kuu maka,
Ke hooluhi nei la i kuu kino,
Ke lalawe nei la i kuu aoao,
Aloha ka ukana a ke aloha la,
He waimaka e.

No ka halialia anoano wale mai o ka noho ana iaia nei, kipu mai ke oloha iaia nei i ke ao a me ka po, nolaila, hele aku la keia a ma ke kapa kahakai, noho iho uwe, a pau ka uwe ana, kahea aku la keia: “E hono kua wawaka e. Kuu kupunawahine o kai nei la; hele mai, eia au o Laukiamanuikahiki ko moopuna, kaikamahine a Makiioeoe ame Hina.”

Hiki mai la ka honu kua wawaka wahi ae la ke kua a hamama, komo iho la keia i loko o ke kua, popoi ae la a paa, luu aku la ka honu a hiki i Kahikiku. Wehe ae la ke kua o ka honu, oili ae la keia a hele aku la i kapa kahakai, nalo aku la ka honu i loko o ke kai, hele aku la keia he lokoia na Kahalaokolepuupuu wahine a Kahikiula. Ia wa, lawe o Laukiamanuikahiki i ke kino luahine, a huna i ke kino maikai, kahea ae la:

E kini o ke ’kua,
E ka lehu o ke ’kua,
E ka lalani o ke ’kua,
E ka pukui o ke ’kua,
E ke kaikuaana o ke ’kua,
E ke kokoo-ha o ke ’kua
E ke koo-lima o ke ’kua,
E lawe ae oukou i kuu kino maikai, huna oukou a nalo,
Haawi mai oukou i kino luahine no’u, kolopupu, haumakaiole.

Ia wa, lilo iho la keia i luahine a make loa me kahi hulilau kahakai, me kahi laau ohiuhiu ina, wana. I loko o ka loko ia a Kahalaokolepuupuu, he aholehole ka ia, he nehu, he iao, na ia a pau loa, me ka limu, hao ae la ka mana o Laukiamanuikahiki, pau a panoonoo ka loko.

Iaia e kokolo ana me kahi hulilau ma ke kahakai, hiki mai la na elele a Kahalaokolepuupuu, a kahea ana: “E kahi luahine, pau loa ka ia a ke ’lii wahine ia oe, aihue maoli oe e na wahi luahine.” I aku keia: “Aole na’u, he pau kahiko no ko ka ia o keia loko, o ko’u hele ana mai nei, kapili oukou i pau ia’u.” I loko o keia wa, loaa hou kekahi inoa o ia nei, mai na elele mai, o Lipewale, he mai no Kahalaokolepuupuu. Olelo mai na elele: “E pii kakou i ka hale; o kou inoa, o ka inoa o ka mai o ke ’lii wahine, o Lipewale.”

A hiki lakou i ka hale, olelo aku la na elele: “Aohe ia i koe o ka loko, ua pau i nei wahi luahine, e noke ana keia i ka ohiu i ka ina, i ka wana.” I mai o Kahalaokolepuupuu: “E kahi luahine, o ka inoa o kuu mai o Lipewale, o kou inoa ia, ea, he ai ia’u, he kapa, he hale, noho no kaua.”

Moe iho la lakou i ka po, hele mai la o Kahikiula ma kahi o Lipewale e moe nei, lele iho la honi i ka ihu, kahea ae keia: “Owai keia e honi nei ia’u?” Kahea mai o Kahalaokolepuupuu: “E Lipewale, heaha ia?” Paa loa ko ia nei waha, aohe ekemu aku. Ma keia ano kino luahine o ia nei, ua ike mai no o Kahikiula ma na hiohiona maka, a ua maopopo no iaia o ke kaikuahine o Laukiamanuikahiki.

Pela ka ia nei mau hana i na po a pau loa; ina e ike keia e moe pu ana ke kaikunane me ka wahine i kahi hookahi, ala ae la keia hoonakeke i na paipu, holo mai la ke kaikoeke ninau, hai aku la keia he iole; no ka mea, he huhu keia i ka moe pu o laua la.

I mai la ke kaikoeke: “E Lipewale e pii kakou i kukui kapala no kuu pau, i uka.” Ae aku la keia: “Ae.” A hiki lakou i uka, hoiliili iho la a loaa ke kukui, hana iho la a haawe, olelo mai lao Kahalaokolepuupuu: “E Lipewale, ia oe ke kukui a kakou e haawe ai.” “Ae, ia’u.” Kaha aku la lakou la iho, kaa iho la o Lipewale mahope me ka haawe kukui. Wehe ae la keia a hamama malalo o ka haawe ka waha, hookomo aku la na lima i ka aweawe, a iho aku la, ka ke kukui helelei no a hiki i ka hale, pau loa.

“Ea! Auhea kau kukui e Lipewale?” I aku keia: “Ka, o ka oukou hana ana no a paa i ka aweawe, kau no ma ke kua iho mai nei au. Aole o’u maka ma ke kua e ike ai au i ka helelei o ke kukui.” I aku o Kahalaokepuupuu ia Lipewale: “E noho oe e kapala i kuu pau, e iho makou e auau kai.” Noho iho la keia kapala i ka pau, kii aku la keia i ka lepo puaa a me ka lepo palahu, hoi mai la kapala, ma ka loa kekahi ohe, ma ka laula kekahi ohe, alua kakau o ke kapala ana. A liuliu, iho aku la keia mahope e auau kai; lawe ia ae la ke kino inoino luahine o ia nei, kuu ia iho la ke kino maikai; iho aku la keia a hiki, a kokoke ia lakou la, pipa ae la keia he wahi e ae, auau iho la keia a pau, hoi mai la no.

Alualu mai la lakou la mahope, aohe launa mai iaia nei, hiki mua aku la keia a ka hale, lawe ia ae la ke kino maikai, kuu ia iho la ke kino luahine. A hiki lakou la, ninau mai la: “Ea! Aohe oe i ike i keia wahine maikai i pii mai nei, makai mai nei?” “Aole au i ike, i ka noho iho la no wau ma waho nei la a puka mai la oukou.”

I mai la o Kahalaokolepuupuu: “E hele makou e hula, e noho oe i ka hale o kakou, mai haalele oe,” ae aku la keia, “ae.” A hala lakou la i ka hale hula, noho iho la keia me ke kaikunane me Kahikiula, puka ae la keia a waho o ka hale, kahea.

E kini o ke ’kua,
E ka lehu o ke ’kua
E ka lalani o ke ’kua,
E ka pukui akua
E ka mano o ke ’kua,
E kaikuaana o ke ’kua
E ke ’kua muki
E ke ’kua hawanawana,
E ke ’kua kiai o ka po,
E ke ’kua alaalawa o ke aumoe
E iho, e ala, e oni, e eu,
Eia ka mea ai a oukou la, he hale.

Ia wa, hoi mai la ke kino maikai o ia nei a pili, hao mai la ke ’kua, pau ka hale i ke ahi, pau ka hale hula, pau ke kaikoeke, na mea a pau i olelo ino iaia nei, pau loa i ka make.

Kahea mai ke kaikunane o Kahikiula iaia nei, “hoi mai kaua e Laukiamanuikahiki,” hoole aku keia, “aole au e hoi aku me oe, i mainoino ka hoi au i kou hale. Eia au ke hoi nei i Kuaihelani.”

E like me na mea i olelo ia i loko o keia kaao, pela no na mea o keia wa e noho nei, ka moe kaikunane, kaikuahine, ka mainoino, ka hana aloha ole, a me na hana he nui loa. Nolaila, ua lilo keia i kumu alakai no ka poe hou o hope loa nei.

NOTES

[1] Wakea and Papa as here shown are the traditional creators of nearly all the islands of the Hawaiian group. Other legends refer to this pair as the progenitors of the Hawaiian race; also, that Wakea was the eldest of three sons of Kahiko, an ancestor of the people. From Wakea sprang the line of chiefs, while the second son, Lihau-ula, is stated as founding the priesthood.

[2] Hina appears to have been a name easily conjured with, for it figures, by itself, or with suggestive appellations, more frequently than any other in events of mythical character in the songs and traditions of Hawaii, and is well known also throughout Polynesia.

[3] Opuukahonua (given also in places as Opukahonua) signifies “budding earth”, and it is coincident that the account of the islands’ birth is narrated by such a personification. In like manner the further tradition of their origin is appropriately sung by Kahakuikamoana, “the roar or boom of the sea”, while the version by Pakui, signifying “added on; joined”, deals with the traditional development of the group.

[4] The first offspring is given figuratively as a yellow flower; also, as the first morning light.

[5] Referring to Kamehameha’s kingly and ascribed divine genealogy.

[6] Sacred Albino, kekea kapu of the original, if not an error, would refer to the traditional arrival of the “poe ohana kekea”, which dates back to the thirteenth century; castaways on Maui, from a vessel called Mamala. Besides the captain were five others, both men and women. Of this party Neleike it is said became the wife of Wakalana, a ruling chief of Maui, and the mother of his son Alo-o-ia, and that they became the progenitors of the “poe ohana kekea”, white people with bright eyes; the sacred Albino of ancient time.

[7] The word lopa, here given as a foundling, was the term generally applied to a person of low class, an under farmer.

[8] A wohi was recognized as of the highest rank of Oahu chiefs.

[9] This doubtless refers to the month Makalii, rather than to the Pleiades, of same name.

[10] Kalani, lit. the heaven, or heavenly one, freely used from this point impressed the translator with the idea that the whole song was evidently composed as an inoa, or name song for Kamehameha the Great, and, following custom, his own feats are lauded in figurative language and woven in with common traditional lore.

[11] Aa is the small side roots; mole the main stem, or tap root.

[12] Kamehameha going conquering from island to island.

[13] The thirds joined may refer to Kamehameha’s half of Hawaii uniting in purpose for the winning of Hilo, Puna and Kau in the overthrow of Kiwalao.

[14] Poetic form and abbreviation for Kamalalawalu.

[15] Another epithet of Kamehameha.

[16] The song is unfinished, perhaps unavailable to the scribe.

[17] See note 4, page 2.

[18] This is an erroneous conception of the meaning of the line “Na Kuluwaiea o Haumea”. I believe the real meaning, in prose, is Na Kuluwaiea keiki a Haumea ke kane i moe ia Hinanuialana ka wahine a hanau, etc. It was Kuluwaiea the son of Haumea who intermarried with Hinanuialana as wife and was born to them, etc. [Trans. comment.]

[19] The kekea, or Albino, in third line of section 5, is shown here to be keakea, semen, which, by the narration following, indicates it as an emanation from a person of sacredness, having special functions, whose every act partook of a sacred character, bearing out the idea which prevailed that certain ancient chiefs were of such high and sacred rank that their sanctity pervaded their premises, and applied also to all that they had, or did, or desired.

[20] Indicative of life.

[21] There is a heiau in Manawai, Molokai, said to have been built and occupied by Pakui still to be seen.

[22] Wakea, son of Kahiko, the ancient, the abyss.

[23] Tahiti-ku and Tahiti-moe, lit. standing and sleeping Tahiti, or more properly Kahiki, refers to distant lands eastward and westward of the place where the first of mankind were created. Pol. Race, Vol. I.

[24] As fine kapas were displayed.

[25] A time at birth when all were excluded.

[26] This figure indicates high estimation for royal care; the porpoise as one dodging difficulties, seldom caught.

[27] Young in years.

[28] An ancient name of the island of Kauai, indicating a child of heavenly quality.

[29] Kapumaeolani, the sacred sprig of heaven, referring again to Kamehameha’s claimed genealogy.

[30] The sacred conch sounding to heaven.

[31] The child of two chiefs; the deeply anointed one.

[32] Various terms of anointment, or dedication, indicating time, as to morning, noon and night.

[33] Daughter of Papa and Wakea, to effect incestuous intercourse with whom, Wakea, with aid of his priest, established severe lines of kapus upon women.

[34] Haloa, son of Hoohokukalani and Wakea, whom he resembled, as in the preceding line.

[35] Lines of aliis.

[36] Expression indicative of a high chief. Its “still eyes” imply dignity, which is borne out as on wing it swoops o’er the fields.

[37] Refers to high and sacred rank.

[38] The Hawaiian’s idea of the seat of thought was not the brain, but the intestines.

[39] Kapuakahi, lit. “the first flower.”

[40] Referring to Akahi-a-kuleana, mother of Umi.

[41] Referring to Umi-a-Liloa who broke the kapu of Ahaula at Paakaalana, Waipio.

[42] A reference to Umi’s daring the kapu by entering the precincts of Paakaalana over the sacred guard-line of Ahaula when seeking and claiming his paternity from Liloa.

[43] This perhaps is Kuaiwa.

[44] The high priest sacrificed by order of the cruel Hakau, which insured the desertion of Nunu and Kekohi to Umi’s standard.

[45] Meteorites (?).

[46] Nukuhiva of the Marquesan group.

[47] The island of Bolabola of the Society Islands.

[48] Other accounts give this Oahualua.

[49] Makuakaumana, the parent that hung on a branch.

[50] Kapawa, the wall of time.

[51] Kea’s big red fowl.

[52] Lono that stands in heaven.

[53] The growth of beach of Nana.

[54] This expression may be taken to refer to Hawaii’s verdancy.

[55] Waia was husband of Papa after her return from Tahiti.

[56] Meaning the fourth instalment of royal kapu belonging to Iwikauikaua.

[57] Referring to a branch shooting out horizontally from a tree, denoting great misfortune.

[58] This looks like passing judgment that the culprit must suffer for his deed.

[59] The eight-finned shark, like the eight-eyed and eight-forehead celebrities were famed for their magic powers.

[60] This island of lehua groves may also refer to its many fighting men.

[61] The haole, or foreigner, is generally understood to refer to a white person unless it is qualified.

[62] This famous legend of Aukele-nui-a-iku, says Fornander, has the earmarks of great antiquity and is known in some form or other on several of the Polynesian groups, Aukele, the hero, being the youngest son of Iku, or Aiku in other lands. The story has marked resemblance in several features to the Hebrew account of Joseph and his brethren, and is traced back to Cushite origin through wanderings and migrations rather than being an evidence of Spanish influence during their contact with this group of islands in the sixteenth and seventeenth centuries. See Pol. Race, Vol. I, p. 40.

[63] This point of origin is a popular mythical land whose name, likely, was intended to perpetuate its favored location, “shouldering or supporting heaven.” It is freely used, and at times becomes Kuihelani.

[64] The family connection -a- to Iku is maintained throughout, Iku as the source, being the ending of each name but one, the tenth, in which case it is changed to Iku from heaven.

[65] The name of the first-born differs here, shortened by omission of the prefix Ke, the.

[66] This has reference to the alleged ability of expert wrestlers to break the bones of an opponent while holding him in mid air. Lua, the art of breaking the bones of a person was much practiced in ancient times.

[67] The expression of the original, ae kai, is literally sea beach.

[68] Ape, Alocasia macrorrhiza.

[69] Holani-ku and Holani-moe, evidently refers to a land of origin, as East and West Holani. Other references of like nature are taken to refer to the rising (ku) and setting (moe) sun, thereby indicating east and west.

[70] This apparent Kamakau assertion lacks confirmation. Nowhere else do we find this land of Kane so located.

[71] This closely resembles the name of the god brought from Raiatea by Laa-mai-kahiki and deposited in the heiau of Moikeha at Wailua, Kauai.

[72] This may be understood as indicative of great grief.

[73] Pa-u ai kaua, lit. war-eating skirt; a battle robe or garment.

[74] Ekoko mentioned here is probably the same as akoko (Euphorbia lorifolia), a small tree, the milksap of which gives its native name koko, blood.

[75] Walina, the ancient term of greeting, is given by Andrews as a reply expression or return, but it is shown throughout this story to be of equal use to greet, and reply, as is the more modern term of salutation, aloha.

[76] This chant or ditty of the konane game is met with again in the story of Lono and Kaikilani, and is in use among Hawaiian players of the game to this day.

[77] Amama; ua noa, the usual ending of prayers is equivalent to our Amen, though scholars differ in its literal translation. A treatise by Fornander on the phrase has the following: “The prayers of the Hawaiian priests, offered in the temples, as well as those offered at private sacred places, or in family worship, invariably closed with the ejaculation Amama, equivalent to Amen. Amama, as a verb, means ‘to offer in sacrifice.’ It does not occur in any other Polynesian dialect that I am acquainted with.... I therefore consider it to be a foreign word imported into the language in far remote times.... It was a formula employed on occasions of worship in imitation of his teachers, but without any inherent sense derived from his own language, as multitudes of Christians today use the word Amen without knowing its origin or sense. That the Hawaiians employed Amama as a verb, ’to offer in sacrifice’ I look upon as a later adaptation when the primary sense of the word, if ever known, had been forgotten.” His note on the phrase Amama, ua noa, in Pol. Race, Vol. II, p. 178, says: “Literally it means ‘it is offered, the tabu is taken off, or the ceremony is ended.’”

[78] Ola na iwi, lit. bones live, is understood not only to be revived by relief of present distress, but to perpetuate one’s existence through his progeny.

[79] A poomuku rainbow, as its name indicates, is the stem only of the arch; poo, head, and muku, cut off; hence, a headless rainbow. Its three colors deal not with its blending shades.

[80] The reference to the koae is to indicate the height of the cliffs, for this bird never flies low.

[81] Reservation of one power, or point of skill, on the basis of self protection, as here admitted, is a characteristic feature in many of the traditions.

[82] Kino, in the reference made here as one of the four bodies which Namakaokahai possessed, is better understood as her miraculous powers.

[83] Ka-uila-nui-ma-keha-i-ka-lani; the great lightning that excels in the heavens.

[84] Meki ku i ka honua; meki being an ancient name for iron is here rendered as “iron that stands in the earth.” As iron ore was unknown to Hawaiians the meki in this case more likely refers to their deep pit in the earth where dead bodies were interred with kapas and other valuables.

[85] Ahikanana, champion or defiant.

[86] The expression ihu kaeaea may be said to be a dramatic utterance applied to a warrior; a brave man, signifying one who carries his head high.

[87] Tributes of the elements to rare beauty and high birth is characteristically the Hawaiian ideal, not restricted to legendary lore. Heavy rains, or an electric storm on the death or funeral of one of high station, or the red rain -ua koko- or rainbow presence are acknowledged as signs of royal recognition.

[88] Kau-mai-iluna-o-holani-ku; lit. appearing over East Holani. See note 2, p. 40.

[89] Poi uhane, spirit-snatching, was a deep-seated superstition that was fostered by a class of sorcerers professing ability to cause the spirits of the dead to reenter the body of a person and possess it, as may be desired, or, at will, to seize and crush a departing spirit to its everlasting death.

[90] Ai pioia, food of departed spirits, was supposed to be butterflies, moths, spiders and such ephemeral objects.

[91] Hawaiian mythology abounds with reference to the sacred or holy waters of Kane under various names and attributes, of which “the water of everlasting life of Kane” was a familiar expression.

[92] Nenelu, a miry or soft place; lewa nuu, an indefinite place on earth, the opposite; generally connected with lewa lani, a place belonging to anything above or in the heavens; hence, fallen into space.

[93] Kaukihikamalama, the moon placed on edge.

[94] The custom, as evidence of high rank and rare beauty, was to be withdrawn.

[95] Kapoino, lit. the evil night; ka, the, po, intensive, ino, bad or evil; hence any person or thing unfortunate, in distress, or ill-fated.

[96] The phrase nana i kuu piko, lit. look at my navel, or middle, may be understood as a command for attention, to “look directly at me.”

[97] Palea-i-ka-aha-lana-lana, lit. protected by the binding cord.

[98] Ka lauoho o Kuliliikaua, lit. the hair of Kuliliikaua, must be a figurative expression, as is hulu o Maui in line 12.

[99] Hulu o Maui is thought here to be figurative of the forest belt of Maui, the island, since it is not applicable to the demi-god of that name; hulu, when applied to a person being the hair of the body, not of the head, which is lauoho.

[100] The literal translation of this line, bearing out its connection with the rainy region of Kamakalana, strangely enough, gives it the name of Ikumailani, the kindly brother of Aukele.

[101] Halaoa, to project or stand out, is defined farther in the original as resembling mahaoi, impertinent or presumptuous.

[102] Aloiloi, a small bony fish, insignificant as an angler’s trophy.

[103] Apiki, defined here as “queer,” the sense in which Aukele wished his wife to understand him was “having again met misfortune.” The general use of the word is akin to cunning deception.

[104] Anekelope maka palupalu, lit. “soft-eyed antelope”, introduces a new animal to Hawaiian story in this modern complimentary expression implying the fair sex.

[105] This legendary account of the origin and successive changes of volcanic activity throughout the group coincides with the views of geologists relative to the order of change.

[106] This had reference to a cluster of rocks in a field or section of aa—rubble lava—in the uplands, said rocks being noted for their grouping rather than extraordinary size.

[107] The term kuleana alokio no Pele, means Pele’s allodial title.

[108] Ka-lakee-nui-a-kane, the great bend of Kane.

[109] Makukoae, thought at first to be the same as Kukoae, just mentioned, is defined by Andrews as “the state of one dying, formerly worshiped as a god,” which suggests that in Iku’s second battle with the king of Kauai he was defeated, not by the king, but by death.

[110] This was a popular betting game which consisted of sliding a slender stick or javelin some four or more feet in length, first striking the ground or smoothed grassy plot in its flight; a variation from the short cane-arrow game of pua.

[111] Olohu, as also ulu, was the name of a stone disk used in a game of same name, more particularly on Maui and Oahu. It was more generally known as maika, the game consisting of rolling this round, smooth stone the greatest distance, on which heavy stakes were wagered, even to one’s bones, meaning life itself.

[112] The covering of water-gourds, to which the “pau of Luukia” is likened, was a woven network of cord, without apparent beginning or ending. D. Malo says the canoe-lashing of the Luukia kind was reserved for the canoes of royalty and was known as, or called, kaholo.

[113] Name of the famed Paao temple at Puuepa, North Kohala.

[114] Recounting the incidents of the voyage.

[115] A toy made from a curved leaf of the ki plant (Dracaena terminalis).

[116] These arrows were made from the blossom-stalk of the sugar-cane and were of two kinds, one of less than two feet in length for shunting along the ground; the other was usually the full length of the stalk, its use being with a short string so affixed as to detach itself as it was jerked from the ground for its flight. Both kinds had to be perfectly straight to accomplish long flights; any tendency to curve rendered the arrow defective.

[117] One of the structures within the heiau, or temple.

[118] Disfigurement of the person upon the death of a chief was general and varied. Peculiar hair cutting, even to the shaving of the head, marking of the face, knocking out of the front teeth, etc., being recognized grief signs.

[119] One of the signs of royalty’s presence.

[120] This is the first reference to a “place of refuge” among the temples of Hawaii, of which this one of Paakalana, at Waipio, Hamakua, and the city of refuge at Honaunau, Kona, were the most famous throughout the group. The latter is still in existence in a fair state of preservation.

[121] Lua pa’u was a deep pit, a necessary adjunct to all temples of sacrifice; virtually a bone pit.

[122] Puloulou was a kapa-covered stick, called pahu, erected as a sign of kapu. When attached to the platform of a double canoe it was such as to indicate the voyaging chief’s rank.

[123] The Oneoneohonua was a prayer of long duration.

[124] The anuu was the tall skeleton-framed, kapa-covered structure of a temple, before which the idols stood, and where victims were laid; known also as lananuu, and nananuu.

[125] This request was for the carrying out of the moepuu, or “companions-in-death” idea, a not uncommon practice up to the times of Kamehameha.

[126] Ohe kaeke is lit. a drum-flute, a bambu instrument as accompaniment to the drum.

[127] Laamaikahiki, a son of Moikeha by Kapo, his first wife, was a half-brother of Kila.

[128] The bones of Moikeha must have been returned and cared for by the sons after that fateful trip to Waipio, instead of having been lost in the ocean, as reported by them.

[129] Waa naku seems to have been coupled erroneously in its rendition of “a canoe made of bulrushes.” Naku has several meanings, one of which, according to Andrews, is “a search, a pursuit after.” Using that term in this case would render it appropriately a “search canoe,” rather than an unseaworthy craft of rushes, nowhere else referred to in Hawaiian tradition.

[130] The two tides, rising and ebbing, are here ingeniously likened to two powerful demi-gods of the ocean.

[131] Anahulu is a measure of time only, indicating a period of ten days and nights. The term did not apply to any other counting, neither of years nor of articles. The length of time might be one, two or forty anahulus and so many days, as fractions of an anahulu.

[132] Kalukalu, a delicate, gauze-like kapa, to which the morning mist is likened as it is dissolved by the rays of the rising sun.

[133] In the story of Moikeha this netting of cords which was designated “the pau of Luukia” was her own doing, according to other versions, not Olopana’s.

[134] Opala, rendered here as “chaff”, falls far short of the contemptuous expression of nothingness, rubbish, or anything worthless which may be blown away by the wind, conveyed in the original.

[135] The naming of war clubs appears to have been a very general custom, as they are frequently referred to in tradition as being famous. It is likely that their names may have been applied to commemorate an event, as it is noted that these named clubs are the dependable weapons of celebrated warriors.

[136] A fairy story recognition by the elements of a royal descendant, at whose approach the spirits of former subjects appear as if to do homage.

[137] This doubtless refers to returning to a mountain abode, from which the lowland plains are designated “the earth”.

[138] Even the shells of the shore are made to recognize a royal scion.

[139] Modern use of the term alii aimoku signified a district chief. Formerly it indicated the ancient hereditary supervising lord, or chief, of a district or island, distinguished in this case as ’lii nui aimoku.

[140] A popular game in betting contests, which consisted of sliding a slender stick—a sort of javelin some four or more feet in length, first striking the ground in its flight.

[141] An evident custom for recognition in after years, as it forms the basis or key note in several popular Hawaiian traditions, for the future recognition of offspring by identification of articles of rank.

[142] An act claiming recognition, as possessing rights. In such a case a retention of the claimant on the lap is favorable; but a separating of the knees to unseat the child is considered a repudiation.

[143] Keiki hookama, lit. adopted child, in this case is more that of a sworn boon companion, as they were lads together and in no sense as father and son. It illustrates a custom of companionship in expectation of sharing in the honors and good things of life. A close attendant, not a menial servant.

[144] As a rule the Hawaiian house had but one door, in front, though end or side openings were not unusual. It was likely through such an end opening Umi was advised to enter and make himself known to Liloa, to avoid the guard at the entrance.

[145] Ua laa ke keiki of the original is not that the lad was sacred to the king in the usual sense, but that having trespassed the kapued royal precincts he was liable to the death penalty. He had forfeited his life, and the king only could stay the law’s execution.

[146] “An honest confession is good for the soul.”

[147] Oki ka piko was in this case a formal public act to confirm Umi’s heirship, for doubtless the ceremony of circumcision had been performed according to custom shortly after birth, unless possibly it had been prearranged for Liloa’s act of recognition.

[148] To use Kaili, the inherited war god of his father Liloa, as a fish deity, by Umi, seems an unusually degrading act.

[149] The appearance of a rainbow was held to indicate a person of high rank in its vicinity, and to be identified by a black pig was conclusive evidence beyond dispute. Even Kalakaua is said to have resorted to this means for identifying royal remains when he endeavored to locate the bones of certain ancient aliis.

[150] A Hawaiian Cardinal Wolsey.

[151] To test for royal care of the usually favored priestly order.

[152] An insight is given here of the ancient custom of entertaining distinguished guests.

[153] Illustrative of the solicitous expression “Ola na iwi,” bones are preserved.

[154] The Hawaiian umu, or imu, oven, was made on the ground as required, by heated stones forming a mound over the various articles of food placed on a leaf-lined base of hot rocks and covered in like manner, over all which a mantle of earth was thrown to keep in the heat and steam.

[155] A customary greeting on the meeting of long-separated friends or relatives.

[156] Meaning, the die is cast, his doom is sealed.

[157] Waning days of the moon, twenty-first to twenty-sixth; Kane followed, the twenty-seventh, then Lono; nights of special temple services.

[158] E kauila ko akua implies a temple ceremony in which the principal god is readorned with feathers; in this case Hakau’s deity.

[159] The twenty-third of the lunar month.

[160] Realizing the trap into which he was led, a surprise so complete that he was unnerved for any resistance, or self-protection.

[161] The flat-head ideal of beauty with Hawaiians had reference to a head broad and straight at the base, not flat on the top as might be supposed.

[162] Ooki pahupu; lit. cut asunder, is here used with a sense of injustice which calls for retaliation, or retribution.

[163] A sign to assemble together about the canoe for the capture therefrom of a victim for the altar.

[164] The fabulous fish-hook of Maui wherewith he sought to draw the islands together.

[165] This friend was Umi’s backer in his surfing contest with Paiea off Laupahoehoe.

[166] An unusual procedure, likely of modern interpolation.

[167] A not uncommon wager in those days.

[168] The channel between the islands of Maui and Hawaii.

[169] Malukoi, a season of special temple observance to procure ohia trees for the heiau.

[170] Hawaiian rank was held to descend through the mother, not the father, hence the obscure unrecognized rank of Akahiakuleana was the ground for considering Umi as of low birth.

[171] An unusual term to apply to Hilo, which has reference to its northerly section.

[172] Or companions, Omaokamau, Koi and Piimaiwaa.

[173] It is unusual to find a successive family name in early history.

[174] In this and following union of close relation is shown the solicitude for the preservation of unalloyed royal blue blood, according to their then standards.

[175] Wiliwili, Erythrina monosperma, a light white wood forming the ornament or tongue of the necklace. As this has been known generally of ivory, from sperm whale’s teeth, with variations in shell and in bone, the name palaoa is confusedly applied to all alike as an ivory-tongued necklace. This account would imply that palaoa was the name of the peculiar curve-tongued ornament itself, not ivory, the material of which it was formed, though its general use and reference as niho palaoa—ivory tooth—is responsible therefor.

[176] Each of these named games were usually for indulgences in lascivious conduct.

[177] Kanoa heiau was located at Puueo, on the northerly bank of the Wailuku river, Hilo; destroyed in recent years.

[178] The kaakaua were a class of chiefs consulted by the king in times of difficulty. The term implies councilors of war.

[179] A variety or species of small fish, Anchovia purpurea.

[180] Poupou, rendered here “chubby”, applied as a nickname, hardly agrees with the earlier statement of Umi’s excellent physique, which in one place won him two wives to the one each of his companions.

[181] Or grandmothers possessing supernatural powers.

[182] “Battle of the god” and “sea of the god,” in the sense of overwhelming.

[183] Its account is given in following paper, Kihapiilani.

[184] Ahua-a-Umi; collection or memorial of Umi. These ruins lie on the great plateau of Hawaii about equally distant from Mauna Loa, Kea and Hualalai, the principal structure being the temple of Kaili, said to have been erected by Umi. Three northern pyramids forming the front are also credited to him to represent the districts of the island he then governed, other districts as conquered being obliged each to build similar pyramids on the side of the temple. [Wilkes U. S. Ex. Exped. 1845, vol. IV, p. 100.] Alexander says: “Umi built a remarkable temple, now known as Ahua-a-Umi, which he is said to have occupied as his headquarters. Around this heiau he caused six pyramids of stone fifteen or twenty feet high to be erected, one by each district of the island, besides one for himself.”

[185] Ala is the flint kind of black basalt rock, used for the adze and other native implements.

[186] A customary service committed only to one’s most trusted friend. Tradition asserts that Umi in his solicitude on this subject said to Koi: “There is no place, nor is there any possible way to conceal my bones. You must disappear from my presence. I am going to take back all the lands which I have given you around Hawaii, and they will think you in disgrace. You will then withdraw to another island, and as soon as you hear of my death, or that I am dangerously ill, return secretly to take away my body.” [Trans. from Jules Remy.]

[187] It is said that no hardship was considered too great to comply with the trust imposed on a faithful friend for the secret interment of their remains, reduced to a prepared bundle of bones.

[188] This indicates its place of concealment as high up in the cliffs.

[189] Known also as Lono-a-Piilani, and referred to at times as Lono-a-Pii. In this narrative he is given the father’s name, making it confusing because unusual.

[190] The first reference to the rainbow as a priestly prerogative, or that more than one was required to distinguish a chief.

[191] A sneering term applied to Piilani, as kukaipopolo was applied to Umi for his alleged low birth.

[192] Lit., to stand separate, alone.

[193] Or sacred chiefs, tenth descendants of Lonokaeho.

[194] Or unblemished pig.

[195] Ilio hulu pano; dog of perfection, black.

[196] A variety of striped or spotted fish (Chætodon ornatissimus).

[197] From indulgence in forbidden food.

[198] Son of Kaikilani, wife of Lonomakahiki.

[199] Sound of the surf breaking on the reefs.

[200] Half-sister of Keawe, moi of Hawaii.

[201] Indicative of great heat, inducing the panting of heaven for breath.

[202] Mana, in connection with the sacred hiwa, rather than a black house of the preceding line, has reference to a temple apartment.

[203] Figurative for some personage.

[204] Abbreviation for Lonoapiilani.

[205] Light complexion.

[206] Referring to her four offspring.

[207] The edge, or border, here has reference to the chief rank embodied in them.

[208] Chief of Waimea, Kauai, of the Maweke-Moikeha line.

[209] King of Oahu, known also as Kakuhihewa.

[210] Favorite son of Kuhihewa.

[211] Rough and scaly from awa indulgences in the kapu periods.

[212] An abbreviation for Manookalanipo.

[213] Lit., rock face.

[214] A daughter of Makalii.

[215] Another wife of Mano.

[216] The Piilani, chief of Maui, father of Kihapiilani and Piikea.

[217] Niu kaukahi, lit., single coconut tree.

[218] Referring back to Kauai ancestors of many generations.

[219] Like a light shower that fails to reach the ground.

[220] Ohiki, lit., sand crab; a figurative reference to some chief.

[221] A discrepancy of tradition appears here, as Imaikalani was the famed blind warrior king of Kau, Hawaii.

[222] The harbor of Hana.

[223] Lonoapiilani.

[224] The fortress of Hana, subsequently the scene of several important battles.

[225] Umi favored a suzerainty in behalf of the young man.

[226] The pikoi was a stone or hard wood weapon, a long kind of ball to which a cord was attached for use in closer than sling-shot encounters.

[227] Wahie, lit., firewood; an odd name for a wooden war club.

[228] Lonoikamahiki, frequently referred to as Lono, was a grandson of Umi by his wife Kapukine-a-Liloa.

[229] Father of Lono.

[230] A famous game of the ancients, the slender spears for which were made from the hard, close-grained, heavier woods; a sort of javelin, some five or six feet in length, thicker at one end.

[231] This was a stone disk for rolling along, or down, regularly prepared courses; a very popular game of olden time.

[232] Another great gambling game. This favorite game of Hawaiians was, as here shown, a test of strength and skill in gliding or skipping the arrow along the ground the greatest distance. While the bow was known among the people, it had no use in these arrow contests.

[233] The club was a war weapon which was much practiced with to attain proficiency in the various right-, or left-hand, or other “strokes” therewith, termed the hauna—shortened from hau ana. There are marvelous tales told of the skill of famous warriors in its use, as also of the enormous size and magic power of many noted implements. The favorite club of a chief or warrior was named, and was thereafter identified with him.

[234] Umu, or imu; a ground oven of heated stones.

[235] This was the general war weapon of the aliis and their immediate attendants, their body guard, with which much practice was had to attain skill in its use as a weapon of offense and defense. Spears were not the general army weapon.

[236] The account here given of the use of the sling was as a war weapon; it was also used for sports and betting contests. Slings were made of coconut fibre, usually with much care.

[237] An apparent recognized custom of a child’s seeking favor, or recognition, as in the case of Umi on his visit to Liloa.

[238] This alleged ignorance of idols in one at Lono’s age, so closely related to the head of the system, is difficult to understand, unless it was purposely designed by his kahus (guardians) until he had reached the years of discretion, when he was to be made familiar with the idols and their supposed significance and powers. It was not so in the case of Liholiho who assumed some of the temple services of his father, Kamehameha, at a very early age.

[239] Implying, you cannot be hidden from him.

[240] Hoopaapaa is to dispute; wrangle; contend stubbornly; debate; to have a mental contest of language and wit. Sometimes given as hoopapa.

[241] This is said to be the first instance of a chiefess ruling in Hawaii, although tradition shows Kauai to have been so governed much earlier.

[242] All articles seem to have special names, whether a clothes container, club, or famed kahili.

[243] A favorite pastime of the chiefs; a game very much resembling checkers.

[244] This is a covert phrase for identification; a play upon the name of her lover’s father, Kalaulipali.

[245] These casual remarks as a chant indicating a situation in the game, are quoted in konane contests to this day.

[246] This revolt was an evidence of Kaikilani’s popularity, which revolt, however, she would not countenance.

[247] All chiefs of note are supposed to possess name songs in their honor.

[248] This reveals the method of memorizing name songs, etc., of olden time.

[249] In the spirit of rivalry existing between these kings this new name chant was an opportune test of their powers of memory and narration.

[250] Liu, generally accepted as mirage, and so here used, is probably a shortening of liu-a, to see indistinctly; otherwise the definitions of the word fail to apply.

[251] Iliau (Wilkesia gymnoxiphium); a low plant, something of the silversword order, found on Kauai and elsewhere.

[252] Aliaomao, said to be the god of the year, of which there are doubts. Alia was the name of two sticks carried before the procession as emblems of the god; hence, perhaps, the idea that Omao was the god referred to. Some versions of this chant give it as Aliaopea.

[253] Series of names of personages.

[254] Falling this way and that; topsy-turvy conditions.

[255] Lonoikamakahiki, referring to himself.

[256] Another version gives this line as Noi aku Kamahu a ola; Kamahu asked for and obtained life, in place of Kamahuola asked, as in this case.

[257] A royal ancestor running back some ten generations.

[258] The narrator here pauses in his boasting changes.

[259] Over or above Alaeloa, in Kaanapali, Maui.

[260] The chanter here enters on a play of names.

[261] All west Maui lands.

[262] The other version gives this as Hokea; likely an error.

[263] Paie intended probably for Paia, Maui.

[264] Probably intended for Kahoolawe, though its connection is not clear.

[265] Hills likened to the palm-thatched houses of the temple.

[266] Oopu, a small mud-fish, said to be so tame as to cling to one’s hand.

[267] Kala (Monoceros unicornis), a sacred fish.

[268] Loyal devotion and self-sacrifice, as Loli was one of the two guardians who reared Lono from early childhood.

[269] Ahi (Germo germo), albacore.

[270] The reference made throughout this tradition to the “god of Keawenuiaumi” never once reveals its name. It must have been the god Kaili which Liloa transmitted the charge of to Umi, and doubtless descended to Keawenuiaumi, thence to Lonoikamakahiki.

[271] Ulua (Carangus ignobilis), as also other varieties; credited as the gamiest fish in Hawaiian waters.

[272] In the former version this is given as Honokea.

[273] A plea for recognition.

[274] The kissing of olden time is well borne out in its native term, “honi ka ihu,” touch or smell the nose.

[275] Lono realizes the duplicity of these adherents of Kakuhihewa, seceders from Hawaii’s court.

[276] Or, “I will flay you alive.”

[277] Showing the method of enshrouding and decorating the bones of the alii.

[278] This was probably one of high rank rather than a chief, in which case it refutes the idea that the wohi was a “royal title assumed only by the Oahu chiefs of the highest rank until comparatively modern times.”

[279] The important battle of Puumaneo here spoken of must have been a rebellion against Keawenuiaumi. The carrying about of the bones of the vanquished chiefs by a successor of the victor is shown in this case to have been for the purpose of evidence, and they are identified by one who participated in the conflict.

[280] This closing line of these several chants simply indicates it as sectional; a sort of “to be continued.”

[281] Some confusion prevails in the brother-cousin term of relationship used by the translator, which arises from the fact that the word kaikaina applies equally to a younger brother or a cousin. The same difficulty occurs in the term makuakane as father or uncle, and makuahine as mother or aunt.

[282] The koolauwahine of the original was a peculiar wind of Kauai.

[283] A more literal rendering would be, “We have seen the god weep.”

[284] A peculiar grass, of legendary fame, found on Kauai. Also the name of a choice lace-like kapa.

[285] Ohai, a flowering shrub (Sesbania grandifolia) which turns its leaves down at night.

[286] The erection of this historic temple of Puukohola is generally credited to Kamehameha I, in obedience to the instructions of Kapoukahi, Kauai’s renowned prophet, whereby he would obtain supremacy over Hawaii without more loss of life.—Pol. Race, vol. I, p. 240. According to this tradition it is shown that Kamehameha’s work was simply one of reconstruction and reconsecration to his war god Kukailimoku, for victory over his opponents, and it is a coincidence that the same deity as Kaili, Lono’s war god, presided here, as also at the heiaus of Muleiula, in Kohala, and Makolea in Kahaluu, Kona, in their consecration by Lono as acknowledgment for his victories.—Ib., p. 122.

[287] The war being directed by the priests instead of by tried warriors of the king shows their notion of being directed by the deities in temple services.

[288] A lively similitude of utter routing.

[289] By the force of wind in the swirl of the war club.

[290] Elder son of Kaikilani by Kanaloakuaana; hence, likely, the assistant toward his escape.

[291] Puholo: to cook by steaming. The food desired to be cooked is placed in a container, usually a calabash, together with the ingredients necessary to make it palatable; one or more hot stones are dropped into the container and it is covered up and left to steam till cooked. Food prepared in this way is more delicious than when kalua-ed (underground cooking).

[292] Three successive mouthfuls, or by the time required for its chewing.

[293] A proverb of ridicule.

[294] An insight this of Hawaiian strategy and method of warfare.

[295] Koae, the bos’n bird (Phaëthon lepturus).

[296] Low in comparison.

[297] Popolo, a medicinal herb (Solanum nigrum, L.); an article of food, also, when cooked.

[298] Kamakahiwa, the black eye, from having had his eyes tatued.

[299] Kanaloa refers to Kanaloakuaana.

[300] An epithet of same.

[301] Paweo, averted eye; used here to signify the sightless pearl-oyster of Ewa lagoon, famed as sensitive to sound, thereby enabling it to sense the presence of man.

[302] Olowalu, tumultuous noise; announcement of chief’s kapus, etc.

[303] Name of one of the sacred drums introduced by Laamaikahiki.

[304] Realizing he has been entrapped, Kamalalawalu begins to sue for peace.

[305] Keep on with the battle until one of us is on the altar, as an eminent authority puts it, the meaning of which is virtually, to fight on till death, when will be seen who is the bravest. Nananuu, or lananuu, was the tall scaffold structure in the temple wherein the sacrifice was placed, and in front of which stood the idols and the lele, or altar.

[306] Paimalau, bait boxes; receptacles for live bait preferred in aku fishing.

[307] Hala kaao, unripe fruit of the pandanus.

[308] A mythical tree credited to Kauai.

[309] An awa of especially satisfying quality.

[310] Awa lau hinano describes a fragrant awa resembling in perfume the hinano blossom of the pandanus.

[311] Continuous changing rains.

[312] Kinau, a sand eel.

[313] By comparative tradition Kualii’s time dates back to the middle of the seventeenth century.

[314] Likened to Keaweikekahialiiokamoku, one of Hawaii’s kings.

[315] A sort of manele or palanquin.

[316] Through chanting the Song of Kualii; a successful bluff.

[317] A mano is four thousand; a lau is four hundred in the Hawaiian method of counting. Forty thousand is kini, used at times for an indefinite number.

[318] Imi haku, seeking a new master for the betterment of one’s condition. A laudable ambition in some cases; in others, for a life of ease or self-preservation, as in the case of the priests, Nunu and Kolohe, in espousing Umi’s cause against Hakau.

[319] The place of battle was generally by mutual agreement of contesting parties. Taking the enemy unaware does not seem to have been a feature of Hawaiian warfare as a rule.

[320] The name of this opponent is shown later to be Lonoikaika.

[321] Ahumoa was in the Ewa district of Oahu.

[322] Aholehole (Kuhlia malo).

[323] The night of Kane was dark, the moon being twenty-seven days old.

[324] Would not be fought through, or decided.

[325] The notes of this chant are largely from the C. J. Lyons version so far as found to conform to this revised text, which agrees with the version published by Fornander as an appendix in Pol. Race, vol. II.

[326] Kualii.